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پارچه‌بافی در عصر صفوی: از منظر تاریخی، سبک‌ها و کارکردها | ||
| مبانی نظری هنرهای تجسمی | ||
| مقاله 10، دوره 3، شماره 2 - شماره پیاپی 6، اسفند 1397، صفحه 123-134 اصل مقاله (398.13 K) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/jtpva.2019.24603.1030 | ||
| نویسنده | ||
| فریده طالب پور* | ||
| استاد گروه طراحی پارچه و لباس، دانشکده هنر الزهرا | ||
| چکیده | ||
| پارچه‌بافی ایران در دوره صفویه، مانند سایر شاخههای هنری تحت تأثیر سیاست‌های حکام آن دوره قرار گرفت. از مهم‌ترین خصوصیات هنری این دوره تشکیل کانون‌های هنری تحت حمایت دربار و ارتباط تنگاتنگ رشته‌های هنری به‌ویژه پارچه‌بافی با نقاشی است. در این پژوهش با استفاده از روش تحقیق تاریخی و تحلیلی، با استناد به منابع کتابخانه‌ای و تصویری، وضعیت پارچه‌بافی در دوره صفوی بررسی می‌شود. در میان شاهان صفوی، شاه عباس‌اول، شاه طهماسب‌اول، شاه عباس‌دوم و شاه‌حسین به پارچه‌بافی علاقه ویژه‌ای داشتند و از هنرمندان و پارچه‌بافان حمایت می‌کردند. در کانون هنری اصفهان هنرمندان نقاش، معمار، خطاط، بافنده و فلزکار فعالیت هنری می‌کردند. این کانون‌ها به نزدیک شدن شاخههای هنری به‌هم کمک نمود و این امر در نقاشی و پارچه‌بافی بیشتر ظاهر گردید، به‌طوری که برخی از نقاشان، بافنده پارچه‌های نفیس و زربفتی بودند که خود طراحی می‌کردند. از همین رو، منسوجاتی در این دوره تهیه شده که مورد تحسین جهانیان قرار گرفته است. | ||
| کلیدواژه‌ها | ||
| صفویه؛ پارچه‌بافی؛ تاریخ؛ سبک‌ها؛ کارکردها | ||
| عنوان مقاله [English] | ||
| Fabric Weaving in Safavid Era: History, Schools and Usage | ||
| نویسندگان [English] | ||
| Farideh Talebpour | ||
| استاد گروه طراحی پارچه و لباس، دانشکده هنر الزهرا | ||
| چکیده [English] | ||
| Safavid dynasty is one of the most important eras in history of Iran, because a powerful and central government ruled all of the country. Fabric weaving was flourished at this time and luxury fabrics were produced and used for apparel of kings, nobles and princes. In Safavid era, fabric weaving, such as other arts branches was affected by policy of the kings. Evolution in textile industry in this time had a strong relationship with court’s patron. Also fabrics were valuable commodities for export to abroad and increased government income. On the other hand, sumptuous fabrics had been used as gifts for foreign ambassadors and European kings. In this research paper the main questions are: How did Safavid rulers support fabric weaving? How did textile change in this era? And what were the main fabric designs? This research is based on the historical method. According to the library resources and documents the descriptive and comparative analysis were used. Results show that people life was affected by Safavid kings. Craftsmen and weavers were under court’s patron. Therefore, the fabrics that had been produced at this time are among the most beautiful textiles in Iranian history. Varieties of colored fabrics indicates that the art of designing and fabric weaving were on high techniques. The main reason for this situation was availability of suitable conditions for handicraftsmen. Kings, princes and other people in court liked to wear expensive and beautiful clothes, therefore in the textile workshops many types of fabrics had been produced to meet thier demands. Also a part of these textiles were exported to abroad. In Isfahan; painters, architectures, calligraphers, and weavers worked together in the workshops and helped to closeness of arts branches. Some of the painters were the weavers of the luxury fabrics designed by themselves. Therefore, excellent fabrics were produced and admired by the people around the world. One of the most important Safavid’s artistic specifications was foundation of art schools under supervision of imperial court that resulted to begin a close relationship between fabric weaving and painting. Two distinguish durations can be counted for textiles in safavid era. First; under influence of Bihzad, the great painter of the court, the Tabriz painting school was established and influenced fabric designing. The specicitions of Tabriz school are: designing narrow trees such as cypress, serrated leaves, detailed background full of flowers and botanical motifs, and realistic designs. All of these aspects can be seen in the textiles produced at this time as well. One of the famous artists of this style is “Ghias e din Ali Naqush band”. He was a painter and weaver and many artists followed his style and produced magnificent fabrics. The second school was established by Reza Abbasi, a famous painter of Isfahan school. His style was used in velvet weaving. The main aspects of this style are: people were designed with Iranian faces rather than Moguls, the main motif was big and the background decorated with smaller motifs. Many artists follow his style in painting and weaving as well. One of the most important specification of Safavid fabric weaving was co-operation between painters and weavers in Isfahan. In fact many weavers were woven their designed fabrics and some woven the paintings of that time. At the end of Safavid dynasty, a new decorative style was introduced by Ali Ashraf, a famous painter. In his style depiction of human body and face were changed. The rose followers with birds were used for decoration and lily and poppy flowers in rows placed next to each other in fabric design. Actually, the beautiful and magnificent textiles as apparel for human in the paintings shows the development of textile techniques at this time. Safavid fabrics according to designs can be categorized as follows: - Human picture: attention to the human is one the main specification of Safavid paintings that depicted in the textiles as well. Weavers according to their tastes or necessity of the designing, had used human in the textiles. Sometimes one person as single decorative design, were used and sometimes people are shown in a ceremony or hunting senses. - Calligraphy: decoration of silk and brocade fabrics by writing with Naskh or Nastalig was a very common style in Safavid era. This type of decoration were always used for grave cover or draping in holy places. The motifs were designed symmetrically. - Geometrical design: This type were used for showing repeat of a motifs. Geometry designs, flowers and other shapes were used in embroideries at this time. -Animals: The animal pictures such as sparrow, parrot, peacock, duck, and goose can be seen in safavid fabrics. - Botanical: people liked followers and gardens, so the botanical designs were very popular at this time. | ||
| کلیدواژه‌ها [English] | ||
| Safavid, Fabric weaving, History, Schools, Usage | ||
| مراجع | ||
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منابع فارسی
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آمار تعداد مشاهده مقاله: 895 تعداد دریافت فایل اصل مقاله: 5,578 |
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