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گونه شناسی شیوه‌های جدول‌بندی (گریدبندی) در نسخه‌های خطی سدۀ نهم تا چهاردهم هجری | ||
| مبانی نظری هنرهای تجسمی | ||
| مقالات آماده انتشار، پذیرفته شده، انتشار آنلاین از تاریخ 10 خرداد 1404 | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/jtpva.2024.47345.1588 | ||
| نویسندگان | ||
| الهام اکبری1؛ عفت السادات افضل طوسی* 2؛ مریم کشمیری3 | ||
| 1دانش آموختۀ مقطع دکتری رشته تاریخ تطبیقی و تحلیلی هنرهای اسلامی، دانشکده هنر، دانشگاه الزهرا، تهران، ایران | ||
| 2، استاد تمام گروه پژوهش هنر، دانشکده هنر، دانشگاه الزهرا، تهران، ایران | ||
| 3استادیار گروه نقاشی، دانشکده هنر، دانشگاه الزهرا، تهران، ایران. | ||
| چکیده | ||
| جدول‌بندی (گریدبندی) یکی از مراحل مهم در فرایند تولید نسخه‌های خطی است. به‌واسطۀ جدول‌بندی، محل جای‌گیری عناصر حاضر درصفحه، خاصّه متن تعیین می‌گردد. ایجاد نظم در اوراق از متقدم‌ترین مخطوطات در تمدن اسلامی تا متأخرترین آنها یکی از اهداف اصلی کتاب‌آرایان بوده است. به‌دنبال تولیدهزاران نسخه خطی در طی چهارده قرن، آرایندگان کتاب از شیوه‌ه‌های گوناگونی برای چیدمان متن در صفحه بهره برده‌اند ولی با این همه مطالعات تخصصی در زمینۀ چگونگی جدول‌بندی نسخه‌ها بسیار اندک و انگشت‌شمار است. از این‌رو هدف از پژوهش حاضر شناسایی و معرفی الگوهای پُرکاربرد در نسخه‌های خطی بوده است و به این سوالات پاسخ داده شده است: شیوه‌های پرکاربرد جدول‌بندی کدامند؟ و امتیازات جدول‌بندی‌های متن و حاشیه‌ای چه بوده است؟ در پژوهش حاضر به روش توصیفی- تحلیلی، نحوۀ جدول‌بندی 680 نسخه، بررسی و تحلیل شده است و شیوه جمع‌آوری اطلاعات به صورت کتابخانه‌ای و اسنادی بوده است. بررسی‌ها نشان داد، سبک‌های جدول‌بندی بکار رفته در نسخه‌ها در دو گروه عمدۀ جدول‌بندی‌های ساده با سه زیرگروه (1-تمام سطر، 2-دوستونه، 3-چهار و شش ستونه) و جدول‌بندی‌های مرکب با پنج زیرگروه (1-متن و یک حاشیه، 2-متن و دو حاشیه، 3-متن و یک ستون، 4-تلفیقی، 5-مرقع‌گونه) قابل دسته‌بندی است. امکان خوانش دو اثر و گاه بیش‌تر به صورت همزمان در هر صفحه از نسخه، دسترسی داشتن به چندین مجلد در قالب یک جلد کتاب، افزایش میزان تزیینات نسخه‌ها (متعاقباً نفیس‌تر شدن آنها) و ایجاد پویایی در ساختار صفحات ( استفاده از هنر مورب‌نویسی) ازجملۀ امتیازات جدول‌بندی‌های مرکب بوده که موجب استقبال از جدول‌بندی‌های متن و حاشیه‌ای شده است. | ||
| کلیدواژه‌ها | ||
| جدول‌بندی؛ گریدبندی؛ صفحه‌آرایی؛ نسخه خطی | ||
| عنوان مقاله [English] | ||
| Stylistic page gridding methods in Islamic manuscripts from the 9th to the 14th Century AH. | ||
| نویسندگان [English] | ||
| Elham Akbari1؛ EffatSadat Afzal Tousi2؛ Maryam Keshmiri3 | ||
| 1PhD in Comparative and Analytical History of Islamic Arts, Department of Research of Art, faculty of Art, Alzahra University, Tehran, Iran | ||
| 2Alzahra UniversityProfessor of Department of Art Research. Faculty of Art. Al-Zahra University, Tehran, Iran. | ||
| 3Department of Painting, faculty of Art, Al-Zahra University, Tehran, Iran | ||
| چکیده [English] | ||
| Book art is one of the most important arts in Islamic civilization, thanks to the Quran. With the support of Islamic governments, this art was able to reach its peak of prosperity. Each manuscript goes through various stages, known as book-making stages. Among these stages, the manuscript gridding is as one of the most important stages, where the initial layout plan of the manuscript is determined. The order in which texts are placed on the pages of early Qurans (Umayyad Qurans) reflects the efforts of calligraphers in arranging the texts on the pages. Following the production of thousands of manuscripts over fourteen centuries, bookmakers have employed various techniques to organize text on the page. However, there has been a lack of specialized studies focusing on manuscript gridding. The purpose of this research was to identify and introduce the most commonly used gridding patterns in manuscripts. The following questions were addressed: What are the most commonly used methods of gridding in manuscripts? What were the points of complexity in gridding? This research is a fundamental study conducted using a descriptive-analytical research method. Information was collected through library research, with the target libraries including the Library of Islamic Parliament of Iran and the National Library of Iran. Additionally, libraries abroad such as the State Library of Berlin, the National Library of France, the National Library of Great Britain, the Walters Museum, the Chester Beatty Library, the Smithsonian Institute of Oriental Studies, and the Museum Metropolitan were also included as target libraries. A total of 680 manuscripts produced between the 9th and 14th century AH were examined in this study. According to this research, gridding in manuscripts is defined as "Determining the placement of elements, such as text, illumination, and images on the page"."Jadvalbandi" in manuscripts, synonymous with gridding in today's books, refers to the basic layout of the pages. The relationship between gridding and ruling (decorative lines around the text) in a manuscript is explained in this way: The ruling in the form of decorative lines on each manuscript indicates the gridding of the manuscript. The gridding of manuscripts from the 9th to the 14th century can be categorized into two main groups: simple gridding and compound gridding. In the group of simple griddings, full-line griddings are used for prose texts, while two, four, six, and sometimes eight-column griddings are utilized for verse texts. Investigations have revealed that the number of columns in a manuscript was related to the type of poem format it contained. Two-column gridding was commonly used for writing ghazals and odes, while four- and six-column gridding was used for masnavis, which typically featured shorter stanzas. In addition to simple griddings, compound griddings have been observed in manuscripts since the middle of the 8th century. Composite griddings became more prevalent in manuscripts by the 10th century. Various types of compound gridding include: gridding with a central part and a peripheral part, a central part and two peripheral parts, text alongside a column, combined gridding, and an album model. Based on the samples analyzed in this research, it can be said that the city of Shiraz played a significant role in the development of compound griddings. In most compound gridded manuscripts, which include models with one central part and one peripheral part, one central part and two peripheral parts, and text and one column, two separate texts can be read simultaneously. Compound griddings are commonly used to texts which have different sections, such as Khamsah Nizami, Khamsah Amir Khusrow, and the collection of Saadi's poems (Kolliyat Saadi). It's worth noting that compound griddings have been performed at a high level since the second half of the 10th century, in terms of complexity and order, similar to other book-making arts. Compound griddings have advanced to the point where, for example, in one particular case, eight literary texts can be read simultaneously on each page of the manuscript. According to the authors, three factors have played a significant role in the development of compound griddings: 1- The production of scientific manuscripts, particularly in the fields of astronomy, in Iran and Islamic lands. These manuscripts often contain scientific tables with extensive use of oblique writing. Consequently, dividing the text space into multiple parts and incorporating oblique writing in manuscripts were common features in scientific tables prior to developments in other manuscripts. 2- Writing explanations in the margins of religious and jurisprudential manuscripts has been a longstanding tradition in Islamic civilization that still continues today. While many of these annotations are often written disorderly, the presence of manuscripts with systematic annotations suggests that they may have influenced the development of organized grids in manuscripts. 3- It appears that the use of compound griding was associated with the creation of large-sized papers, as the larger paper sizes enabled bookmakers to utilize compound griding on the pages. The Timurid princes' preference for large paper sizes is evident in the Baysunghur Qur'an and other manuscripts, highlighting a potential link between paper size and the style of manuscript griding Compound gridings, which have been utilized in manuscripts since the 8th century and were even incorporated into book lithography in the 14th century, offer several advantages including: 1- The ability to view, read, or compare two or more works on a single page simultaneously. 2- In manuscripts featuring compound gridding, oblique lines are more prevalent compared to other manuscripts because they allow the calligrapher to effectively utilize the surrounding space of the text. Pages with compound gridding have a dynamic layout characterized by non-uniform lines and the incorporation of oblique writing in various sections, contrasting with the more uniform structure of simple griddings. 3- The use of compound gridding depends on frequent oblique writing. This, in turn, has led to the formation of many secondary decorations in this category of manuscripts. Gilded triangles and diagonal headers are examples of these decorations. Therefore, the increase in the number of decorations in this group of manuscripts, which has raised their artistic value, is certainly one of their significant advantages. 4- According to the calligrapher's inscription at the beginning of the "Ganjineh" manuscript (Ms. Or. Fol. 209, Berlin State Library, dated 1077 AH), one reason for the popularity of manuscripts like these may have been their convenience for travel. Instead of carrying multiple manuscripts, the owner could simply bring one. For example, in collections like the "Iskander Sultan Collection," there are numerous texts gathered in one volume. It is possible that the Timurid princes, like Iskandar Sultan, Ibrahim Sultan, and Baysunghur Mirza, who had a keen interest in taking books on their journeys, played a role in the development of these elaborate manuscripts with compound gridding | ||
| کلیدواژه‌ها [English] | ||
| gridding, layout, manuscript, Islamic | ||
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آمار تعداد مشاهده مقاله: 3 |
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