كليدواژه :
آرامگاه شاه اسماعيل صفوي , صندوق قبر , گره هاي هندسي , روش ترسيم
چكيده فارسي :
آرامگاه شاه اسماعيل صفوي در قسمت انتهايي قنديلخانه در مجاورت گنبد الله الله در بقعه شيخ صفي الدين اردبيلي قرار دارد. صندوق بسيار نفيس و ظريفي بر روي قبر ايشان واقع است. اين صندوق از نقشها و طرح هاي متفاوتي با تكنيك هاي بسيار متنوع و زيبا در يك نظام هندسي منسجم به اجرا در آمده است. گره هاي هندسي يكي از انواع نقوش به كار رفته بر روي اين صندوق مي باشد كه در تمامي جوانب كار مشاهده مي شود. اين پژوهش سعي دارد تمام نقوش هندسي موجود بر روي اين اثر ارزشمند را گره گشايي كرده و به نحوه ترسيم آنها دست يابد. مقاله حاضر درصدد پاسخگويي به اين سوال اصلي است كه، گره هاي هندسي صندوق قبر شاه اسماعيل صفوي از چه روش ترسيمي پيروي كرده است و رمزگشايي گره هاي مذكور در چيست؟ روش پژوهش به صورت توصيفي – تحليلي بوده كه با آناليز يك اثر تاريخي به بحث و بررسي آن پرداخته مي شود. جمع آوري اطلاعات به روش اسنادي و ميداني مي باشد. يافته هاي حاصل نيز نشان مي دهد كه سه نوع شمسه «هشت»، «ده تند» و «دوازده تند» در تمامي جوانب كار با تركيب بندي هاي متفاوت ديده مي شود كه شمسه «ده تند» به مراتب كاربرد بيشتري در اجرا دارد. نوع تقسيم بندي فضاي كلي كار و همچنين نوع آلت هايي كه با گره هاي نامبرده، ايجاد شده در تمامي جوانب آن متفاوت از هم مي باشند. با وجود تنوع و تعدد گره ها در كار، يك وحدت و انسجام خاصي در قسمت هاي مختلف صندوق ايجاد شده است. گره هاي بكار رفته بر روي اين صندوق موقع ترسيم در يك چهارم دايره، شمسه آنها ترسيم شده و در قاب واگيره مربع يا مستطيل البته براساس نوع گره قسمت هاي ديگر آن نيز ترسيم مي شود. در حالت كلي شمسه ها با ستاره پنجپر و يا آلت ترقه شكل مي گيرند. بخش هاي مختلف اين صندوق در مكعب مستطيل بالايي و پاييني هر كدام مانند يك تابلو با نقوش متعددي مثل اسليمي ها، ختايي ها و كتيبه كه در بستري از نقوش هندسي با رنگ هاي خاصي به اجرا درآمده اند به نوعي ويژگي هاي هنري ايراني – اسلامي را به نمايش گذاشته اند.
چكيده لاتين :
The tomb of Shah Ismail Safavid is located at the end of the Kandilkhaneh near the Dome of God in the tomb of Sheikh Safi al-Din Ardabili. A very exquisite and delicate chest is located under the blue dome of the tomb of Shah Ismail Safavid on his grave. This box, with various patterns and designs, have been executed with a very diverse and beautiful techniques in a coherent geometric system. Geometric knots are one of the types of designs used on this box that can be seen all over the work. This research tries to untie all the geometric patterns on this valuable work and find out how to draw them. The aim of the present study is to decode the geometric knots used on the box of Shah Ismail Safavid. The question of this research is, what drawing method did the geometric knots of the mentioned fund follow and what is the secret of its knots? The research method is descriptive-analytical, which is discussed by analyzing a historical work. Data has been collected by documentary and field methods. The use of geometric patterns has been seen mainly in the fields of Islamic arts, including wood, metal, pottery techniques. One of these works in the field of wooden arts is the tomb of Shah Ismail Safavid, which has been used in various techniques and decorations. One of the most widely used designs on this box is geometry, which has been used in various places with the technique of porcelain knot (drainage) by the method of "Alat and lugat" and all the plots created from it are decorated with different patterns and techniques. Three types of knots have been observed on this box: "twelve", "ten" and "eight" knots, which have been used in total of 2 complete twelve Shamseh and 8 times as half Shamseh in the side parts. Shamseh10 is also seen 32 times in full, 46 times in the form of half Shamseh and 32 times in the form of a quarter in the text of the upper, front and side parts of the upper and lower rectangular cubes of the box. The eight knots is also seen 32 times in full shape in the upper and side parts of the box, all of which are designed with a very precise and delicate combination next to each other. In drawing these nodes, mainly in a quarter of a circle, their Shamseh are drawn, and finally, in a square or rectangular frame, a quarter of a node is created. Of course, depending on the type of node, other parts are also drawn. For example, in the side part of the box, three types of nodes are placed next to each other in a square composition. It is connected with twelve Shamsehs on both sides and with eight nodes on the lower part. In general, Shamsehs are formed with a five-pointed star or a cracker. The different sides of this box are in the upper and lower rectangular cubes, each side of it in a separate box with a different combination of other sides. They have been decorated with various designs such as Arabesque, Khati and inscription in a context of geometric patterns with special colors which are made of colored wood, bone, turquoise and silver, with techniques such as inlay, mosaic, mosaic lattice, carving, joist, painting on wood, etc. The type of composition of the general work space, as well as the type of tools that are created with the mentioned nodes, are different in all its aspects, and despite the variety and multiplicity of nodes in the work, there is a special unity and coherence in the parts. Various funds have been created and in a way have exhibited Iranian-Islamic artistic features.
