پديد آورندگان :
مرادي نسب، حسين دانشگاه آزاد اسلامي، واحد علوم و تحقيقات - دانشكده هنر و معماري، تهران , بمانيان، محمدرضا دانشگاه تربيت مدرس - دانشكده هنر و معماري، تهران، ايران , اعتصام، ايرج دانشگاه آزاد اسلامي، واحد علوم و تحقيقات - دانشكده هنر و معماري، تهران
كليدواژه :
انديشه عرفاني , رنگ آبي , كاشي , مسجد , تمثيل , معماري
چكيده فارسي :
معماري توده عينيت يافته فرهنگي است كه به آن تعلق دارد و يا از آن تاثير مي پذيرد. اگر معماري ايران نيز در طول دوره اسلامي مورد بررسي و تحقيق قرار گيرد اين واقعيت را كه معماري متاثر از انديشه و باورها در طول دوره اسلامي است آشكار مي نمايد در همين راستا هدف از اين پژوهش نيز بازخواني تاثير انديشه عرفاني بر پديداري نمادگرايانه رنگ آبي در كاشيكاري مساجد مي باشد. شروع انديشه عرفاني مبتني بر كشف و شهود با امام محمد غزالي (قرن پنجم) و با فلسفه مبتني بر نور شيخ اشراق سهروردي (قرن ششم) همراه بود كه در آن مراتب معرفت و آگاهي با مراتب نور و ظهور آن مطابقت دارد و با رشد تفكر عرفاني نور و رنگ جلوه بارزتري يافت بطوريكه رنگ در انديشه عرفاني نجم الدين كبري (قرن هفتم) و شيخ علاءالدوله سمناني (قرن هشتم)، جسمانيت و كثرت يافته نورالانوار است و هر رنگي نمايانگر باطني (تمثيل) يك معناست. سابقه تاريخي نشان مي دهد تشكيل انجمن هاي فتيان و فتوت نامه ها نقش مهمي را در انتقال باورها و انديشه هاي عرفاني شيعي به صاحبان اصناف از جمله معماري داشته است لذا اين بينش تمثيلي عرفاني خصوصا در معماري مساجد (جامع) كه اوج جلوه گاه رمزي هنر معماران مي باشد بكار برده شده است تا نشان دهد نيايشگاه ها مي توانند محل برقراري برترين نسبت ميان معماري و باور به شمار آيند. زبان عرفاني كه زبان رمزي و تمثيل است به بهترين وجهي در معماري دوره صفويه كه اوج تفكر شيعي عرفاني است متجلي شده است. تناظر ميان حالات (اوليه) منازل سلوك عرفاني با تمثيل استفاده از كاشي آبي در معماري مساجد ايراني كه يكي از تاثيرات باورهاي عرفاني مي باشد، سبب گرديده است تا استفاده از كاشي آبي (چه لاجوردي و چه فيروزه اي) بصورت غالب از ابتداي بهره گيري تا استيلاي تمام كاشيكاري در مساجد دوره صفويه (مسجد امام) باشد. در اين پژوهش گردآوري داده ها و اطلاعات از طريق مطالعات اسنادي و كتابخانه اي صورت گرفته، سپس با تحليل داده ها ضمن استفاده از روش توصيفي تحليلي در بستر تاريخي با استفاده از شواهد تعيين گر به اثبات آن پرداخته مي شود.
چكيده لاتين :
Architecture is a cultural objectified mass, which is belong to that culture or affect it. If
Iranian architecture in Islamic era be studied, it can be revealed the fact that architecture
is influenced by ideas and thought of this Islamic era. The purpose of this research is the
readout of mystical ideas effects on symbolic visibility of color (blue) by using building
blocks (tiles) in Iranian architecture of Islamic era. Mystic contemplation based on
revelation was started by Imam Mohammad Ghazali and accompanied by philosophy of
illumination Sheikh, Suhrewardi, which the degrees of knowledge and awareness were
correspond to the degrees of light and advent, and lustered by the growth of mystical
thought of light and color. So that, color in mystical ideas of Najmuddin Kubra and Sheikh
Ala Simnani gets its concretion and intension mostly from light of lights and every color
is an intrinsic representative (allegory) of one meaning. Thus in universe the colors and
lights is compatible with lights in mystics journey and the mystic of beauty way (God)
can observe the manifestation of this way as the guide in his/her inside in a form of light
determinations (colors). So light has different levels and there is a connection between
the universe of meaning and lights and the mystic achieves the higher levels as much as
passing the steps. So that in mystical insights and among all of the colors the allegorical
role of color blue is covering. In order to begin the journey, this color (blue) is suitable for
those who are in the first steps of mystical life.
In Islam, art has the inherent connection with Islamic mystic and it has been inspiring
for artists and architecture aspects. The historical background of the connection between
mystic and architecture shows that the formation of Fetyan and Fotowwat associations had
the important role in transferring Shiite mystical ideas and thoughts to business owners
like architecture, so this allegorical mystical vision was applied to show that shrines can
be enumerated as the place of establishment of the best proportion between architecture and beliefs, especially in mosques architecture (central) which is the apex of manifestation
of architects› symbolic art. However by considering the tile of this article it can be imagined
that the monastery which is the place of Sufis and Dervishes, is the appropriate litter for the
subject of research, but the studies show that we do not know whether monasteries has the
same concept during the Iran›s Islamic era or they had been changed. Also we do not know the
concept of monasteries or how one place had been named as a monastery. So monastery cannot
be a suitable sample for hypothesis test.
The symbolic usage of blue titles in Kharazmshahian era on mosques› porches was provided by
developing light-based mystical thoughts in sixth century and decline of rational thoughts and
the degree of attention and sensitivity of architecture companions to the concept of Fotowwat
and its association with mystical ideas, because these blue porches were the first thing to draw
the audience›s attention. After that due to the evolution of Islamic mystic›s noetic aspect in
Timurid period and Shiite tendency among mystics, the employment of blue tiles in domes was
increased too. Safavid era was the boom of legal, illumination and Shiite ideas and followed by,
the Isfahan school established the symbolic buildings so that the mystical language, which is a
kind of symbolic and allegorical language, has been manifested in a best way in Safavid era that
is the peak of Shiite and mystical thoughts. Correspondence between states (initial) of mystical
homes by using color allegory (blue) in Iranian mosques architecture is one of the effects of
mystical beliefs which has caused the sequence in meaning and appearance between mystical
thoughts and blue tiles employment in mosques architecture, so that using blue tiles (either
cobalt or turquoise) from the beginning of using to full-color domination in Safavid mosques
(Imam mosque). In this research, data and information collection is done through documentary
and library studies, and then data is analyzed by using descriptive and analytical method in
historical context and is proved by applying determinant evidence