كتاب آرايي و تذهيب در نسخه هاي خطي نفيس دوره قاجار

Book decorative and illumination in exquisite manuscripts of the Qajar period

اهداف تحقيق: هدف از پژوهش حاضر بررسي انواع و ويژگي هاي آرايه ها ي به كار رفته در نسخ خطي دوره قاجار و بررسي نقوش و رنگ هاي پركاربرد در كتاب آرايي نسخه هاي خطي اين دوره است. روش تحقيق: روش اين پژوهش توصيفي-تحليلي است كه با شيوه استقرايي مشخصه هاي مشترك تمورد تجزيه و تحليل قرار گرفته است. در اين تحقيق به روش نمونه گيري هدفمند، تعداد 77 نسخه هنري رقم دار دوره قاجار در موضوعات مختلف از مخزن نفايس كتابخانه ملي انتخاب و مورد تجزيه و تحليل قرار گرفت. نتايج و يافته ها: نيمي از قرآن هاي مورد پژوهش داراي چهار يا دو صفحه بدرقه آرايه دار مي باشند. صفحات افتتاح تمامي نسخه هاي قرآن و ادعيه و 76% نسخه هاي ادبي و 90% نسخه هاي علمي منتخب داراي سرلوح و كتيبه است. طراحي غالـب سرلوح هـا همان نقـش گنبدي و يا محرابي اسـت.گل هاي رنگين مرصّع گونه در متن تذهيب و گاهي در صفحه آرايي سرلوح ها به وفور استفاده شده است. ميـان سـطوردر صفحات افتتاح تمامي قرآن ها و ادعيه و 7/51% نسخه هاي ادبي و10% نسخه هاي علمي منتخب، طلاانـدازي شـده اسـت. تمامي قرآن ها و ادعيه و 35% نسخه هاي ادبي و 50% نسخه هاي علمي منتخب داراي حاشيه هاي آرايه دار در صفحات افتتاح مي باشند. در حاشـيه هاي مذهـّب و مرصّـع نسخه ها، انـواع گل وبرگ هاي ختايـي و نقوش اسـليمي طلايـي و لاجـوردي بـر زمينه طلايـي يا لاجورد و يا بر زمينة خـود كاغـذ رسـم شده اند.

Research purposes:The purpose of this study is to investigate the characteristics of arrays and decorations in the manuscripts of the Qajar period in the in-text section and to study the patterns and colors widely used in the manuscripts of this period. Research Methods: The method of this research is descriptive-analytical. In this regard, first, the typographic characteristics of selected array pages are described. and inductively, common features are enumerated and analyzed. Statistical Society: By purposeful sampling method, 77 art manuscripts with a scribe and writing date from Qajar period were selected from the exquisite manuscripts of the National Library an‎d was analyzed and 34 sample images of these manuscripts are presented in this research. Results and Findings: Qajar illumination has continued the Safavid style. With the difference that the congressional margin is observed with a regular rhythm and large head-pieces. Qajar book decoration style has a special place as a coherent and school style in Iranian painting. an‎d it has all the features(property) of a thematic and applied education of a painting school. Basically, the art of book decoration was mostly dependent on the court. and kings, princes, and local rulers were the most important clients of works of art and sponsors of art. Half of the studied Qurans have four or two pages with arrays in the opening papers (containing a list of chapters and prayers before recitation). The opening pages of all manuscripts of the Quran and prayer books and 76% of the literary books and 90% of the selected scientific manuscripts have head-pieces and inscriptions. In all Qurans, there are two opening pages and in the other manuscript, there is an opening page with a head-pieces and inscription. Most of the design of the head-pieces is the same as the dome or altar pattern. Ornate colored flowers have been used extensively in the text of gilding and sometimes in the layout of the head-pieces. The use of Arabesque in gilding the opening pages of the manuscripts under study is less varied.The flowers and leaves of Khatai are abundantly seen in the arrays of the opening pages of selected manuscripts. The purity and radiance of the colors used in the arrays of these books has created a kind of freshness and radiance. All Qurans and prayer books and 35% of literary books and 50% of selected scientific manuscripts have array margins on the opening pages.In the margins of the gilded and jeweled of the books, various types of Khatai flowers and leaves and Arabesque motifs are drawn on a golden or azure background and in some samples on the paper itself. In the inscriptions of this period, Arabesque motifs are mostly designed in the form of frames or headbands, and the various thorns of the inscription are filled with Khatai motifs and small flowers.