كليدواژه :
مسجد علي قلي آقا , معماري صفوي , سردر , نقوش پيلي , مدرسه چهارباغ
چكيده فارسي :
مجموعه عليقلي آقا از مهمترين مجموعه هاي دوره سلطان حسين است. برخلاف آثار مشابه اين دوره، كه در نقوش «سردر» از نقشمايه هاي مورد علاقه جامعه شيعي استفاده شدهاند، در اين «سردر» جز آيات قرآني، اشاره مكتوب و يا نشانههايي چون نام علي (ع) ملاحظه نميشود، ولي در بطن نقوش عاري از آن علايم در «اسپرهاي» سردر اين نام پنهان نگاه داشته شده و ناظر تنها با جستوجو و كنجكاوي عميق مي تواند به آن دست يابد. علت اين امر، به نظر ميرسد پارهاي ملاحظات روانشناختي مبتني بر ويژگيهاي تاريخي، اجتماعي، سياسي و فرهنگي اين دوره باشد كه به زبان رمز و تمثيل ارايه شده است. هدف اين نوشتار، در اين مرحله به دست آوردن «نمونه»اي از زبان رمزي است كه به «مولفه هاي معماري» تبديل شده است. اين پژوهش متكي بر تجربه ها، مطالعات ميداني نگارنده و نيز مطالعات تطبيقي است و روشن ساختن، نقوش استفاده شده در سردر، مبتني بر نظام كاربرد نقوش، هندسه، و اعداد يا رمزهايي است كه متفكران اين دوره، در اين اثر بر جاي گذاشته اند و تناسبات معماري « سردر» را بر آن استوار كرده اند.
چكيده لاتين :
The historical Ali-Quli-Aqa complex is the second important fine architectural created after glorious Bazar, Madresa, Carvansarai of Charbaq, Isfahan belonging to Soltan Hossein period, the last king of Safavid. The architecture context from Tabriz to Isfahan interchange were periodically strong or elegant, at the last duration became delicate and poetic and architectural materials, ornaments and inscription’s content emphasis this idea. Unlike several similar buildings of this period which contain many signs referring to name of Shiaa’ Imam Ali on the mosaic surface of entrance panels, there is no such apparent, but a few epigraphs of Quran’s Ayat -verses- however when scrutinized, one could find myriad of meaningful symbols, which implicitly refer the same holly names of Shiaa’ -Ali the first Imam and Immaculate. What hide these names are the keys such “Allah”, the first article of “Allah” -in Farsi- and also a lot of motives called “Pili” and patterns named “Gereh”. The structure of these motives, signs and patterns are formed paper hypothesis. There is a likely curtain covered on known architectural elements and content by a few unknown simple signs. A symbolized number -110- which abode to Ali is emphasized and formed the panels the analogy of entrance elements. Based on in-site studies and survey, this paper reveals the hidden secrets embedded in the motives of Ali-Quli-Aqa mosque. Furthermore, it is demonstrated how these secrets make the basis for the proportions employed in the entrance of mosque .The reasons of such effort would be the emotion and delight’s address because of decode the addresser –architect and designers– and addressed –priers and people– coherence, which used for wrap around fine arts like literary, geometric patterns and ornamentals related to architecture. These fine techniques, in this case were not understood easily .Hence , complicating and exaggerating semantic –Ali–Quli–Aqa mosque and Charbaq Madresa-school -for example were both wisely and beautiful. On the other hand these observations would related to psychical and social circumstance as well as the political ones. At the frontal panels of Sardar –entrance– there are two motives like “ا” the first article of “Allah”, and on the two sides panels two “Allah” completely-الله -. These words (or signs) appear in cases seemed normally, but no relationship between them makes us curious.
Questions:
What the motives are? What are their significations? What relationship they explain among the other signs, motives of Sardar and also between themselves? What are the contents?
These questions formed a hypothesis: The motives, like curtains are covered the intelligible of signs and their relations, and these secrets are found out by the symbolized number and geometric patterns. This paper compares few similar portal details built at this period and also emphasizes on Ali-quli-aqa mosque and Chaharbaq school portal which are completed at the same time. The proportions basic geometric pattern named -konde 2panj- are the same panels of “Allah” background proportions which make the whole Sardar proportions.
