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تاویل رنگ در قالی‌های محرابی دوره قاجار از منظر علاءالدوله سمنانی و شیخ محمد کریم‌خان کرمانی | ||
| جلوه هنر | ||
| مقاله 7، دوره 13، شماره 3 - شماره پیاپی 32، آذر 1400، صفحه 87-99 اصل مقاله (1.1 M) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/jjh.2021.35962.1635 | ||
| نویسندگان | ||
| ندا کیانی اجگردی* 1؛ حاتم شیرنژادی2 | ||
| 1دانشجوی دکتری پژوهش هنر، دانشکده پژوهشهای عالی هنر و کارآفرینی، دانشگاه هنر اصفهان، اصفهان، ایران، نویسنده مسئول | ||
| 2کارشناسی ارشد رشته هنر اسلامی (گرایش مطالعات تاریخی و تطبیقی)، دانشکده صنایع‌دستی، دانشگاه هنر اصفهان، اصفهان، ایران | ||
| چکیده | ||
| ارزش محتوایی رنگ در هنرهای سنتی چون قالی‌بافی، همواره از ارزش بصری آن بیش‌تر بوده است؛ تا جایی که حضور رنگ در این هنر به‌ویژه قالی‌های محرابی همچون هر پدیده دیگر در نظام فکری عرفای اسلامی و سنت‌گرایان، می‌تواند از حقیقتی نامتناهی در ورای خود حکایت کند. در این میان علاءالدوله سمنانی و شیخ محمد کریم‌خان کرمانی به رنگ‌ها توجه ویژه‌ای داشته‌اند که با در نظر گرفتن تصوف و تشیع از یک نحله‌ی مشترک و نبود نگاه ویژه به رنگ‌شناسی قالی‌های محرابی دوره قاجار در نسبت با عرفان، می‌توان ارتباط ضمنی موجود در دیدگاه آن دو را نسبت به مقوله مذکور به کار بست. لذا پژوهش حاضر با هدف تاویل رنگ در قالی‌های محرابی دوره قاجار بر اساس دیدگاه علاءالدوله سمنانی و شیخ محمد کریم‌خان کرمانی، این سؤال اصلی که چگونه می‌توان ماهیت رنگ‌ها در قالی‌های محرابی دوره قاجار را با توجه به دیدگاه علاءالدوله سمنانی و شیخ محمد کریم‌خان کرمانی بازشناخت، پیش روی خود دارد تا یکی از بنیان‌های عمیقی که این هنر بر آن استوار است، نمایان گشته و همزمان در فهم مکاشفات عرفانی راهگشا افتد. روش تحقیق توصیفی-تحلیلی و با تکیه بر منابع کتابخانه‌ای بوده است. حاصل آنکه به اعتبار آرای دو عارف مزبور، نظام رنگ‌ها در قالی‌های محرابی دوره قاجار، به‌طور تمثیلی رسیدن به خداوند و سفر روحانی انسان را متجلی می‌سازند و همچون پیامبر یا امام درونی به عابد جهت داده و او را به سمت مرکز می‌کشانند؛ یعنی هنرمند سعی در نمایاندن معنا در صورت داشته است. | ||
| کلیدواژه‌ها | ||
| رنگ؛ نور؛ علاءالدوله سمنانی؛ شیخ محمد کریم‌خان کرمانی؛ قالی محرابی؛ دوره قاجار | ||
| عنوان مقاله [English] | ||
| Interpretation of Color in Qajar Prayer Carpets from the View of Ala Al-Dawlah Semnani and Sheikh Mohammad Karim Khan Kermani | ||
| نویسندگان [English] | ||
| Neda Kiani Ejgerdi1؛ Hatam shirnejadi2 | ||
| 1PH. D Student in Art Research, Faculty of Higher Research in Art and Entrepreneurship, Art University of Isfahan, Isfahan,Iran, | ||
| 2Master of Islamic art (Historical and Comparative studies), Faculty of Handicrafts, Art University of Isfahan, Isfahan, Iran. | ||
| چکیده [English] | ||
| Traditional arts are inseparable from sacred knowledge and their understanding is the acquisition of insight into a truth that shapes the inner nature of man as a divine craftsman and is a sign of God's beauty. Now, since the traditional arts are a symbol of a higher truth, one must go from the outside to the inside. In fact, what the artist has done in creating the work is related to the level of reduction (descent from the world of meaning to the world of matter), and what that is needed to understand these artworks today is the level of interpretation (turning from the material world to the world of the meaning). Therefore, with interpretation, we can return to the original and the first truths. Meanwhile, color, as one of the most important appearance elements in traditional arts, has special and symbolic meanings of the mystical tradition that needs to be interpreted in the face of the views of Islamic mystics and Sufis. In this realm, mystics usually do not speak of color as the decomposition of light but consider it as the cause of emergence; In other words, immaterial light is objectified through the color. Therefore, the color indicates the stages of conduct and light is always a condition for obtaining and a condition for appearing and seeing colors, which appears in the stages of conduct on the enlightened human being. Because the "light" is influenced by the holy texts and the Holy Quran in the holy religion of Islam and among mystics, the foundation of existence and God. Therefore, according to mystics, what is close to the concept of color in the modern sense is light, and color has become meaningful alongside the light as the main artistic manifestations. Since the color has a comprehensive relationship with mysticism and Sufism, this article intends to interpret color on the one hand, based on the view of Ala Al-Dawlah Semnani from the Kobruyeh dynasty and the views of Sheikh Mohammad Karim Khan Kermani from the Sheikhiye school. The Kobruyeh dynasty with mystics such as Najmuddin Kobra, Najmuddin Razi, Ala al-Dawla Semnani, etc. in the seventh and eighth centuries, for the first time explicitly described and interpreted light and colors. As well as combining the two categories of color and light, they also created new concepts in the field of mysticism that also influenced the opinions of mystics afterward. Sheikh Mohammad Karim Khan Kermani is the third scholar of the Sheikhiye school in the thirteenth century AH, who is known as Goethe of Iran according to his theory of colors. On the other hand, this paper aims to study the effect of color on the art of carpet weaving, which in addition to its use has also a role in the mystical solitude of man especially in the prayer carpet, which emphasizes the place of worship, "approach to God" and "war in the way of God". Since a large part of this type of carpet was formed in the Qajar era, which in addition to loyalty to the previous traditions also noticed significant changes, in this opportunity, examples of their various ranges are studied. This research aimed to answer the question of how to recognize the nature of colors in the prayer carpets of the Qajar era according to the views of Ala Al-Dawlah Semnani and Sheikh Mohammad Karim Khan Kermani? This study, by analyzing one of the aspects of holiness that reflects the essence of truth and the conduct of the mystic and the artist, intends to look at the traditional arts with a new viewpoint and perception; Because the traditional artist's understanding of the nature of colors depends on religious and mystical sources which are effective in their application in these arts. In this regard, this research has been done in a descriptive-analytical manner and using library documents. Sampling is purposeful and its statistical population is f 15 prayer carpets belonged to the Qajar era from different cities of Iran and currently housed in auctions, companies, and museums around the world. The studied carpets were plain and with a combination of chandeliers, columns, and vases. The color spectrum was analyzed based on four parts: border, panel, lachak, and text. In a way, the main focus is on the totality of the dominant colors used in these four sections. It is important to mention that Semnani's thought is related to human levels and raises the question of what is the relationship between these levels and carpets? Therefore, it should be noted that these carpets have been used for worship and prostration for human beings and are considered as a place for the spiritual journey of man, emphasized by the use of symbolism. However, the colors used in them can also be an allegory of a spiritual journey. Data analysis was performed qualitatively and with an interpretive approach, to define the effect of the opinions of the two mystics on the nature of colors in the prayer carpets of the Qajar era. What has been considered in this study is not the similarity and the adaptation. It is an effect, to find out how the thoughts of these two mystics are related to the interpretation of color in this art. The result is that, As mentioned, what emerges from Semnani's thought is the guidance of color. With his mystical interpretation of the Quran and its seven esoteric meanings, citing the seven inner prophets and the seven existential levels, he introduces Mystical levels. Each of which is seen by halos of light and color, and the mystic observes the levels of existence to reach the essence of God in these colors. According to Sheikh Kermani, God and the servant have a relationship similar to the relationship between light and color to the extent that the servant literally becomes "the color" of his God. finally, color leads us to the intersection of mystical experience, prophetic experience, and guardianship, and the theme of color rises to the point where light and color mean the Prophet and the Imam. Although it is difficult to determine why these colors are used in carpets, among the three natural uses of color in art, including "hint, harmonious and pure", it can be said that the colors used are often of the hint type that is, color is used in its symbolic sense. So according to the opinions of these two mystics, the colors have been used by the artist intentionally to express the inner excitement and strengthen the asceticism of the devout in the prayer carpets of the Qajar era. In other words, the carpets have become a medium for expressing the truth and finding a way to return to the origin by embracing every seven colors in Semnani view and four absolute and transparent colors in Kermani view. Black, blue, red, white, yellow, green, sandal (khaki) and brown have been used in various parts of rugs, in such a way that there is a change only in the color range and the part of the colors used. However, it should be acknowledged that the mystic's journey based on the order of colors does not necessarily end to a green altar in all carpets. It can be considered as an allegory of a part of man's mystical journey to God, and on the other hand, according to Kermani's views, it can be interpreted in relation to the inner Imam. That is, each of the four colors is the embodiment of the Prophet or Imam who directs the worshiper and guides him to the center. Therefore, the studied carpets can be considered as a part of a cultural complex that is related to aspects of meaning in the mystical system. It is worth noting that it cannot be said that all these artists were aware of the esoteric secrets and stages of conduct, but always there were some at the head, conducting and transmitting their findings to students. | ||
| کلیدواژه‌ها [English] | ||
| Color, Light, Ala Al-Dawlah Semnani, Sheikh Mohammad Karim Khan Kermani, Prayer Carpet, Qajar Era | ||
| مراجع | ||
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