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گفتمان‌های رایج کتیبهنگاری در ایران معاصر | ||
| جلوه هنر | ||
| دوره 16، شماره 3 - شماره پیاپی 44، آذر 1403، صفحه 107-120 اصل مقاله (2.08 M) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/jjh.2024.44837.2043 | ||
| نویسنده | ||
| امیر فرید* | ||
| استادیار دانشکده هنرهای تجسمی، دانشگاه هنر اسلامی تبریز، تبریز، ایران | ||
| چکیده | ||
| کتیبه ها حاوی اطلاعات گرانسنگی میباشند و میتوان آنان را از دیدگاههای گوناگونی مورد پژوهش قرار داد. از آن جمله میتوان کتیبهها را از بابت کارکرد و مضمون مورد بررسی قرار داد. از این منظر کتیبه ها به چهار دستة کلی تقسیم میگردند: کتیبه های مذهبی که بیش‌تر کارکرد آن در اماکن مذهبی است. کتیبههای تعلیمی یا پندآموز که کارکرد آموزشی دارند. کتیبههای یادمانی و احداثیه که جهت یاد و اطلاع از مطلبی کارکرد داشته است. در نهایت کتیبه های تزئینی؛ که آراستن بنا، مهم‌ترین هدف از آن میباشد. این دسته ها در جریان رخدادهای فرهنگی و سیاسی هر دوره چه از بابت انتخاب متن و چه انتخاب نوع خط میتوانند تغییر یابند، که نشاندهندة ایدة حاکمیت در آن دوره میباشد. با تقسیم گفتمان و حاکمیت فرهنگی و سیاسی ایران معاصر به دو دورة پهلوی و جمهوری اسلامی، و نقد کتیبه های دو دوره، میتوان به نتایجی دست یافت که نشان از تسلط گفتمان حاکم بر کتیبه نگاری معاصر ایران دارد. از اینرو دو پرسش اصلی مقاله چنین است: در کتیبه نگاری معاصر کدام جریانها و کارکردهای اجتماعی را میتوان مشاهده نمود؟ نگاه و ایدئولوژی حاکم چه تأثیری بر روند کتیبهنگاری معاصر گذارده است؟ پس از پژوهش با رویکرد جامعه شناسی و اتخاذ نظریه لاکلا و موف، به‌عنوان خلاصة نتایج میتوان چنین بیان داشت که؛ گفتمان ملیگرایی در دورة پهلوی با بهره گیری از خط نستعلیق و ادبیات فارسی به کتیبه نگاری یادمانی آن دوران هویتی خاص بخشیده، تا جایی که کتیبه نگاری یادمانی و تا حدودی کتیبهنگاری پندآموز شاخصهی ویژه‌ی کتیبه نگاری دورة پهلوی میباشد. دردورة جمهوری اسلامی با افزایش بناهای مذهبی، کتیبه های مذهبی گسترش بیسابقهای یافته است. استفاده از خط ثلث و به‌کارگیری آیه های قرآنی و احادیث و ادعیه بیش‌ترین کارکرد مضمونی کتیبه ها در این دوره را به خود اختصاص داده است. | ||
| کلیدواژه‌ها | ||
| کلید واژه ها: کتیبه های مذهبی؛ کتیبههای پندآموز؛ کتیبههای یادمانی؛ کتیبههای تزئینی؛ گفتمان حاکم | ||
| موضوعات | ||
| هنرهای تجسمی و کاربردی | ||
| عنوان مقاله [English] | ||
| Common Discourses of Epigraphy in Contemporary Iran | ||
| نویسندگان [English] | ||
| Amir Farid | ||
| Assistant Professor, Faculty of Visual Arts, Tabriz Islamic Art University, Tabriz, Iran. | ||
| چکیده [English] | ||
| Epigraphs contain valuable information and can be studied from various perspectives. Epigraphs provide researchers with a wealth of information, to the extent that by observing a fragment of an epigraph, one can often infer the period to which it belongs. Additionally, epigraphs possess various artistic, historical, philosophical, and other facets, with political and social aspects playing a role in their creation. Epigraphy in Islamic Iran has a long history and a distinguished place. Nearly a thousand years have passed since the earliest surviving examples in the Jameh Mosque of Nain, and since then, exemplary pieces have remained from almost every historical period of this land. The tradition of epigraphy has continued to thrive in the contemporary period and plays a significant role throughout the country. Epigraphs can be examined in terms of their function and content. From this perspective, epigraphs are categorized into four main groups: religious epigraphs, whose primary function is in religious sites; instructional or moral epigraphs, which serve an educational purpose; commemorative and construction epigraphs, which convey information and commemorate specific events; and decorative epigraphs, which are primarily intended to adorn structures. These categories can change throughout the cultural and political events of each period, influencing both the choice of text and the style of script, and reflecting the prevailing ideology of that era. By dividing the cultural and political discourse of contemporary Iran into the Pahlavi and Islamic Republic periods, and analyzing the epigraphs of both eras, conclusions can be drawn that demonstrate the dominance of the prevailing discourse in contemporary Iranian epigraphy. This article aims to provide a sociological perspective on the use of epigraphy in Iran over the past hundred years. Initially, due to the broad scope of the selected terms in this study, an explanation of the key terms and the boundaries of their interpretation will be provided, followed by the specific approach of this research. In this study, the term 'epigraphy' refers to the use of traditional calligraphy (which may include any of the common scripts, regardless of their quality) in public buildings (both exterior and interior). Furthermore, epigraphs can also be found not only in architecture but in handicrafts, book decoration, and other fields. Even figuratively, the use of written sculptures and shop signs can be considered within the framework of epigraphy; however, this study focuses solely on the epigraphs found in contemporary buildings in Iran. Among the various forms of writing and calligraphy, epigraphy holds a more public position and its connection with society is more direct. Manuscripts, deeds, and plaques are generally specialized topics that appeal to experts, but epigraphy, due to its presence in society and widespread use, becomes a more general phenomenon. The presence of epigraphy in public spaces makes it visible and, consequently, a tool for the purposes of the commissioner. From this perspective, it is more closely tied to society and its social contexts. On the other hand, since epigraphs contain extensive literary, informational, and other types of content, various approaches can be chosen for their analysis. One approach that can engage with the dynamics of society, governments, and collective thought is the sociological approach. In this theory, the factors influencing the commissioning of these epigraphs, the style of script, the selection of words, the environmental conditions, and social influences are examined. Social discourses may have influenced the commissioning and production processes of epigraphs. As a result, this research will adopt a sociological approach. Among the sociological approaches, the theory of Laclau and Mouffe, derived from the general concepts of Foucault's theories, will be the primary approach of this research. It should be noted that this article will not delve into discussions of formalism and the quality of the script. Accordingly, the main question of this article is as follows: In contemporary epigraphy, which social movements and functions can be observed? What impact has the prevailing ideology had on the course of contemporary epigraphy? The discourse of contemporary epigraphy, in line with its social function, consists of several sub-discourses: Religious Epigraphs: Religious epigraphs include those that incorporate religious sayings from the Islamic period, centered around the divine word. These sayings may include verses from the Quran, hadiths from religious leaders, selections from prayers, as well as praises, titles of majesty, and the names of religious figures. The function of these types of epigraphs is found in buildings that directly represent religion and faith, such as mosques, Hosseiniyahs, Tekyehs, prayer halls, and similar places. Instructional or Moral Epigraphs: Texts created with the aim of offering advice, education, and moral or philosophical lessons tailored to the specific function of the space form the category of instructional or moral epigraphs. These epigraphs, generally indebted to Persian literature, often used content appropriate to the place to praise good deeds and were frequently found in educational, healthcare, and charitable institutions. Commemorative Epigraphs: These epigraphs, according to their function, primarily serve as messengers, with the main purpose of documenting and narrating an event for remembrance, commemoration, and information dissemination. Epigraphs created for the opening of a place, messages intended for documentation and visibility, and epitaphs and memorials of prominent figures are included in this category. Construction-related epigraphs form a significant part of this category. Decorative Epigraphs: This category of epigraphs overlaps with the previous three categories. Depending on the aesthetic value of an epigraph, it can be included in this category while remaining faithful to one of the aforementioned categories. All calligraphic epigraphs can be included here if they meet the aesthetic criteria of the script and the interaction between the visual elements of the epigraph and its surrounding space. In this category, the type of content is less important; instead, the form and structure of the epigraph and its interaction with the surrounding environment hold value. Certain types of epigraphs can be placed solely in this category, where the primary function is decorative and they appear as quasi-inscriptions. Each of these four categories has experienced variations during both the Pahlavi and Islamic Republic periods, gaining significance according to the dominant discourse of the time. As a summary of the results, it can be stated that the discourse of nationalism during the Pahlavi period, through the use of the Nastaliq script and Persian literature, gave a distinct identity to the commemorative epigraphy of that era. Commemorative and didactic epigraphy were defining features of the Pahlavi period. Conversely, in the Islamic Republic era, the increase in religious buildings led to the unprecedented expansion of religious epigraphy. The use of the Thulth script and the incorporation of Quranic verses, Hadiths, and prayers became the most prominent thematic function of epigraphy during this period. Overall, contemporary epigraphy demonstrates two main streams or discourses, each influenced by the prevailing ideology and impacting the prominence of each type. The discourse of nationalism during the Pahlavi era, with its use of calligraphy and literature, endowed commemorative epigraphy with a unique identity. This commemorative and didactic epigraphy was a distinctive feature of the Pahlavi period. In contrast, the religious epigraphs of the Pahlavi era continued the tradition of the Qajar period without significant innovation. However, during the Islamic Republic era, religious epigraphy expanded significantly, aligning with the prevailing ideological discourse. The use of the Thulth script, along with Quranic verses, Hadiths, and prayers, became predominant during this period. These findings reflect the social discourses of the two ruling eras in contemporary Iran. | ||
| کلیدواژه‌ها [English] | ||
| Keywords: Religious Epigraphs, Instructional or Moral Epigraphs, Commemorative Epigraphs, Decorative Epigraphs, Ruling Discourse | ||
| مراجع | ||
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