سنجش ويژگي هاي ساختاري آرايه هاي چوبي در دو مسجد قاجاري تهران

The Assessment of Structural Characteristics of Wooden Decorations in Two Qajarid Mosques in Tehran

ﻣﺴﺠﺪ، ﻣﻬﻢ ﺗﺮﯾﻦ ﻧﻤﺎد ﻣﻌﻤﺎري ﻣﺬﻫﺒﯽ در ﺗﻤﺪن اﺳﻼﻣﯽ، ﺑﻪ ﻋﻨﻮان ﻣﻈﻬﺮ اﻧﺪﯾﺸﻪ و روح ﺣﺎﮐﻢ ﺑﺮ ﻣﺤﯿﻂ، ﻫﻤﻮاره ﺟﺎﯾﯽ را در ﻗﻠﺐ ﺷﻬﺮ ﺑﻪ ﺧﻮد اﺧﺘﺼﺎص داده و از ﺑﻬﺘﺮﯾﻦ ﻣﺎﯾﻪ ﻫﺎ و آراﯾﻪ ﻫﺎ ﺑﻬﺮه ﻣﻨﺪ ﺷﺪه اﺳﺖ. در ﺳﺪۀ ﺳﯿﺰدﻫﻢ ﻫﺠﺮي ﻗﻤﺮي، ﻣﺴﺠﺪﺳﺎزي ﺑﻪ دو ﺻﻮرت ﻣﺮﻣﺖ ﻣﺴﺎﺟﺪ ﺟﺎﻣﻊ و ﺳﺎﺧﺖ ﻣﺴﺎﺟﺪ ﻧﻮﯾﻦ اﺗﻔﺎق اﻓﺘﺎد و ﺑﺎ ﺗﺄﺛﯿﺮ از ﺗﺤﻮل ﻫﻨﺮﻫﺎي ﺗﺰﯾﯿﻨﯽ، دﭼﺎر ﺗﻐﯿﯿﺮاﺗﯽ در ﻇﻮاﻫﺮ ﺷﺪ. از ﺟﻤﻠﻪ ا ُ ُر ﺳﯽ ﺳﺎزي، ﺑﻪ ﻋﻨﻮان ﻫﻨﺮي ﻣﺘﺸﮑﻞ از ﻣﻨﺒﺖ ﮐﺎري، ﮔﺮه ﭼﯿﻨﯽ، ﺷﯿﺸﻪ ﺑﺮي، ﻗﻮاره ﺑﺮي و...، در ﻣﺴﺠﺪﻫﺎي ﺷﻬﺮي ﺟﻠﻮه ﮐﺮد. ﻧﻘﺶ آﻓﺮﯾﻨﯽ روي درﻫﺎ و ﻃﺎق ﻫﺎي ﭼﻮﺑﯽ ﻣﺴﺎﺟﺪ ﺗﻬﺮان ﺑﻪ ﺷﮑﻞ ﻣﻨﺒﺖ و ﮔﺮه ﭼﯿﻨﯽ رواج ﯾﺎﻓﺖ و ﻫﻨﺮﻣﻨﺪان ﭼﯿﺮه دﺳﺖ، در ﺗﻌﺪادي از ﺑﻨﺎﻫﺎي ﻣﺬﻫﺒﯽ ﺑﺎ ﮐﻤﮏ ﻫﻨﺮ ﻗﻮاره ﺑﺮي و ﻣﻨﺒﺖ ﮐﺎري، ﭘﻬﻨﮥ ﭼﻮب ﺑﯽ ﺟﺎن را ﺑﻪ ﺻﺤﻨﮥ ﻣﺎﻧﺎي اﺷﮑﺎل ﭼﺸﻢ ﻧﻮاز ﻣﺒﺪل ﻧﻤﻮدﻧﺪ. ﺳﻨﺠﺶ، ﺗﻄﺒﯿﻖ ﺳﺒﮏ و ﻃﺮاﺣﯽ دو ﻧﻤﻮﻧﻪ از آراﯾﻪ ﻫﺎي ﭼﻮﺑﯽ در دو ﻣﺴﺠﺪ ﺳﻠﻄﺎﻧﯽ و ﻣﺴﺠﺪ ﺷﯿﺦ ﻋﺒﺪاﻟﺤﺴﯿﻦ در ﺗﻬﺮان، ﻧﮑﺎت ﻧﺎﮔﻔﺘﻪ اي درﺑﺎر ۀ ﺗﺤﻮل ﻫﻨﺮ ﮐﺎر ﺑﺎ ﭼﻮب و روﻧﺪ ﺗﺤﻮل ﻣﻨﺒﺖ ﮐﺎري در ﻣﻌﻤﺎري ﻣﻌﺎﺻﺮ اﯾﺮان ﺑﯿﺎن ﻣﯽ دارد. ﻣﺎﻫﯿﺖ ﺗﺤﻘﯿﻖ ﺣﺎﺿﺮ، ﻧﻈﺮي- ﮐﺎرﺑﺮدي و از ﻧﻈﺮ اﻫﺪاف، از ﻧـﻮع ﮐﯿﻔـﯽ ﺑـﺎ روﯾﮑـﺮد ﺗﻄﺒﯿﻘـﯽ اﺳـﺖ ﮐـﻪ از روش ﮔـﺮدآوري داده ﻫـﺎ و ﺗﺤﻠﯿـﻞ ﮐﯿﻔـﯽ، ﮔﺮاﻓﯿﮑﯽ و ﻧﻈﺮات ﮐﺎرﺷﻨﺎﺳﺎن ﻧﯿﺰ ﺑﻬﺮه ﺑﺮده اﺳﺖ. ﭘﺮﺳﺶ اﺻﻠﯽ در اﯾﻦ ﭘﮋوﻫﺶ آن اﺳﺖ ﮐﻪ ﺑﺮ اﺳﺎس ﺑﺮرﺳﯽ ﺗﻄﺒﯿﻘﯽ دو ﻧﻤﻮﻧﻪ ﺳـﺎزه، وﯾﮋﮔﯽ ﻫـﺎي ﺳﺒﮏ ﺷﻨﺎﺧﺘﯽ آراﯾﻪ ﻫﺎي ﭼﻮﺑﯽ ﻣﺴﺎﺟﺪ دور ۀ ﻗﺎﺟﺎر ﮐﺪام اﻧﺪ؟ ﺑﺮ اﺳﺎس ﯾﺎﻓﺘﻪ ﻫﺎي ﭘﮋوﻫﺶ، درﻫﺎي اﯾﻦ دو ﻣﺴﺠﺪ، داراي ﺳﻪ وﯾﮋﮔـﯽ ﺳﺒﮏ ﺷـﻨﺎﺧﺘﯽ ﺳﻨﺘﯽ، اﻟﺘﻘﺎﻃﯽ و ﻏﺮﺑﯽ ﺑﻮده و در ﻫﺮ دو ﻧﻤﻮﻧﻪ، ﺷﺎﺧﺼﮥ ﻫﻨﺮ ﭼﻮب، ﺗﻠﻔﯿﻖ ﺧﻼﻗﺎﻧﮥ ﻧﻤﺎدﻫﺎي ﻣﻨﺒﺖ ﮐﺎري ﺳﻨﺘﯽ و اﻟﺼﺎق ﻃﺮح ﻫـﺎي ﺑﯿﻀـﯽ و ﺗـﺮﻧﺞ ﺑﺮ روي ﮐﺎرﻫﺎي اﺑﺪاﻋﯽ اﺳﺖ؛ اﻣﺮي ﮐﻪ ﮔﻮﯾﺎي ﺗﺤﻮل در ﻫﻨﺮ ﮐﺎر ﺑﺎ ﭼﻮب در دورۀ ﻗﺎﺟـﺎر اﺳـﺖ و ﻃـﯽ آن، ﺗـﺰﯾﯿﻦ روﯾـﮥ ﭼـﻮب ﺑـﺎ اﺷـﮑﺎل ﻫﻨﺪﺳـﯽ، ﻫﻤﺎﻧﻨﺪ آراﯾﻪ ﺳﺎزي دﯾﻮارﻫﺎ ﺑﺎ ﮔﭻ و ﮐﺎﺷﯽ، در ﻣﻌﻤﺎري ﺗﺰﯾﯿﻨﯽ اﯾﺮان راﯾﺞ ﺷﺪ.

Mosques are the most important symbols of religious architecture in Islamic civilization. They have been a manifestation of the thought and spirit that have always governed the environment and occupied a place in the heart of the city. For that reason, mosques have always benefited from the best materials and arrays. In the thirteenth century A.H., mosque construction took place in two forms; one was the restoration of comprehensive mosques, and the other the construction of new mosques. The evolution of decorative arts affected mosques so that they underwent changes in appearance. One of these changes was sash making which appeared in urban mosques and consisted of inlaying, Chinese knotting, glass cutting, and carving. As a result, decorations in forms of inlays and Chinese knots on the wooden doors and arches of Tehran mosques became popular. Therefore, master artists, with the help of carving and inlaying, turned the inanimate wood into a scene of eye-catching shapes in a number of religious buildings. Measuring and adapting the style and design of two samples of wooden arrays in Sultani Mosques and Sheikh Abdul Hussein Mosque in Tehran, illustrate unsaid points about the evolution of woodworking art and carving in contemporary Iranian architecture. The nature of this research is both theoretical and practical; in terms of methodology, it has adopted a qualitative approach. The objective of the study is to discuss the cognitive stylistic features of the wooden arrays of Qajar period mosques while comparing the wooden decorations of these mosques. According to the findings of the research, it can be concluded that the doors of these two mosques have three stylistic characteristics: traditional, eclectic, and western. Besides, in both examples, the characteristic of wooden art consists of a creative combination of traditional inlay symbols and an addition of oval and tangerine designs on innovative works. Such results are indicative of the transformation in the art of woodworking in the Qajar period, during which decorating the surface of wood with geometric shapes-- such as the arranging of walls with plaster and tiles-- became common in the decorative architecture of Iran.