آيكونوگرافي پيكره ي سفالين سلطان طغرل سلجوقي

Iconography of Sultan Toghrul Pottery Statue

هنر پيكره تراشي و خاصه پيكره‌هاي انساني كه در دوران پس از اسلام مورد احتياط قرار گرفته بود-اگر نگوييم دچار حرمان شده بود- در دوران سلجوقيان مورد توجه واقع شده و پيكره‌هاي انساني با موضوعات مختلف ساخته شدند. از جمله اين پيكره‌ها كه احتمالاً ساخته‌ي كاشان است، پيكره مردي‌ست كه به حالت دوزانو روي زمين نشسته و كلاهي بر سر دارد كه نام سلطان طغرل و تاريخ 538 هـ. ق. بر روي آن مرقوم شده است. در صورتي كه در سال مذكور هيچكدام از سه سلطان طغرل سلجوقي حكومت نمي‌كردند. از طرفي پيكره مورد بحث از سوي برخي كارشناسان به عنوان مهره شطرنج به مخاطبان معرفي شده است. هدف اين مقاله تبيين كاركرد و دليل شكل گيري پيكره مذكور و در پي آن اشتباه زدايي از اثري ايراني است كه دگرگونه به جهانيان معرفي شده است. سؤال اصلي مقاله چيستي مفهوم پيكره بوده و سعي بر آن است تا با استفاده از روش آيكونوگرافي و توجه به متون مكتوب و يافتن معناي ثانويه تصاوير، به سؤال مقاله پاسخ داده شود. نتيجه مقاله نشان مي‌دهد كه نشانگان موجود در پيكره هيچ‌گونه ارتباطي با شطرنج نداشته و به احتمال قريب به يقين يادمان مظالم‌نشيني و يا حضور سلطان در مراسم سماع است.

Art has very changes during the Seljuqs period and features that are distinguished from before and after and can be described as the unique attribute. A large part of these developments can be attributed to the cultural and artistic background of the Turks and the other part as a result of the culture of the Muslim Turks. The scope of these changes is so high that the art of sculpture and especially the human faces statue that had previously been (if we have not been, interfered with it) were out of circle, were once again addressed by artists and their supporters, and significant figures on subjects such as men Horse riding, men sitting in different modes, musicians, mother and child who were mostly created in Kashan. One of the pottery sculptures that is very likely to be built in Kashan, which is held in the Khalili collection in London, represents a man kneeling down on the ground and wearing a hat on the edge of that date of 538 A.H. and the name of Sultan Tugrul, which has led to the formation of this figure as the image of Sultan Tugrul Seljuk. Under the rule of the Seljuqs in Iran and ruled three sultan Tugrul that between the first and third rulers, were about 150 years old. The point is that the history mentioned on the edge of the hat is not the same as the rule of the government of any of the kings who called Tugrul, and on the other hand, the technique of making figurines from the perspective of some experts in the early seventeenth century, the time of the end of the Seljuqs rule, and the presence of Khwarizmshahians in Iran. On the other hand, the figure is discussed by the experts as a chess pieces to the audience, but with carefulness in the manner of sitting the figure and with a Comparison with historical figures that were used in other geographies than Iran as chess pieces, and Also with studying historical texts and adapting behavior and covering the royal with the present figure, seems this claim is doubtful and far from reality. The purpose of this article is to explain the function and the reason for the formation of this sculpture and consequently revision the mistake about this Iranian sculpture that has been introduced to the other world. This paper, which is a qualitative research of a fundamental type, aims to use the historic approach, using the approach- method of iconography and the basis of the Erwin Panofsky's views as the theoretical framework, using the historical sources coinciding with the subject and the analytical texts after It will achieve the answer to the question. Essentially, the method of data collection in this research is library method and It has always been trying to use the first-hand texts. The result of the research shows that the signs in the sculpture have nothing to do with chess pieces and are likely to be reflective of the “Mazalem”.