بررسی رنگ در فرش نگاره‌های خمسه‌ نظامی و فرش‌ دوره شاه‌ تهماسب صفوی

نوع مقاله : پژوهشی

نویسندگان

1 کارشناسی ارشد، گروه نقاشی، دانشکده هنر، دانشگاه الزهرا‌، تهران، ایران، صندوق پستی: 11155-1639.

2 دانشیار، گروه نقاشی، دانشکده هنر، دانشگاه الزهرا، تهران، ایران، صندوق پستی: 11155-1639.

10.30509/jscw.2024.167362.1202

چکیده

تصاویر نسخه‌‌‌های تاریخی چون خمسه نظامی، فهم دقیقی از ویژگی‌های دیداری اشیای مورد استفاده زمان خود را انتقال می‌دهند. هدف از این پژوهش، مطالعه رنگ فرش در نسخه‌های گوناگون خمسه نظامی در قرن 10 هجری‌قمری /16 میلادی و دوره حکومت شاه تهماسب است. بررسی رنگ این فرش‌ها این پرسش را مطرح می‌کند: سیر رنگ فرش در نگاره‌های خمسه از این بازه زمانی چگونه است و چه ارتباطی با فرش‌های باقی‌مانده از آن دوره دارد؟ روش پژوهش توصیفی- تحلیلی و روش گردآوری اطلاعات به صورت کتابخانه‌ای (اسنادی) می‌باشد. این پژوهش، بررسی رنگ فرش در نمونه‌های خمسه‌ در دوره اوج شکوه هنر‌صفوی است، که تا به حال صورت نگرفته است. نتایج این پژوهش نشان می‌دهد که فرش نگاره‌های مکتب هرات سال930 هـ.ق. غالبا سرخ، مشکی و سرمه‌ای هستند. فرش نگاره‌های تبریز در حوالی سال 946 هـ.ق. به رنگ‌های نام‌برده و رنگ‌های روشن‌تر کرم، سبز و آبی هستند و فرش مکتب شیراز سال 995 هـ.ق. اغلب دارای رنگ‌های سرخابی، آبی، نارنجی و سبز است. رنگ‌های غالب مکتب هرات با مفاهیم عرفانی و زندگی ماورایی پیوند دارند، در حالی که مفاهیم رنگی مکتب شیراز شور زندگی زمینی را منتقل می‌کند و مکتب تبریز ترکیبی از این دو مفهوم است. ویژگی‌های دیداری رنگ‌ در فرش، هم در مکتب‌های نگارگری و هم مراکز فرش‌بافی سراسر یکسان هستند و در کمال شباهت دارای محل خلق یکسان نیستند که ارتباط گسترده‌ هنرمندان در نقاط گوناگون ایران را نشان می‌دهد.

کلیدواژه‌ها

موضوعات

عنوان مقاله [English]

An Examination of Carpet Colours in the Nizami’s Khamsa Miniatures and Carpets from the Safavid ShahTahmasp Era

نویسندگان [English]

  • Shiva Alaee Yazdi 1
  • Elaheh Panjehbashi 2
1 Faculty of Art, Alzahra University, P.O. Box: 1639-11155, Tehran, Iran
2 Faculty of Art, Alzahra University, P.O. Box: 1639-11155, Tehran, Iran
چکیده [English]

Historical manuscript paintings, such as those in the Khamsa of Nizami, convey an accurate understanding of the visual characteristics of objects used in their time. This research aims to study the carpet colours in various versions of the Khamsa of Nizami from the 10th century AH/16th century AD during the reign of Shah Tahmasp. Examining the colours of these carpets raises the question: What is the progression of carpet colours in the Khamsa paintings from this period, and what is their relationship to the surviving carpets of that era? The research method is descriptive-analytical, and information has been collected through library (documentary) sources. This study examines the carpet colours in Khamsa versions from the peak of Safavid art, a topic that has not been previously addressed. This research shows that the carpets in the Herat school paintings from the year 930 AH are predominantly red, black, and dark navy. The carpets in the Tabriz paintings around the year 946 AH feature the colours mentioned above as well as lighter shades of cream, green, and blue, while the carpets from the Shiraz school in the year 995 AH often display colours such as pink, blue, orange, and green. The dominant colours of the Herat school are associated with mystical and otherworldly concepts, while the colour concepts of the Shiraz school convey the vibrancy of earthly life, and the Tabriz school combines these two concepts. The visual characteristics of colour in carpets are largely similar in both the painting schools and carpet-weaving centres, yet, despite these similarities, they do not share identical origins of creation, indicating widespread interaction among artists across various regions of Iran.

کلیدواژه‌ها [English]

  • Colour
  • Safavid ShahTahmasp Era
  • Carpet
  • Persian Miniature
  • Nizami's Khamsa

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مطالعات در دنیای رنگ
دوره 15، شماره 1
اسفند 1403
صفحه 17-33

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سابقه مقاله

  • تاریخ دریافت: 30 مرداد 1403
  • تاریخ بازنگری: 07 دی 1403
  • تاریخ پذیرش: 08 دی 1403

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