تحليل بازتاب نقش مايه هاي تزئيني محراب مسجد جامع اصفهان د ر تزئينات رحل ايلخاني موزه ي متروپوليتن

An Analysis of Effects of Decorative motifs of the Altar of Isfahan Jami’ Mosque (Oljayto Altar) in the Ornamentation of Ilkhanid Qur’an Stand of the Metropolitan Museum

محراب اولجايتوي مسجد جامع عتيق اصفهان و رحل منسوب به حسن بن سليمان الاصفهاني موجود د ر موزه ي متروپوليتن هر د و از آثار د وره ي ايلخاني هستند كه د اراي نقش مايه هاي زيبا و اصيل ايراني- اسلامي هستند . غناي نقوش تزئيني د و اثر و تاريخ ساخت مشترك آنها، ضرورت انجام پژوهش را ايجاب كرد ه است. شناسايي انواع نقوش تزئيني رحل ايلخاني و محراب اولجايتو و وجوه اشتراك و افتراق و شناخت تأثيرات و بازتاب نقوش تزئيني د ر د و اثر، اهد اف پژوهش حاضر است. سؤالات پژوهش چنين است: 1. چه نوع نقوشي د ر تزئينات د و اثر رحل ايلخاني و محراب اولجايتو وجود د ارد ؟ 2. چه وجوه اشتراك و افتراقي د ر بين نقوش د و اثر وجود د ارد ؟ د ر پژوهش پيش رو اطلاعات كتابخانه اي و اسناد ي با رويكرد توصيفي- تحليلي و تطبيقي مورد مطالعه قرار گرفته است. نتايج پژوهش نشان مي د هد كه نقوش تزئيني محراب اولجايتو شامل نقوش گياهي اسليمي و ختايي، هند سي و خطي است و نقوش تزئيني رحل ايلخاني شامل د رخت سرو، گلد ان، محراب، اسليمي، ختايي، هند سي و خطي است . به طوركلي نقوش رحل ايلخاني از تنوع بيشتري برخورد ار است نقوش رحل ايلخاني متأثر از نقوش تزئيني محراب اولجايتو بود ه است و اين امر نشان د هند ه تأثير متقابل هنر معماري و هنر صناعي چوبي د ر د وره ايلخاني است.

Making Qur’an stand is an old type of Islamic art and Ilkhanid Qur’an stand (attributed to Hassan Ibn Suleiman al-Isfahani) is a valuable and exquisite sample that is held in the New York Metropolitan Museum. This art object has a lot of motifs rooted in Islamic and Iranian tradition. These motifs are very important in terms of mythological symbols and Islamic concepts. The other significant Islamic art of Ilkhanid period is altar-making in the mosques. Also Plastering is one of the arts that Islamic artists and Muslim Craftsmen’s have used in decorating mosques and altars. Oljayto altar of Isfahan Jami’ Mosque is one of the Ilkhanid altars which has excellent and beautiful decorative motifs. In other words, Ilkhanid architecture and handicrafts are very beautiful and full of magnificent and decorative elements. Therefore, the purpose of this research is to identify the decorative motifs of the Ilkhanid Qur’an stand of Metropolitan Museum and the altar of Isfahan Jami’ Mosque (Oljayto altar). Classifying the similarities and differences makes possible to acknowledge the influences of the Oljayto altar decorative motifs in the making of Ilkhanid Qur’an stand. In other words, the present study is done to answer these questions: 1- What kind of decorative motifs are there in the ornamentation of two art works of the Ilkhanid Qur’an stand and the Oljayto altar? 2- What are the similarities and differences between the decorative motifs of the Ilkhanid Qur’an stand and the Oljayto altar? It should be noted that this research is based on descriptive-analytical method while having a comparative approach. The results show that the decorative motifs of Oljayto altar of the Isfahan Jami’ Mosque include the herbal motives (including Arabesque and Khatei motifs and elements), Geometric patterns and Calligraphy motifs and the decorative motifs of the Ilkhanid Qur’an stand include the Cedar motif, vase design, Altar pattern, Arabesque and Khatei motifs, Geometric patterns, cross design and Calligraphy motifs. In short, the decorative motifs of the Ilkhanid Qur’an stand are more varied than the Oljayto altar, while the Calligraphy motifs in the Oljayto altar are more varied than the Calligraphy motifs of Ilkhanid Qur’an stand. Therefore, it seems that the design of Ilkhanid Qur’an stand motifs was influenced by the decorative motifs of the Oljayto altar, and this shows that the architecture and the art of wood carving in the Ilkhanid period are significantly interrelated.