ﺑﺮرﺳﯽ ﻓُﺮم و ﻧﻘﺶ در ﻧﻘﺎبﻫﺎي ﻓﻠﺰي اﺳﺐﻫﺎي ﺻﻔﻮي و ﻋﺜﻤﺎﻧﯽ و اﻧﺘﺴﺎبﻫﺎي ﺻﻮرتﮔﺮﻓﺘﻪ ﺑﻪ آنﻫﺎ

Investigation of form and motif in Safavid and Ottoman`s shaffrons and their attribution

از روزﮔﺎران ﮐﻬﻦ، اﺳﺐﻫﺎ در ﻣﯿﺪان ﻧﺒﺮد ﭘﺎﺑﻪﭘﺎي ﺳﺮﺑﺎزان و ﻓﺮﻣﺎﻧﺪﻫﺎن ﺣﻀﻮر داﺷـﺘﻪ و ﺳـﺎﺧﺖ ﭘﻮﺷـﺶﻫﺎي ﻣﺤﺎﻓﻆ، ازﺟﻤﻠﻪ ﻧﻘﺎب ﺻﻮرت، در دورهﻫﺎي ﻣﺨﺘﻠﻒ ﻣﺮﺳﻮم ﺑﻮده اﺳﺖ. ﻋﻼوهﺑﺮ ﻧﺒﻮغ و ﻋﻼﻗـﮥ ﻫﻨﺮﻣﻨـﺪان ﺑـﻪ ﻧﻘﺶاﻧﺪازي، رﺟﺰﺧﻮاﻧﯽ در ﻣﯿﺪان ﺟﻨﮓ، دﻟﯿﻠﯽ ﺑﺮ اﻓﺰاﯾﺶ ﺗﻤﺎﯾﻞ، ﺟﻬﺖ ﻫﻨﺮﻧﻤﺎﯾﯽ در اﯾﻦ ﻧﻤﻮﻧـﻪ آﺛـﺎر ﺑـﻮد. در ﻧﻘﺎبﻫﺎي ﻓﻠﺰي اﺳﺐﻫﺎي دورة ﺻﻔﻮي ﻧﯿﺰ ﻣﯽﺗﻮان ﻧﻤﻮﻧﻪﻫﺎي ﺟﺎﻟﺒﯽ از ﻧﻘﻮش را ﻣﻼﺣﻈـﻪ ﮐـﺮد ﮐـﻪ ﮔـﺎه ﺑـﺎ ﻧﻘﺎبﻫﺎي ﻓﻠﺰي اﺳﺐﻫﺎي ﻋﺜﻤﺎﻧﯽ اﺷﺘﺮاﮐﺎﺗﯽ دارد. ﻫﺪف از اﯾﻦ ﭘﮋوﻫﺶ، ﺷﻨﺎﺳﺎﯾﯽ وﺟـﻮه اﺷـﺘﺮاك و اﻓﺘـﺮاقِ ﻧﻘﺎبﻫﺎي اﺳﺐ اﯾﻦ دو ﺳﻠﺴﻠﻪ، دﺳﺖﯾﺎﺑﯽ ﺑﻪ دﻟﯿﻞِ اﯾﻦ ﺷﺒﺎﻫﺖﻫﺎ و ﺗﻔﺎوتﻫﺎ و اﻧﺘﺴﺎبﻫﺎي ﺻـﻮرتﮔﺮﻓﺘﻪ ﺑـﻪ آنﻫﺎﺳﺖ. ﭘﺮﺳﺶ ﻣﻄﺮحﺷﺪه اﯾﻦ اﺳﺖ ﮐﻪ وﺟﻮه اﺷﺘﺮاك و اﻓﺘـﺮاق ﻣﯿـﺎن ﻧﻘﺎبﻫـﺎي ﻓﻠـﺰي اﺳـﺐ ﺻـﻔﻮي و ﻋﺜﻤﺎﻧﯽ ﭼﯿﺴﺖ؟ و ﺗﺎ ﭼﻪ ﺣﺪ اﻧﺘﺴﺎبﻫﺎي ﺻﻮرتﮔﺮﻓﺘﻪ ﺑﻪ ﻫﺮﯾﮏ را ﻣﯽﺗﻮان ﺻﺤﯿﺢ داﻧﺴـﺖ؟ روش ﺗﺤﻘﯿـﻖ، ﺗﻮﺻﯿﻔﯽ-ﺗﺤﻠﯿﻠﯽ ﺑﻮده و ﻣﻄﺎﻟﺐ ﺑﻪ ﺷﯿﻮة ﮐﺘﺎﺑﺨﺎﻧﻪاي و ﻣﯿﺪاﻧﯽ ﮔﺮدآوريﺷﺪه اﺳﺖ. ﻧﺘﺎﯾﺞ، ﺣـﺎﮐﯽ از آن اﺳـﺖ ﮐﻪ ﺑﺎوﺟﻮد ﻧﺒﻮد وﺣﺪت ﻇـﺎﻫﺮي در آﺛـﺎر ﻋﺜﻤـﺎﻧﯽ، ﺷـﺒﺎﻫﺖﻫﺎ و ﺗﻔﺎوتﻫـﺎﯾﯽ ﻣﯿـﺎن اﯾـﻦ دو وﺟـﻮد دارد؛ اﻣـﺎ ﻧﻤﻮﻧﻪﻫﺎﯾﯽ از ﻧﻘﺎبﻫﺎي ﻓﻠﺰي اﺳﺐ ﻋﺜﻤﺎﻧﯽ وﺟﻮد دارد ﮐﻪ ﺑﺴﯿﺎر ﺑﻪ ﻧﻤﻮﻧﻪﻫﺎي ﺻﻔﻮي– ﮐـﻪ وﺣـﺪت ﺻـﻮريِ ﺧﻮد را ﺣﻔﻆ ﮐﺮدهاﻧﺪ- ﺷﺒﺎﻫﺖ دارد. در ﺑﯿﺸﺘﺮ ﻧﻤﻮﻧﻪﻫﺎي ﺻﻔﻮي، ﻓُﺮمﻫﺎ داراي ﺧﻄﻮط ﻧﺮم و ﯾﮑﺪﺳـﺖ ﺑـﻮده و زﻣﯿﻨﮥ اﺛﺮ ﺑﺎ ﻧﻘﻮش ﭘُﺮﮐﺎر ﭘﻮﺷﺎﻧﺪه ﺷﺪه؛ اﻣﺎ در آﺛﺎر ﻋﺜﻤﺎﻧﯽ ﺑﺮﺧﯽ ﻧﻤﻮﻧﻪﻫﺎ داراي ﺧﻄﻮط ﻧﺮم و ﺑﺮﺧﯽ ﺷﮑﺴـﺘﻪ و ﺧﺸﻦ اﺳﺖ. ﻧﻘﻮش، در ﻣﻮاردي ﭘُﺮﮐﺎر ﺑﻮده و در ﺑﺮﺧﯽ، اﻧﺪك و ﮔﺎه ﺑﺪون ﻫﯿﭻ ﻧﻘﺸﯽ اﺳﺖ. ﻫﻤﭽﻨﯿﻦ ﺑﺎ ﺗﻮﺟـﻪ ﺑﻪ ﺷﺒﺎﻫﺖ ﺑﺴﯿﺎرِ ﺑﺮﺧﯽ ﻧﻤﻮﻧﻪﻫﺎي ﻋﺜﻤﺎﻧﯽ ﺑﻪ آﺛﺎر ﺻﻔﻮي، ﻧﻤﯽﺗﻮان اﯾﻦ ﻣﺴـﺌﻠﻪ را ﺗﻨﻬـﺎ ﺑﺮﮔﺮﻓﺘـﻪ از ﺗﺒـﺎدﻻت ﻓﺮﻫﻨﮕﯽ و ﺗﺄﺛﯿﺮﭘﺬﯾﺮي از ﻫﻨﺮ ﯾﮑﺪﯾﮕﺮ داﻧﺴﺖ و اﯾﻦ ﻓﺮﺿﯿﻪ ﻣﻄﺮح ﻣﯽﺷﻮد ﮐﻪ ﻧﻤﻮﻧﻪ ﻧﻘﺎبﻫـﺎي ﻓﻠـﺰي اﺳـﺐ ﻋﺜﻤﺎﻧﯽ، اﺣﺘﻤﺎﻻً ﻣﺘﻌﻠﻖ ﺑﻪ ﻓﺮﻫﻨﮓ اﯾﺮان ﺑﻮده و ﯾﺎ ﺑﻪ دﺳﺖ ﻫﻨﺮﻣﻨﺪانِ اﯾﺮاﻧـﯽ ﻣﻘـﯿﻢ آن ﺳـﺮزﻣﯿﻦ ﺳﺎﺧﺘﻪﺷـﺪه اﺳﺖ.

From ancient times the horses have been present on the battlefield in the footsteps of soldiers and commanders and the making of protective coverings, including shaffron, has been common in different periods. In addition to the genius and interest of artists to etching, arrogance and rodomontade on the battlefield was a reason that increased the desire of artists to perform in this sample of works. In the Safavid shaffrons can also see interesting examples of designs that sometimes have in common with the shaffrons of Ottoman. The purpose of this study is to identify the commonalities and differences between the shaffrons of these two dynasties, to achieve their attributions due to these similarities and differences. The question is: what are the commonalities and differences between the shaffrons of the Safavid and Ottoman? an‎d to what extent can the attributions made to each be considered correct? The research method is descriptive-analytical and the materials have been collected in a library and field manner. The results indicate that despite the apparent lack of unity in the Ottoman works, there are similarities and differences between the two; But there are examples among the Ottoman shaffrons that are very similar to the Safavid examples - which have preserved their formal unity-. In the most of Safavid examples, the forms have soft and uniform lines and the background of the work is covered with elaborate designs; But in Ottoman works, some examples have soft lines and some are broken and rough. The motifs are prolific in some cases and in some, few and sometimes without any motifs. Also, due to the similarity of some Ottoman examples to Safavid works, this issue cannot be considered only from cultural exchanges and the influence of each other's art, and it is hypothesized that the example of Ottoman shaffrons probably belong to Iranian culture or to made by Iranian artists living in that land.