دانشگاه شاهد فصلنامه نگره 2676-7244 21 77 2026 04 01 Comparative Study of Decoration and Decorative Inscriptions of Metal Pitchers in the Safavid and Ottoman Periods مطالعۀ تطبیقی نقوش و تزئینات کتیبه‌ای تنگ‌های فلزی دورۀ صفویه و عثمانی (قرن دهم تا دوازدهم) 40 69 4656 10.22070/negareh.2024.19328.3400 FA الهام طاهریان عضو هیئت‌علمی دانشگاه فرهنگیان استان تهران، گروه آموزش هنر، تهران، ایران. 0009-0001-2866-9668 اصغر فهیمی‌فر دانشیار، گروه نقاشی، دانشکده هنر و معماری، دانشگاه تربیت مدرس، تهران، ایران. 0000-0003-4705-7357 Journal Article 2025 04 03 Introduction: The art of the Safavid and Ottoman eras is one of the most important manifestations of Islamic magnificence, which has significant value and credibility in various artistic fields, including metalwork. The artists of these two periods started to create works of artistic value, among which the metal pitchers have remarkable beauty and sophistication. In the Safavid school, various types of art, including metalwork, which reflects ritual and religious thoughts and views, grew and flourished. However, until now, no comprehensive research has been done regarding metal pitchers of the Safavid and Ottoman eras in comparison with each other, which would lead to a better understanding of the decorations and inscriptions of the metal pitchers of the two periods in relation to each other, and understanding that the strongest influence on Ottoman art derives from Safavid Iranian culture and art. Since the Safavid and Ottoman schools are two important eras in the promotion of Islamic art and culture, and the Ottoman government also received influences from Iranian metalworking art after the attack on Tabriz, research on this becomes a factor to investigate the motifs and decorations of pitchers. Purposes & Questions: This research was conducted with the purpose of comparative study of the form and decorations of inscriptions in metal pitchers of the Safavid and Ottoman eras, and answered the question of what the similarities and differences are between the motifs and decorations of the inscriptions of pitchers or Mashrebas. Do Safavid and Ottoman works reflect their different cultural and social beliefs? Methods: The research method in this study is carried out with a descriptive-analytical approach, and its data collection is by library and documentary methods, and the data analysis method is qualitative. One of the problems of the research is the existence of very limited resources, especially regarding the metal pitchers of the Ottoman era. As a result, the researcher limited the study to examining the few samples available in some museums and selected some representative examples of these pitchers in order to understand the best aesthetic features of each period. The present research is fundamental and in line with a better understanding of the motifs and decorations of the inscriptions of the metal pitchers of the Ottoman and Safavid periods in comparison with each other. The research was conducted using a descriptive-analytical method with a comparative approach and with a historical nature in a qualitative manner, and the method of collecting information was carried out by using library resources, sampling, and virtual museum databases. The statistical population of the research is the investigation of motifs and inscription decorations in the Safavid era metal pitchers compared to the Ottoman era metal pitchers. These works include four representative examples of pitchers from the Safavid period and four examples from the Ottoman period. By comparing them, some samples were randomly selected and analyzed using related criteria in a logical and analogical way. The method of analyzing the works is based on visual principles and rules, as well as logical and comparative analysis. In the following, the similar aspects and the different aspects of the prominent pictorial details of the mentioned pitchers are analyzed in tabular form, and the social and cultural contexts of the sequence of the mentioned traditions are investigated, and at the end, a diagram is presented to show the number and the type of motifs used in the pitchers of both periods has been compiled. Findings & Results: In the war with Shah Ismail, the Ottoman government took several artists of the Safavid school to its capital and used Iranian artists and craftsmen in the production of various art sectors. This influence led to the promotion of the art of the Safavid era in the Ottoman period. Among these influences are pitchers in the shape of a dragon’s handle, which were popular in Iran during the Timurid era. During the Safavid period, Ottoman artists were inspired by these forms after interacting with Safavid art; subsequently, they incorporated these motifs into their own vessel designs. The results show that paying attention to details and small works and writing inscriptions such as poems and supplications in Thuluth and Nastaliq scripts, which express Shia and religious beliefs and Iranian artists' interest in poets, are more obvious in Safavid pitchers. Whereas in the Ottoman school, simple and more decorative motifs often appear in the form of flowers, and the inscriptions do not express religious beliefs, but generally include the names of the builders and poems of the poets who dedicated it. In addition, Ottoman art is influenced by Iranian art, especially the Safavid period, in the use of some motifs. مقدمه: هنر دوران صفویه و عثمانی از مهم‌ترین مفاخر اسلامی به شمار می‌رود که در حوزه‌های گوناگون ازجمله فلزکاری از اعتبار و ارزش قابل‌توجهی برخوردار است. هنرمندان این دو دوره دست به خلق آثار با ارزش هنری زدند که در این میان، تنگ‌های فلزی به دلیل زیبایی و نفاست، جایگاه ویژه‌ای دارند. اهداف و سؤال‌ها: این پژوهش باهدف مطالعه تطبیقی شکل و تزئینات کتیبه‌ای در تنگ‌های فلزی عصر صفوی و عثمانی انجام شده و در پی پاسخ به این پرسش است که چه شباهت‌ها و تفاوت‌هایی میان نقوش و تزئینات کتیبه‌ای تنگ‌ها یا مشربه‌های عصر صفوی و عثمانی وجود دارد که نشانگر عقاید مختلف فرهنگی و اجتماعی آن‌ها است؟ روش‌ها: این پژوهش با رویکردی توصیفی- تحلیلی انجام شده است. گردآوری اطلاعات به روش کتابخانه‌ای و اسنادی صورت گرفته و تجزیه‌وتحلیل اطلاعات نیز به‌ شیوۀ کیفی انجام پذیرفته است. یافته‌ها و نتایج: یافته‌های پژوهش نشان می‌دهد که پرداخت جزئیات، ریزه‌کاری‌ها و کتابت کتیبه‌هایی مشتمل بر اشعار و ادعیه با خطوط ثلث و نستعلیق -که بیانگر عقاید شیعی، باورهای مذهبی و نیز علاقه هنرمندان ایرانی به شعرا است- در تنگ‌های دورۀ صفویه جلوه‌ای بارزتر دارد. این در حالی است که در مکتب عثمانی نقوش ساده‌تر و تزئینی‌تر بوده و اغلب به‌صورت نقوش گل‌ها ظاهر می‌شود و کتیبه‌ها نه بیانگر عقاید مذهبی، بلکه عموماً شامل اسامی سازندگان و اشعار شاعرانی است که آن را وقف کرده‌اند و غالباً جز در موارد معدود فاقد کتیبه‌اند. ضمن اینکه، هنر عثمانی در بهره‌گیری از برخی نقوش، متأثر از هنر ایرانی به‌ویژۀ دورۀ صفویه بوده است.

https://negareh.shahed.ac.ir/article_4656_c350b7566a5fc80b31ab4fd96fda47dd.pdf