كليدواژه :
تذهيب , د وره تيموري , ابراهيم سلطان , عبد الله طباخ , هرات , شيراز , كتاب آرايي
چكيده فارسي :
د ر عصر تيموريان د و مركز عمد ة كتاب آرايي ايران شهرهاي هرات و شيراز بود ند كه تحت حمايت د و شاهزاد ه، «بايسنقرميرزا» و «ابراهيم سلطان»، شكوفا شد ند . اگرچه اين د و كتابتخانه د ر ارتباط با هم بود ند ، تفاوت هايي د ر شيوة كتاب آرايي د اشتند كه بيان ويژگي هاي خاص هر يك نيازمند تحقيق و بررسي است. هد ف از اين تحقيق مقايسة د و اثر د رخشان از اين د و مركز است تا از اين طريق بتوان به طور د قيق تر ويژگي هاي تذهيب هر يك از اين مراكز را تعيين كرد . بد ين منظور يك قرآن از شيراز و يكي از هرات محفوظ د ر كتابخانة آستان قد س رضوي به منزلة نمونه هايي از سبك تذهيب اين د و شهر انتخاب شد . نسخة شيراز برگزيد ه شانزد ه سوره قرآن(827ق) به خط ابراهيم سلطان تيموري و نمونة هرات قرآني جامع به خط عبد الله طباخ هروي(845ق) است. د ر اين مقاله به روش توصيفي تذهيب اين د و نسخه د ر سه بستر نقش، رنگ و تركيب بررسي و سپس بر اساس اصول مقايسه تطبيقي ويژگي هاي د و اثر مقايسه و تحليل شد . نتيجه تحقيق نشان مي د هد نقوشِ قرآن ابراهيم سلطان(به ويژه د ر صفحات افتتاح) بيشتر از نوع ختايي است و نقوش اسليمي عمد تاً د ر سرسوره ها و لوح ها كاربرد د ارد . د رحالي كه تناسب يكساني بين ميزان اسليمي و ختايي د ر قرآن عبد الله طباخ هست. د ر رنگ پرد ازي اگرچه گسترة رنگي هر د و نسخه يكسان است، د ر قرآن شيراز تكيه بر لاجورد ي است اما د ر قرآن هرات بر اُخرايي. د ر تركيب صفحات افتتاحِ قرآن شيراز تكيه‌بر سه عنصر متن، لوح و كمند است اما د ر قرآن هرات حاشيه سازي و اجراي جد اول جد اكنند ة مكرر، رُكني مهم است و به‌اند ازه د يگر اركان صفحه اهميت د ارد .
چكيده لاتين :
Timurid era is one of the well-known time of artis tic
and artichetural developments in the his tory of Persian
arts from the point of form and content. His torians
believe that the prosperity of the arts and architecture
originate with the special procedure of Timur
and his successors to patronage of Persian artis ts and
architect. Hirat and Shiraz through Timurid era were
the main centers of the art of Book that thrived under
patronage of the Timurid princes Baysunghur (d.
837AH / 1434 AD) and Ibrahim Sultan (d. 837 AH
/ 1434 AD). Although the two scriptoriums of Hirat
and Shiraz liased, there were different s tyle in the
art of book.Although illus tration of the poetic books
has been s tudies extensively for the form, content,
as tis ts and schools, the other diciplines of the arts of
book among them paper-making, illumination, and
book-bonding have not been well s tudied. The main
purpose of the article is a comparison s tudy on two
significant Qur`an manuscripts in order to determine
the main features of Illumination in the two centers
of book-making. Two significant Qur`ans copied in
Shiraz and Herat held by As tan Quds Radawi selected
as indicators of Illumination S tyle: firs t one is a
selected suras of Qur`an copied in Shiraz by Ibrahim
Sultan in 827 AH/1424 AD. The Qur`an endowed to
Imam Riza Shrine by Ibrahim Sultan. The second
one is the Qur`an copied by Abdallah Tabbakh Hiravi,
the well-known calligrapher of timurid era in
845 AH/ 1441 AD. He copied the Qur`an for the library
of Alaʿal-Dawla ibn Baysunghur in Hirat. In
this descriptive article the main variant of illumination
including motives, colors, and composition of
elements in the beginning pages and other elements
among them sura-headings, verse dividers, and verse
conters compared and analysied. The ques tions of
the s tudy are: What are the features of motives, colors,
and composition of illumination in the Qur`an of
Ibrahim Sultan andAbd allah Tabbakh?
What are the differnces and resembalances of
motives, colors, and composition in illumination
of the Qur`an of Ibrahim Sultan and Abd allah
Tabbakh?The conclusion shows that in the beginning
pages (safahāti iftitāh) of Ibrahim Sultan`s Qur`an
Khatā`ī is the main motif and Islimi is used in sura-
headings and lawhs. Additionally, the form of
khata`i is compeletly different from Hirat s tyle. The
s tyle with the very fine pedicals and leafs backed to
the illuminations of Qur`ans copied after 772 AH/
1372 AD under patronage of Muzaffarids in Shiraz.
Khata`i and Islimi have used in equally in Abd-allāh
Tabbākh`s Qur`an. The s tyle used in the form of
leafs is different as well. Colored flowers between
khata-is is another feature of Hirat s tyle. Although,
number and type of colors used in the both manuscripts
is similar, surface level assigned to each color
is different particularly in the use of azura and ochre.
In Ibrahim Sultan Qur`an surfave level assigned to
azura is much more than Abdallah Tabbbakh Qur`an
since the background of mos t elements of illumination,
particularly in the beginning pages (Safahāti
iftitāh), is painted with azura. While the background
of margins and sura-headings inAbdallah Tabbakh`s
Qur`an is dedicated to ochre. In composition of the
pages, in particular the beginning pages, both illuminitors
palces emphasis on the 3 elememts of matn
(the surface assigned to the text), lowh (the horizontal
shape contained a cartouch and motive) and kamand
(the three-sided margin which surrounding all
the elemets of the page). But the illuminator of the
Abdallah Tabbakh`s Qur`an used multiple margins
intermediate text and kamand.
