تاملي بر تنوع مضامين هنري و منشا كاشي هاي قاجاري تكيه معاون-الملك كرمانشاه

A Research on the Variety of Art Themes and the Origin of the Qajarian Tiles in the Mo’aven-ol Molk Tekyeh, Kermanshah

تكيه معاون الملك يكي از مهم ترين تكاياي ايران و بناهاي شهر كرمانشاه در اواخر دوره قاجار است كه در بافت قديم شهر و محله برزه دماغ واقع شده است. كاشي كاري تكيه، مضامين متعدد مذهبي، ملي، اساطيري، حماسي، مناظر طبيعي، گل و مرغ و هندسي را در بر مي گيرد. مهم ترين هدف پژوهش حاضر، شناسايي منشا نقوش كاشي هاي فوق، علل شكل گيري آنها در كنار هم و پي بردن به مضامين متنوع محلي، بومي و فرا محلي در آنهاست. روش بكار رفته در پژوهش توصيفي ـ تحليلي و با استفاده از منابع كتابخانه‌اي، تحقيقات ميداني در محل و مقايسه تطبيقي نقوش كاشي‌ها با نسخ خطي مصور دوره قاجار به منظور پي بردن به منشا آنهاست. نتايج پژوهش نشان مي دهد كه الگو گرفتن از تصاوير نسخ خطي مصورِ رجال روشنفكر و ملي گراي قاجاري مانند جلال الدين ميرزا قاجار و فرصت الدوله شيرازي، منشا نقوش حماسي و اساطيري است كه در آن تاثير هنر ايران باستان به وضوح مشهود است. همچنين مشخص شد كه الگوي ايجاد كاشي هاي حماسي منقش ِتكيه معاون الملك با خانه هاي قاجاري قوام السلطنه، مشيرالدوله و اعلم السلطنه در تهران، حمام سردر گلزار رشت و خانه آرازي قزوين يكي است. منشا تصاوير مذهبي نيز برگرفته از پرده نقالان، شبيه خوانان و كتب چاپ سنگي است.

One of the most important Tekyes in Iran and one of the most important Islamic buildings in Kermanshah province is the Mo’aven-ol Molk Tekyeh. This building is located in historical context (Barzeh Damagh district) and related to the late Qajar period. Based on the present situation, the space of this Tekye has been formed of four parts: Courtyard entrance, Hoseiniyeh, Zainabiyeh and Abbasiyeh. Diverse motifs of Tekyeh tiles encompass various religious themes, national, mythological, epic, natural landscapes, flowers and birds and geometric patterns. As regards, the origin of Tekye tiles has not been studied, the most important aim of this study is identify the origin of motifs, causes of their formation adjacent to each other and find out variety of native and local themes. Tiles painting of Tekyeh are the junction of the latest old and new elements. These are reflection of the cultural and artistic development in Qajar Period. Paintings themes of Tekye not quite Iranian or European, rather they are bilateral phenomenon and can be seen unique features in artistic themes. Between paintings of Mo’aven-ol Molk Tekyeh, epic, political and religious themes superiority on other paintings. On the one hand, close relationship this paintings with Taʹzieh and Naqqali and on the other hand with heroic tales and epic of Shahnameh, caused common people has dreaming lives with national, religious and mythological heroes. In other words, syntagmatic of Qajarian kings, dignitaries and elders paintings beside religious imagery, motivate the same sense of respect and submission in Iranians which giving religious image or idealized image of the ancient kings to the people. This issue has been responder the national and religious needs of people that links and equivalent them together. Another important result of this study is the initial pattern of painters in creating tiles with images of epic and national kings in the Mo’aven-ol Molk Tekyeh, had been these books: “Nameh Khosrovan” by Jallal al -din Mirza Qajar and “Asar ol- Ajam” by Forsat ol- Doleh Shirazi. This Paintings had been the pattern of portrait images of mythological, national and epic figures in the tile works of buildings in this period especially in Tehran. The formation of image of members political elite as ministers, rulers and members of the merchants class in Mo’aven-ol Molk Tekyeh, has been the result of the Mashrooteh revolution as a symbol of modernity and the end of centrality king in Iran. In fact, modernity and social changes caused the formation specialized fields in the Qajarian period. Painting gradually achieved relative independency, along with these changes as in the other fields. Qajarian kings on the account of using this change with creation the political and epic themes, Shown glory and legitimacy of His dynasty. Method used in the present study in order to achieve consistent and appropriate analysis is the use of written sources; including primary sources and comparative comparisonin in this field. As well as fieldwork at the site in order to understand the origin of the motifs and effective backgrounds in creating them.