نگاره «حرم امام رضا (ع)» در فالنامه تهماسبی سند مصور برای ضریح شبکه‌ای و گنبد مطلای حرم رضوی در سال 957 ق.

نوع مقاله : مقاله پژوهشی (کاربردی)

نویسندگان

1 دانشجوی دکتری آینده‌پژوهی، گروه گرافیک، دانشگاه فنی و حرفه‌ای، تهران، ایران.

2 استادیار، گروه هنر اسلامی، دانشکده هنر، دانشگاه شاهد، تهران، ایران.

3 دکتری، گروه هنر اسلامی، دانشکده هنر، دانشگاه شاهد، تهران، ایران.

چکیده

یکی از بهترین اسناد برای مطالعه و شناخت سیر تطور بناهای تاریخی، مراجعه به اسناد مکتوب و تصاویر مربوط به بنا در گذر زمان است. نگاره «حرم امام رضا(ع)» در موزه دیوید، تا حد زیادی بیان‌گر چگونگی معماری و جزییات فضای حرم مطهر امام رضا (ع) در عهد شاه تهماسب صفوی می‌باشد. فالنامه تهماسبی در زمان حکومت شاه تهماسب، به سال 957 ه.ق. در قزوین مصور شده است. این نسخه دارای کاربرد ویژه، ابعاد بزرگ و کتاب‌آرایی خاصی است و با تأثیرپذیری از مبانی شیعی و آموزه‌های آن و شرایط حاکم بر جامعه آن روز، دارای ساختار ویژه و نمادهای شیعی در حیطه مضمون و نگاره‌ها می‌باشد. پژوهش حاضر بر آن است که نگاره «حرم امام رضا(ع)» را به‌عنوان سند مصور شکل ضریح و گنبد مطلا حرم مطهر امام رضا (ع) در سال 957 ه.ق. در عهد شاه تهماسب صفوی معرفی کند. روش پژوهش، توصیفی- تحلیلی با رویکرد تطبیقی است و اطلاعات، از منابع کتابخانه‌ای جمع‌آوری شده ‌است. یافته‌های کلی تحقیق، حاکی از شباهت ضریح مصور شده در نگاره «حرم امام رضا(ع)» با ضریح مطهر ایشان در عهد شاه تهماسب است و تطبیق این نگاره با نگاره «معجزه دو انگشت امام علی(ع)» بر این نکته صحّه می‌گذارد که حرم رضوی دارای اولین گنبد مطلا و ضریح شبکه‌ای در بین سایر ائمه معصومین (علیهم‌السلام) بوده است.

کلیدواژه‌ها

موضوعات


عنوان مقاله [English]

Painting of "Shrine of Imam Reza (AS)" in Falnameh Tahmasbi: An Illustrated Proof for the Grid Zarih and the Golden Dome of the Razavi Shrine in 957 AH.

نویسندگان [English]

  • Zahra Shaghelanipour 1
  • Khashayar Ghazizade 2
  • Marzie Alipour 3
1 Ph.D. student, Department of Graphic, Technical and Vocational University (TVU), Tehran, Iran.
2 Assistant Professor, Department of Islamic Art, Faculty of art, Shahed University, Tehran, Iran.
3 Ph.D., Department of Islamic Art, Faculty of art, Shahed University, Tehran, Iran.
چکیده [English]

One of the best documents to study and to decipher the evolution of historical monuments is to refer to written documents and images related to the building over time. The painting of the pilgrimage to the shrine of Imam Reza in the David Museum, largely shows the architecture and details of the holy shrine of Imam Reza during the reign of Shah Tahmasb Safavid. Falnameh Tahmasbi was illustrated in Qazvin during the reign of Shah Tahmasb in 957 AH. This version has a special use, book layout and large dimensions, and influenced by Shiite principles and its instructions and the prevailing conditions in the society of the day. When it comes to themes and the drawings, it has special structure and Shiite symbols. The purpose of this study was to analyze the image of Imam Reza shrine in order to describe the shape of Imam Reza shrine during the reign of Shah Tahmasb Safavid. The research method was descriptive-analytical with a comparative approach and data was collected from library sources. The general findings of the research indicate the similarity of the shrine depicted in the painting of Imam Reza shrine with his holy shrine in the reign of Shah Tahmasb. Furthermore, a comparison of this image with the image of "The miracle of Two Fingers of Imam Ali (AS)" confirms the fact that the Razavi Shrine was the first to possess a golden dome and grid Zarih among other Imam shrines.

کلیدواژه‌ها [English]

  • Imam Reza (AS) shrine
  • Grid zarih
  • Golden dom
  • Falnameh Tahmasbi
  • The painting of Imam Reza shrine
  • The painting of the miracle of two fingers of Imam Ali (AS)
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