نوع مقاله : مقاله پژوهشی
نویسندگان
1 گروه آموزشی صنایع دستی دانشکده کاربردی دانشگاه هنر تهران
2 دانشجوی دکتری تاریخ تطبیقی و تحلیلی هنر اسلامی، دانشکده هنر، دانشگاه شاهد، تهران، ایران
چکیده
کلیدواژهها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
According to the literature and history of Iranian architecture, doors and windows as a functional element have played a prominent role in providing lighting and air conditioning in buildings. Due to the passage of time and the exposure of buildings to natural and human factors, researchers have not paid much attention to wooden elements related to architecture. It should be said that Iranian painting is one of the traditional arts, which has its own unique characteristics in language and expression. Iranian painting has evolved in different Islamic periods, especially from the Ilkhanid period to the Safavid era, from the coexistence of arts such as painting, poetry and calligraphy. In this context, the greatest extent of use of architecture and accordingly the decorations and elements related to it occurs in the 9th to 11th centuries of Hijri and more clearly in the school of Herat and Tabriz II. Practically, it can be stated that the door and window in the architectural space of painting have narrated a considerable range of the artistic and technical characteristics of carpentry in the building. The comparison of this art on painting with what is left from that era in historical buildings or museums shows the alignment of the two and the artist's commitment to the overall form of the works of doors and windows in buildings. Due to the representation of artistic and technical features of the real world, doors and windows in miniature have narrated a remarkable scope. The purpose of the research is the typology of doors and windows in the miniature of the Timurid and Safavid periods from an artistic and technical perspective. Therefore, The main question of this research are, the doors and windows in the miniature of this era are classified into several categories from the artistic and technical point of view, and what are the points of difference and commonality between them? This research is qualitative, and the type of objective is applied, and it has been evaluated in a descriptive and analytical-comparative way during three stages of description, assessment and analysis of visual and technical factors. The method of collecting information is also in the form of a library that has been done using first-hand books of painting and also searching on internet sites, including museums and archives. Statistical community, paintings of Timurid and Safavid eras have buildings with doors and windows drawn on them. Also, the purposeful sampling method and cases with comparability (representativeness) have been selected. The results show that the doors and windows in the Timurid and Safavid periods can be classified in terms of location, function, form, decoration, abundance, drawing mode, and placement position. There are two types of doors: main entrance and interior, the function of building and landscape decoration, rectangular, altar, crescent, decorated with and without inscription. Windows and balconies are also in four types of windows, lattice, roushan-dan and dar-afarin. Open, semi-open and closed drawing mode, the frequency of windows and balconies is more and also the position of placement can be seen in different states. Decorations are in three categories of geometric knots, Arabesque and khitan, with fretwork, carving, engrave and inlay techniques, and the majority of geometric patterns are based on hexagons and octagons. The materials used are wood in three types of enamel, carving, inlay, as well as combining wood and metal. The crown decorative element is used only on the entrance doors of the Safavid period, and the mihrabi form is more common in the Timurid period than in the Safavid period.
کلیدواژهها [English]
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