بررسي هويت زنان در نقوش آثار هنري سده هاي آغازين اسلام

Study of Women’s Identity in Artistic Designs of Early Centuries of Islam

منابع تصويري به جاي مانده از آثار هنري سده هاي آغارين حكومت اسلامي يكي از مستندات معتبري است كه مي توان با بررسي آن به هويت و جايگاه اجتماعي زنان در آن دوران دست يافت. نقوش پيكره هاي زنان در ديوارنگاره هاي كاخ هاي امويان و عباسيان، اولين اطلاعات بصري مستدل در اين خصوص را از دو قرن اوليه اسلام به ما ارايه مي دهند. در سده هاي بعدي گستره نقوش را علاوه بر ديوارنگاره ها در نگارگري نسخ خطي و ديگر شاخه هاي هنري مي توان مشاهده كرد. از سده ششم به بعد با استحكام باور اسلامي در ميان ساير ملل شاهد حضور تصاويري هستيم كه به وجوه مختلف شخصيت زن مي پردازد؛ اين پيكره ها گاه جنبه تزيين گرا، گاه نمادين و گاه اسطوره اي پيدا كرده اند. در اين دوران تصوير پيكر زنان اكثراً در كنار نقوش گل و گياه، پرنــده و يا حيوانات ديگر ظاهر و براي بازيابي هويت و شخصيت زنان مي توان به پوشش و يا حالات پيكره ها تاكيد كرد. در اين مقاله علاوه بر معرفي جايگاه اجتماعي زنان، به اين مهم پرداخته مي شود كه بعضي از اين تصاوير جنبه اي آرماني دارد و برخي ديگر هويتي اساطيري به آنان مي بخشد. اين پيكره ها كه با پوشش ها و آرايش هاي متنوع به تصوير كشيده شده اند، علاوه بر زيباشناسي دوران از باورها و تمايلات و موقعيت هاي فردي آنان نيز سخن دارند. نكته قابل توجه در تمايزات اين تصاوير آن است كه در بررسي تحليلي آنان مي توان هويت اجتماعي زنان را به عنوان مقدسه، حاكم، خنياگر، مادر و يا همسر باز شناخت.

To find the identity, position and status of women in the early centuries of Islamic government, it is necessary to rely on reasonable documents. The pictorial resources and designs remained from artistic works of these times are among the available documents which can be studied by focussing on the position of women in this period. The designs of figures remained from the early centuries of Islam may be investigated in the murals of Omavis’ castles, Abbasians’ palaces, f manuscripts of Abbasian age and also in the designs of other artists. In these designs, the apparent identity of woman may be recognized as sacred, governor, minstrel, mother or spouse who has been portrayed with diverse covers and make ups. The researchers may realize women’s social identity and situation at that time by analyzing their decorations, designs and covers. It is necessary to mention that in the early centuries of Islam, art and artistic works did not have any considerable importance and value and no art was formed by Islamic beliefs. For this reason, the works remained from that time had admirable intellectual sediments with them. But from the third centuries onward, we witness considerable changes in artistic works due to the growth of Islamic beliefs. Generally, from this period onward we witness the figures being simplified as well as the growth of abstract designs due to emphasis on “prohibition of depiction” in Islamic beliefs. This depiction constraint had a deep influence on the lack of any realistic imaging during the history of Islamic art. As a result, what is dealt with in this paper regarding the designs of women’s figures (from the respect of pictorial aspect) has a decoration-oriented aspect. In the works of Islamic art, human’s figure has mostly appeared beside the designs of flowers, plants and birds it is only the cover or pictorial positions of the figures which gives a limited and definite identity to the characteristics of men and women and has given an ideal, mythological or mythical aspect to them and assists us in this research.