بررسي تزيينات معماري سنتي ايران از منظر ديوار نگاري

The Study of Iranʹʹs Traditional Architectural Ornament from Mural Painting View

ديوارنگاري در اين مقاله صرفاً به نقاشي هاي فيگوراتيو با تكنيك فرسك يا تمپرا اطلاق نمي شود؛ بلكه بررسي رابطه بين اثرديواري با محيط، معماري و مخاطب بعنوان سه عامل ارزش گذار در ديوارنگاري مورد نظر بوده است. ارتباط ديوارنگاره هاي اسلامي با معماري، محيط، مخاطب و چيستي عوامل موثر در ارتقاي يك اثر، از مرتبه تزيين به اثري داراي اصالت هاي هنري سوال اصلي اين پژوهش بوده است. در اين مقاله، به جايگاه ديوارنگاري در معماري سنتي ايران (دوره اسلامي) و نقش آن در ساماندهي بصري فضاهاي معماري پرداخته شده است. با توجه به اينكه در اغلب منابع و تحقيقات انجام شده توسط محققين، ديوارنگاره هاي اين دوره تحت عنوان تزيينات معماري مطرح گرديده است، ويژگي ها ،محدوديت ها و اشكالات اين نام گذاري نيز بررسي گرديده است. در ادامه ديوارنگاره هاي دوره اسلامي ايران به دو دسته كلي مذهبي و غيرمذهبي تقسيم بندي شده و ارتباط هاي فرمي، معنايي و مفهومي اين آثار با محيط پيرامون و معماري حاكم و مخاطب مورد بررسي قرارگرفته و مقايسه اي بين ديوارنگاره هاي مسجد شيخ لطف الله و كاخ عالي قاپو به عنوان دو شاخص ديوارنگاري مذهبي و غير مذهبي صورت گرفته است.

In this article, Mural simply figurative wall tempera technique or fresco painting does not apply, but this study attempts: first, the relation between trace –wall and environment, wall architecture and evaluation of the audience and murals necessary that the three effective factors in successful mural painting. And then the challenge the notion of murals of the architectural world of Islam for many years been considered with regard Westerners as architectural decoration, should be considered. Therefore, contact with the wall paintings of Islamic architecture, the environment, the public and the factors that promote a work order to trace the art decorated in Islamic art origin is not only important but it is considered a necessity, something that the main research question. The article has studied the place of mural painting in Iranian traditional architecture (Islamic period) and its effect on visual organization of architecture spaces. Considering the mural painting of this period has been seated as decorations of architecture, in must sources, surreys and researches which have been done by researchers, the feature, limitations and difficulties of such titling have been studied. It works as a decoration in Islamic architecture; the architecture is often defined parameters set forth in the works that is also true fresco. But, according to the terms of institutionalization" architectural decorations" in the literature of Iranian art and Islamic architectural decoration to place the mural, which implies the Islamic period. But the question arises, why, what are the reasons for division mural two groups, the "architectural decorations" and murals? Seems to be the basis of this classification can be important for many reasons it will be as follows: 1) lack of understanding and precision in terms of 2) lack of attention to environmental quality and functional architecture in the Islamic period, and the conditions governing the formation of the visual wall 3) lack of understanding of the aesthetic values of Islamic murals by Western scholars 4) based on their originality and artistic aspects of the view figurative and narrative perspective of Western man 5) is equivalent to non-figurative term relief decoration 6) The original technique (also equivalent fresco and tempera). Then, the religious and secular murals Iran, generally divided into two categories: so in this study the formal and conceptual relationships wall painting evaluated with the environment, architecture and their audience. But the comparison between murals Sheikh Lotfollah mosque and palace which Aly-Qapu , below the wall as religious and secular is made. the following has studied the Iranian mural painting in Islamic period which is classified in two main groups of relies and non-religious and the forming, meaning full and conceptual relations of these works with environment, architecture and the person who is watching .and a comparison between mural paintings of sheikh Lotfollah mosque and Aly-Qapu palace has been made as two indexes of religious and non-religious mural painting.