نوع مقاله : مقاله پژوهشی
نویسنده
دانشیار، گروه فرش، دانشکده هنرهای کاربردی، دانشگاه هنر ایران، تهران، ایران.
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسنده [English]
Introduction: The practicality of the monuments has made them more appealing to ruling authorities than other tangible cultural heritage. The Zand governors left behind numerous historical monuments in Shiraz, Iran, which are essential for comprehending the theoretical foundations of this dynasty. The artwork patterns from any era have more than merely decorative value; they also convey connotations. Madakhel is an ornamental pattern found in various Zand handcrafted items. The frequent use of the pattern in many Zand artworks is a notable and relatively uncommon feature. Very few artworks from the 12th century A.H. lack Madakhel as a motif. Madakhel motifs in the margins of Qashqai carpets function as a hypotext for the Zand period artworks. A comparison of any artwork with its predecessors and successors reveals its distinct qualities. Form, content, and theme in Zand dynasty artworks demonstrate a strong influence of nomadic aesthetics. Examining the hypertextual relationships between Qashqai textiles and Zand artworks comprising Madakhel patterns fosters not only the recognition of the first text as a hypotext and the second as a hypertext but also the comprehension of the intellectual foundations of the Zand dynasty and the metatextual significance of the pattern. The primary aim of this study is to examine the essence of the Madakhel pattern and how it evolved in relation to Qashqai textile designs. The other significant aspect of the study is that researching Madakhel allows it to be recognized as part of the visual culture during the Zand dynasty. Numerous works from the second half of the 12th century contain Madakhel patterns, which are regarded as one of the visual identifiers of the Zand dynasty. Identifying recurring aesthetic features in the Zand period are unique markers that are beneficial and valuable in molding the art of this period.
Purposes & Questions: This research aims to examine the formation of the Madakhel motif and to analyze the reasons why Zand-period artworks, as hypertexts, frequently adopt Qashqai textile patterns. The Madakhel design appears extensively in Qashqai textiles. Drawing on the concept of cultural intertextuality, the study advances the hypothesis that Qashqai textiles function as hypotexts for Zand artworks. Accordingly, the main research question examines how imitative arts, specifically the reproduction of the Madakhel motif in both Zand-period artworks and Qashqai textiles, can be evaluated, and which cultural and symbolic meanings the Madakhel conveys beyond its formal and structural characteristics. Furthermore, the study explores how the analysis of Qashqai textiles contributes to the interpretation of Madakhel motif within the cultural context of the Zand period. Beyond serving as an ornamental element used to embellish margins, Madakhel is understood as a cultural signifier whose form embodies essential conceptual meanings of the Zand era. Finally, the research asks which shared characteristics between Zand artworks and Qashqai textiles allow the former to be identified as the recipient of the Madakhel motif and the latter as its primary source.
Methods: This article is classified as qualitative research. It examines why Madakhel is depicted in media such as Qashqai textiles and Zand artworks. To obtain the desired results, research data were gathered from library sources. After observing museum artifacts both online and in person, the selected images were examined and categorized. The presence of the Madakhel in artworks serves as a criterion for searching for images on Qashqai textiles and Zand cultural heritages. The data were analyzed using a descriptive-analytical approach based on Gérard Genette’s hypertextuality theory. Forgery was selected as one of Genette’s six categories of hypertextuality. According to observations, Madakhel in Zand dynasty artworks is based on the same principles as Qashqai textiles. From a practical standpoint, this research ignored Madakhel art as entertainment, instead focusing on the imitative influence of Qashqai art on Zand dynasty artworks. Samples were selected using a purposeful method and based on accessible cases.
Findings & Results: The tendency of Zand artists to repeatedly employ Madakhel was examined by analyzing nomadic similarities between Qashqai and Zand cultures. Given this perspective, comparing Zand artworks with their predecessors and successors revealed that the Madakhel pattern was frequently employed in art crafts created during the second half of the 12th century AH. Seven components were found regarding the frequency of the stated pattern. All the analysis results revealintertextuality relationships between the hypotext of Qashqai textiles and the hypertext of Zand period artworks. Madakhel is more than a repeated pattern: it adheres to the nomadic aesthetics of the Zand era and embodies the tribes’ collective consciousness. It also serves as a symbol of transverse time and time flow and is interpreted as an amulet to protect humans from voodooing. Furthermore, this pattern represents the need for order and consistency in nomadic civilization; it recalls the longing for immortality; it exemplifies the Zand dynasty’s cultural adoption from the Qashqai clans; and, finally, it demonstrates purity and cohesiveness.
کلیدواژهها [English]
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