رقم مسجع: علل و رويكرد مذهبي - اجتماعي آن

( Rhymed Signature (it ,s Religious and Social Significance

اين مقاله مبتني بر اين فرضيه است كه ظهور رقم مسجع در نقاشي اواخر دوره صفوي، افشاريه، زنديه و اوايل قاجار، بنا به مصالح مذهبي و لزوم اجتماعي و اقتصادي بوده است. از مكتب اصفهان به بعد كه نقاشي تا حدودي از حصار دربار بيرون آمد، در جامعه اصفهان بسط و گسترش يافت و با زندگاني روزمره مردم گره خورد، نقاشان با معضل مقبوليت آن در بين عامه مردم مواجه شدند؛ چون نقاشي از دوره اسلامي بنا به مسائل كلامي و مذهبي همچنان در هاله اي از حرمت قرار گرفته بود و گرچه گذشت ايام، اين ديدگاه را تا حدودي تلطيف كرده بود، پيكرنگاري نزد گروه هايي از جامعه همچنان در معرض بي مهري قرار داشت. نقاشان براي حل اين معضل به رقم هايي روي آوردند كه مفهوم دوپهلو داشت: يكي مفهوم مذهبي و ديگري حرفه اي. شيوه فرنگي سازي هم كه از نيمه هاي سده دهم هجري در نقاشي ايران شروع شده بود، به كمك نقاشان آمد و آنها با گنجاندن پيكره هاي فرنگي، مناظر و مزاياي اروپايي در آثار خود، درواقع به نوعي فرافكني مفهومي پرداختند و تاحدودي توانستند معضل حرمت در نقاشي هاي پيكرنگارانه را حل كنند. در اين مقاله با روش استقرايي و فرايند وصف و ارزيابي و تحليل، علل و عوامل موضوع تتبع مي شود.

One of the most significant factor in Safavid،s painting is the Europeanizing style( Farangi Sazi). All the artists in later Safavid and Afsharid and Zand periods employed European techniques and in some cases they have viewed their European sources and copied or adapted European prototypes. However، they also painted portraits of Persian، such as that of a prince and a lady. Even at the more commercial end of the market and religious problems، the artists followed the Europeanizing trend. The significant development in the area of painting during the second half of the eleventh century H. was the explanded repertoire of lacquer objects. Europeanizing painters produced lacquer penboxes and mirror-covers and caskets and bindings. In these objects individual subjects such as flowers and birds combined with floral decoration on one surface and related motifs on the sides and interior. The Safavid،s had effectively lost power in 1135 H. Nadir by 1150 H. had so successfully re-established control over Iran. Forms and Formulas already developed in the Safavid period especialy by the eclectic painters and their families and followers are the principal manifestation in painting after period. In the absence of orders to the contrary، artists worked to the variant medium. This surley accounts for quantities of painted and lacquered papier mache of the period، the bookbindings mirrorcases، caskets، boxes، but especialy pen boxes. On these Objects، themes and compositions from Safavid period were used and copied in numerable times. In 1148 H. a lacquered binding decorated with flowers was commissioned by Muhammad Mehdi-khan Astarabadi، private secretry and historian of Nadir shah. This Muraqa ،(album) are work of four painters and artists.These Artists were: Ali Ashraf، Muhammad Hadi، Muhammad Baqir and Muhammad Sadiq. This album was finaly completed in the Zand period. Rhymed signature presents distinctive charactictics of this Muraqa،(album). All artists in Afshar and Zand periods had multiple signatures. Familial and apprenticeship or student_teacher relationships inferred from the numerous artists، signatures. The signatures also provide some biographical facts not available in the art books. Additional information can be gathered from these signatures. This method descends to artistic life in social and religious sphere. And this method provides us with the basic style of artists had been transmitted from one generation to another. The use of rhymed signature، introduced during the Safavid period، remained current until the mid-nineteenth century. Sadiq، s works are signed، in a compact Naskh script، with his proper name Muhammad Sadiq، or with formula »Ya Sadiq al-va،d« (O thou who are true) refering to Jafar، Sadiq، the six Imam. This inscription exhibits the same form and style of signature found in Sadiq، s works. We know that Muhammad Sadiq was deciple of Ali Ashraf، and his rhymed signature:» Sadiq A lotf-i Ali Ashraf bood« signify this deciple relationship with religious significance. Another example of these signature was » Ya Sahib al-Zaman« (o lord of time)، may be by Aqa Zaman another painter of Karim Khan Zand period. Understanding and transmission mechanismof these signature is a point that in this Article discuss.