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تبیین مولفه‌های مضمونی و فرمی تاثیرگذار در شکل‌گیری خطوط تزئینی دوره قاجار | ||
| مبانی نظری هنرهای تجسمی | ||
| مقالات آماده انتشار، پذیرفته شده، انتشار آنلاین از تاریخ 17 خرداد 1404 | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/jtpva.2025.47084.1578 | ||
| نویسندگان | ||
| زهرا روشن روان1؛ فرهاد خسروی بیژائم* 1؛ امیرعباس محمّدی راد2 | ||
| 1گروه کتابت و نگارگری، دانشکده صنایع دستی، دانشگاه هنر اصفهان | ||
| 2گروه نقاشی، دانشکده هنرهای تجسمی ،دانشگاه هنراصفهان | ||
| چکیده | ||
| یکی از تحولات عمده خوشنویسی عصر قاجار، از دهه دوم سده 13 هـق تا دهه دوم سده 14 هـ.ق، گرایش به خطوط تفننی و تزئینی است که برخی مولفه‌‌ها بر شکل‌گیری آن‌ها تاثیرگذار بوده است. ملک‌محمد قزوینی، اسماعیل جلایر و حسن زرین‌قلم از هنرمندان شاخص خطوط تزئینی بودند که در پژوهش حاضر، آثار شاخص این سه هنرمند مورد مطالعه قرارگرفته است. این پژوهش به شیوه توصیفی و تحلیلی انجام شده و گردآوری اطلاعات به صورت کتابخانه‌ای است. هدف از انجام این پژوهش، دستیابی به مولفه‌های مضمونی و فرمی تاثیرگذار در شکل‌گیری خطوط تزئینی دوره قاجار است. در راستای دستیابی به هدف، این پرسش مطرح می‌شود که چه مضامین و مولفه‌های بصری شناخته شده‌ای در شکل‌گیری خطوط تزئینی دوره قاجار تاثیرگذار بوده است؟ نتایج بیانگر آن است که مضامین تاثیرگذار بر خطوط تزئینی این دوره، شامل مضامین مختلف مذهبی مانند آیات قرآن، اسماء الهی، احادیث، اعتقادات شیعی و ارادت به ائمه است و مضامین غیرمذهبی، شامل متونی از جمله اسامی اشخاص، تبریک و اشعار است. همچنین، فرم‌های تاثیرگذار بر خطوط تزئینی این دوره تحت تاثیر تغییراتی در اصول سنتی خوشنویسی مانند تغییر در قوت و ضعف، سطح و دور، نسبت، کرسی، ایجاد بعدنمایی، عدم رعایت حسن وضع و به‌کارگیری قلم‌های مختلفی جهت آرایش نوشتار شکل‌گرفته‌است. همچنین، مولفه تاثیرگذار دیگر، استفاده از نقوش تزئینی و تصویری شامل نقوش گیاهی، انسانی، حیوانی و هندسی است که در بخش‌های مختلف آثار اجرا شده‌است. | ||
| کلیدواژه‌ها | ||
| خوشنویسی قاجار؛ خطوط تزئینی؛ ملک‌محمد قزوینی؛ اسماعیل جلایر؛ حسن زرین‌قلم | ||
| عنوان مقاله [English] | ||
| Specifying the effective thematic and formal components in foundation of Qajar ornamental scripts | ||
| نویسندگان [English] | ||
| Zahra Roshan Ravan1؛ Farhad Khosravi Bizhaem1؛ Amirabbas Mohammdirad2 | ||
| 1Department of Islamic Art, Faculty of Handicraft, Art University Of Isfahan | ||
| 2Department of Painting, Faculty of Visual Arts, Art University of Isfahan | ||
| چکیده [English] | ||
| The Qajar era was among the significant periods characterized by substantial changes and transformations in political, social, and cultural aspects. These factors resulted in the interplay and mutual influence of various arts, giving rise to innovative works of art, facilitated by royal patronage, interactions with Europe, and the popularization of the arts. One of the transformed arts during the Qajar era was calligraphy. Calligraphy flourished from the second decade of the 13th century AH to the second decade of the 14th century AH. One of the developments in calligraphy during this period was a tendency towards ornamental scripts. Artists such as MalekMuhammad Qazvini, Ismail Jalayer, and Hassan ZarrinQalam were prominent figures in ornamental calligraphy, producing creative works of arts and also being recognized as pioneers in calligraphic painting. This study focuses on the works of these artists, who were also innovative in their approach. The research was conducted using descriptive and analytical methods, gathering data from library sources. In this study, fifteen works (five from each artist) were purposefully selected for analysis to ensure diversity and richness of content. The aim of this research is to identify the thematic and formal components influencing the formation of ornamental scripts during the Qajar period. In order to achieve this goal, the research question explores which themes and forms components have been influential in shaping ornamental scripts during the Qajar period? Based on the analysis, the general themes found in the works of MalekMuhammad Qazvini, Ismail Jalayer, and Hassan ZarrinQalam can be divided into two main categories: religious and non-religious. Religious themes include Quranic verses, Hadiths, divine names, Shiite beliefs, and reverence for the Imams (Prophet Muhammad, Imam Ali, and Imam Hussein). The main factor behind this was the spread of Shiite beliefs during the Qajar era. As evidenced in the history of Qajar art, it was during this period that Naser al-Din Shah ordered the construction of Tekye-ye Dowlat. Corresponding to these beliefs and views, some of the works of arts by these artists prominently feature phrases like "Ya Hussain Mazloom" (O oppressed Hussain) or "Ya Sultan Mazlooman Ya Hussain ibn Ali" (O oppressed Sultan, O Hussain son of Ali). Alongside religious themes, non-religious themes in the studied works of arts include personal names, congratulations, and poetry, reflecting the cultural context of the era. For example, some of these themes indicate the customization of the works, the position of the artist in the society around him, the manners of writing and literature of that period. The study reveals that the texts used in the artworks include the original text, associated text (marginalia, background, and within the main text), and the artist's signature. The signatures of these artists often include words like "Al-Abd al-Faqir" (The humble servant), "Biqadr" (As much as worthy), "Biqurb" (Without closeness), "Bi'izzat" (Without honor) (in MalekMuhammad Qazvini's signatures), "Faqir" (Poor) and "Haqir" (Low) (in Ismail Jalayer's signatures), "Al-Abd al-Aasi" (The sinful servant), "Ahaqar al-Khattatin" (The humblest of calligraphers and seekers), and "Al-Haqqir al-Khattatin wa al-Mushtaqin wa al-Arefin wa al-Khadeim" (The lowly calligrapher and the yearning and knowing and serving) (in Hassan ZarrinQalam's signatures). The word "Faqir" can be sign of devotion or membership of these artists in a Sufi sect. For a more detailed analysis of the forms used in the pictorial system of the artists' works in this research, these forms are divided into two main groups: calligraphic ornaments and motifs, then analyzed. Traditional calligraphy has its specific principles and rules. What distinguishes the works of these artists from traditional calligraphy are innovations and interventions that have resulted from the traditional calligraphy etiquette. In the calligraphic section, deliberate changes and innovations in traditional calligraphy principles have created a new space. Conscious changes in the thickness and thinness, the Straight line and Curved line, ligaturs, and changes in common calligraphic ratios are among these innovations. Additionally, creating dimensionality using bright shading, not adhering completely to the baseline, and consequently changing the rule of Hosn-e Waz and the emergence of writing from the frame can be considered another part of these innovations. In addition to these items, different fonts have been used to arrange the text. Formal analysis of the motifs used in the researched samples indicates that various ornaments and pictorial motifs, including plant motifs (Arabesque, simplified Khatai, personalized, realistic, and abstract), human and animal motifs (realistic and abstract), have been used in these works. In addition to the mentioned motifs, geometric patterns have also been implemented in various parts of the works. All the ornaments motifs used in MalekMuhammad Qazvini's works are the motifs used in illumination, which includes Arabeque, Khatai, and Merlon motifs. These motifs do not have a place in the formation of Ismail Jalayer and Hassan ZarrinQalam, and these two artists have used other herbal motifs. Ismail Jalayer's used motifs have more formic diversity than MalekMuhammad Qazvini, including plant, human, and animal motifs. These motifs, which have been placed side by side in landscape and multilayered form, are based on storytelling and imagination. The major themes in Ismail Jalayer's works include religious themes such as "Shariati," depicting the likeness of "Imam Ali (AS)" alongside the Imams “hassan and hussain”, and "Tariqati," such as portraying "NoorAli Shah" and the leaders of the Nematollahi sect. Additionally, themes of combat and heroism, such as hunting scenes, catch & take, the battle between "Rostam" and "Div-e Sepid" (the White Demon), and "Zoorkhane" (gymnasium), are evident. Alongside these themes, banquet scenes such as women's gatherings in the harem and intimate gatherings have been utilized. Literary themes such as "Layli and Majnun", as well as the lives of ordinary people, natural settings, and architecture, are also apparent in Ismail Jalayer's works. In the works of Hassan ZarrinQalam, the most used motifs include herbal, human, animal, and geometric motifs. In all studied cases, Medallions is noticeable, used in the embellishment of the interior of the main text letters. The herbal motif used in these works depicts simple flowers interspersed among letters and points in all instances. The method of adorning the interior of the main text letters bears a strong resemblance to the "Mina-ye KhaneBandi" (enamelwork) of the period. Overall, animal, plant, and geometric motifs in his works are designed simply, and human motifs are executed in a manner reminiscent of lithography from that era. Overall, all of the mentioned artists have chosen texts with meaningful content and create ornamental script works, and each artist has created works according to their personal abilities. For adorning this type of calligraphy, simplified Arabesque and Khatai, ornament motifs, have been used. In addition to these, realistic plant, animal, human motifs, considering the social, political, and cultural conditions of the day, have been used. Also, drawing inspiration from contemporary and past architectural spaces and images is among the ornaments used in these works of arts, which are combined in the form of landscape painting, narrative, and sometimes adapted to the text of the work. In addition to these, simple plant, animal, human, geometric motifs, and writing inside the text and background of the work seem to have been used, for which the method of enameling and lithography illustrations has been used as inspiration. | ||
| کلیدواژه‌ها [English] | ||
| Qajar Calligraphy, Ornamental Scripts, Malek Muhammad Qazvini, Ismail Jalayer, Hassan Zarrin Qalam | ||
| مراجع | ||
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