تحليل معناي قاليچه محرابي «سليمان نبي» با روش آيكونولوژي

Analysis of meaning in the Niche rug of the Solomon by iconology method

با خوانش متون هنري به شكل نظام مند، مي توان انديشه ي دوره اي كه اثر هنري در آن خلق شده است را بهتر شناخت. از جمله اين متون، قالي و قاليچه هاي محرابي است كه در دوره صفويه جايگاه ويژه اي دارد. اكثر قاليچه هاي محرابي در دوره صفويه با آيه آمن الرسول يا آيه الكرسي آغاز مي گردد؛ وليكن در اين بين تعدادي قاليچه موجود است كه با نام سليمان قسمتي از آيه 30سوره نمل آغاز مي گردند. حال پرسشي كه مطرح مي شود اين است، چرا در دوره اي خاص اين متن جانشين ديگر متون مي شود؟ براي رسيدن به پاسخي مطلوب، نياز است معناي متن دريافت گردد. اين گذار از صورت ظاهري قاليچه و درك معناي نهفته در آن، فرايندي است كه به روش آيكونولوژي قابل تحصيل است. پس از مطالعه قاليچه به روش توصيفي تحليلي و گردآوري اطلاعات با توجه به اسناد موجود در كتابخانه و سايتهاي اينترنتي و با روش آيكونولوژي، شبكه اي از معاني ايجاد مي گردد، كه در ارتباط با كل اثر مي تواند بيانگر تفكرات آييني- اسطوره اي با مفهومي اسلامي باشد. بنابراين به نظر مي رسد حضور نام سليمان در آستانه در كنار قسمتي از سوره انعام و فرم محراب علاوه بر مفهوم عروج، دلالت به مفهوم شهرياري در مفهوم ايراني-اسلامي آن و مشروعيت بخشي به حكومت پادشاهان صفوي را دارد.

It is known that more than any cultural product, a work of art can represent how the world around us is organized and conceptualized by the human mind. Therefore, if we can read the artistic texts on the basis of a systematic way, we can better appreciate the ideas of the period in which the work of art has been created. Carpets are known as one of such texts; among these cultural products, Niche or Mihrabi rug is of particular importance. Niche or Mihrabi rug can be regarded as one of the handicrafts that has a religious aspect as well as beauty. As one of the characteristics of these rugs, we can refer to the use of the Quranic verses in them, motifs such as lotus, mica and khatai inside the altar; also, we can see these rugs have a regular and accurate geometric structure. The vast majority of the Niche rugs made during the Safavid period begin with Amin Al-Rasool or the verse of Al-Kursi. However, in between there are a number of rugs that begin with the name of Solomon, part of the verse 30 of Surah An-Naml. Then part of verses 83 and 84 of Surah al-An'am is placed; also, the use is made of the verse of Noor in the third margin, in addition to the cypress tree and the lotus flower inside the altar. Since this accompaniment can be found in a large number of rugs, it seems, therefore, that these texts have been created with a special order and purpose, giving the carpet a multi-faceted and multi-layered personality. Now the question arising is why this text has replaced other texts in certain periods of history? How can this replacement be explained? To find the answer, it is necessary to explore the meaning of these texts. This transition from the apparent representation of the rug to the exploration of the meaning underlying it is a process that can be studied according to an iconological way. After studying the rug in a descriptive-analytical method and collecting the necessary information according to the documents available in the libraries and the Internet sites, using the iconological method, a network of meanings is created; then, an interconnected chain of meanings in relation to the whole work could be developed. Therefore, we can reveal the expression of the ritualistic-mythical thoughts with an Islamic meaning in these texts. Then, on the basis of the interconnected chain of meanings, it is possible to achieve the important thing that the designer-artist has created a work that could express the journey and behavior of the mystic. Therefore, the conclusions that can be drawn is that the presence of Solomon’s name on the margin and next to a part of Surah al-An'am and mythological themes and the form of the Mihrab, in addition to expressing the behavior and ultimately ascension, can imply the concept of kingship in its Iranian-Islamic meaning, thus legitimizing the rule of the Safavid kings.