كليدواژه :
نقشمايههاي تزئيني , كاشيكاري , دورهي تيموري , سهروردي , عرفان
چكيده لاتين :
Any artworks is the souvenir of the artist›s journey through the immaterial world of realities and
intuition. Such art often is based on secret languege. This enables the artist to establish a link between
the innermost and outermost essence of existence. Decorative motifs are considered as the intersection
of art and mystical thought. Many Islamic concepts are mixed with geometry and because of this
structural similarity in patterns of evolution play an important role. In the decorative architecture,
every motif often has a value which is beyond its formal value, derived from culture as it represents
the beliefs and ambitions of the people continued from generation to generation. On the one hand,
architectural ornaments focus the viewer’s mind on the formal beauty of motifs and the function of
spaces, the walls of which hold the motifs, and, on the other hand, the ornaments drew the viewer’
eyes to the realm of cultural and religious secrets hidden in the meanings of the motifs. One is able
to understand the minds and thoughts of architects and thus the culture, worldviews, and ambitions
of the people by understanding the symbolic meanings of the motifs and tracing their origins in
decorative architecture. In Islamic art, geometric motifs are so important that it is necessary to find
the key to discover the connections and patterns in such motifs.
In Islamic philosophy and mysticism, light is considered as manifestation of divine harmony with
a pivotal position. For this reasons, the Iranian Muslim scholars have paid special attention to light.
Suhrawardi was a leading Muslim philosopher and scholar during the 12th century and the founder
of illuminationism, also known as Shaykh al-Ishraq (Master of Illumination). In illuminationism as
a discussing-tasting philosophy, light plays a vital role. Illuminationism was considered as a great
revolution in Persian-Islamic philosophy as compared to the conventional philosophies, which were
merely discussing, existence-based in nature. His idea that light operates at all levels and hierarchies
of reality, which developed from his Philosophy of Illumination, and a major teaching of the School
of Ibn Arabi, i.e.. The Five Divine Presences referring to the five domains in which the God exercises
its influence in a global fashion, both established a subtle mystical-discursive worldview in the
Muslim world that has significantly influenced the arts and become a source and reference for many
artistic and mystical illuminations with its solid mystical and aesthetic foundations.
Light has been used and developed as a symbol in the various forms in Persian-Islamic arts, and
Muslim artists have widely utilized the symbol, especially in the period when illuminationist thoughts began to spread in Persian culture during the Timurid (1370-1507) and Safavid (1501-1736) periods. The
Timurid Empire was an Islamic empire. Shahrukh, the son and successor of Timur (Reign, 1405–1447),
trusted sharia, tariqa, and Sufi scholars, and he was highly devoted to Sufism in particular. Plenty historians
have mentioned this in the historical books focusing on the Timurid and Safavid periods. There has been
always existed a close relationship between mystics, Sufis, and artists.
The Persian-Islamic architecture, especially ornamented architecture, carries high spiritual and mystical
values as a means of expression for epistemological meaning and definitions. Philosophical and mystical
concepts such as light and the world of immaterial lights were widely and highly regarded by Shaykh
al-Ishraq and other Islamic scholars. The present study thus aimed to present a proper explanation of the
phenomenon of light in the Philosophy of Illumination from the Suhrawardi’s view as the founder of the
ontology of this phenomenon. The explanation is provided to analyze what has manifested based on such
views in the decorative elements of Persian architecture as geometric motifs on tile work of the Timurid
period with an aesthetic and symbolistic approach to indicate that the existing motifs in the tile work is a
sign of the philosophical and mystical concepts, in particular those of Shaykh al-Ishraq. Such an approach
is also adopted to prove that the motifs are manifestations of the world of immaterial lights that Suhrawardi
proved with rational and theoretical explanations according to that he then described other phenomena. The
present study is based on the assumption that the origins and bases of the Timurid motifs lie in its geometry
with circular and radial patterns, which have its roots in mysticism. Reviewing geometry designs of the
Timurid period shows abundant use of a particular type of grid device which is based on a network of radial
coordinate, lead to the emergence of specific geometric shapes including motifs of Shamse and stars. This
study seeks to answer the basic questions which are why the Timorese system designers considered the
radial system preferred and use it as a completely new resource for the various forms used. Can preference
and use these designs be appropriate with mystical thoughts common among artists of this period, and that
the radial motifs can be analyzed by votes Suhrawardi.
In this research, the research method is descriptive-historical and analyzing qualitative information and
data collection is based on documents method.
The results of this research show that the selection and applying of geometric shapes with radial infrastructure
in decorating and patterns of the Timurid are not random and such other components of the Islamic era of
art is particularly important in principles. Designing and selecting of these designs can be explained by
the concepts of light which is the core of philosophy of illumination and of the most important concepts
in Islamic mysticism, as the expression of truth and light and divine manifestations attributed. Symbolic
addressing of light and its central position in the pillar and foundation of these motifs can be seen very well,
it creates diverse compositions, published and nurturer which begins with unity, moves by manifestation
and again returns to unity and that the light attributes and its always presence is in these motifs. Skillful
combination of geometric designs with arabesque designs also deserves attention and Correspond with the
interpretation of Suhrawardi from the Noor verse. The motifs and patterns found in Persian architectural
works of art were generally built on strong intellectual foundations. Such elements have been the result
of an architectural evolution over time and have not emerged out of nothing all at once. Although the
history of the motifs with radial patterns began long before the Timurid period, such features were certainly
common in architectural works and buildings dating from that period when the mystical views of Shaykh
al-Ishraq prevailed in Iran.
