كليدواژه :
ﺟﻘﻪﻫﺎي ﺳﻠﻄﻨﺘﯽ , آراﯾﻪﻫﺎي زﯾﻨﺘﯽ , ﮔﻨﺠﯿﻨﻪ ﺟﻮاﻫﺮات ﻣﻠﯽ اﯾﺮان , ﻋﺼﺮ ﻗﺎﺟﺎر
چكيده فارسي :
ﮔﻨﺠﯿﻨﻪي ﺟﻮاﻫﺮات ﻣﻠﯽ اﯾﺮان ﯾﮑﯽ از ﺟﺎﻣﻊﺗﺮﯾﻦ ﻣﺠﻤﻮﻋﻪﻫﺎي ﻧﮕﻪداري زﯾﻮرآﻻت ﮔـﺮانﻗﯿﻤـﺖ در ﻃـﻮل ﺗـﺎرﯾﺦ اﺳـﺖ. ﺗﻌﺪادي از ﺟﻮاﻫﺮات دوره ﻗﺎﺟﺎر در اﯾﻦ ﻣﺠﻤﻮﻋﻪ ﻧﮕﻪداري ﻣﯽﺷﻮﻧﺪ. در ﻋﺼﺮ ﻗﺎﺟﺎر ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺗﻌﺎﻣﻼت اﺟﺘﻤﺎﻋﯽ-ﺳﯿﺎﺳـﯽ، ﺟﻮاﻫﺮات و زﯾﻮرآﻻت ﺑﺴﯿﺎر ﺑﺎﺷﮑﻮه و ﮔﺮانﻗﯿﻤﺘﯽ در ﺑﯿﻦ ﺣﮑﻮﻣﺖﻫﺎ ﺳﺎﺧﺘﻪ و ﺗﺒﺎدل ﻣـﯽﺷـﺪ. ﺟﻮاﻫﺮﺳـﺎزي در اﯾـﻦ دوره ﺗﺤﺖ ﺗﺄﺛﯿﺮ ﻏﺮب واﺟﺪ ﮐﯿﻔﯿﺘﯽ ﻣﺘﻤﺎﯾﺰ از دورهﻫﺎي ﮔﺬﺷﺘﻪ ﺷﺪ. وﺟﻪ زﯾﺒﺎﯾﯽﺷﻨﺎﺳﺎﻧﻪي اﯾﻦ آﺛﺎر ﺗﺎ ﺣﺪي اﺳﺖ ﮐﻪ ﭘـﮋوﻫﺶ-ﻫﺎﯾﯽ ﻋﻤﯿﻖ و اﺳﺎﺳﯽ در اﯾﻦ راﺑﻄﻪ را ﻣﯽﻃﻠﺒﺪ. در ﻣﯿﺎن زﯾﻮرآﻻﺗﯽ ﭼﻮن ﮔﺮدﻧﺒﺪﻫﺎ، ﮐﻤﺮﺑﻨﺪﻫﺎ، اﻧﮕﺸﺘﺮيﻫﺎ و ... ﺟﻘـﻪﻫـﺎي ﺳﻠﻄﻨﺘﯽ از ﺟﻤﻠﻪ آﺛﺎر ﭘﺮارزﺷﯽ ﻫﺴﺘﻨﺪ ﮐﻪ ﻣﻄﺎﻟﻌﻪي ﻗﺎﺑﻞ ﺗﻮﺟﻬﯽ ﺑﺮ وﺟﻬﻪي ﻫﻨﺮي و زﯾﺒـﺎﯾﯽ ﺷﻨﺎﺳـﺎﻧﻪي آنﻫـﺎ ﺻـﻮرت ﻧﮕﺮﻓﺘﻪ اﺳﺖ. ﻫﺪف از اﯾﻦ ﭘﮋوﻫﺶ ﻣﻌﺮﻓﯽ، ﺷﻨﺎﺳﺎﯾﯽ و ﺑﺮرﺳﯽ ﺳﺎﺧﺘﺎر ﺑﺼﺮي آراﯾﻪﻫﺎي ﺗﺰﺋﯿﻨﯽ و ﻣﻄﺎﻟﻌﻪي وﺟﻮه ﻣﺨﺘﻠـﻒ ﻫﻨﺮي ﺟﻘﻪﻫﺎي ﺳﻠﻄﻨﺘﯽ ﻗﺎﺟﺎر در اﯾﻦ ﻣﺠﻤﻮﻋﻪ اﺳﺖ. درواﻗﻊ اﯾﻦ ﭘﮋوﻫﺶ ﺟﻬﺖ ﭘﺎﺳﺨﮕﻮﯾﯽ ﺑﻪ اﯾﻦ ﺳﻮال اﺳﺎﺳـﯽ اﻧﺠـﺎم ﯾﺎﻓﺘﻪاﺳﺖ ﮐﻪ ﺳﺎﺧﺘﺎر و وﯾﮋﮔﯽﻫﺎي ﺑﺼﺮي ﺟﻘﻪﻫﺎي ﺳﻠﻄﻨﺘﯽ ﻗﺎﺟﺎري ﮔﻨﺠﯿﻨﻪ ﺟﻮاﻫﺮات ﻣﻠﯽ اﯾﺮان ﭼﯿﺴﺖ؟ اﯾﻦ ﭘـﮋوﻫﺶ از ﻧﻮع ﮐﺎرﺑﺮدي ﻣﯽﺑﺎﺷﺪ و ﺑﺎ روش ﺗﻮﺻﯿﻔﯽ–ﺗﺤﻠﯿﻠـﯽ اﻧﺠـﺎم ﺷـﺪهاﺳـﺖ، ﺷـﯿﻮه ﮔـﺮدآوري دادهﻫـﺎ از ﻃﺮﯾـﻖ ﻣﻄﺎﻟﻌـﺎت ﮐﺘﺎﺑﺨﺎﻧﻪاي و از ﻣﻨﺎﺑﻊ و اﺳﻨﺎد ﻣﻌﺘﺒﺮ ﺻﻮرت ﮔﺮﻓﺘﻪاﺳﺖ. ﺑﺮآﯾﻨﺪ ﭘﮋوﻫﺶ ﻧﺸﺎن داد: ﺟﻘﻪﻫﺎ ﺑﺮ اﺳﺎس ﺳﺎﺧﺘﺎر ﺑﺼﺮي ﺑـﺮ ﺳـﻪ وﺟﻪ، ﻗﺎﺑﻞ ﺗﻘﺴﯿﻢﺑﻨﺪي ﻫﺴﺘﻨﺪ: ﺑﺨﺶ ﻓﻮﻗﺎﻧﯽ)ﺷﻘﻪ(، ﺑﺨﺶ ﻣﯿـﺎﻧﯽ و ﺑﺨـﺶ ﺗﺤﺘﺎﻧﯽ)ﺳـﺎﻗﻪ(. ﻓـﺮم ﻧﻤﻮﻧـﻪﻫـﺎي ﻣﻄﺎﻟﻌـﺎﺗﯽ ﺑﺮﮔﺮﻓﺘﻪ از ﻃﺒﯿﻌﺖ ﺑﻮده و از ﻧﻘﻮش ﮔﯿﺎﻫﯽ، ﺣﯿﻮاﻧﯽ، اﻧﺘﺰاﻋﯽ و در ﻣﻮاردي از ﻧﻘﻮش ﻫﻨﺪﺳﯽ و ﻋﻨﺎﺻـﺮ ﻧﻮﺷـﺘﺎري در ﺗـﺰﺋﯿﻦ ﺟﻘﻪﻫﺎ اﺳﺘﻔﺎده ﺷﺪهاﺳﺖ؛ اﮔﺮﭼﻪ ﺑﯿﺸﺘﺮﯾﻦ ﺗﺰﺋﯿﻨﺎت ﻣﺮﺑﻮط ﺑﻪ ﻧﻘﻮش ﮔﯿﺎﻫﯽ ﻣﯽﺑﺎﺷﺪ. ﻓﺮم ﺑﯿﺸﺘﺮ ﺟﻘﻪﻫﺎ ﺑﻪ ﻓﺮم ﺑﺘـﻪ ﺷـﺒﺎﻫﺖ دارﻧﺪ و داراي ﺷﻘﻪ )ﺑﺨﺶ ﻓﻮﻗﺎﻧﯽ( ﻫﺴﺘﻨﺪ. اﺻﻠﯽﺗﺮﯾﻦ ﻣﺆﻟﻔﻪ ﺑﺼﺮي در اﯾﻦ آﺛﺎر ﺗﻌﺎدل ﻣﯽﺑﺎﺷﺪ ﮐـﻪ ﮔـﺎﻫﯽ از ﻧـﻮع ﺗﻘـﺎرن ﺑﻮده و ﮔﺎﻫﯽ از ﻧﻮع ﺗﻮازن. ﺷﺎﺧﺺﺗﺮﯾﻦ ﺷﯿﻮه ﺳﺎﺧﺖ در ﺟﻘـﻪﻫـﺎي ﻣﻄﺎﻟﻌـﺎﺗﯽ ﺗﮑﻨﯿـﮏ ﻣﺮﺻـﻊﮐـﺎري ﺑـﻮده ﮐـﻪ ﺗـﺄﺛﯿﺮ ﭼﺸﻢﮔﯿﺮي در ﺳﺎﺧﺘﺎر زﯾﺒﺎﯾﯽﺷﻨﺎﺳﺎﻧﻪ اﯾﻦ آﺛﺎر دارد.
چكيده لاتين :
The use of jewelry and ornaments has always been one of the most important manifestations of the glory and grandeur of kings and courtiers in the imperial governments of Iran. Each piece of this jewelry represents a part of the ups and downs of the history of the great nation of Iran and shows the taste of the craftsmen and artists of this land, and the bitter and sweet memories of defeats, victories, pride and ostentation, and ... expresses history in different periods. According to history, most of the gems of the world have been in the possession of the rulers and kings of Iran. The amount of jewelry in the past showed the power and greatness of the country and the court of its time, and the jewelry that was made showed the dignity of the king and the greatness of his kingdom. One of the imperial dynasties in which the use of jewelry had a special place was the Qajar dynasty. In this era, due to socio-political interactions, very magnificent and expensive jewelry was made and exchanged between governments. Thus, throughout the imperial history, vast treasures of jewelry have been collected, each of which is kept locally. Meanwhile, the national jewelry treasure is one of the most comprehensive collections of expensive jewelry in history. Generally, Jewelry in the Qajar period under the influence of the West had a different quality from previous periods. The aesthetic aspect of these works is such that it requires in-depth and fundamental research in this regard. Among ornaments such as necklaces, belts, rings, etc., royal necklaces are among the valuable works that have not been studied significantly on their artistic and aesthetic prestige. The purpose of this study is to introduce, identify and study the visual structure of decorative arrays and study the various artistic aspects of Qajar royal jackets in this collection. In fact, this research has been done to answer the basic question: what is the structure and visual characteristics of Qajar royal jewels, the treasure of national jewelry of Iran? This research is of applied type and has been done by descriptive-analytical method. The method of data collection has been done through library studies and from valid sources and documents. The results showed that the shoots can be divided into three aspects based on the visual structure: upper part (branch), middle part and lower part (stem). Geometric patterns used include circles, ellipses, rectangles, triangles and polygons. Common plant motifs also include three-feathered, four-feathered, five-feathered, eight-feathered flowers, leaves, roses, sunflowers, and so on. Animal motifs such as birds, lions and dragonflies can also be seen in a number of specimens. Shamseh is another pattern that has been used in the center of most samples. Other motifs include inscription motifs that were observed in a number of embossments. In the study of the visual features of the Qajar royal palaces, the mentioned treasure can be seen as a visual element of balance, symmetry, strength and stagnation. The structure of the jackets and the decorative motifs are coordinated so that the motifs are organized and decorated according to the general form of the specimens. The most important aspect in beautifying these pavilions is the use of expensive jewelry such as diamonds, emeralds, diamonds, rubies, as well as the use of gold and silver metals.
