نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشجوی دکتری رشته پژوهش هنر، دانشکده هنر، دانشگاه آزاد اسلامی، تهران مرکز، تهران، ایران
2 استاد، گروه پژوهش هنر، دانشکده هنر، دانشگاه آزاد اسلامی، تهران مرکز، تهران، ایران.
3 دانشیار گروه فلسفه هنر، دانشکده هنر و معماری، واحد همدان، دانشگاه آزاد اسلامی، همدان، ایران
چکیده
کلیدواژه‌ها
عنوان مقاله [English]
نویسندگان [English]
Geometric patterns are one of the most prominent aspects of Islamic Art. The geometry of Islamic patterns with its secrets and mysteries has always been discussed and thought by many philosophers and experts who have expressed their views on how to create the geometry of patterns and discover the mysteries hidden in these works. Thinkers and experts in art have chosen different methods and approaches in examining the existence of geometric patterns and from their point of view have given a reason for the existence of these geometric patterns, for instance scholars such as Oleg Grabar, Richard Ettinghausen and Gulru Necipoglu consider Islamic geometric patterns a decoration. What have been mentioned so far about geometric patterns are the studies that the authors have looked at with a historical and theoretical approach. But this research, with a completely different perspective, has constructed a bridge between Islamic art and science, and talks about the existence of the geometry of Islamic patterns with a scientific approach. One of the important concerns of researchers and artists is to decipher the works of art to understand the artwork and the reason it exists. This research, by presenting a different idea from what has been expressed so far in the history of Islamic art, tries to reveal a higher object and a view beyond the common definitions of the Islamic geometric patterns. This research seeks to discover a relationship between the geometry of Islamic patterns with other sciences especially chemistry and believes that a bridge can be established between these two to find out what the Islamic geometric patterns are. In order to achieve this theory, we make adaption between Islamic geometric patterns and structure of chemical formulas.
The purpose of this article is to achieve a more complete knowledge of geometric patterns in Islamic art with a scientific approach; an approach that has not been addressed so far and requires a lot of research in this area. Therefore, the main questions of the research are: 1- Does the structure of chemical elements, materials and formulas correspond to geometric patterns? 2- What is the degree of conformity of geometric patterns with the structure of materials and chemical formulas?
The research method is descriptive-comparative and its inference is based on analogy. The method of analyzing qualitative information and collecting data is from library data. Since the author has spent part of his artistic activities learning, drawing and practicing, teaching and researching in the field of geometry of Islamic patterns, by watching the structure of chemical formulas understood that there is a similarity between these two field. He immediately started researching and looking through the encyclopedias and reference books of chemistry, he searched for the forms of chemical formulas that are formed like geometric designs and patterns as documented in the archive of reference books. There are some important reference books about the geometry of Islamic patterns such as Gereh-Chini at Islamic architecture and handicrafs, Hossein Zomrashidi (1986) and the five-volume collections of Iranian Tiling, Mahmoud MaheroNaghsh (1982). Then, the executed examples had been classified into tables to lead to a better adaption; the first column of which shows the costruction of chemical formulas. The secend column is for islamic geometric patterns which is followed by a picture of geometric pattern in the architectural space of Iranian architecture.
The necessity and importance of this research is based on the fact that since so far, all theoretical discussions about the geometry of Islamic patterns have been raised by Western and non-Muslim scholars and philosophers, the truth about the importance and decipherment of secrets in geometric Islamic patterns are not well pursued. Therefore, it is necessary for a Muslim artist to present a different theory in this regard.
In response to the research questions, we conclude that the geometry of Islamic patterns is directly related to chemistry. 65 comparative samples in the form of 6 tables were presented in this research. First, those chemical bonds that were structurally simple and unmanipulated were adapted to the geometry of Islamic patterns. In the following tables, more complex and diverse chemical bonds and those images that showed chemical bonds under a microscope were mentioned and adapted to geometric designs and patterns. In the last table, the evolved samples of chemical bonds were presented under the title of dendrimers, which corresponded to the types of Shamsa under the arches and domes. In all samples, one hundred percent correspondence between the geometry of Islamic patterns and the chemical structure of the materials was evident. This adaptation can be seen either in the structure of unmanipulated or advanced chemical bonds with Islamic geometric patterns and designs. The degree of conformity in the samples presented in this research was one hundred percent and the theory of matching between the geometry of Islamic patterns and the structure of chemical bonds was complete and established.
کلیدواژه‌ها [English]
افلاطون (1380)، جلد سوم، رساله تیمائوس، ترجمه محمدحسن لطفی، چاپ سوم، تهران، شرکت سهامی انتشارات خوارزمی.
بابایی، پروین و زاد امیری، سمیه (1398)، نقوش هندسی در آینه منابع مکتوب از گذشته تا امروز، کتابشناسی نقوش هندسی در هنر اسلامی، دو فصلنامه نقد کتاب ادبیات و هنر، شماره 7 و 8، صص 327- 336.
بلخاریقهی، حسن (1396)، فلسفه، هندسه و معماری، تهران، انتشارات دانشگاه تهران.
بلخاریقهی، حسن (1394)، قدر، نظریه هنر و زیبایی در تمدن اسلامی، تهران، نشر سازمان تبلیغات اسلامی، سوره مهر.
بلیلاناصل، لیدا و ستارزاده، داریوش و نوری، مریم و خورشیدیان احمر، ساناز (1393)، ارائه دیدگاههای جدید در رابطه با الگوهای گل و ستاره در تزیینات اسلامی، هویت شهر، شماره 17، صص 45- 54.
راسل، برتراند (1373)، تاریخ فلسفه غرب، ترجمه دریابندری، جلد اول، تهران، نشر پرواز.
زمرشیدی، حسین (1373)، کاشی‌کاری ایران (جلد اول) گلچین معقلی، تهران، نشر کیهان.
زمرشیدی، حسین (1365)، گره چینی در معماری اسلامی و هنرهای دستی، تهران: مرکز نشر دانشگاهی.
عنبرییزدی، فائزه (1392)، هندسه نقوش 1، تهران، شرکت چاپ و نشر کتابهای درسی ایران.
قربانی، ابوالقاسم و شیخان، محمدعلی (1371)، بوزجانینامه، زندگی و آثار ابوالوفاء بوزجانی، تهران، انتشارات و آموزش انقلاب اسلامی.
ماهرالنقش، محمود (1361)، کاشی‌کاری ایران (جلد اول- پنجم)، تهران، نشر موزه رضا عباسی.
ماهرالنقش، محمود (1370)، خط بنایی، تهران، انتشارات سروش.
ماهرالنقش، محمود (1381)، میراث آجرکاری ایران، تهران، نشر سروش.
محمدیانمنصور، صاحب و فرامرزی، سینا (1391)، مقایسه نظم شبه تناوبی شاه گره با ساختار شبه بلوری سیلیکون، نشریه هنرهای زیبا- هنرهای تجسمی، شماره 50، صص 69- 80.
نژادابراهیمی، احد و یعقوبلو، محمد (1398)، درآمدی بر هندسه نظری در معماری، دوماهنامه علمی تخصصی پژوهش در هنر و علوم انسانی، سال چهارم، شماره 5، صص 19- 34.
نجیباوغلو، گلرو (1389)، هندسه و تزیین در معماری اسلامی (طومار توپقاپی)، ترجمه مهرداد قیومی بیدهندی، چاپ دوم، تهران، نشر روزنه.
Atif, Rasheed. & Khaliq, Jibran. & Combrinck, Madeleine. & Hassanin, Ahmed H. & Shehata, Nader. & Elnabawy, Eman. & Shyha, Islam. (2020). Solution Blow Spinning of Polyvinnylidene Fluoride based fibers for Energy Harvesting Applications: A Review, MDPI, Polymers, 12, 1304, 1- 29
Atwood, Jerry L. & Steed, Jonathan W. (2004), Encyclopedia of Supramolecular Chemistry, Vol. 1 & 2, New York: Taylor & Francis Group.
Burckhardt, Titus. (1976), Art of Islam: Language and Meaning, London: world of Islam Festival Publishing.
Bourgoin, Jules. (1873), Les arts arabes, Paris: Veuve A. Morel.
Chen, Zhongfang. (2016), Theory- guided Innovation of Nancarbon Two-dimensional Nanomaterials, Progress Report, San Juan, PR 00931, 1- 39
Ciferri, Alberto. (2005), Supramolecular polymers, Second edithion, Taylor & Francis Group. LLC: Boca Raton.
Critchilow, Keith. (1976), Islamic Patterns: An Analytical and Cosmological Approach, New York: Schocken Book.
Desiraju, Gautam R. (1996), The Crystal as a Supramolecular entity, Perspectives in Supramolecular Chemistry, Vol. 2, England: John Wiley & Sons.
Desiraju, Gautam R. (2003), Crystal Design: Structure and Function. Vol. 7, England: John Wiley & Sons.
Dimand, Maurice S. (1930), a Handbook of Mohammedan Decorative Arts, New York: The Metropolitan Museum of Art.
Dodziuk, Helena. (2002), Introduction to Supramolecular Chemistry, New York: Kluwer Academic Publishers.
Ettinghausen, Richard. (1944), "The character of Islamic Art" in the Arab Heritage, edited by Nabih Amin Faris, 251-67. Princeton: Princeton Univ. Press.
Grabar, Oleg. (1992), the Mediation of Ornament. Princeton: Princeton Univ. Press.
Hahn, Uwe. & Vogtle, Fritz. & Nierengarten, Jean-Francios. (2012). Synthetic Strategies towards Fullerene-Rich Dendrimer Assemblies. Polymers, 501- 538
Herzfeld, Ernst Emil. (1987). Reprint. "Arabesque" in the Encyclopedia of Islam. Vol. 1: 363- 67. Leiden: E. J. Brill. Original edition, Leiden: E. J. Brill, 1913.
Holleman, A. F. & Wiberg, Egon. (2001), Inorganic Chemistry, Translated by Mary Eagleson & William Brewer, USA: Academic Press, California.
Jones, W. & Rao, C.N.R. (2002), Supramolecular organization and material design, New York: Cambridge University Press.
Katsenis, A.D. & Puskaric, A. & Strukil, V. & Mottillo, C. & Julien, P. & Uzarevic, K. & Pham, M. & Do, T. & Kimber, S. & Lazic, P. & Magdysyuk, O. & Dinnebier, R. & Halasz, I. & Friscic, T. (2015), In Situ X-ray diffraction monitoring of a mechanochemical reaction reveals a unique topology metal-organic framework, nature Communications.
Kepler, Johannes. (1939), Welt-Harmonik, translated by Max Caspar, Munich: R. oldenbourg (Fifth book of Harmonices mundi. Originally published in Linz: Godofredi Tampachii, 1619).
Kondinski, Aleksandar & Monakhov, Kirill Yu. (2017), Breaking the Gordian Knot in the structural Chemistry of Polyoxometalates: Copper (ll)-Oxo/Hydroxo Clusters, ChemPubSoc, Europe, 23, Pp.: 7841- 7852
MacGillivray, Leonard R. (2010), metal-Organic Frameworks, Design and Application, England: John Wiley & Sons.
Makovicky, Emil. & Makovicky Milota. (1977), Arabic Geometrical patterns- A treasury for crystallographic teaching, Neues Jahrbuch fur Mineralogie, Monatshefte, Heft: 2: 58- 68.
Mamedov, Kh. S. (1986), Crystallographic Patterns, Computers and Mathematics with Application, Part B, vol. 12B, no. 3/4: 511- 29.
Nasr, Seyyed Hossein. (1976), Islamic science: An Illustrated Survey, London: World of Islam Festival Publishing.
Steed, Jonathan W & Atwood, Jerry L. (2009), Supramolecular Chemistry, 2nd Edition, England: John Wiley and Sons
Steed, Jonathan W. & Turner, David R. & Wallace, Karl J. (2007), Core Concepts in Supramolecular Chemistry and Nanochemistry, England: John Wiley & Sons.
Sauvage, Jean-Pierre. (1999), Transtion Metals in Supramolecular Chemistry, Vol. 5, New York: John Willy & Sons.
URLs:
)