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اینفوگرافی در نقشه های خلیج فارس موجود در نسخ خطی اسلامی (سده های ششم تا یازدهم هـ ق) | ||
| 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.2025.47429.1590 | ||
| نویسندگان | ||
| محمدرضا غیاثیان1؛ زینب سعیدزاده* 2 | ||
| 1گروه مطالعات عالی هنر، دانشکده معماری و هنر، دانشگاه کاشان | ||
| 2دانشجوی دکتری هنرهای اسلامی، دانشکده معماری و هنر، دانشگاه کاشان / و عضو هیئت علمی موسسه آموزش عالی سپهر، اصفهان، ایران | ||
| چکیده | ||
| چکیده خلیج فارس که نخستین تمدن‌های بشری در کنار آن شکل گرفته از دیرباز به عنوان یکی از مهم‌ترین راه‌های دریایی جهان مورد توجه بوده و جغرافی‌دانان مسلمان نقشه‌های متعددی از آن ترسیم کرده‌اند. اگرچه این نقشه‌ها از نظر جغرافیایی و تاریخی مورد توجه محققان بوده‌اند، اما با دیدگاه گرافیکی به ندرت بررسی شده‌اند. پژوهش حاضر با مطالعۀ کتابخانه‌ای و نسخه‌شناختی به دنبال بررسی میزان تطابق نقشه‌های خلیج فارس در دست‌نویس‌های سدۀ ششم تا یازدهم هجری قمری با ویژگی‌های اینفوگرافی امروزی و نیز سیر تطور آن‌ها در طول این سده‌هاست. بدین منظور، سیزده نقشه از آثار اصطخری، ابن حوقل و ادریسی انتخاب شده و از نظر ویژگی‌های اصلی اینفوگرافی یعنی کارآمدی، خوانایی و طراحی منسجم عناصر تحلیل شده‌اند. یافته‌ها نشان می‌دهد که معمولاً این نقشه‌ها در گذر زمان از سدۀ ششم تا یازدهم ساده‌تر شده و با کاهش عناصر غیرکاربردی به اهداف یک اینفوگرافی مؤثر نزدیک‌تر شده‌اند. بر اساس تطابق زیاد این نقشه‌ها با ویژگی‌های اینفوگرافی، می توان آن‌ها را اجداد نقشه‌های مدرن دانست که در مسیر تاریخ پیشرفت کرده و به حالت امروزی درآمده‌اند. در سده‌های متأخر با انحطاط جغرافیای اسلامی، نقشه‌هایی با نگاره‌های روایی و تزئینی بروز نمودند که هیچ کارکرد علمی نداشتند. کلیدواژه‌ها: نقشه‌نگاری اسلامی، اینفوگرافی، خلیج فارس، ابو اسحاق اصطخری، ابن‌حوقل، ابوعبدالله ادریسی. | ||
| کلیدواژه‌ها | ||
| نقشه نگاری اسلامی؛ اینفوگرافی؛ خلیج فارس؛ ابو اسحاق اصطخری؛ ابن حوقل. ابوعبدالله ادریسی | ||
| عنوان مقاله [English] | ||
| Infographics in Persian Gulf Maps Available in Islamic Manuscripts (12th – 17th Centuries) | ||
| نویسندگان [English] | ||
| Mohamad Reza Ghiasian1؛ Zeinab Saeedzade2 | ||
| 1Islamic Art department, Faculty of Art & Architecture, University of Kashan, Kashan, IRAN | ||
| 2PhD Candidate of Islamic art. Faculty of Art and Architecture. University of Kashan, Iran / and Faculty Member of the Sepehr Institute of Higher Education /Isfahan/ Iran | ||
| چکیده [English] | ||
| Abstract The necessity of knowing the surrounding environment in order to protect territories and discover unknown lands clearly reveals the importance of geography in the course of human civilization. Along with the expansion of the Islamic territory, the Muslims investigated the areas under their control in order to know the conditions of the climates, the distance of the cities, the calculation and determination of agricultural income, and thus geographical texts were written in the Islamic world from the middle of the ninth century onwards. Maps have been one of the most significant tools of Muslim geographers to convey concepts that still play an important role in designing information in the form of infographic. The word "Infographic", which is a combination of "information" and "graphic", is in fact a graphical and simplified display of information that presents concepts and meanings with various images and tools, such as numbers, words, symbols, charts, maps, etc. The history of using infographics goes back to the ancient times. Maps can be considered as one of the first systematic human efforts for visual expression of information. According to the definition of infographic, ancient Islamic maps can be considered in connection with this modern concept. Therefore, one of the main targets of this research is to study these types of maps according to the features of modern infographic design. This article examines the historical maps of the Persian Gulf region that have been selected from the manuscripts of three prominent geographers of the Islamic world, Abu Ishaq Istakhri, Ibn Hawqal, and Abu ‘Abdullah Idrisi. The Persian Gulf, around which the first human civilizations were formed, has long been considered as one of the most important sea routes in the world, and Muslim geographers have drawn numerous maps of it. Although these maps have been of interest to researchers from a geographical and historical point of view, they have rarely been examined from a graphical point of view. The present study seeks to investigate the compatibility of the Persian Gulf’s maps in the manuscripts of the twelfth to seventeenth centuries with the features of modern infographics, as well as their evolution during these centuries. For this purpose, thirteen maps from the works of the mentioned geographers have been analyzed in terms of the several main features of infographics, i.e. efficiency, readability and coherent design of pictorial elements. An examination of the four maps drawn in Istakhri’s manuscripts during the years 1173 to 1604 reveals that they have become simpler over time and the reduction of decorations and non-useful elements has brought them closer to the goals of an effective infographic. In Istakhri’s maps, for instance, the mountain motif was evolved from a palm leaf (1173 AD) to a semi-realistic motif (1193 AD) and then to several nested triangles (fourteenth century) and finally to a simple geometric triangle (1604 AD). The identifying sign of the cities’ locations were also changed from decorated motifs to simple shapes. The Kufic script in the maps of the earlier centuries has been replaced by naskh script that has made the maps simpler and more readable. In a map dated 1086 from Ibn Hawqal’s Surat al-Ard, the names of the cities and islands of the Persian Gulf are written inside molar-shaped forms. The names of different provinces are inscribed in crosswise lines, and thus, the differentiation of the names of provinces and cities has made the map more efficient. However, in another Ibn Hawqal’s map dated 1445-6, the names of the cities and provinces are written similarly without any characteristics. Only the islands are shown with rectangular and circular shapes and even some of them have no names. These points have reduced the functionality and usefulness of these maps. In his two maps of the Persian Gulf that are examined in this paper, Idrisi has shown the topographical positions of the earth. Moreover, the surfaces and shapes are not drawn geometrically but with organic shapes, and therefore his maps are not dissimilar to modern satellite maps. In the maps of both manuscripts, the names of provinces have a clear distinction with that of the cities. In the first manuscript, the cities are marked with golden flower-shaped circles and in the second manuscript with yellow circles. One of the improvements achieved in the second manuscript is that big cities are marked with bigger and different signs, displaying a more effective infographic. Regarding the depiction of Jonah in Istakhari’s Masalik wa Mamalik of 1424, it should also be said that in fact, the painter freely interpreted the maps and left aside the main concerns of the text. While Istakhri had shown the maps clearly and explicitly, the painter has used the empty spaces of the map as a canvas. He added motifs to the map that were related to certain areas, and thus enriched the maps with new levels of meaning. In the later manuscripts, the changes in the maps caused them to lose their scientific and geographical function and become narrative and decorative pictures. Similarly, in the images of the Persian and Indian seas in the Indian manuscripts, we see a large pool in which mermaids and fantastic creatures are swimming. In sum, it can be said that in the maps of the Persian Gulf, various colored surfaces, separating outlines, different shapes and inscriptions are used. Sometimes, in earlier examples, the use of decorative textures and complex visual spaces has made it difficult to read the text, and in fact, beauty has prevailed over utility. However, over time, with the priority of simplifying the shapes and reducing or removing decorations and textures, maps have become more compatible with modern infographic principles such as clarity, legibility and separation of surfaces, and as a result, they reached higher usefulness and efficiency. In general, the design techniques of these maps have become simpler over time from the twelfth to seventeenth century, and by reducing non-useful elements, they have become closer to the goals of an effective infographic. Based on the high compatibility of these maps with the features of infographics, they can be considered as the ancestors of modern maps that have progressed in the course of history. The incorrect application of infographic principles in some examples was inevitable due to the time of their production and the lack of specific rules for map design at that time. Of course, it should be noted that in later centuries, with the decline of Islamic geography, maps with narrative and decorative illustrations appeared that had no scientific function, and thus, these examples are excluded from this rule. Keywords: Islamic Cartography, Infographic, Persian Gulf, Abu Ishaq Istakhri, Ibn Hawqal, Abu ‘Abdullah Idrisi. | ||
| کلیدواژه‌ها [English] | ||
| Islamic Cartography, Infographic, Persian Gulf, Abu Ishaq Istakhri, Ibn Hawqal. Abu ‘Abdullah Idrisi | ||
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