پديد آورندگان :
قادريان، محمدمهدي مؤسسه عالي آموزش سپهر اصفهان - گروه نقاشي، اصفهان، ايران , شهيداني، شهاب دانشگاه لرستان - دانشكده ادبيات و علوم انساني - گروه آموزشي تاريخ و باستانشناسي، خرم آباد، ايران , محمدي‌ميلاسي، عليرضا مؤسسه عالي آموزش سپهر اصفهان - گروه گرافيك، اصفهان، ايران
كليدواژه :
خط نستعليق , كرسي بند ي , سلطانعلي مشهد ي , ميرعلي هروي , چليپا
چكيده فارسي :
سلطانعلي مشهد ي و ميرعلي هروي از نامد ارترين نستعليق نويسان تاريخ خوشنويسي هستند كه نوآوري هاي تأثيرگذاري د ر ساختار هند سي نستعليق و فرم چليپا د اشته اند . اين پژوهش با هد ف بررسي ساختار فرمي د و چليپاي مشابه از سلطانعلي مشهد ي و ميرعلي هروي، با تمركز بر نحوۀ كرسي بند ي آن ها انجام شد ه است. شيوۀ جمع آوري اطلاعات به صورت كتابخانه اي و مشاهد ۀ ميد اني است و با رويكرد توصيفي- تحليلي انجام شد ه است. نتايج نشان مي د هد د ر هر د و چليپا، كرسي تمامي سطرها منحني است كه مي توان مقطعي از يك بيضي د ر نظر گرفت؛ د ر چليپاي سلطانعلي الگوي بيضي كرسي سطرها متفاوت است، اما د ر چليپاي ميرعلي الگوي بيضي چهار سطر يكي است. د ر هر د و چليپا حسن تشكيل و حسن وضع كلمات با توجه به انحناي كرسي هر سطر انجام شد ه كه تأثير كلمات از ميزان انحنا، د ر چليپاي سلطانعلي بيشتر است. د ر چليپاي او ارتباط كلمات و كرسي هر سطر به نحوي است كه قسمت هاي ضخيم كلمات د ر يك راستا قرار گرفته و سطر كرسي قوت تشكيل د اد ه است. حسن وضع كلمات چليپاي ميرعلي قاعد ه مند شد ه و چيد مان روي كرسي انجام شد ه است. چليپاي سلطانعلي بر اساس د يد مورّب و نهايي طراحي شد ه، د ر حالي كه د ر چليپاي ميرعلي، هر سطر با د يد افقي طراحي شد ه است.
چكيده لاتين :
Sultan Ali Mashhadi and Mir Ali Heravi are among the most
famous Nasta’liq writers in the history of calligraphy who
have had influential innovations in the geometric structure
of Nasta’liq and the cross form. Mir Ali’s relationship with
Sultan Ali is important in two ways. Firstly, the emergence
of Mir Ali Heravi coincides with the complete domination
of Sultan Ali Mashhadi throughout Khorasan so that his
students were practicing calligraphy in Mashhad and other
parts of Khorasan and Transoxiana, and Mir Ali, who lived
in Herat, Mashhad, and Bukhara, was certainly influenced
by Sultan Ali. The second important point is that Mir Ali was
a student of Zineuddin Mahmoud, a direct student of Sultan
Ali. Therefore, recognizing the similarities and differences
between the works of these two masters of calligraphy leads
to a better understanding of the developments of Nastaliq.
This study aims to investigate the formal structure of two
similar chalipas from Sultan Ali Mashhadi and Mir Ali
Heravi, focusing on how they are seated. The method of
collecting information is desk-based and has been done
with a descriptive-analytical approach. Among the works
of these two calligraphers, chalipas whose authenticity is
not in doubt were examined and two chalipas with the same
text and different compositions were used. The reason for
choosing these two chalipas was the existing similarities and
the differences, which makes possible a better comparison.
The results show that in both chalipas, the seat of all rows
is curved, which can be considered as a cross-section of an
ellipse, with the difference that in Sultan Ali’s chalipa, the
oval pattern of the first and third-row seats is the same and
the oval pattern of the second and fourth rows is the same.
In the Mir Ali’s chalipa, the oval pattern of each of the four
lines is the same.
In both chalipas, the arrangement of the figures is done
according to the curvature of the seat in each row, but
the effect of the figures is more than the curvature of the
seat in Sultan Ali’s chalipa. So that the figures are rotated
relative to the vertical axis and in some cases are deformed.
In chalipa of Mir Ali, figures are regular and carefully
executed. Letters and words are executed repeatedly and
according to defined rules.
Sultan Ali’s chalipa is designed based on the oblique and
final view; In other words, the chalipa is performed with
a horizontal view and in line with the calligrapher’s view,
but during the performance, the final and diagonal view of
the chalipa is also considered, which creates a complex and
two-point perspective, while in Mir Ali’s chalipa, each line
is designed with a horizontal view and the final view is not
considered. Sultan Ali’s chalipa is designed based on the
holistic view and the components serve the whole of the
chalipa, but Mir Ali’s chalipa is partisan and the components
have their own independence.
