مطالعه سيرتحول نقوش چليپايي در تزيينات معماري دوره اسلامي ايران و زيبايي شناسي و نمادشناسي آن

Study of Swastika Designs Evolution in Islamic Period Architecture Ornaments in Iran and theirs Aesthetics and Semiotics

نقوش چليپايي در ادوار پيش از اسلام براي تزيين هنرهاي مختلف بكار رفته است و اين نقوش در تزيينات معماري دوره اسلامي نيز از جايگاه ويژه اي برخوردار است. در اين مقاله به بررسي مفاهيم، زيبايي شناسي و سير تحول اين نقوش در تزيينات معماري دوره اسلامي ايران از آغاز تا پايان دوره زند و قاجار پرداخته شده است. هنرمندان متفكر دوران اسلامي از همان ابتدا به اهميت نمادگرايي و زيبايي شناسي اين نقوش پي بردند و بر همين اساس با كاربرد آنها، اين نقوش را به يكي از عناصر اصلي تزييني دوره ي اسلامي تبديل كردند. در اين راستا آنها را به صورت جداگانه و يا با تلفيق با ساير نقوش هندسي و كتيبه اي، در زمينه هاي مختلف هنري به كار بستند. بررسي جنبه هاي پيدايش، چگونگي و علل ظهور آن در بناهاي مختلف و همچنين تركيب آن به لحاظ زيبايي شناسي با نقوش ديگر، از ديگر اهداف اين نوشته است. اين نقش به طور بارز خود را در بناهاي آرامگاهي اسلامي نشان مي دهد و در سير تحول خود از يك نقش ساده در اوايل اسلام، به يك نقش زيبا و نمادين در قرون مياني تبديل شده و در دوران متاخر به يك نقش صرف تزييني تبديل مي شود.

Swastika designs applied for ornamenting in many different arts before Islamic period. These designs have important role in architecture ornaments at Islamic period. In this paper we study concepts, aesthetic and evolution of these designs in Islamic period architecture ornaments from beginning to end of Zand and Ghajar era. The thoughtful artists of Islamic periods comprehended from the beginning the importance of symbolism and aesthetic of the designs and based on whit usage of these motifs, they changed the designs to one of the main decorative elements of Islamic period. In this regard, the artists applied the decorative designs individually or whit compilation whit others numeral and inscription designs in various backgrounds of art. The other aspect of this paper is to study of beginning root, conditions and emergencies reasons of these designs in different monuments and their composition with other designs from the point of aesthetics. We can see this design in Sepulchral monuments in Islamic period and in its evaluation converted from simple ornamenting design in beginning of Islamic period to a beautiful and symbolic design middle period and in the late converted to decorative design again. Islam architecture has many decorative patterns that used with space coordination and compatible with the type of material in most eras of Islamic architecture. Some of these designs are not limited to a particular period or place runs on certain materials. But this decorative could be seen in many buildings on the Islamic period in different periods and with different materials. Some are important only in terms of aesthetics and in the building has been used as a decorative element; But some of them the in addition beauty have particular concept of religious, philosophical, social and political. The function of these motifs in Islamic art as a symbol or a hidden meaning is evidence from different worlds of Islamic artistes. Islamic Art at using all motifs defines the specific criteria and Muslim artist with a religious view of these concepts, create motifs in Islamic architecture. In this paper, why and how the use and evolution of swastika designs in Islamic architecture has been studied. This motif is one of the beautiful designs used in pre-Islamic and Islamic periods. Study of swastika motifs in architectural decorations showed special relationship between these motifs and Islamic religious shrines and tombs. Application of These motifs in these monument with a significant complexity combined with other geometric designs is seen. We have little information about the application of these motifs in the early Islamic architecture that probably is because of many architectural monuments of this period are not remains of the same basic shape. The quality of swastika motifs, either conceptually or decorative purposes in Seljuk and Safavid periods is better than other periods of Islamic art. It seems that the symbolism aspect of these motifs more important in these periods. It seems that how they combine with other patterns as well as how to use them to decorating the buildings were different than the other courses.