كليدواژه :
پارچه هاي ساساني , صور ملوك بنيساسان (الصور) , مُوَشَّح , مُوَشَّي (وَشْيْ) , مُدَنَّر
چكيده فارسي :
حمزه اصفهاني در فرازي از كتاب سَنيمُلوكالأرضوالأنبيا (4ه.ق) به زبان عربي، تنپوشهاي 26 شهبانو/شهريار ساساني را از روي نسخه نگاره هاي صورملوكبنيساسان بازگو كرده است. او براي توصيف جامه ها، واژگاني در 5 گروه (بِلَون، مُوَشَّح، وَشْيْبِالذَّهَب، وَشْيْمُدَنَّر، وَشْيْبِلَون) برگزيده، و هر كدام را با همنشيني يكي از اين گروهها و رنگي ويژه بازنمايانده است. معاني اين واژگان عربي در سده هاي پيدرپي، دستخوش دگرگوني هايي شده است. گوناگوني توصيف تنپوش ها در شرح و برگردانهاي امروزي، برخاسته از همين دگرگونيهاست. پژوهش پيشرو، برپايۀ معاني واژگان پيشگفته در عربي كهن، بازخواني ديگر گزارشهاي تاريخي، كنكاش در شيوۀ بازنمايي جامه هاي شاهانه بر فلزكاريها و سنگتراشي دهه اي ساساني، و بررسي پارچه هاي آن دوران ميكوشد مفهوم مناسب را برگزيند؛ گروهي از پارچه هاي ساساني را بربنيان بازنمايي هاي الصور بشناسد؛ و ريزبيني و درستي گزارش اصفهاني را در سنجش با يافته هاي باستان شناختي بيازمايد. از اين پويه برميآيد بِلَون، پارچه هايي بيآرايه و رنگين است؛ مُوَشَّح، دو شيوۀ بازنمايي جامه هاي گوهردوخت را در خود دارد؛ وَشْيْبِالذَّهَب همان بافته هاي زرين است؛ وَشْيْمُدَنَّر، آشناترين نقشاندازي پارچه هاي ساساني (قاببندي هاي گِرد) را بازمينمايد؛ و وَشْيْبِلَون، منقشه اي رنگاندازي شده و مخططي است كه امروزه، نه چندان دقيق، پارچه هاي يمني ناميده ميشود. پژوهش، رويكردي تاريخي دارد و در فرازهاي گوناگون، براي بررسي داده ها، شيوۀ توصيفي ـ تطبيقي و تحليل را پي ميگيرد. گردآوري داده ها، كتابخانه اي؛ و بررسي آنها، كيفي است.
چكيده لاتين :
In a part of an Arabic book called Taʾrīk̲h̲ sinī mulūk al-arḍ wa ’l-anbiyāʾ (The History of Prophets and Kings; 4th AH / 10th AC), Hamza ibn al-Hasan al-Isfahani had described the garments of twenty four Sasanian Kings as well as two Sasanian queens based upon paintings presented in the lost book of Sovar Molouk Bani Sasan (The Effigy of the Sasanian Kings). He used five major categories to explain the kings’ and queens’ trousers and garments: 1. Be-Lown, 2.Movashah, 3.Vashy-e- be Zahab, 4. Vashy-e- Modannar, 5. Vashy-e- be Lown. He accompanied the description of each of these clothes within the five mentioned categories with a specific description of color. The meaning of these terms has been changed during centuries. The various and sometimes even contradictory descriptions of these clothes in the contemporary translations and exegesis are the results of the same historical changes and expansions of the meaning of these terms. The research in hand, is based upon the signification of the mentioned terms in Ancient Arabic, re-reading of the historical texts, a nuance observation in the representation of kings’ and queen’ garments available on the Sasanian metal works and relieves as well as reading the remaining fragments of Sasanian textiles kept in world’s museums, to 1. establish the proper meaning of these Arabic terms; 2. Identify a group of Sasanian textiles in accordance with the paintings in Sovar Molouk Bani Sasan; 3. Examine Isfahani’s precision in terms of the archeological findings. This research indicates that Be-Lown refers to colored fabrics without any patters; Movashah is used to present the clothes that are decorated with various gems as well as peals; Vashy-e- be Zahab refers to various usages of gold in decoration of the Sasanian garments, for instance the textiles woven with gold strings, silk fabrics with golden embroidery of various patters; or the fabrics with painted golden patterns. Vashy-e- Modannar refers to the fabric which might be the most famous Sasanian textile. These fabrics present repetitive circular frames. This form had been adapted by many Weaving workshops in Byzantium, Far East, Soghdian and Islamic workshops after the fall of Sasanian Empire. Some fragments of the products of these weaving workshop as well as the fragmentations of the original Sasanian fabrics are being kept in museums across the globe such as Metropolitan Museum of Art, Cleveland Museum of Art, Hermitage Museum The Art Walters Museum, etc. Vashy-e- be Lown presents the kind of dyed fabrics, either colorfully or in a single color (such as red, blue, yellow, green and another natural color), producing a marble like appearance or a fabric with bodies of haphazard lines as decorating elements. All kinds of fabrics available in this fashion are wrongly labeled as Yemeni in contemporary times. This research benefits from a historical approach. In order to analyze data, the descriptive, comparative and analytical methods have been used. The data have been gathered in the librarian method and the analysis is qualitativ
