كليدواژه :
كتاب‌آرايي , مفتاح النجاح , دعاي صباح حضرت علي(ع) , دوره صفوي , دوره تيموري
چكيده فارسي :
هنر كتابت و كتاب‌آرايي مذهبي با ظهور اسلام جايگاه والايي نزد مسلمانان پيدا كرد. پس از ورود اسلام به ايران و گرويدن ايرانيان به مذهب شيعه بخصوص در دوره صفوي، كتابت و تزيين قرآن و ادعيه منسوب به ائمه اطهار اهميت ويژه‌اي يافت. اين جايگاه و اهميت، نگارندگان اين مقاله را بر آن داشت تا نسخه خطي دعاي صباح حضرت علي(ع) به شماره W579 موجود در موزه والترز آمريكا را كه در دوره شاه طهماسب كتابت شده است از لحاظ صفحهآرايي و آرايه‌هاي هنري به كار رفته در آن مورد ارزيابي قرار دهند. و با توجه به اينكه كتاب‌آرايي دوره صفوي وام‌دار دوره تيموري است؛ كتاب‌آرايي در اين نسخه هم متاثر از قرآنهاي دوره تيموري بوده يا نه؟ نتايج پژوهش نشان داد كه نسخه علاوه بر ويژگي‌هاي تزييني مختص به خود همانند بكارگيري اسليمي در فضاي منفي حروف، تاثيراتي چون داشتن الگويي كلي و پنج قسمتي در صفحهآرايي، استفاده از رنگهاي طلايي و لاجورد در سرلوح، وجود ترقيمه، به كار بردن دايره‌هاي رنگي در فواصل آيات، استفاده از چند خط در نسخه، داشتن جدول، اسليمي و ختايي، از قرآنهاي دوره تيموري گرفته است. اين مقاله به روش توصيفي تحليلي و به شيوه‌ي جمع‌آوري اطلاعات به صورت كتابخانه‌ايي انجام شده است
چكيده لاتين :
After the advent of Islam, calligraphy and illumination art has found high position among Muslims. Also following the advent of Islam in Iran, inscription and ornamentation of the Quranic page gained an especial significance. Because most of Iranians associated themselves with the Shi a branch of Islam, Iranian artists interested to inscribe the books that attributed to Emams. Shi ism became the state religion of Iran with the advent of Shah Ismail Safavi. In this research, we studied the decorative arts of manuscript of Sabah prayer belonging to the Walters Art Museum. Th is illuminated manuscript is called Miftāḥ al-najāḥ, attributed to Imam Ali. According to the colophon, it was completed by Shaykh Kamāl ibn ʿAbd al-Ḥaqq al-Sabzawārī, the calligrapher and illuminator, in Astarabad (present-day Gorgan, Iran) in 941 AH /1534 CE. Th ere was a stamp in the margin of some pages of manuscript; It was the personal seal of the Vizier ʿAlī Pāshā, who gave the manuscript to an educational charity in 1130 AH / 1717 CE. Based on colophon, the manuscript was written in Shah Tahmasp Safavi period. Safavid kings were the enthusiastic patrons of the arts with a particular interest in book illustration. Safavid illumination owed to book designing of Timurid period. In this regard, we considered whether the illumination of Qurans of Timurid period had been influenced on this manuscript or not. Th e results of research showed the manuscript had similarities with Timurid Qurans. Th ese similarities included using of golden and lazurline colors, in addition to using of arabesques and Khtaie in the headpiece. Like Timurid Qurans, Illuminated rosettes with colored dots serve as verse markers. Timurid Qurans had colophon that calligrapher signed it, and wrote the place and time of inscribing of manuscript. Th ere also was a colophon in this manuscript. Similar to Timurid Qurans, Th ere was a ruled frame around the text. Having same template style to pages layout of a Timurid Quran, also was seen in this manuscript. Th e page layout in this manuscript was five compartments or third lines. Text divided into five compartments, three compartments across the written surface and two compartments indented with panels 2 cm in width on each side. It was common in Timurid era to write a Quranic page with different scripts. Th is manuscript opens with an illuminated headpiece containing a cartouche with the doxological formula (basmalah) in tawqīʿscript. As seen here, while having inscribed the headpiece in tawqīʿ script, the scribe wrote the main text in alternating black naskh and gold thuluth script; and the colophon was written in tawqīʿ/riqāʿscript in gold ink. Th e naskh-script panels are framed by medallions with a gold outline. Th e contours of the thuluth-script lines are decorated with blue tendrils over a ground of red hatched lines. Dimensions of manuscript and of frame were based on the golden ratio. In generally, we can say there are a few differences between illumination of Timurid Qurans and this manuscript. Th is research has been done by using descriptive-analytical method, and the data were collected through library research.
