بررسي تطبيقي مؤلفه‌هاي مذهبي حاكم بر فرش‌هاي دوره قاجار و پهلوي

A Comparative Study of the Religious Components of Qajar and Pahlavi Carpets

جايگاه موضوعات مذهبي در هنرهاي ايران از اهميت زيادي برخوردار بوده و بيشتر هنرها ريشه در فرهنگ مذهبي دارد كه هنر فرش‌بافي خود گواه بر اين موضوع است. هدف از اين پژوهش بررسي قالي‌هاي دوره قاجار و پهلوي است كه نقش مايه مذهبي در آن به‌كاررفته و ضروري است با توجه به مشتركات در فرش هاي اين دو دوره، با تحليل و تطبيق و طبقه‌بندي اين فرش‌ها به بررسي اشتراك و افتراق آن ها پرداخته و قابليت هاي آن ها را بررسي كنيم تا اهميت، جايگاه و نحوه¬ي به‌كارگيري و نگرش هنرمند و مردم اين دو دوره در اين طرح‌ها را نشان دهيم. پرسش هاي مطرح شده در اين پژوهش:1-موضوعات و مفاهيم به‌كاررفته در فرش‌هاي دوره قاجار و پهلوي چيست؟2-وضعيت به‌كارگيري و دوام موضوعات مذهبي در فرش‌هاي دوره قاجار و پهلوي چگونه بوده است؟ روش تحقيق تاريخي، توصيفي-تحليلي و روش گردآوري اطلاعات ميداني و كتابخانه¬اي كه پس از بررسي نمونه‌هاي فرش‌هاي داراي مضامين مذهبي انجام شده است. نتايج به‌دست ‌آمده از اين پژوهش نشان مي‌دهد كه تصلوير مذهبي در فرش‌هاي اين دو دوره، موضوع اصلي فرش‌هاي تصويري هستند كه بيشترين آنها به تصويرسازي يك روايت يا متن پرداخته اند. اين فرش‌ها، براي بيان اعتقادات مذهبي، ديني، عرفاني به كار گرفته مي‌شدند. در فرش‌هايي دوره قاجار، چهره‌ها و شمايل، روايات و وقايع مذهبي شيعي و همچنين ساير اديان رواج داشته و در دوره پهلوي، اكثر موضوعات مذهبي، حول وقايع زندگي پيامبر اسلام(ص) و امامان شيعه، به‌ويژه شمايل حضرت علي (ع) بوده است. به دليل اينكه جامعه قاجار يك جامعه مذهبي بوده، اين تصاوير از آغاز تا به انتهاي اين دوره بر باورهاي ديني مردمان تأثير گذاشته؛ و سپس در دوره پهلوي با تغيير شرايط اجتماعي، سليقه مردم نسبت به شرايط جديد شكل‌گرفته و بنابراين، قاليچه‌هاي مذهبي دوره قاجار جايگاه مهم‌تري را در انتقال مفاهيم مذهبي، نسبت به دوره پهلوي داشته‌اند.

The place of religious subjects in Iranian arts is very important and most of the arts are rooted in religious culture, which is evidenced by the art of carpet weaving, in which religious motifs are used that sometimes even represent the forgotten beliefs of the past. In this research, those religious concepts and themes that connect us directly and without intermediaries to the subject of religion will be examined. In Qajar period, due to cultural, social and artistic conditions, designs and patterns of carpets continue the previous traditions and changes have occurred in them. This period is important because of the creation of many examples in history. As carpet weaving became popular during this period, people became more involved with the motifs of this art. As a result, the art of carpet weaving in this period was the best means of conveying the concepts of Islam. Also in the Pahlavi period, trade and export in the field of carpet weaving became very important and in addition to the design process of the Qajar period, due to the royal support, carpet weavers were able to create carpets with high elegance. But in the following years, this art underwent changes and there were not many changes in Iranian carpets. Since the position of religious subjects among Muslim artists in the creation of works of art during different periods is obvious and many examples of them are observed in Iranian carpet art, the purpose of this study is to investigate the Qajar and Pahlavi period carpets in which religious motifs are used. an‎d it is necessary, considering the commonalities that exist in the carpets of these two periods, by analyzing, adapting and classifying these carpets, to examine their commonalities and differences, and to examine their capabilities in order to determine their importance, position and manner, and show the use and attitude of the artist and the people of these two periods in this design. Questions raised in this research were: 1- What are the themes and concepts used in the Qajar and Pahlavi period carpets? What was the status of the use and durability of religious subjects in the carpets of the Qajar and Pahlavi periods? The research is a historical, descriptive-analytical one and the data has been collection through library studies which that has been done after examining samples of carpets with religious themes. The samples examined includes Qajar and Pahlavi carpets in Tehran museums that have religious motifs. Among the surveyed museums, only 7 museums had carpets with religious themes, which included: Iranian Carpet Museum, Carpet Museum of Rassam Arabzadeh Cultural and Artistic Foundation, Golestan Museum Palace, Niavaran Museum, National Museum of Iran, Malek National Museum, Ganjineh Dafineh Museum. There are 28 samples with religious themes, 11 of which are in the Iranian Carpet Museum, 6 in the Rassam Arabzadeh Museum, 4 in the Ganjineh Dafineh Museum, 2 in the Niavaran Museum, 1 in the Malek Museum, and 1 in the Golestan Museum. Seventheen samples of these carpets are related to the Qajar period and 11 samples are related to the Pahlavi period. In Pahlavi carpets, most of the religious issues have been around the events of the life of the Prophet of Islam (PBUH) and Shiite Imams, especially the image of Imam Ali (AS). Because Qajar society was a religious society, these images influenced the religious beliefs of the people from the beginning to the end of this period. Then, in the Pahlavi period with the change of social conditions, people's tastes towards the new conditions were formed and therefore, the religious rugs of the Qajar period had a more important place in the transmission of religious concepts than the Pahlavi period.