اسطوره شناسی تمثیلی آرایه های کاخ چهلستون اصفهان (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
در هنر ایرانی-اسلامی آرایه ها عناصری مازاد بر اصل اثر نیستند و نه تنها مایه ی تکمیل هنر بلکه مایه ی تشکیل هنر هستند چرا که در هنر ایرانی-اسلامی زیبنده بودن از همان ابتدا با ساختن همراه بوده است. از این راه هدف این مقاله تبیین بن مایه های آرایه های هنر ایرانی-اسلامی در جهت فهم نقش این آرایه ها در تشکیل این هنر قرار گرفت و پیکره ی مطالعاتی آن کاخ چهلستون اصفهان، چه این کاخ در یکی از دوره های طلایی هنر ایرانی-اسلامی یعنی دوره ی صفویه بنا شده است. روش اسطوره شناسی تمثیلی کروزر نیز روش تحقیق این نوشتار قرار گرفت، چرا که آرایه های دوره ی صفوی اغلب نقش مایه های اسطوره ای، نمادین و تمثیلی هستند و روش اسطوره شناسی تمثیلی کروزر روشی مناسب جهت تحلیل آثار تمثیلی است؛ کروزر بر آن است که در یک اثر تمثیلی رابطه ی میان صورت و معنا مبتنی بر تمثیل است و از این راه صورت اثر یا نمادی از معنا می شود یا از طریق روایتی اسطوره ای به معنا ارجاع می دهد. این مقاله در نهایت از اسطوره شناسی تمثیلی آرایه های کاخ چهلستون به این نتیجه رسید که معنای پس پشت آرایه های کاخ چهل ستون فرهمندی دقیق تر فرهمندی مورد نیاز برای شهریاری یا به اصطلاح فره ی کیانی است دال بر این که بنیان چنان کاخی تنها از چنین شهریاری ساخته است.“The allegorical mythology of Chehel-Sotoun Palace’s ornaments in Isfahan”
In the past centuries, when Westerners became more familiar with Iranian-Islamic art, they attempted to understand its essence based on the principles and foundations of their own art which is based on formalism, and thus called it decorative art. This means Iranian-Islamic art has additional elements that is separated from the original work. But it is noteworthy that contrary to the opinion of Westerners, in Iranian-Islamic art ornaments are not only a means of completing an artwork but as a way of forming and creating it, because in Iranian-Islamic art, beauty is associated with creation. The word “honar” Indeed is “ho n are” which means creating beauty. It should be noted that most of the researches done in the field of Iranian-Islamic art’s ornaments only describe different techniques of Iranian-Islamic art or different types of motifs in it, and finally, by producing descriptive propositions, can not help in understanding the themes of these ornaments. Consequently, the role of these ornaments in creating an artwork is ignored.
Thus, the main purpose of this article was to explain the basics of Iranian-Islamic art’s ornaments in order to understand the role of these ornaments in the formation of Iranian-Islamic art, and Chehel- Sotoun Palace in Isfahan is chosen for case study. This palace was built in one of the golden eras of Iranian-Islamic art and has various forms of ornaments. Since the ornaments of the Safavid period have often mythical and narrative themes, the chosen research method is a sort of mythological critique. Among the various methods of mythological critique, the Cruiser allegorical mythology method is the method of this paper because these ornaments are often symbolic and allegorical, and the allegorical mythology method is a suitable method for analyzing allegorical works. Cruiser argues that in an allegorical work the relation between form and meaning is based on allegory, and in this way the form of the work either becomes a symbol of meaning or refers to meaning through a mythical narrative. Based on this, it can be said that in this article, the main goal is to explain the meaning hidden in the allegorical ornaments of Chehel-Sotoun Palace through the method of allegorical mythology.
Thus, this article by using the allegorical mythology of the Chehel-Sotoun Palace’s ornaments concludes that the idea behind this Palace’s ornaments - stony lions, Anahita, chalipa, swastika, shamse, rotated shamse, Shah Abbasi flower, Niloufar, extensive mirror geometric designs and decoration, water reflections in pools and Middle Hall paintings - are signifying both dignity and illumination, or more precisely, the dignity required by monarchy, or the so-called “Kiani dignity”. Such a palace is built only by such a king and nothing else, and on the other hand the idea behind its pillar columns comes from Mitra's Palace, as the god of light and heat of the sun or in other words the brightest character in Iranian myths, which is an example of all the ideal cities of Iranian culture.
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