كليدواژه :
ﻋﺮﻓﺎن , ﻧﻮر و رﻧﮓ , ﻫﻨﺪﺳﻪ , ﻣﺴﺠﺪ ﻧﺼﯿﺮاﻟﻤﻠﮏ
چكيده فارسي :
ﻫﻨﺮ اﯾﺮاﻧﯽ اﺳﻼﻣﯽ، ﻣﺎﻫﯿﺘﯽ ﻋﺮﻓﺎﻧﯽ و ﻣﻌﻨﻮي دارد. ﻧﻮر، رﻧﮓ و ﻫﻨﺪﺳﻪ در ﻋﺮﻓﺎن و ﻫﻨﺮ، ﺑﻪ وﯾﮋه ﻫﻨﺮ ﻣﻌﻤﺎري و ﻫﻨﺮﻫﺎي ﺗﺰﯾﯿﻨﯽ ﮐﻪ ﺟﺰء اﺻـﻠﯽ ﻫﻨـﺮ ﻣﻌﻤﺎري اﺳﺖ، ﻫﻤﻮاره ﺟﺎﯾﮕﺎه وﯾﮋه اي داﺷﺘﻪ اﺳﺖ. ﻫﻨﺮﻫﺎي ﺗﺰﯾﯿﻨﯽ ﻋﻼوه ﺑﺮ ﻇﺎﻫﺮ ﻣﺴﺤﻮرﮐﻨﻨﺪه و زﯾﺒﺎي ﺧﻮد، ﺻﺮﻓﺎ ً ﺟﻨﺒﮥ ﺗﺰﯾﯿﻨﯽ ﻧﺪاﺷـﺘﻪ و ﺑـﺮاي درك آن ﻫﺎ، ﻣﯽ ﺑﺎﯾﺴﺖ ﺑﺎ رﻣﻮز و ﻣﻔﺎﻫﯿﻢ ﻋﺮﻓﺎﻧﯽ ﻧﻮر و رﻧﮓ و ﻫﻨﺪﺳﻪ آﺷﻨﺎ ﺑﻮد. ﻫﻨﺮﻣﻨﺪ اﯾﺮاﻧﯽ از اﯾﻦ وﯾﮋﮔﯽ ﻫﺎ آﮔﺎه ﺑﻮده و اﺳﺘﻔﺎدۀ ﻫﻮﺷﻤﻨﺪاﻧﻪ اي ﮐﻪ از آن ﻫﺎ در ﺧﻠﻖ آﺛﺎر ﻫﻨﺮي ﻣﯽ ﮐﺮده، ﺑﺎﻋﺚ ﺷﺪه ﮐﻪ آﺛﺎري ﻣﺎﻧﺪﮔﺎر و ﺗﺄﺛﯿ ﺮﮔﺬار ﺧﻠﻖ ﻧﻤﺎﯾﺪ. ﻫﺪف اﺻـﻠﯽ اﯾـﻦ ﭘـﮋوﻫﺶ، ﻣﻌﺮﻓـﯽ ﻫﻨـﺮ ﺷﯿﺸـﮥ رﻧﮕـﯽ ﺑـﺎ ﺗﺄﺛﯿﺮ ﭘﺬﯾﺮي از ﻋﺮﻓﺎن ﻧﻮر و رﻧﮓ اﺳﺖ ﺑﺎ اﯾﻦ ﻓﺮض ﮐﻪ ﻣﻄﺎﻟﻌﻪ و ﺑﻬﺮه ﮔﯿﺮي از ﻋﺮﻓﺎن ﻧﻮر و رﻧﮓ، ﮐﻪ در ﻃﺮاﺣـﯽ ارﺳـﯽ ﻫﺎي ﺷﺒﺴـﺘﺎن ﻏﺮﺑـﯽ ﻣﺴـﺠﺪ ﻧﺼﯿﺮاﻟﻤﻠﮏ ﺑﻪ ﮐﺎر ﺑﺮده ﺷﺪه، ﻣﯽ ﺗﻮاﻧﺪ در ﺗﺰﯾﯿﻨﺎت داﺧﻠﯽ و ﻫﻨﺮ ﻫﺎي دﺳﺘﯽ ﻣﺮﺗﺒﻂ ﺑﺎ ﺷﯿﺸﮥ اﺳﺘﻔﺎده ﺷﺪه ﻣﻨﺠﺮ ﺑـﻪ آراﻣـﺶ و اﺣﺴـﺎس ﻣﺜﺒـﺖ ﮔـﺮدد. ﺑﺮاي ﻧﯿﻞ ﺑﻪ اﯾﻦ ﻣﻨﻈﻮر، اﺑﺘﺪا ﺣﮑﻤﺖ ﻧـﻮري اﯾـﺮان ﺑﺎﺳـﺘﺎن، ﺣﮑﻤـﺖ اﺷـﺮاق، رﻧـﮓ و ﻣﻌـﺎﻧﯽ ﻋﺮﻓـﺎﻧﯽ آن، ﺷﯿﺸـﻪ، ﺗﺎرﯾﺨﭽـﻪ و ﻧﺤـﻮۀ ﺳـﺎﺧﺖ آن و ﻫﻤﭽﻨﯿﻦ ﻫﻨﺮ ارﺳﯽ ﺳﺎزي در ﻣﺴﺠﺪ ﻧﺼﯿﺮاﻟﻤﻠﮏ و ارﺳﯽ ﻫﺎي آن ﻣﻄﺎﻟﻌﻪ ﺷﺪ. ﻧﺤﻮۀ ﺟﻤﻊ آوري اﻃﻼﻋﺎت ﺑﻪ ﺻـﻮرت ﮐﺘﺎﺑﺨﺎﻧـﻪ اي و ﻣﯿـﺪاﻧﯽ و روش آن ﺗﻮﺻﯿﻔﯽ ﺗﺤﻠﯿﻠﯽ ﺑﻮده اﺳﺖ. ﻧﺘﺎﯾﺞ ﭘﮋوﻫﺶ ﺣﺎﺿﺮ ﻧﺸﺎن داد ﺑﺎ ﺷﻨﺎﺧﺖ و اﻟﻬﺎم ﮔﯿﺮي ﺻﺤﯿﺢ از ﺷﯿﻮه ﻫﺎي ﺳﺎﺧﺖ، ﻃﺮاﺣﯽ و اﺳـﺘﻔﺎده از ﺷﯿﺸـﻪ و ﻫﻨﺮﻫﺎي ﻣﺮﺗﺒﻂ ﺑﺎ آن، ﻫﻤﭽﻨﯿﻦ ﺑﻬﺮه ﮔﯿﺮي ﻣﻨﺎﺳﺐ از ﻧﮕﺮش ﻫﺎ و ﮔﺮاﯾﺶ ﻫﺎي ﻋﺮﻓﺎن اﯾﺮاﻧﯽ، ﻣﯽ ﺗﻮان ﺿﻤﻦ ﺣﻔﻆ ﻣﯿﺮاث ﻣﺎدي و ﻣﻌﻨـﻮي ﻣﻠـﯽ، ﺑـﻪ اﺣﯿﺎي اﯾﻦ ﻫﻨﺮ اﯾﺮاﻧﯽ ﮐﻪ ﺗﻠﻔﯿﻘﯽ از ﻫﻨﺮ، ﻋﻠﻢ و ﻋﺮﻓﺎن اﺳﺖ ﻫﻤﺖ ﮔﻤﺎﺷﺖ. ﻫﻤﭽﻨﯿﻦ ﺑﻪ ﻧﻈﺮ ﻣﯽ رﺳﺪ ﺗﺄﺛﯿﺮﭘﺬﯾﺮي از ﻋﺮﻓﺎن ﻧـﻮر و رﻧـﮓ و ﻫﻤﭽﻨـﯿﻦ ﺗﺤﻠﯿﻞ و ﻣﻄﺎﻟﻌﮥ ﻧﻘﻮش و رﻧﮓ ﻫﺎي ﺑﻪ ﮐﺎر رﻓﺘﻪ در ارﺳﯽ ﻫﺎي ﺷﺒﺴﺘﺎن ﻏﺮﺑﯽ ﻣﺴﺠﺪ ﻧﺼﯿﺮاﻟﻤﻠﮏ، ﻣﯽ ﺗﻮاﻧﺪ ﻫﻨﺮﻣﻨﺪان را در ﺑﻪ وﺟﻮد آوردن آﺛﺎري ﻣﺎﻧـﺎ و ﺗﺄﺛﯿ ﺮﮔﺬار، ﮐﻪ ﻣﻮﺟﺐ آراﻣﺶ در ﺑﯿﻨﻨﺪه ﻣﯽ ﺷﻮﻧﺪ، ﯾﺎري دﻫﺪ.
چكيده لاتين :
Iranian-Islamic art has a mystical and spiritual nature. Light, color, and geometry have always had a special place in mysticism and art, especially in architectural and decorative arts-- as t main component of architectural art. Decorative arts, despite their enchanting and beautiful appearance, are not limited to a decorative aspect. To understand them, one should be familiar with the mystical concepts of light, color, and geometry as well. The Iranian artist is aware of these features and his intelligent use of them in creating works of art has made him create lasting and impressive works. The main goal of this research is to introduce the art of stained glass with a regard to the influence of the mysticism of light and color. Furthermore, it tries to discuss how the glass design of the sashes used in the Western Shabestan of the Nasir al-Molk Mosque can be used in interior decorations and handcrafts can ooze relaxation and positive feeling. . To this end, ancient Iran's optical wisdom, illumination wisdom, colors and their mystical meanings, glass, its history, and the way it was made were discussed. Besides, the art of sash-making in Nasir-ul-Molk Mosque, and its sashes were studied. The deployed method was descriptive-analytical, and data were collected through library and field study. The findings of the present research showthat by combination of Iranian mystical attitudes and trends with the knowledge and of making, designing, and using glass and related arts, one can preserve the national material and spiritual heritage and devote himself to the revival of this Iranian art, which is a combination of art, science, and mysticism. Furthermore, the knowledge obtained from mysticism of light and color as well as from the analysis and study of motifs and colors used in the sashes of Nasir al-Mulk Mosque can contribute to creation of meaningful and impressive works making the viewer relax.
