كليدواژه :
ﻓﯽ ﻣﻌﺮﻓﺖ اﻟﺤﯿﻞ اﻟﻬﻨﺪﺳﯿﻪ , ﻋﻠﻢ اﻟﺤﯿﻞ , ﺟﺰري و ﮐﻮﻣﺎراﺳﻮاﻣﯽ , ﻧﮕﺎرﮔﺮي , ﺗﺎرﯾﺦ ﻫﻨﺮ , ﮐﺘﺎب ﺑﺪﯾﻊاﻟﺰﻣﺎن ﺟﺰري
چكيده فارسي :
ﮐﺘﺎب »ﻓﯽ ﻣﻌﺮﻓﺖ اﻟﺤﯿﻞ اﻟﻬﻨﺪﺳﯿﻪ« اﺛﺮ ﺑﺪﯾﻊاﻟﺰﻣﺎن ﺟﺰري، ﻣﻬﻨﺪس، ﻃـﺮاح و ﻫﻨﺮﻣﻨـﺪ ﺳـﺪة ﺷﺸـﻢ ﻫﺠـﺮي ﺗﻤﺪن اﺳﻼﻣﯽ اﺳﺖ ﮐﻪ در آن ﭘﻨﺠﺎه دﺳﺘﮕﺎه ﺧﻮدﮐﺎر ﺑﻪﺷﯿﻮهاي دﻗﯿﻖ و ﻣﺸﺎﺑﻪ ﻓﺮاﯾﻨﺪ ﻃﺮاﺣﯽ ﻣﺤﺼﻮل، ﻫﻤﺮاه ﺑﺎ ﻣﺼﻮرﺳﺎزي ﺷﺮح داده ﺷﺪه اﺳﺖ. ﯾﮑﯽ از ﻣﻌﺪود ﭘﮋوﻫﺶﻫﺎي ﻫﻨﺮي ﮐﻪ درﺑﺎرة اﯾﻦ ﮐﺘـﺎب ﺻـﻮرت ﮔﺮﻓﺘـﻪ، »رﺳﺎﻟﮥ ﺟﺰري درﺑﺎرة دﺳﺘﮕﺎهﻫﺎي ﺧﻮدﮐﺎر« اﺳﺖ ﮐﻪ ﮐﻮﻣﺎراﺳﻮاﻣﯽ در ﺳﺎل 1924 ﻣﯿﻼدي ﺗﺄﻟﯿﻒ ﮐﺮده اﺳـﺖ. اﯾﻦ ﮐﺘﺎﺑﭽﻪ ﮐﻪ ﻫﻨﻮز ﺗﺮﺟﻤﻪاي ﺑﻪ ﻓﺎرﺳﯽ از آن ﻣﻨﺘﺸﺮ ﻧﺸﺪه، ﻫﻢ ﺑﻪواﺳﻄﮥ روﯾﮑﺮد ﻫﻨﺮﭘﮋوﻫﺎﻧﮥ ﺗﺤﻘﯿﻖ و ﻫـﻢ ﺟﺎﯾﮕﺎه ﻣﺆﻟﻒ آن، داراي ارزش واﻻﯾﯽ در ﺗﺎرﯾﺦ ﻫﻨﺮ اﺳﺖ ﮐﻪ در اﯾﻦ ﭘﮋوﻫﺶ، ﺑﺎزﺧﻮاﻧﯽ و واﮐﺎوي ﺷﺪه اﺳـﺖ. روش اﯾﻦ ﺗﺤﻘﯿﻖ، ﺗﻮﺻﯿﻔﯽ–ﺗﺤﻠﯿﻠﯽ اﺳﺖ و ﻃﯽ آن، ﻣﺘﻦ ﮐﺘﺎﺑﭽﮥ ﮐﻮﻣﺎراﺳﻮاﻣﯽ ﭘﯿﺮاﻣـﻮن رﺳـﺎﻟﮥ ﺟـﺰري ﺑـﻪ ﻓﺎرﺳﯽ ﺗﺮﺟﻤﻪ ﺷﺪ و ﺑﻪﻫﻤﺮاه ﺑﺮﺧﯽ دادهﻫﺎي ﮐﺘﺎﺑﺨﺎﻧﻪاي دﯾﮕﺮ ﻣﻮرد ﻣﻄﺎﻟﻌﻪ و ﺗﺤﻠﯿـﻞ ﻗـﺮار ﮔﺮﻓـﺖ. ﭘﺮﺳـﺶ اﺻﻠﯽ در اﯾﻦ ﺗﺤﻘﯿﻖ آن اﺳﺖ ﮐﻪ ﮐﻮﻣﺎراﺳﻮاﻣﯽ ﺑﻪﻋﻨﻮان ﯾﮏ ﻫﻨﺮﭘﮋوه ﺑﺮ ﮐﺪام وﯾﮋﮔﯽﻫﺎي ﮐﺘﺎب ﺟﺰري ﺗﺄﮐﯿﺪ ﻣﯽﮐﻨﺪ؟ ﺑﻨﺎﺑﺮاﯾﻦ ﻫﺪف اﯾﻦ ﭘﮋوﻫﺶ، ﯾﺎﻓﺘﻦ وﯾﮋﮔﯽﻫﺎي ﻫﻨﺮي ﮐﺘﺎب ﺟﺰري از ﻧﮕﺎه ﮐﻮﻣﺎراﺳﻮاﻣﯽ ﺑـﻮد ﮐـﻪ در ﻫﻔﺖ ﻣﻮرد از ﻣﺘﻦ ﮐﺘﺎﺑﭽﮥ ﻣﺬﮐﻮر اﺳﺘﺨﺮاج ﮔﺮدﯾﺪ. ﺑﻪﻃﻮر ﮐﻠﯽ، ﻣﯽﺗﻮان ﮔﻔﺖ ﮐﻮﻣﺎراﺳﻮاﻣﯽ ﮐﻮﺷﯿﺪه ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ اﻃﻼﻋﺎت ﻣﺤﺪود زﻣﺎن ﺗﺄﻟﯿﻒ ﻣـﺘﻦ، ﺑـﺎ ﺑﻬﺮهﮔﯿـﺮي از اﺳـﺘﺪﻻلﻫﺎي ﺑﺼـﺮي و ﺗﺼـﻮﯾﺮي، ﺑﺮﺧـﯽ اﺑﻬﺎﻣـﺎت و اﺷﺘﺒﺎﻫﺎت را ﭘﺎﺳﺦ دﻫﺪ و وﯾﮋﮔﯽﻫﺎي ﻫﻨﺮي و ﺧﺼﻮﺻﺎً وﺟﻮه ﻣﺮﺗﺒﻂ ﺑﺎ ﺗﺎرﯾﺦ اﯾﻦ اﺛـﺮ ﻫﻨـﺮي و ﻋﻠﻤـﯽ، ﻣﺎﻧﻨـﺪ ﻧﻮﺷﺘﻪﻫﺎ، ﻧﺎم ﺳﻼﻃﯿﻦ، ﻧﺸﺎﻧﻪﮔﺬاريﻫﺎ، وﯾﮋﮔﯽﻫﺎي ﺧﺎص ﺳﺒﮏﺷﻨﺎﺳﯽ و ﻏﯿﺮه را ﺑﺮرﺳﯽ ﻧﻤﺎﯾﺪ، اﻣﺎ اﮐﺜﺮ ﻧﮑﺎت ﮐﻮﻣﺎراﺳﻮاﻣﯽ، ﺑﯿﺶ از آن ﮐﻪ ﻣﺒﺘﻨﯽ ﺑﺮ زﯾﺒﺎﯾﯽﺷﻨﺎﺳﯽ و ﺳﺒﮏﺷﻨﺎﺳﯽ ﺑﺎﺷﺪ، ﺑﺮ ﭘﺎﯾﮥ داﻧﺶ ﺗـﺎرﯾﺦ ﻫﻨـﺮ اﺳـﺖ و اﯾﻦ ﮐﺘﺎﺑﭽﻪ را ﺷﺎﯾﺪ ﺑﺘﻮان ﻧﺨﺴﺘﯿﻦ ﺗﺎرﯾﺦﻧﮕﺎري ﻫﻨﺮ از ﮐﺘﺎب ﺟﺰري داﻧﺴﺖ؛ ﻧﮑﺘﮥ ﻗﺎﺑـﻞ ﺗﻮﺟـﻪ آن اﺳـﺖ ﮐـﻪ ﮐﻮﻣﺎراﺳﻮاﻣﯽ، ﺟﺰري را اﺑﺘﺪا ﯾﮏ ﻫﻨﺮﻣﻨﺪ و ﻧﻬﺎﯾﺘﺎً در درﺟﮥ دوم ﯾﮏ اﻧﺪﯾﺸﻤﻨﺪ ﻣﯽﺧﻮاﻧَﺪ و اﯾﻦ اﺳﺘﻨﺒﺎط از ﺳﻮي ﯾﮏ ﺗﺎرﯾﺦدان ﻫﻨﺮ ﻣﯽﺗﻮاﻧﺪ ﺑﺴﯿﺎر ﭘﺮاﻫﻤﯿﺖ ﺑﺎﺷﺪ.
چكيده لاتين :
The book “Fi Ma'arifat al-Hiyal al-Handasiya” by al-Jazari, an engineer and artist of the sixth century AH of Islamic Civilization, in which fifty automated devices are described in a similar way to the product design process, with illustrations. The importance of this book becomes clear when we know that today dozens of its manuscripts are kept in museums around the world. This multiple copying of a book in different periods and geographies shows its many uses in different ages. In recent centuries and after the transfer of books and cultural heritage of Islamic civilization to the West, many scientific researches have been conducted around this book, the absolute majority of these researches have been conducted by researchers in the fields of mechanical engineering, physics and robotics, and therefore its artistic aspects have been almost ignored. has been While al-Jazari's book can inspire many artistic researches in various fields of art such as product design, music, painting and calligraphy. One of the few artistic researches about this book is " The treatise of al-Jazari on automata ", written in 1924 by Coomaraswamy. This booklet, which has not yet been translated into Persian, has been analyzed in the present study. This study both through its research approach and its author's position, has a great value in the history of art. The method of this research is descriptive – analytic and Historical, during which the text of the Coomaraswamy was translated into Persian and was analyzed and reviewed along with some other library data. The main question in this research is that What features of al-Jazari’s book are emphasizes by Coomaraswamy, as art researcher? Therefore, the purpose of this study is to find the features of the book of al-Jazari from the view of Coomaraswamy. These artistic features were extracted from the text of the booklet in 7 cases; Diagnosing the painting of the door of Amida palace, negating the possibility of painting the face of a specific sultan, introducing al-Jazari as an artist, the characteristics of the illustrations of a manuscript, not changing the names of kings in the illustrations of later versions, Arabic and Greek markings, and examining 8 paintings. It can be said that Coomaraswamy has tried to answer some of the ambiguities and errors by limited informations in the time of text compilation using visual arguments, and the artistic features and especially the features that can be applied to the history of this work of art and science, Provides information such as writing, slave names, markings, specialty stylistics, and so on, but most of the points that Coomaraswamy puts forward is based on the history of art rather than on aesthetics and stylistics, and in fact this booklet may be the first art historical document about al-Jazari’s book. One of the most important achievements of this text is the one in which Coomaraswamy reads al-Jazari in the first place as an artist and eventually second to a thinker, and this inference from a historian of art can be very important.
