بررسي تصوير انسان در ابريشمينه هاي آل بويه و سلجوقي

THE HUMANE FIGURES ON THE BOUID’s & SALJUK’s SILK FABRICS

كاربرد نقوش جاندار مانند انسان در منسوجات دوره اسلامي موضوعي درخور توجه است. پارچه هاي بويهي و سلجوقي رواج اين نقوش را در اين دوره آشكار مي سازند. اين نوع نگاره ها منبع مناسبي براي دست يابي به ويژگي هاي منسوجات آن زمان هستند. براي بررسي، تعدادي از پارچه هايي كه در آنها تصوير آدميان موضوع اصلي طراحي پارچه قرار گرفته است، از منابع مختلف جمع آوري گرديد. سپس با مقايسه نگاره ها سعي شد تا برخي از ويژگي هاي مهم و هم نشيني عناصر در طرح ها با يكديگر مشخص گردد. هنرمندان دوران مذكور منسوجات ارزشمندي توليد كرده اند كه نقش مايه هاي تزييني آنها در مقايسه با ساير آثار هنري ايران شگفت انگيز است. توجه به تصوير انسان در تعدادي از قطعات پارچه در كنار عناصر و ديگر نقوشي كه مفاهيمي نمادين دارند، روشنگر اين نكته است كه هنرمندان اين عصر نه تنها از مهارت بالايي در پارچه بافي برخوردار بوده اند، بلكه از مفاهيم آرايه هاي تزييني نمادين نيز مطلع بوده و با دقت و مهارت، عناصر گوناگوني را در بيان هدفي خاص دنبال نموده اند. علاوه بر ارايه شيوه هاي جديد، تاثير سنت هاي هنري دوره هاي قبل نيز در اين آثار قابل شناسايي است.

Application of human figures on brocades is valuable for studying. The existence of these motifs on the Bouid’s & Saljuk’s brocades indicates the popularity of them at this era in Persia. These are very important sources for studying the weaving techniques. The production of silk fabrics made a magnificent period for Persian textile industry. In this research work samples of fabrics with human pictures were collected from different sources. Then, studying these samples in comparison with other art crafts was made to reveal the common aspects among fabrics. In this method, some important visions of pictures with the associated elements were enhanced. It is obvious that artists in these eras had produced valuable and precious fabrics with the fine decorative designs comparable with other art works at the same period. In some fabrics by concentration on human motif, besides other symbolic pictures, one can reach into two points: first, the weavers and designers were fully skilled with high creativeness, and the second, fabric producers were aware of symbolic meaning of these motifs and followed different steps to introduce their meaning. In this way, the artists could be able to create unique fabrics that now can be found in the art collections in the world. Certainly, in addition to offering new methods, they applied previous artistic traditions that can be recognized in these fabrics now. It is clear that Persian artists use more human pictures than the other artists in the Islamic countries. They use these pictures to discuss an especial meaning. In these fabrics notice to the ancient believes is valuable for studying. In common case, the usage of living creatures such as human and animals in Persian work was only for decorative meanings and hence these were surrounded by circles or geometrical designs in single or face to face or back to back forms. Actually, this type of shaping was existed before Sassanid era and had been continued until Safavid era as well. The application of human designs on the fabrics needs excellent skills. This motif was accompanied with other designs such as animals- flowers - trees- geometrical designs- mythical animals and calligraphy. Some basic specifications of these fabrics can be defined as follows:- Application of different forms: Many forms in these silk fabrics are based on geometrical shapes- oval or circle. This is a result of Sassanid traditional designing. The geometrical forms were repeated on two directions on fabric surface. -Symmetry: Symmetrical motifs in silk fabrics are used and the design was woven symmetrically. -Repeated motifs: The repeat of main motif can be seen in these fabrics. The repeat is regular with a specific pattern. -Proportion and harmony among motifs: A type of harmony between motifs and background existed. The animals and plants fill the background of these fabrics. -Framed designs: Framing motifs in different types of frames were an influence of Sassanid arts. Rhythmic harmony existed among design’s elements. These brocade fabrics reveal that in pre-Islamic Persia the very old motifs had yet existed among people.