طرح محرابی کنگره‌دار؛ شناسه‌ای هویتی در شکل یابی هنر عصر زندیه

Each King in their respective reigns attempted to shape visual culture according to their intellectual and ideological foundations. In some periods, these changes were explicit and evident, while in others, they were implicit and gradual. The Zand era also possesses distinctive artistic characteristics, including a particular type of Mihrab design. In other words, one of the identifying components of Zand-era visual culture is a type of "Mihrab" design. The Zand Mihrab design exhibits unique visual elements that serve as an iconic representation of the visual culture of that period, along with other visual components, forming the artistic characteristics of the era. The art of the Zand era is full of innovative designs, among which the repetition of a type of frame similar to the types of altars is thought-provoking. Introducing the mentioned frame as an identity identifier and searching for its frequency and how it is manifested in the Zand heritage is the concern of this article. The design of a mihrab with a corrugation, which is often seen in the art of the Zand, is a combination of two crescent and pointed arches, which has brought the upper part, especially the crown of the arch, to the fore in a new form. The mentioned design is an innovative frame in the Zend era and has a hybrid form that is inspired by two crescent and pointed arches in the crown part. The discovery of such distinctive markers necessitates research in this field, as the lack of attention to the study framework may result in misattributing artworks to the Zand era or the early years of the Qajar period without proper identification. The adoption of Mihrab designs imprinted on dateless artifacts and handicrafts of the Zand era will serve as an identity marker of that period. While motifs inspired by arches and muqarnas are prominent in Islamic art, the present study argues that the "Mihrab" design discussed here, is a distinguished visual characteristic of Zand-era art.
Research Objective: The primary objective is to introduce, classify, and study the form of the "Mihrab" frame in Zand-era artworks to define one of its visual elements and cultural markers. The secondary objective is to establish the "Zand Mihrab" as an identity marker.
Research Questions: How can the unique work of the "Zand Frame" be explained as an identity marker in artworks from the second half of the 12th century and the first half of the 13th century AH? How is the identity marker of the "Zand motif" interpreted in terms of innovation in the design of the Mihrab?
In terms of the hypothesis it is assumed that the "Mihrab" design is an identity marker of the art in the Zand era.
Research Methodology: This research is primarily theoretical, as it aims to explore the visual phenomenon known as the "Zand Mihrab" design and to elucidate its characteristics and qualities. The research employs a descriptive-analytical approach, utilizing library research, document analysis, virtual observations, and field visits to collect information and concepts. Data was gathered through written texts and images, focusing on 19 samples of visual arts from the Zand period, including tiles of Vakil mosque, the pavilion, the Haft-Tanan mansion, as well as objects and artifacts such as carpets, tombstones, a wooden door located in the Qazvin Museum, and a fabric piece containing a "Mihrab" frame.
Results: The quantitative findings of this research indicate a prevalence of the "Mihrab" design in the Vakil mosque compared to other architectural structures and artistic works of the mentioned period. The study of the chronological evolution of the "Zand Mihrab" design demonstrates its invention and flourishing in the second half of the 12th century AH and persisted during the first half of the 13th century AH.
Another significant finding of this research is that, although the studied design carries spiritual meanings, it has been transformed in usage during the Zand period and manifested in non-religious architectural structures and artifacts. The "Mihrab" design is found in works such as the Vakil mosque (religious), the pavilion, and the Abdul Razzaq Khan mansion (palace), as well as in Vakil School (educational) and the decoration of objects and tombstones. The Zand-era artists, through innovation in the design and modern visual composition of the Mihrab arch by iterating and harmonizing the application of the motif, and ultimately the utilization of the principle of diversity, transformed the "Mihrab" design into an identity element of the Zand period. Thus, in addition to its original invention, the repetition and diverse application of this form in various arts and architectures have turned the spiritual figure of Mihrab design into a symbol of Zand's identity and an integral part of the visual culture.