پديد آورندگان :
ناصحي، ابوذر نويسنده دانشجوي دكتري پژوهش هنر ، دانشكده هنرهاي تجسمي، پرديس هنرهاي زيبا، دانشگاه تهران N?sehi, Abouzar , فدوي ، سيد محمد نويسنده دانشيار گروه گرافيك، دانشكده هنرهاي تجسمي، پرديس هنرهاي زيبا، دانشگاه تهران Fadavi, Seyyed Mohammad
كليدواژه :
محمّد باقر الحافظ , منوچهرخان , تصويرسازي علمي , الحشايش , قرچغاي‌خان , ملك حسين اصفهاني
چكيده فارسي :
سلسله‌ي صفويان با روي كار آمدن شاه عبّاس اوج اقتدار خود را تجربه كرد. تقويت و تحكيم هنر در اين دوره به علّت تداوم جوانبِ فرهنگي و عمر طولاني حكومت صفويه و هم‌چنين حمايت فوق العاده از هنرمندان توسّط دربار، صورت پذيرفت. شهر مشهد در دوران حكمراني قرچغاي‌خان و نوادگانش با پيشرفت‌هاي قابل تامّلي در عرصه‌هاي سياسي، فرهنگي و هنري همراه بود و منوچهرخان و فرزندش قرچغاي‌خان دوم از حاميان برجسته‌ي هنرهاي مكتوب قرن يازدهم هـ.ق در شهر مشهد بودند. نسخه‌ي الحشايش منوچهرخان با 833 صفحه نگاره‌ي رنگين از جمله نفيس‌ترين كتاب‌هاي مصوّر علمي در عهد صفوي است كه بنا به سفارش و حمايت منوچهرخان، والي مشهد، در عصر روز جمعه سوم ماه مبارك رمضان سال 1038 هـ.ق به اتمام رسيد. استنساخ كتاب برعهده‌ي محمّدباقرالحافظ خوشنويس مبرّز آن روزگار و به استثنا يك تصوير، صور? الكسفر? (صفحه 195 كتاب)، كه در پايين تصوير آمده است: «عمل ملك حسين اصفهاني»، ديگر تصاوير اين نسخه فاقد هرگونه امضا مي‌باشند. در بخش نخست اين مقاله به بررسي تاريخي دوران قرچغاي‌خان و نوادگانش پرداخته و در بخش بعدي، حمايت‌هاي ايشان از هنرهاي مكتوبِ خلق شده در شهر مشهد به ويژه نسخه‌ي الحشايش را مورد مداقّه قرار مي‌دهيم.
چكيده لاتين :
With the advent of Sh?hAbb?s, the Safavid dynasty enjoyed its pinnacle of power. In this era, thanks to the endurance of cultural traditions and long reign of the Safavids, and also the extraordinary patronage of artists by the court, the strengthening and establishing of art became realized. Sh?hAbb?s’ accession to the throne caused significant political change and as a result, many traditional players of the Safavid court lost their grip on power. These changes in politics provided a chance for other layers of society, including slaves (qol?ms), to occupy crucial offices in Sh?hAbb?s’ royal government, relying on their personal merits. The promotion of the slaves’ political status, it seems, has been a positive factor in their increasing contribution to the art and culture. By early 11th century(17th century A.D), the slaves, some of them favorited by the Safavid sovereigns and trained under the title of “the especial slave (qol?mkh?sseh)” within the court, had joined the royal library and art workshops as painters and calligraphers, and some of them even became the guardians and collectors of famous manuscripts and other exquisite items. Very soon, as the guardians of visual arts, they were entrenched in the rivalry with the Qezelb?shs and participated in the process of composing and formulating a new pictorial language which reached its prime in the 11th century. Some of these slaves provided great patronage for the visual arts. Qarchaq?iKh?n, an Armenian slave, and his descendents were distinguished patrons of art who ruled over the city of Mashhad from 1026 to 1076 consecutively. The few but otherwise extremely important works of this family were mostly recognized in the setting of the capital, i.e. Isfahan. However, literary and artistic evidence both show that one can relate the creation of these manuscripts to the city of Mashhad. During the reign of Qarchaq?ikh?n and his descendents, Mashhad experienced considerable progress in the fields of politics, culture and the art, and Manuchehrkh?n and his son, Qarchaq?i Khan II, were significant patrons of the visual arts in the 11th century city of Mashhad. Manuchehr khan’s al-Hashayesh (the Herbs) manuscript with 833 colored illustrations is one of the most invaluable pictorial books of science in the Safavid era, finished on Friday, 3rd of Ramadh?n of 1038 by the order and patronage of Manuchehrkh?n, then governor of Mashhad. The transcription was done by Mohammad-B?qer al-H?fez, the celebrated calligrapher of the day; and with the exception of one painting, sorat-al-kasfara (p 195) signed at the bottom as “the work of MalekHusein of Isfahan”, all the other illustrations lack a signature. In the first part of this essay, we shall have a historical review of Qarchaq?ikh?n and his descendants’ era, and in the next part, their patronage of the visual arts produced in the city of Mashhad, al-Hashayesh manuscript in particular, will be the focus of our survey.
