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‫ﭼﻬﺎﺭﻣﯿﻦﺳﻤﭙﻮﺯﯾﻮﻡ ﺩﻭﺳﺎﻻﻧﻪ ﺍﻧﺠﻤﻦ ﺗﺎﺭﯾﺦ ﻧﮕﺎﺭﺍﻥ ﻫﻨﺮ‬

‫ﺍﺳﻼﻣﯽ‪ 18-16،‬ﺍﮐﺘﺒﺮ ‪2014‬‬

‫ﻣﻮﺯﻩﺁﻗﺎﺧﺎﻥ‪ ،‬ﺗﻮﺭﻧﺘﻮ‪ ،‬ﮐﺎﻧﺎﺩﺍ‬

‫ﻣﻘﺪﻣﻪﻭ‬ ‫ﺳﭙﺎﺳﮕﺰﺍﺭﯾﻬﺎ‬

‫ﻓﻬﺮﺳﺖ‬ ‫ﻣﻘﺪﻣﻪﻭ ﻗﺪﺭﺩﺍﻧﯽ‬ ‫ﺑﺮﻧﺎﻣﻪﺳﻤﭙﻮﺯﯾﻮﻡ‬ ‫ﭘﺎﻧﻞ‪1‬‬ ‫ﭘﺎﻧﻞ‪2‬‬ ‫ﭘﺎﻧﻞ‪3‬‬ ‫ﭘﺎﻧﻞ‪4‬‬ ‫ﭘﺎﻧﻞ‪5‬‬ ‫ﭘﺎﻧﻞ‪6‬‬ ‫ﭘﺎﻧﻞ‪7‬‬ ‫ﭘﺎﻧﻞ‪8‬‬ ‫ﯾﺎﺩﺩﺍﺷﺖ‬

‫ﻣﺠﻤﻮﻋﻪﻫﺎ ﻭ ﻧﻤﺎﯾﺸﮕﺎﻩ ﻫﺎﯼ ﺑﯿﻦ ﺩﺍﻧﺶ ﻭ ﺗﺨﯿﻞ‬ ‫ﺩﺍﻧﺶﻭ ﺳﻨﺖ ﻫﺎﯼ ﺳﺎﺧﺘﻤﺎﻧﯽ‬ ‫ﺳﺎﺧﺖﺩﺍﻧﺶ ﺩﺭ ﻫﻨﺮﻫﺎﯼ ﮐﺘﺎﺏ ﻓﺎﺭﺳﯽ ﻭ ﺗﺮﮐﯽ‬ ‫ﭘﻨﺞﺿﻠﻌﯽ ﻭ ﺩﻩ ﺿﻠﻌﯽ ﺩﺭ ﻫﻨﺮ ﺍﺳﻼﻣﯽ‬

‫‪03‬‬ ‫‪04‬‬ ‫‪08‬‬ ‫‪12‬‬ ‫‪16‬‬

‫ﺑﻪﺩﻧﺒﺎﻝ ﺳﻤﭙﻮﺯﯾﻮﻡ ﺩﻭﺳﺎﻻﻧﻪ ‪ HIAA‬ﮐﻪ ﺩﺭ ﺳﺎﻝ ‪ 2012‬ﺩﺭ ﻣﻮﺯﻩ ﻫﻨﺮ ﻣﺘﺮﻭﭘﻮﻟﯿﺘﻦ ﺑﺮﮔﺰﺍﺭ ﺷﺪ‪ ،‬ﻫﯿﺉﺖ ﺍﺟﺮﺍﯾﯽ ﺍﻧﺠﻤﻦ ﻣﻮﺭﺧﺎﻥ ﻫﻨﺮ‬ ‫ﺍﺳﻼﻣﯽﺑﺎ ﺑﺮﮔﺰﺍﺭﯼ ﺳﻤﭙﻮﺯﯾﻮﻡ ﺑﻌﺪﯼ ﺧﻮﺩ ﺩﺭ ﻣﻮﺯﻩ ﺁﻗﺎﺧﺎﻥ ﺗﻮﺭﻧﺘﻮ ﻣﻮﺍﻓﻘﺖ ﮐﺮﺩ‪ .‬ﺗﻨﻮﻉ ﻋﻼﯾﻖ ﺍﻋﻀﺎﯼ ‪ HIAA‬ﺩﺭ ﺳﻪ ﺳﻤﭙﻮﺯﯾﻮﻡ‬

‫ﺩﻭﺳﺎﻻﻧﻪﺍﻭﻝ ﮐﻪ ﺩﺭ ﺁﻥ ﻣﺤﻘﻘﺎﻥ ﺍﺯ ﺁﻣﺮﯾﮑﺎﯼ ﺷﻤﺎﻟﯽ‪ ،‬ﺍﺭﻭﭘﺎ ﻭ ﺧﺎﻭﺭﻣﯿﺎﻧﻪ ﺗﺤﻘﯿﻘﺎﺕ ﺟﺪﯾﺪﯼ ﺭﺍ ﺩﺭ ﻣﻮﺭﺩ ﻃﯿﻒ ﻭﺳﯿﻌﯽ ﺍﺯ ﻣﻮﺿﻮﻋﺎﺕ‬ ‫ﺍﺭﺍﺉﻪﮐﺮﺩﻧﺪ‪ ،‬ﺑﻪ ﺧﻮﺑﯽ ﻣﻮﺭﺩ ﺍﺳﺘﻔﺎﺩﻩ ﻗﺮﺍﺭ ﮔﺮﻓﺖ‪ .‬ﺑﺎ ﺍﻓﺰﺍﯾﺶ ﺍﻧﻌﻄﺎﻑ ﭘﺬﯾﺮﯼ ﺟﻬﺎﻧﯽ ﺩﺭ ﺍﯾﻨﺘﺮﻧﺖ‪ ،‬ﻧﻘﺶ ‪ HIAA‬ﺍﺯ ﻃﺮﯾﻖ ﻭﺏ‬

‫ﺳﺎﯾﺖﻭ ‪ H-ISLAMART‬ﮔﺴﺘﺮﺵ ﯾﺎﻓﺘﻪ ﺍﺳﺖ ﻭ ﺍﻋﻀﺎﯼ ‪ HIAA‬ﺭﺍ ﺑﺎ ﯾﮑﺪﯾﮕﺮ ﺩﺭ ﺗﻤﺎﺱ ﻧﮕﻪ ﻣﯽ ﺩﺍﺭﺩ ﻭ ﺍﺧﺒﺎﺭ ﻧﺸﺮﯾﺎﺕ‪ ،‬ﻣﺴﺎﺉﻞ‬

‫ﻋﻠﻤﯽﻭ ﺗﺄﺛﯿﺮ ﺍﻣﻮﺭ ﺟﻬﺎﻧﯽ ﺑﺮ ﻣﻮﺿﻮﻋﺎﺕ ﺭﺍ ﺍﺭﺍﺉﻪ ﻣﯽ ﺩﻫﺪ‪ .‬ﺗﺤﻘﯿﻖ ﻣﺎ ﺑﺎ ﺍﯾﻦ ﺣﺎﻝ‪ ،‬ﻫﯿﭻ ﻣﻘﺪﺍﺭ ﺍﻃﻼﻋﺎﺕ ﺍﻟﮑﺘﺮﻭﻧﯿﮑﯽ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪،‬‬

‫ﯾﮏﻣﺎﻩ ﭘﺲ ﺍﺯ ﺍﻓﺘﺘﺎﺡ ﻣﻮﺯﻩ ﺁﻗﺎﺧﺎﻥ‪ ،‬ﭼﻬﺎﺭﻣﯿﻦ ﺳﻤﭙﻮﺯﯾﻮﻡ ﺩﻭﺳﺎﻻﻧﻪ ﺑﺮ ﻣﻮﺿﻮﻉﺍﺷﮑﺎﻝ ﺩﺍﻧﺶ ﻭ ﻓﺮﻫﻨﮓ ﻫﺎﯼ ﯾﺎﺩﮔﯿﺮﯼ ﺩﺭ ﻫﻨﺮ ﺍﺳﻼﻣﯽ‬

‫‪.‬ﺍﯾﻦ ﺳﻤﭙﻮﺯﯾﻮﻡ ﺑﺎ ﺳﺨﻨﺮﺍﻧﯽ ﻟﯿﺰﺍ ﮔﻮﻟﻮﻣﺒﮏ‪ ،‬ﻣﺘﺼﺪﯼ ﺑﺎﺯﻧﺸﺴﺘﻪ )ﻫﻨﺮ ﺍﺳﻼﻣﯽ( ﺩﺭ ﻣﻮﺯﻩ ﺳﻠﻄﻨﺘﯽ ﺍﻧﺘﺎﺭﯾﻮ‪ ،‬ﺗﻮﺭﻧﺘﻮ‪ ،‬ﺍﻓﺘﺘﺎﺡ ﺧﻮﺍﻫﺪ‬

‫ﺍﺩﺍﯼﭼﯿﺰﯼ ﺭﺍ ﺩﺭ ﺁﻭﺭﺩﻥ؟ ﺗﻘﻠﯿﺪ‪ ،‬ﮐﭙﯽ ﺑﺮﺩﺍﺭﯼ ﻭ ﺟﻌﻞ ﻫﻨﺮ ﻭ ﻣﻌﻤﺎﺭﯼ ﺍﯾﺮﺍﻧﯽ‬

‫ﺷﺪ‪.‬ﺩﺭ ﻃﻮﻝ ﺍﯾﻦ ﺩﻭ ﺭﻭﺯ‪ ،‬ﺍﯾﻦ ﺑﺮﻧﺎﻣﻪ ﺷﺎﻣﻞ ﻫﺸﺖ ﺟﻠﺴﻪ ﻣﻮﺿﻮﻋﯽ ﺑﺎ ﻣﻮﺿﻮﻋﺎﺕ ﻣﺨﺘﻠﻒ ﺍﺳﺖ ﮐﻪ ﺗﻤﺎﻡ ﺩﻭﺭﻩ ﻫﺎ ﻭ ﺑﯿﺸﺘﺮ‬

‫ﮐﻠﻤﻪﺁﺭﺍﺳﺘﻪ‬

‫ﻣﺠﻤﻮﻋﻪﺩﺍﺉﻤﯽ ﻣﻮﺯﻩ ﻭ ﺩﻭ ﻧﻤﺎﯾﺸﮕﺎﻩ ﻣﻮﻗﺖ ﺑﺎﺯﺩﯾﺪ ﮐﻨﻨﺪ‪.‬ﺩﺭ ﺟﺴﺘﺠﻮﯼ ﻫﻨﺮﻣﻨﺪ‪ :‬ﻃﺮﺍﺣﯽ ﻫﺎ ﻭ ﻧﻘﺎﺷﯽ ﻫﺎﯼ ﺍﻣﻀﺎ ﺷﺪﻩ ﺍﺯ ﻣﺠﻤﻮﻋﻪ‬

‫ﺗﻌﺒﯿﻪﻭ ﺍﺷﺎﻋﻪ ﺩﺍﻧﺶ ﺩﺭ ﻫﻨﺮ ﮐﺘﺎﺏ‬

‫ﺭﺳﺎﻧﻪ ﻫﺎﯼﻫﻨﺮ ﻭ ﻣﻌﻤﺎﺭﯼ ﺍﺳﻼﻣﯽ ﺭﺍ ﭘﻮﺷﺶ ﻣﯽ ﺩﻫﺪ‪ .‬ﺷﺮﮐﺖ ﮐﻨﻨﺪﮔﺎﻥ ﻭ ﺛﺒﺖ ﻧﺎﻡ ﮐﻨﻨﺪﮔﺎﻥ ﺗﺸﻮﯾﻖ ﻣﯽ ﺷﻮﻧﺪ ﺗﺎ ﺍﺯ ﮔﺎﻟﺮﯼ‬ ‫ﻣﻮﺯﻩﺁﻗﺎﺧﺎﻥﺑﻪ ﺳﺮﭘﺮﺳﺘﯽ ‪ Filiz Çakır Phillip‬ﻭﺑﺎﻍ ﺍﯾﺪﻩ ﻫﺎ‪ :‬ﻫﻨﺮ ﻣﻌﺎﺻﺮ ﺍﺯ ﭘﺎﮐﺴﺘﺎﻥﺳﺮﭘﺮﺳﺘﯽ ﺷﺎﺭﻣﻨﯽ ﭘﺮﯾﺮﺍ‪.‬‬

‫ﺁﻧﭽﻪﻫﻨﺮﻣﻨﺪﺍﻥ ﻭ ﺻﻨﻌﺘﮕﺮﺍﻥ ﻣﯽ ﺩﺍﻧﺴﺘﻨﺪ‬ ‫ﮐﻤﯿﺘﻪﺑﺮﻧﺎﻣﻪ ‪ HIAA 2014‬ﺷﺎﻣﻞ ﺭﻭﺑﺎ ﮐﻨﻌﺎﻥ‪ ،‬ﺭﺉﯿﺲ ﺁﻣﻮﺯﺵ ﻭ ﺑﺮﻧﺎﻣﻪ ﻫﺎﯼ ﻋﻠﻤﯽ‪ ،‬ﻣﻮﺯﻩ ﺁﻗﺎﺧﺎﻥ ﺍﺳﺖ‪،Oya Pancaroğlu .‬‬

‫ﮔﺮﻭﻩﺗﺎﺭﯾﺦ‪ ،‬ﺩﺍﻧﺸﮕﺎﻩ ﺑﻮﻏﺎﺯﯾﭽﯽ; ﻭ ﮐﺎﺭﯾﻦ ﺭﻭﻫﺮﺩﻧﺰ‪ ،‬ﻣﺘﺼﺪﯼ ﺍﺭﺷﺪ ﻫﻨﺮﻫﺎﯼ ﺗﺰﺉﯿﻨﯽ ﺍﺳﻼﻣﯽ‪ ،‬ﻣﻮﺯﻩ ﺳﻠﻄﻨﺘﯽ ﺍﻧﺘﺎﺭﯾﻮ‪ .‬ﺍﯾﻦ ﺳﻤﭙﻮﺯﯾﻮﻡ‬

‫ﺑﺎﻣﺸﻮﺭﺕ ﻫﯿﺉﺖ ﻣﺪﯾﺮﻩ ‪ HIAA‬ﻭ ﺑﻪ ﻭﯾﮋﻩ ﺑﺎ ﺭﺉﯿﺲ ﺁﻥ‪ ،‬ﺷﯿﻼ ﮐﺎﻧﺒﯽ‪ ،‬ﭘﺘﯽ ﮐﺎﺩﺑﯽ ﺑﺮﭺ‪ ،‬ﻣﺴﺉﻮﻝ ﺑﺨﺶ ﻫﻨﺮ ﺍﺳﻼﻣﯽ‪ ،‬ﺩﺭ ﻣﻮﺯﻩ ﻫﻨﺮ‬ ‫ﻣﺘﺮﻭﭘﻮﻟﯿﺘﻦﺑﺮﻧﺎﻣﻪ ﺭﯾﺰﯼ ﺷﺪ‪ .‬ﻣﻮﺯﻩ ﺁﻗﺎﺧﺎﻥ ﺑﺎ ﺣﻤﺎﯾﺖ ﻫﻤﻪ ﺟﺎﻧﺒﻪ ﺧﻮﺩ ﺑﺮﮔﺰﺍﺭﯼ ﺳﻤﭙﻮﺯﯾﻮﻡ ﺭﺍ ﻣﻤﮑﻦ ﺳﺎﺧﺘﻪ ﺍﺳﺖ‪.‬‬

‫ﺳﻮﺳﻦﺑﺎﺑﺎﯾﯽ‬

‫ﺭﺉﯿﺲﻣﻨﺘﺨﺐ ‪HIAA‬‬

‫ﺭﺑﻊﮐﻨﻌﺎﻥ‬

‫ﻣﻮﺯﻩﺁﻗﺎﺧﺎﻥ‬

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‫ﻣﻘﺪﻣﻪﻭ‬ ‫ﺳﭙﺎﺳﮕﺰﺍﺭﯾﻬﺎ‬

‫ﻓﻬﺮﺳﺖ‬ ‫ﻣﻘﺪﻣﻪﻭ ﻗﺪﺭﺩﺍﻧﯽ‬ ‫ﺑﺮﻧﺎﻣﻪﺳﻤﭙﻮﺯﯾﻮﻡ‬ ‫ﭘﺎﻧﻞ‪1‬‬ ‫ﭘﺎﻧﻞ‪2‬‬ ‫ﭘﺎﻧﻞ‪3‬‬ ‫ﭘﺎﻧﻞ‪4‬‬ ‫ﭘﺎﻧﻞ‪5‬‬ ‫ﭘﺎﻧﻞ‪6‬‬ ‫ﭘﺎﻧﻞ‪7‬‬ ‫ﭘﺎﻧﻞ‪8‬‬ ‫ﯾﺎﺩﺩﺍﺷﺖ‬

‫ﻣﺠﻤﻮﻋﻪﻫﺎ ﻭ ﻧﻤﺎﯾﺸﮕﺎﻩ ﻫﺎﯼ ﺑﯿﻦ ﺩﺍﻧﺶ ﻭ ﺗﺨﯿﻞ‬ ‫ﺩﺍﻧﺶﻭ ﺳﻨﺖ ﻫﺎﯼ ﺳﺎﺧﺘﻤﺎﻧﯽ‬ ‫ﺳﺎﺧﺖﺩﺍﻧﺶ ﺩﺭ ﻫﻨﺮﻫﺎﯼ ﮐﺘﺎﺏ ﻓﺎﺭﺳﯽ ﻭ ﺗﺮﮐﯽ‬ ‫ﭘﻨﺞﺿﻠﻌﯽ ﻭ ﺩﻩ ﺿﻠﻌﯽ ﺩﺭ ﻫﻨﺮ ﺍﺳﻼﻣﯽ‬

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‫ﺑﻪﺩﻧﺒﺎﻝ ﺳﻤﭙﻮﺯﯾﻮﻡ ﺩﻭﺳﺎﻻﻧﻪ ‪ HIAA‬ﮐﻪ ﺩﺭ ﺳﺎﻝ ‪ 2012‬ﺩﺭ ﻣﻮﺯﻩ ﻫﻨﺮ ﻣﺘﺮﻭﭘﻮﻟﯿﺘﻦ ﺑﺮﮔﺰﺍﺭ ﺷﺪ‪ ،‬ﻫﯿﺉﺖ ﺍﺟﺮﺍﯾﯽ ﺍﻧﺠﻤﻦ ﻣﻮﺭﺧﺎﻥ ﻫﻨﺮ‬ ‫ﺍﺳﻼﻣﯽﺑﺎ ﺑﺮﮔﺰﺍﺭﯼ ﺳﻤﭙﻮﺯﯾﻮﻡ ﺑﻌﺪﯼ ﺧﻮﺩ ﺩﺭ ﻣﻮﺯﻩ ﺁﻗﺎﺧﺎﻥ ﺗﻮﺭﻧﺘﻮ ﻣﻮﺍﻓﻘﺖ ﮐﺮﺩ‪ .‬ﺗﻨﻮﻉ ﻋﻼﯾﻖ ﺍﻋﻀﺎﯼ ‪ HIAA‬ﺩﺭ ﺳﻪ ﺳﻤﭙﻮﺯﯾﻮﻡ‬

‫ﺩﻭﺳﺎﻻﻧﻪﺍﻭﻝ ﮐﻪ ﺩﺭ ﺁﻥ ﻣﺤﻘﻘﺎﻥ ﺍﺯ ﺁﻣﺮﯾﮑﺎﯼ ﺷﻤﺎﻟﯽ‪ ،‬ﺍﺭﻭﭘﺎ ﻭ ﺧﺎﻭﺭﻣﯿﺎﻧﻪ ﺗﺤﻘﯿﻘﺎﺕ ﺟﺪﯾﺪﯼ ﺭﺍ ﺩﺭ ﻣﻮﺭﺩ ﻃﯿﻒ ﻭﺳﯿﻌﯽ ﺍﺯ ﻣﻮﺿﻮﻋﺎﺕ‬ ‫ﺍﺭﺍﺉﻪﮐﺮﺩﻧﺪ‪ ،‬ﺑﻪ ﺧﻮﺑﯽ ﻣﻮﺭﺩ ﺍﺳﺘﻔﺎﺩﻩ ﻗﺮﺍﺭ ﮔﺮﻓﺖ‪ .‬ﺑﺎ ﺍﻓﺰﺍﯾﺶ ﺍﻧﻌﻄﺎﻑ ﭘﺬﯾﺮﯼ ﺟﻬﺎﻧﯽ ﺩﺭ ﺍﯾﻨﺘﺮﻧﺖ‪ ،‬ﻧﻘﺶ ‪ HIAA‬ﺍﺯ ﻃﺮﯾﻖ ﻭﺏ‬

‫ﺳﺎﯾﺖﻭ ‪ H-ISLAMART‬ﮔﺴﺘﺮﺵ ﯾﺎﻓﺘﻪ ﺍﺳﺖ ﻭ ﺍﻋﻀﺎﯼ ‪ HIAA‬ﺭﺍ ﺑﺎ ﯾﮑﺪﯾﮕﺮ ﺩﺭ ﺗﻤﺎﺱ ﻧﮕﻪ ﻣﯽ ﺩﺍﺭﺩ ﻭ ﺍﺧﺒﺎﺭ ﻧﺸﺮﯾﺎﺕ‪ ،‬ﻣﺴﺎﺉﻞ‬

‫ﻋﻠﻤﯽﻭ ﺗﺄﺛﯿﺮ ﺍﻣﻮﺭ ﺟﻬﺎﻧﯽ ﺑﺮ ﻣﻮﺿﻮﻋﺎﺕ ﺭﺍ ﺍﺭﺍﺉﻪ ﻣﯽ ﺩﻫﺪ‪ .‬ﺗﺤﻘﯿﻖ ﻣﺎ ﺑﺎ ﺍﯾﻦ ﺣﺎﻝ‪ ،‬ﻫﯿﭻ ﻣﻘﺪﺍﺭ ﺍﻃﻼﻋﺎﺕ ﺍﻟﮑﺘﺮﻭﻧﯿﮑﯽ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪،‬‬

‫ﯾﮏﻣﺎﻩ ﭘﺲ ﺍﺯ ﺍﻓﺘﺘﺎﺡ ﻣﻮﺯﻩ ﺁﻗﺎﺧﺎﻥ‪ ،‬ﭼﻬﺎﺭﻣﯿﻦ ﺳﻤﭙﻮﺯﯾﻮﻡ ﺩﻭﺳﺎﻻﻧﻪ ﺑﺮ ﻣﻮﺿﻮﻉﺍﺷﮑﺎﻝ ﺩﺍﻧﺶ ﻭ ﻓﺮﻫﻨﮓ ﻫﺎﯼ ﯾﺎﺩﮔﯿﺮﯼ ﺩﺭ ﻫﻨﺮ ﺍﺳﻼﻣﯽ‬

‫‪.‬ﺍﯾﻦ ﺳﻤﭙﻮﺯﯾﻮﻡ ﺑﺎ ﺳﺨﻨﺮﺍﻧﯽ ﻟﯿﺰﺍ ﮔﻮﻟﻮﻣﺒﮏ‪ ،‬ﻣﺘﺼﺪﯼ ﺑﺎﺯﻧﺸﺴﺘﻪ )ﻫﻨﺮ ﺍﺳﻼﻣﯽ( ﺩﺭ ﻣﻮﺯﻩ ﺳﻠﻄﻨﺘﯽ ﺍﻧﺘﺎﺭﯾﻮ‪ ،‬ﺗﻮﺭﻧﺘﻮ‪ ،‬ﺍﻓﺘﺘﺎﺡ ﺧﻮﺍﻫﺪ‬

‫ﺍﺩﺍﯼﭼﯿﺰﯼ ﺭﺍ ﺩﺭ ﺁﻭﺭﺩﻥ؟ ﺗﻘﻠﯿﺪ‪ ،‬ﮐﭙﯽ ﺑﺮﺩﺍﺭﯼ ﻭ ﺟﻌﻞ ﻫﻨﺮ ﻭ ﻣﻌﻤﺎﺭﯼ ﺍﯾﺮﺍﻧﯽ‬

‫ﺷﺪ‪.‬ﺩﺭ ﻃﻮﻝ ﺍﯾﻦ ﺩﻭ ﺭﻭﺯ‪ ،‬ﺍﯾﻦ ﺑﺮﻧﺎﻣﻪ ﺷﺎﻣﻞ ﻫﺸﺖ ﺟﻠﺴﻪ ﻣﻮﺿﻮﻋﯽ ﺑﺎ ﻣﻮﺿﻮﻋﺎﺕ ﻣﺨﺘﻠﻒ ﺍﺳﺖ ﮐﻪ ﺗﻤﺎﻡ ﺩﻭﺭﻩ ﻫﺎ ﻭ ﺑﯿﺸﺘﺮ‬

‫ﮐﻠﻤﻪﺁﺭﺍﺳﺘﻪ‬

‫ﻣﺠﻤﻮﻋﻪﺩﺍﺉﻤﯽ ﻣﻮﺯﻩ ﻭ ﺩﻭ ﻧﻤﺎﯾﺸﮕﺎﻩ ﻣﻮﻗﺖ ﺑﺎﺯﺩﯾﺪ ﮐﻨﻨﺪ‪.‬ﺩﺭ ﺟﺴﺘﺠﻮﯼ ﻫﻨﺮﻣﻨﺪ‪ :‬ﻃﺮﺍﺣﯽ ﻫﺎ ﻭ ﻧﻘﺎﺷﯽ ﻫﺎﯼ ﺍﻣﻀﺎ ﺷﺪﻩ ﺍﺯ ﻣﺠﻤﻮﻋﻪ‬

‫ﺗﻌﺒﯿﻪﻭ ﺍﺷﺎﻋﻪ ﺩﺍﻧﺶ ﺩﺭ ﻫﻨﺮ ﮐﺘﺎﺏ‬

‫ﺭﺳﺎﻧﻪ ﻫﺎﯼﻫﻨﺮ ﻭ ﻣﻌﻤﺎﺭﯼ ﺍﺳﻼﻣﯽ ﺭﺍ ﭘﻮﺷﺶ ﻣﯽ ﺩﻫﺪ‪ .‬ﺷﺮﮐﺖ ﮐﻨﻨﺪﮔﺎﻥ ﻭ ﺛﺒﺖ ﻧﺎﻡ ﮐﻨﻨﺪﮔﺎﻥ ﺗﺸﻮﯾﻖ ﻣﯽ ﺷﻮﻧﺪ ﺗﺎ ﺍﺯ ﮔﺎﻟﺮﯼ‬ ‫ﻣﻮﺯﻩﺁﻗﺎﺧﺎﻥﺑﻪ ﺳﺮﭘﺮﺳﺘﯽ ‪ Filiz Çakır Phillip‬ﻭﺑﺎﻍ ﺍﯾﺪﻩ ﻫﺎ‪ :‬ﻫﻨﺮ ﻣﻌﺎﺻﺮ ﺍﺯ ﭘﺎﮐﺴﺘﺎﻥﺳﺮﭘﺮﺳﺘﯽ ﺷﺎﺭﻣﻨﯽ ﭘﺮﯾﺮﺍ‪.‬‬

‫ﺁﻧﭽﻪﻫﻨﺮﻣﻨﺪﺍﻥ ﻭ ﺻﻨﻌﺘﮕﺮﺍﻥ ﻣﯽ ﺩﺍﻧﺴﺘﻨﺪ‬ ‫ﮐﻤﯿﺘﻪﺑﺮﻧﺎﻣﻪ ‪ HIAA 2014‬ﺷﺎﻣﻞ ﺭﻭﺑﺎ ﮐﻨﻌﺎﻥ‪ ،‬ﺭﺉﯿﺲ ﺁﻣﻮﺯﺵ ﻭ ﺑﺮﻧﺎﻣﻪ ﻫﺎﯼ ﻋﻠﻤﯽ‪ ،‬ﻣﻮﺯﻩ ﺁﻗﺎﺧﺎﻥ ﺍﺳﺖ‪،Oya Pancaroğlu .‬‬

‫ﮔﺮﻭﻩﺗﺎﺭﯾﺦ‪ ،‬ﺩﺍﻧﺸﮕﺎﻩ ﺑﻮﻏﺎﺯﯾﭽﯽ; ﻭ ﮐﺎﺭﯾﻦ ﺭﻭﻫﺮﺩﻧﺰ‪ ،‬ﻣﺘﺼﺪﯼ ﺍﺭﺷﺪ ﻫﻨﺮﻫﺎﯼ ﺗﺰﺉﯿﻨﯽ ﺍﺳﻼﻣﯽ‪ ،‬ﻣﻮﺯﻩ ﺳﻠﻄﻨﺘﯽ ﺍﻧﺘﺎﺭﯾﻮ‪ .‬ﺍﯾﻦ ﺳﻤﭙﻮﺯﯾﻮﻡ‬

‫ﺑﺎﻣﺸﻮﺭﺕ ﻫﯿﺉﺖ ﻣﺪﯾﺮﻩ ‪ HIAA‬ﻭ ﺑﻪ ﻭﯾﮋﻩ ﺑﺎ ﺭﺉﯿﺲ ﺁﻥ‪ ،‬ﺷﯿﻼ ﮐﺎﻧﺒﯽ‪ ،‬ﭘﺘﯽ ﮐﺎﺩﺑﯽ ﺑﺮﭺ‪ ،‬ﻣﺴﺉﻮﻝ ﺑﺨﺶ ﻫﻨﺮ ﺍﺳﻼﻣﯽ‪ ،‬ﺩﺭ ﻣﻮﺯﻩ ﻫﻨﺮ‬ ‫ﻣﺘﺮﻭﭘﻮﻟﯿﺘﻦﺑﺮﻧﺎﻣﻪ ﺭﯾﺰﯼ ﺷﺪ‪ .‬ﻣﻮﺯﻩ ﺁﻗﺎﺧﺎﻥ ﺑﺎ ﺣﻤﺎﯾﺖ ﻫﻤﻪ ﺟﺎﻧﺒﻪ ﺧﻮﺩ ﺑﺮﮔﺰﺍﺭﯼ ﺳﻤﭙﻮﺯﯾﻮﻡ ﺭﺍ ﻣﻤﮑﻦ ﺳﺎﺧﺘﻪ ﺍﺳﺖ‪.‬‬

‫ﺳﻮﺳﻦﺑﺎﺑﺎﯾﯽ‬

‫ﺭﺉﯿﺲﻣﻨﺘﺨﺐ ‪HIAA‬‬

‫ﺭﺑﻊﮐﻨﻌﺎﻥ‬

‫ﻣﻮﺯﻩﺁﻗﺎﺧﺎﻥ‬

‫‪03‬‬

‫ﺑﺮﻧﺎﻣﻪﺳﻤﭙﻮﺯﯾﻮﻡ‬

‫ﭘﻨﺠﺸﻨﺒﻪ‪ 16‬ﺍﮐﺘﺒﺮ‬ ‫‪3:00‬ﺗﺎ ‪ 6:00‬ﺑﻌﺪ ﺍﺯ ﻇﻬﺮ‬

‫ﺑﺎﺯﺩﯾﺪﻓﺮﺩﯼ ﺍﺧﺘﯿﺎﺭﯼ ﺍﺯ ﮔﺎﻟﺮﯼ ﻫﺎ‬

‫‪12:40‬ﺗﺎ ‪ 2:00‬ﺑﻌﺪ ﺍﺯ ﻇﻬﺮ‬

‫‪6:00‬ﺗﺎ ‪ 6:45‬ﺑﻌﺪ ﺍﺯ ﻇﻬﺮ‬

‫ﺁﺩﺭﺱﺍﺻﻠﯽ‪:‬ﭼﯿﻨﯽ ﺧﺎﻧﻪ ﺑﻪ ﻋﻨﻮﺍﻥ »ﮐﺘﺎﺑﺨﺎﻧﻪ«‬ ‫ﻟﯿﺰﺍﮔﻮﻟﻮﻣﺒﮏ‪ ،‬ﻣﺘﺼﺪﯼ ﺑﺎﺯﻧﺸﺴﺘﻪ )ﻫﻨﺮ ﺍﺳﻼﻣﯽ(‪ ،‬ﻣﻮﺯﻩ ﺳﻠﻄﻨﺘﯽ ﺍﻧﺘﺎﺭﯾﻮ‬

‫‪2:00‬ﺗﺎ ‪ 3:40‬ﺑﻌﺪ ﺍﺯ ﻇﻬﺮ‬

‫‪7:00‬ﺗﺎ ‪ 9:00‬ﺑﻌﺪ ﺍﺯ ﻇﻬﺮ‬

‫ﭘﺬﯾﺮﺍﯾﯽ‪:‬ﻣﻮﺯﻩ ﺁﻗﺎﺧﺎﻥ‪ ،‬ﺗﻮﺭﻧﺘﻮ‬

‫ﺍﻟﯿﺰﺍﺑﺖﺭﺍﻭﻩ‬ ‫ﻓﺮﺁﯾﻨﺪﻫﺎﯼﺗﺼﻮﯾﺮﺳﺎﺯﯼ )ﺗﺼﻮﯾﺮ(‪ :‬ﯾﮏ ﻧﺴﺨﻪ ﺧﻄﯽ ﻣﺼﻮﺭ ﺍﺯﯾﻮﺳﻒ ﻭ‬ ‫ﺯﻟﯿﺨﺎﻣﻨﺴﻮﺏ ﺑﻪ ﻣﻌﯿﻦ ﻣﺴﺎﻭﯾﺮ‬

‫ﺍﺷﻠﯽﺩﯾﻤﯿﮓ‬ ‫ﺁﻟﺒﻮﻡﻫﺎﯼ ﺧﻮﺷﻨﻮﯾﺴﯽ ﻋﺜﻤﺎﻧﯽ ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﻧﺒﺎﺭ ﺩﺍﻧﺶ ﻭ‬ ‫ﺍﺑﺰﺍﺭﺁﻣﻮﺯﺷﯽ‬

‫ﭘﺎﻧﻞ‪:1‬‬ ‫ﻣﺠﻤﻮﻋﻪﻫﺎ ﻭ ﻧﻤﺎﯾﺸﮕﺎﻩ ﻫﺎﯼ ﺑﯿﻦ ﺩﺍﻧﺶ ﻭ ﺗﺨﯿﻞ‬

‫ﺭﺉﯿﺲ‪:‬ﺁﻭﯾﻨﻮﺍﻡ ﺷﻠﻢ‬

‫ﺍﯾﻠﮑﺮﺍﻭﺭﯾﻢ ﺑﯿﻨﺒﺎﺵ‬ ‫"ﺳﺎﯾﻪ ﺍﺟﺪﺍﺩ"‪:‬‬ ‫ﭘﯿﮑﺮﺑﻨﺪﯼﻣﺠﺪﺩ ﮔﺬﺷﺘﻪ ﺩﺭ ﺩﺭﺧﺘﺎﻥ ﺗﺒﺎﺭﺷﻨﺎﺳﯽ ﻋﺜﻤﺎﻧﯽ‬

‫ﻣﺮﯾﻢﺭﻭﺳﺮ ﺍﻭﻭﻥ ﻭ ﻣﺮﺳﺪﺱ ﻭﻭﻻﯾﺖ ﺁﯾﺎ ﻣﺠﻤﻮﻋﻪ ﻫﺎ ﻣﯽ‬ ‫ﺗﻮﺍﻧﻨﺪﺻﺤﺒﺖ ﮐﻨﻨﺪ؟ ﺁﻧﭽﻪ ﻣﯽ ﺗﻮﺍﻧﯿﻢ ﺍﺯ ﻣﺠﻤﻮﻋﻪ ﺍﻭﻟﯿﻪ‬ ‫ﻫﻨﺮﺍﺳﻼﻣﯽ ﺑﯿﺎﻣﻮﺯﯾﻢ‬

‫ﺍﻭﯾﻦﮐﺮﺍﭘﻒ‬ ‫ﺍﺳﺘﻌﺎﺭﻩﻫﺎﯼ ﻣﻌﻘﻮﻝ‪ :‬ﺗﺼﻮﯾﺮ ﻧﮕﺎﺭﻩ ﻫﺎ ﺩﺭ ﻧﻘﻞ ﻋﺒﺪﺍﻟﻮﻫﺎﺏ ﺷﻌﺮﺍﻧﯽ‬ ‫ﺍﻟﻤﯿﺰﺍﻥﺍﻟﮑﺒﺮﯼ‬

‫ﺍﯾﺮﯾﻨﺎﮐﻮﺷﻮﺭﯾﺪﺯﻩ‬ ‫ﺍﺯﮐﻠﮑﺴﯿﻮﻧﺮﻫﺎﯼ ﺧﺼﻮﺻﯽ ﺗﺎ ﻣﺆﺳﺴﺎﺕ ﺩﻭﻟﺘﯽ‬

‫ﺳﻮﻟﻤﺎﺯﻣﺤﻤﺪﺯﺍﺩﻩ ﮐﯿﻮﻩ ﺻﺤﻨﻪ ﺳﺎﺯﯼ ﺍﯾﻦ‬ ‫ﺍﻣﺮﺍﺳﻼﻣﯽ‪:‬‬ ‫ﺗﻀﺎﺩﻫﺎﯼﻧﻤﺎﯾﺸﮕﺎﻩ ﻫﺎﯼ »ﻫﻨﺮ ﺍﺳﻼﻣﯽ«‬

‫ﯾﻮﮐﺎﮐﺎﺩﻭﯼ‬ ‫ﺑﺎﺯﺍﻧﺪﯾﺸﯽﻣﯿﺎﻥ ﮔﺮﺍﯾﯽ ﺩﺭ ﻣﻄﺎﻟﻌﻪ ﻣﻌﻤﺎﺭﯼ ﺍﯾﺮﺍﻧﯽ ﺍﺳﻼﻣﯽ ﻗﺮﻭﻥ‬ ‫ﻭﺳﻄﯽ‪:‬ﻋﮑﺲ ﻫﺎ‪ ،‬ﻧﻤﺎﯾﺸﮕﺎﻩ ﻫﺎ ﻭ ﭘﺎﯾﺎﻥ ﻧﺎﻣﻪ ﻓﺎﺭﺳﯽ‪-‬ﮔﻮﺗﯿﮏ ﺩﺭ ﺩﻫﻪ‬ ‫‪1930‬‬

‫‪10:40‬ﺗﺎ ‪ 11:00‬ﺻﺒﺢ‬ ‫‪11:00‬ﺻﺒﺢ ﺗﺎ ‪ 12:40‬ﺑﻌﺪ ﺍﺯ ﻇﻬﺮ‬

‫‪3:40‬ﺗﺎ ‪ 4:00‬ﺑﻌﺪ ﺍﺯ ﻇﻬﺮ‬ ‫‪4:00‬ﺗﺎ ‪ 5:20‬ﺑﻌﺪ ﺍﺯ ﻇﻬﺮ‬

‫ﺍﺭﯾﮏﺑﺮﻭﮒ‬ ‫ﺍﻫﻤﯿﺖﭘﻨﺘﺎﮔﻮﻥ‬

‫ﺟﯽﺑﻮﻧﺮ‬ ‫ﻧﻘﺶﺗﮑﻮﯾﻨﯽ ﺩ ﺩﺭ ﺗﻮﺳﻌﻪ ﺍﺳﻼﻡ‬

‫ﺭﺉﯿﺲ‪Gülru Necipoğlu:‬‬

‫ﮔﻞﮐﻠﻪ‬

‫ﭘﺎﻧﻞ‪:4‬‬ ‫ﭘﻨﺞﺿﻠﻌﯽ ﻭ ﺩﻩ ﺿﻠﻌﯽ ﺩﺭ ﻫﻨﺮ ﺍﺳﻼﻣﯽ‬ ‫ﮐﺎﺭﻭﻝﺑﯿﺮ‬ ‫ﭘﻨﺞﺿﻠﻌﯽ ﻭ ﺩﻩ ﺿﻠﻌﯽ ﺩﺭ‬

‫ﭘﺎﻧﻞ‪:2‬‬ ‫ﺩﺍﻧﺶﻭ ﺳﻨﺖ ﻫﺎﯼ ﺳﺎﺧﺘﻤﺎﻧﯽ‬

‫ﺭﻭﺍﺑﻂﻣﺘﻨﺎﺳﺐ‪ :‬ﻋﻠﻢ ﻧﻘﺸﻪ ﺑﺮﺩﺍﺭﯼ ﻭ ﮐﻮﺑﯿﺖ ﻣﻌﻤﺎﺭ ﺩﺭ ﻣﻌﻤﺎﺭﯼ‬ ‫ﻋﺜﻤﺎﻧﯽ‬

‫ﺯﻣﺎﻥﺍﺳﺘﺮﺍﺣﺖ ﺑﺮﺍﯼ ﻧﻮﺷﯿﺪﻥ ﻗﻬﻮﻩ‬

‫ﺭﺉﯿﺲ‪:‬ﻫﺎﺷﻢ ﺳﺮﮐﯿﺲ‬

‫ﺯﻣﺎﻥﺍﺳﺘﺮﺍﺣﺖ ﺑﺮﺍﯼ ﻧﻮﺷﯿﺪﻥ ﻗﻬﻮﻩ‬

‫ﺍﺳﺮﺍﺁﮐﯿﻦ‪-‬ﮐﯿﻮﺍﻧﭻ‬ ‫ﺍﺯﻭﺳﺎﺭﯼ ﺗﺎ ﻣﺼﻄﻔﯽ ﻋﻠﯽ‪:‬‬ ‫ﺯﻣﯿﻨﻪﺳﺎﺯﯼ ﻣﻨﺎﺑﻊ ﻣﮑﺘﻮﺏ ﺗﺎﺭﯾﺦ ﻫﻨﺮ ﺍﺳﻼﻣﯽ‬

‫ﭘﺎﻧﻞ‪:3‬‬ ‫ﺳﺎﺧﺖﺩﺍﻧﺶ ﺩﺭ ﻫﻨﺮﻫﺎﯼ ﮐﺘﺎﺏ ﻓﺎﺭﺳﯽ ﻭ ﺗﺮﮐﯽ‬

‫ﺭﺉﯿﺲ‪:‬ﮐﺮﯾﺴﺘﯿﻦ ﮔﺮﻭﺑﺮ‬

‫ﺟﻤﻌﻪ‪ 17‬ﺍﮐﺘﺒﺮ‬ ‫‪9:00‬ﺍﻟﯽ ‪ 10:40‬ﺻﺒﺢ‬

‫ﻧﺎﻫﺎﺭ‬

‫‪4:00‬ﺗﺎ ‪ 5:00‬ﺑﻌﺪ ﺍﺯ ﻇﻬﺮ‬

‫ﺳﺎﻋﺖ‪ 5:30‬ﺑﻌﺪ ﺍﺯ ﻇﻬﺮ ﺑﻪ ﺑﻌﺪ‬

‫ﺷﺎﺭﻭﻥﺳﯽ ﺍﺳﻤﯿﺖ ﻭ ﺷﯿﺮﺍﺯ ﺁ ‪W‬‬ ‫‪Archnet: A Demonstration‬‬ ‫ﻋﺰﯾﻤﺖﺑﻪ ﺭﻭﯾﺎﻝ ﺍﻭﻧﺘﺎ ﺑﺮﺍﯼ ﺷﺮﮐﺖ ﺩﺭ‬ ‫ﯾﮏﭘﺬﯾﺮﺍﯾﯽ ﮐﻮﮐﺘﻞ‬

‫‪Ünver Rüstem‬‬

‫ﺳﺎﺧﺖﺑﺎﺭﻭﮎ ﻋﺜﻤﺎﻧﯽ‪:‬‬ ‫ﺗﻤﺮﯾﻦﻣﻌﻤﺎﺭﯼ ﺩﺭ ﺍﺳﺘﺎﻧﺒﻮﻝ ﻗﺮﻥ ﻫﺠﺪﻫﻢ‬

‫‪04‬‬

‫ﯾﺎﺳﺮﻃﺒﻌﺎ‬ ‫ﻧﻮﺭﺍﻻﻣﺎﻡ‪ :‬ﺍﺑﻌﺎﺩ ﺍﺷﺮﺍﻗﯽ‬ ‫ﺩﺭﻣﺴﺠﺪ ﺷﯿﺦ ﻟﻄﻒ ﺍﻟﻠﻪ )‪ (1603-1919‬ﺍﺻﻔﻬﺎﻥ‬

‫‪05‬‬

‫ﺑﺮﻧﺎﻣﻪﺳﻤﭙﻮﺯﯾﻮﻡ‬

‫ﭘﻨﺠﺸﻨﺒﻪ‪ 16‬ﺍﮐﺘﺒﺮ‬ ‫‪3:00‬ﺗﺎ ‪ 6:00‬ﺑﻌﺪ ﺍﺯ ﻇﻬﺮ‬

‫ﺑﺎﺯﺩﯾﺪﻓﺮﺩﯼ ﺍﺧﺘﯿﺎﺭﯼ ﺍﺯ ﮔﺎﻟﺮﯼ ﻫﺎ‬

‫‪12:40‬ﺗﺎ ‪ 2:00‬ﺑﻌﺪ ﺍﺯ ﻇﻬﺮ‬

‫‪6:00‬ﺗﺎ ‪ 6:45‬ﺑﻌﺪ ﺍﺯ ﻇﻬﺮ‬

‫ﺁﺩﺭﺱﺍﺻﻠﯽ‪:‬ﭼﯿﻨﯽ ﺧﺎﻧﻪ ﺑﻪ ﻋﻨﻮﺍﻥ »ﮐﺘﺎﺑﺨﺎﻧﻪ«‬ ‫ﻟﯿﺰﺍﮔﻮﻟﻮﻣﺒﮏ‪ ،‬ﻣﺘﺼﺪﯼ ﺑﺎﺯﻧﺸﺴﺘﻪ )ﻫﻨﺮ ﺍﺳﻼﻣﯽ(‪ ،‬ﻣﻮﺯﻩ ﺳﻠﻄﻨﺘﯽ ﺍﻧﺘﺎﺭﯾﻮ‬

‫‪2:00‬ﺗﺎ ‪ 3:40‬ﺑﻌﺪ ﺍﺯ ﻇﻬﺮ‬

‫‪7:00‬ﺗﺎ ‪ 9:00‬ﺑﻌﺪ ﺍﺯ ﻇﻬﺮ‬

‫ﭘﺬﯾﺮﺍﯾﯽ‪:‬ﻣﻮﺯﻩ ﺁﻗﺎﺧﺎﻥ‪ ،‬ﺗﻮﺭﻧﺘﻮ‬

‫ﺍﻟﯿﺰﺍﺑﺖﺭﺍﻭﻩ‬ ‫ﻓﺮﺁﯾﻨﺪﻫﺎﯼﺗﺼﻮﯾﺮﺳﺎﺯﯼ )ﺗﺼﻮﯾﺮ(‪ :‬ﯾﮏ ﻧﺴﺨﻪ ﺧﻄﯽ ﻣﺼﻮﺭ ﺍﺯﯾﻮﺳﻒ ﻭ‬ ‫ﺯﻟﯿﺨﺎﻣﻨﺴﻮﺏ ﺑﻪ ﻣﻌﯿﻦ ﻣﺴﺎﻭﯾﺮ‬

‫ﺍﺷﻠﯽﺩﯾﻤﯿﮓ‬ ‫ﺁﻟﺒﻮﻡﻫﺎﯼ ﺧﻮﺷﻨﻮﯾﺴﯽ ﻋﺜﻤﺎﻧﯽ ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﻧﺒﺎﺭ ﺩﺍﻧﺶ ﻭ‬ ‫ﺍﺑﺰﺍﺭﺁﻣﻮﺯﺷﯽ‬

‫ﭘﺎﻧﻞ‪:1‬‬ ‫ﻣﺠﻤﻮﻋﻪﻫﺎ ﻭ ﻧﻤﺎﯾﺸﮕﺎﻩ ﻫﺎﯼ ﺑﯿﻦ ﺩﺍﻧﺶ ﻭ ﺗﺨﯿﻞ‬

‫ﺭﺉﯿﺲ‪:‬ﺁﻭﯾﻨﻮﺍﻡ ﺷﻠﻢ‬

‫ﺍﯾﻠﮑﺮﺍﻭﺭﯾﻢ ﺑﯿﻨﺒﺎﺵ‬ ‫"ﺳﺎﯾﻪ ﺍﺟﺪﺍﺩ"‪:‬‬ ‫ﭘﯿﮑﺮﺑﻨﺪﯼﻣﺠﺪﺩ ﮔﺬﺷﺘﻪ ﺩﺭ ﺩﺭﺧﺘﺎﻥ ﺗﺒﺎﺭﺷﻨﺎﺳﯽ ﻋﺜﻤﺎﻧﯽ‬

‫ﻣﺮﯾﻢﺭﻭﺳﺮ ﺍﻭﻭﻥ ﻭ ﻣﺮﺳﺪﺱ ﻭﻭﻻﯾﺖ ﺁﯾﺎ ﻣﺠﻤﻮﻋﻪ ﻫﺎ ﻣﯽ‬ ‫ﺗﻮﺍﻧﻨﺪﺻﺤﺒﺖ ﮐﻨﻨﺪ؟ ﺁﻧﭽﻪ ﻣﯽ ﺗﻮﺍﻧﯿﻢ ﺍﺯ ﻣﺠﻤﻮﻋﻪ ﺍﻭﻟﯿﻪ‬ ‫ﻫﻨﺮﺍﺳﻼﻣﯽ ﺑﯿﺎﻣﻮﺯﯾﻢ‬

‫ﺍﻭﯾﻦﮐﺮﺍﭘﻒ‬ ‫ﺍﺳﺘﻌﺎﺭﻩﻫﺎﯼ ﻣﻌﻘﻮﻝ‪ :‬ﺗﺼﻮﯾﺮ ﻧﮕﺎﺭﻩ ﻫﺎ ﺩﺭ ﻧﻘﻞ ﻋﺒﺪﺍﻟﻮﻫﺎﺏ ﺷﻌﺮﺍﻧﯽ‬ ‫ﺍﻟﻤﯿﺰﺍﻥﺍﻟﮑﺒﺮﯼ‬

‫ﺍﯾﺮﯾﻨﺎﮐﻮﺷﻮﺭﯾﺪﺯﻩ‬ ‫ﺍﺯﮐﻠﮑﺴﯿﻮﻧﺮﻫﺎﯼ ﺧﺼﻮﺻﯽ ﺗﺎ ﻣﺆﺳﺴﺎﺕ ﺩﻭﻟﺘﯽ‬

‫ﺳﻮﻟﻤﺎﺯﻣﺤﻤﺪﺯﺍﺩﻩ ﮐﯿﻮﻩ ﺻﺤﻨﻪ ﺳﺎﺯﯼ ﺍﯾﻦ‬ ‫ﺍﻣﺮﺍﺳﻼﻣﯽ‪:‬‬ ‫ﺗﻀﺎﺩﻫﺎﯼﻧﻤﺎﯾﺸﮕﺎﻩ ﻫﺎﯼ »ﻫﻨﺮ ﺍﺳﻼﻣﯽ«‬

‫ﯾﻮﮐﺎﮐﺎﺩﻭﯼ‬ ‫ﺑﺎﺯﺍﻧﺪﯾﺸﯽﻣﯿﺎﻥ ﮔﺮﺍﯾﯽ ﺩﺭ ﻣﻄﺎﻟﻌﻪ ﻣﻌﻤﺎﺭﯼ ﺍﯾﺮﺍﻧﯽ ﺍﺳﻼﻣﯽ ﻗﺮﻭﻥ‬ ‫ﻭﺳﻄﯽ‪:‬ﻋﮑﺲ ﻫﺎ‪ ،‬ﻧﻤﺎﯾﺸﮕﺎﻩ ﻫﺎ ﻭ ﭘﺎﯾﺎﻥ ﻧﺎﻣﻪ ﻓﺎﺭﺳﯽ‪-‬ﮔﻮﺗﯿﮏ ﺩﺭ ﺩﻫﻪ‬ ‫‪1930‬‬

‫‪10:40‬ﺗﺎ ‪ 11:00‬ﺻﺒﺢ‬ ‫‪11:00‬ﺻﺒﺢ ﺗﺎ ‪ 12:40‬ﺑﻌﺪ ﺍﺯ ﻇﻬﺮ‬

‫‪3:40‬ﺗﺎ ‪ 4:00‬ﺑﻌﺪ ﺍﺯ ﻇﻬﺮ‬ ‫‪4:00‬ﺗﺎ ‪ 5:20‬ﺑﻌﺪ ﺍﺯ ﻇﻬﺮ‬

‫ﺍﺭﯾﮏﺑﺮﻭﮒ‬ ‫ﺍﻫﻤﯿﺖﭘﻨﺘﺎﮔﻮﻥ‬

‫ﺟﯽﺑﻮﻧﺮ‬ ‫ﻧﻘﺶﺗﮑﻮﯾﻨﯽ ﺩ ﺩﺭ ﺗﻮﺳﻌﻪ ﺍﺳﻼﻡ‬

‫ﺭﺉﯿﺲ‪Gülru Necipoğlu:‬‬

‫ﮔﻞﮐﻠﻪ‬

‫ﭘﺎﻧﻞ‪:4‬‬ ‫ﭘﻨﺞﺿﻠﻌﯽ ﻭ ﺩﻩ ﺿﻠﻌﯽ ﺩﺭ ﻫﻨﺮ ﺍﺳﻼﻣﯽ‬ ‫ﮐﺎﺭﻭﻝﺑﯿﺮ‬ ‫ﭘﻨﺞﺿﻠﻌﯽ ﻭ ﺩﻩ ﺿﻠﻌﯽ ﺩﺭ‬

‫ﭘﺎﻧﻞ‪:2‬‬ ‫ﺩﺍﻧﺶﻭ ﺳﻨﺖ ﻫﺎﯼ ﺳﺎﺧﺘﻤﺎﻧﯽ‬

‫ﺭﻭﺍﺑﻂﻣﺘﻨﺎﺳﺐ‪ :‬ﻋﻠﻢ ﻧﻘﺸﻪ ﺑﺮﺩﺍﺭﯼ ﻭ ﮐﻮﺑﯿﺖ ﻣﻌﻤﺎﺭ ﺩﺭ ﻣﻌﻤﺎﺭﯼ‬ ‫ﻋﺜﻤﺎﻧﯽ‬

‫ﺯﻣﺎﻥﺍﺳﺘﺮﺍﺣﺖ ﺑﺮﺍﯼ ﻧﻮﺷﯿﺪﻥ ﻗﻬﻮﻩ‬

‫ﺭﺉﯿﺲ‪:‬ﻫﺎﺷﻢ ﺳﺮﮐﯿﺲ‬

‫ﺯﻣﺎﻥﺍﺳﺘﺮﺍﺣﺖ ﺑﺮﺍﯼ ﻧﻮﺷﯿﺪﻥ ﻗﻬﻮﻩ‬

‫ﺍﺳﺮﺍﺁﮐﯿﻦ‪-‬ﮐﯿﻮﺍﻧﭻ‬ ‫ﺍﺯﻭﺳﺎﺭﯼ ﺗﺎ ﻣﺼﻄﻔﯽ ﻋﻠﯽ‪:‬‬ ‫ﺯﻣﯿﻨﻪﺳﺎﺯﯼ ﻣﻨﺎﺑﻊ ﻣﮑﺘﻮﺏ ﺗﺎﺭﯾﺦ ﻫﻨﺮ ﺍﺳﻼﻣﯽ‬

‫ﭘﺎﻧﻞ‪:3‬‬ ‫ﺳﺎﺧﺖﺩﺍﻧﺶ ﺩﺭ ﻫﻨﺮﻫﺎﯼ ﮐﺘﺎﺏ ﻓﺎﺭﺳﯽ ﻭ ﺗﺮﮐﯽ‬

‫ﺭﺉﯿﺲ‪:‬ﮐﺮﯾﺴﺘﯿﻦ ﮔﺮﻭﺑﺮ‬

‫ﺟﻤﻌﻪ‪ 17‬ﺍﮐﺘﺒﺮ‬ ‫‪9:00‬ﺍﻟﯽ ‪ 10:40‬ﺻﺒﺢ‬

‫ﻧﺎﻫﺎﺭ‬

‫‪4:00‬ﺗﺎ ‪ 5:00‬ﺑﻌﺪ ﺍﺯ ﻇﻬﺮ‬

‫ﺳﺎﻋﺖ‪ 5:30‬ﺑﻌﺪ ﺍﺯ ﻇﻬﺮ ﺑﻪ ﺑﻌﺪ‬

‫ﺷﺎﺭﻭﻥﺳﯽ ﺍﺳﻤﯿﺖ ﻭ ﺷﯿﺮﺍﺯ ﺁ ‪W‬‬ ‫‪Archnet: A Demonstration‬‬ ‫ﻋﺰﯾﻤﺖﺑﻪ ﺭﻭﯾﺎﻝ ﺍﻭﻧﺘﺎ ﺑﺮﺍﯼ ﺷﺮﮐﺖ ﺩﺭ‬ ‫ﯾﮏﭘﺬﯾﺮﺍﯾﯽ ﮐﻮﮐﺘﻞ‬

‫‪Ünver Rüstem‬‬

‫ﺳﺎﺧﺖﺑﺎﺭﻭﮎ ﻋﺜﻤﺎﻧﯽ‪:‬‬ ‫ﺗﻤﺮﯾﻦﻣﻌﻤﺎﺭﯼ ﺩﺭ ﺍﺳﺘﺎﻧﺒﻮﻝ ﻗﺮﻥ ﻫﺠﺪﻫﻢ‬

‫‪04‬‬

‫ﯾﺎﺳﺮﻃﺒﻌﺎ‬ ‫ﻧﻮﺭﺍﻻﻣﺎﻡ‪ :‬ﺍﺑﻌﺎﺩ ﺍﺷﺮﺍﻗﯽ‬ ‫ﺩﺭﻣﺴﺠﺪ ﺷﯿﺦ ﻟﻄﻒ ﺍﻟﻠﻪ )‪ (1603-1919‬ﺍﺻﻔﻬﺎﻥ‬

‫‪05‬‬

‫‪9:00‬ﺍﻟﯽ ‪ 10:40‬ﺻﺒﺢ‬

‫ﭘﺎﻧﻞ‪:5‬‬ ‫ﺍﺩﺍﯼﭼﯿﺰﯼ ﺭﺍ ﺩﺭ ﺁﻭﺭﺩﻥ؟ ﺗﻘﻠﯿﺪ‪ ،‬ﮐﭙﯽ ﺑﺮﺩﺍﺭﯼ‬ ‫ﻭﺟﻌﻞ ﻫﻨﺮ ﻭ ﻣﻌﻤﺎﺭﯼ ﺍﯾﺮﺍﻧﯽ‬

‫‪2:00‬ﺗﺎ ‪ 3:40‬ﺑﻌﺪ ﺍﺯ ﻇﻬﺮ‬

‫ﺭﺉﯿﺲ‪:‬ﭘﺮﺳﯿﺲ ﺑﺮﻟﮑﻤﭗ‬

‫ﺭﺉﯿﺲ‪:‬ﮐﺎﺭﯾﻦ ﺭﻭﻫﺮﺩﻧﺰ‬

‫ﺍﻣﯽﺍﺱ‪ .‬ﻻﻧﺪﻭ‬ ‫ﻧﮕﺮﺵﺻﻔﻮﯾﺎﻥ ﺑﻪ ﺗﺼﺎﻭﯾﺮ ﻣﻘﺪﺱ ﺩﺭ ﺍﺳﻨﺎﺩ‬ ‫ﻣﮑﺘﻮﺏﻭ ﺑﺼﺮﯼ‬

‫ﺳﺎﯾﻤﻮﻥﺭﺗﯿﮓ‬ ‫ﯾﮏﺗﺠﻤﯿﻊ ﻭﺍﻗﻌﯽ ﺍﺯ ﺳﺒﮏ ﻫﺎ؟ ﺯﯾﺮ ﺳﻮﺍﻝ ﺑﺮﺩﻥ ﺍﺻﺎﻟﺖ ﻧﻘﺎﺷﯽ ﻫﺎ ﺩﺭ ﻭﻭﺭﺧﻤﺴﻪ‬ ‫ﻧﻈﺎﻣﯽ‬

‫ﺍﺻﻠﯿﻬﺎﻥﺍﺭﮐﻤﻦ‬ ‫ﻧﻮﺷﺘﻪﻫﺎﯼ ﺑﯿﻮﮔﺮﺍﻓﯽ ﻣﺼﻮﺭ ﺑﻪ ﻋﻨﻮﺍﻥ ﯾﺎﺩﺑﻮﺩ‬ ‫ﺁﻣﻮﺯﺷﯽﻭ ﺗﺼﻮﯾﺮﯼ‬

‫ﯾﯿﻞﺭﺍﯾﺲ‬ ‫ﺳﺎﺧﺖﺁﻣﺮﯾﮑﺎ‪:‬‬ ‫ﺩﺭﯾﮏ ﺍﺗﺎﻗﮏ ﺻﻔﻮﯼ ﺩﺭ ﻣﻮﺯﻩ ﻫﻨﺮ ﻓﯿﻼﺩﻟﻔﯿﺎ‬

‫ﺁﻧﺎﺳﺘﺎﺯﯾﺎﺑﻮﭼﮑﺎﺭﻭﺍ‬ ‫ﺑﯿﻦﺷﺎﻫﺰﺍﺩﻩ ﺗﯿﻤﻮﺭﯼ ﻭ ﺍﻣﭙﺮﺍﺗﻮﺭ ﻣﻐﻮﻝ‪ :‬ﻣﯿﺮﺍﺙ ﺩﺭ ﺍﻧﺘﻘﺎﻝ‬

‫ﺍﯾﮕﻮﺭﺩﻣﭽﻨﮑﻮ‬ ‫ﺑﻨﺎﻫﺎﯼﺗﺎﺭﯾﺨﯽ ﻣﻌﺘﺒﺮ ﺩﺭ ﺳﻨﺖ ﺟﻌﻠﯽ‪ :‬ﺍﺧﺘﺮﺍﻉ ﻭ ﺁﻣﻮﺯﺵ‬ ‫ﺍﻭﺳﺘﻮﺱﺩﺭ ﺁﺳﯿﺎﯼ ﻣﺮﮐﺰﯼ ﺷﻮﺭﻭﯼ‬

‫ﺍﺳﺘﻔﺎﻥﮐﺎﻣﻮﻻ‬ ‫"ﺑﺎ ﺗﻤﺎﻡ ﺟﺰﺉﯿﺎﺕ"‪:‬‬ ‫ﺭﺷﯿﺪﺍﻟﺪﯾﻦﻭ ﻧﻤﺎﯾﺶ ﻋﻠﻢ‬

‫ﺭﺍﺷﻞﻭﺍﺭﺩ‬ ‫ﻗﯿﺼﺮﻭ ﻧﺎﭘﻞ ﮔﻠﻮﺏ‬ ‫‪10:40‬ﺗﺎ ‪ 11:00‬ﺻﺒﺢ‬ ‫‪11:00‬ﺻﺒﺢ ﺗﺎ ‪ 12:40‬ﺑﻌﺪ ﺍﺯ ﻇﻬﺮ‬

‫ﺯﻣﺎﻥﺍﺳﺘﺮﺍﺣﺖ ﺑﺮﺍﯼ ﻧﻮﺷﯿﺪﻥ ﻗﻬﻮﻩ‬

‫ﭘﺎﻧﻞ‪:6‬‬ ‫ﮐﻠﻤﻪﺁﺭﺍﺳﺘﻪ‬

‫‪3:40‬ﺗﺎ ‪ 4:00‬ﺑﻌﺪ ﺍﺯ ﻇﻬﺮ‬

‫ﺯﻣﺎﻥﺍﺳﺘﺮﺍﺣﺖ ﺑﺮﺍﯼ ﻧﻮﺷﯿﺪﻥ ﻗﻬﻮﻩ‬

‫‪4:00‬ﺗﺎ ‪ 5:20‬ﺑﻌﺪ ﺍﺯ ﻇﻬﺮ‬

‫ﭘﺎﻧﻞ‪:8‬‬

‫‪06‬‬

‫ﺁﻧﭽﻪﻫﻨﺮﻣﻨﺪﺍﻥ ﻭ ﺻﻨﻌﺘﮕﺮﺍﻥ ﻣﯽ ﺩﺍﻧﺴﺘﻨﺪ‬

‫ﺭﺉﯿﺲ‪:‬ﺷﯿﻼ ﺑﻠﺮ‬

‫ﺭﺉﯿﺲ‪:‬ﺍﺳﺘﻔﺎﻥ ﻭﺑﺮ‬

‫ﻧﻮﺣﻪﺍﺑﻮﺧﻄﻮﻩ‬ ‫ﺳﻨﺖﺗﻌﻠﯿﻢ ﺧﻄﺎﻁ ﻣﻤﻠﻮﮎ‪ :‬ﮐﺎﺭﻧﺎﻣﻪ ﻭ ﺁﺛﺎﺭ ﻋﺒﺪﺍﻟﺮﺣﻤﻦ ﺑﻦ ﺍﻟﺴﺎﯾﻖ‬

‫ﻓﺮﯾﺪﺭﯾﮏﻭﯾﮕﺖ‬ ‫ﮐﺸﻒﻣﺠﺪﺩ ﻧﻘﺎﺷﯽ ﺯﯾﺮ ﻟﻌﺎﺏ ﺩﺭ ﺍﻭﺍﺧﺮ ﺍﯾﺮﺍﻥ ﻗﺎﺟﺎﺭ‪ :‬ﺍﺳﺘﺎﺩ ﺳﻔﺎﻟﮕﺮ ﻋﻠﯽ‬ ‫ﻣﺤﻤﺪﺍﺻﻔﻬﺎﻧﯽ‬

‫ﻧﻮﺭﺍﻥﺑﻦ ﺍﺯﻭﻧﺎ‬ ‫ﺗﻨﺎﺳﺐﻭ ﺭﯾﺘﻢ‪:‬‬ ‫ﮔﻔﺘﻤﺎﻥﻫﺎﯼ ﻫﻤﮕﺮﺍ ﺩﺭﺑﺎﺭﻩ ﺧﻮﺷﻨﻮﯾﺴﯽ ﻭ ﻣﻮﺳﯿﻘﯽ ﺩﺭ ﺍﺳﻼﻡ ﻗﺮﻭﻥ ﻭﺳﻄﯽ‬

‫ﻣﯿﺮﯾﺎﻡﻋﻠﯽ ﺩﯼ ﺍﻭﻧﺰﺍﮔﺎ‬ ‫ﺭﺍﺯﺩﺍﺭﯼﺑﻪ ﻋﻨﻮﺍﻥ ﺯﯾﻨﺖ‪ :‬ﺍﻧﺘﻘﺎﻝ ﺩﺍﻧﺶ ﺩﺭ ﻃﻮﻝ ﻓﺮﺁﯾﻨﺪ‬ ‫ﺑﺎﻓﻨﺪﮔﯽﺩﺭ ﺭﻭﺳﺘﺎﯾﯽ ﻣﺮﺍﮐﺶ‬

‫ﺁﯾﺸﯿﻦﯾﻮﻟﺘﺎﺭ‪-‬ﯾﯿﻠﺪﯾﺮﯾﻢ‬ ‫ﭘﺮﺳﺶﺍﺯ ﻫﻨﺮﻣﻨﺪﺍﻥ ﺧﻮﺏ ﮐﺘﺎﺏ ﺩﺭ ﺩﺭﺑﺎﺭ ﻋﺜﻤﺎﻧﯽ‬

‫ﺍﺳﺘﻔﺎﻥﭘﺮﺍﺩﯾﻨﺰ‬ ‫ﮐﺮﯾﺴﺘﺎﻝﺳﻨﮕﯽ ﺯﻧﺞ‪ :‬ﺍﺯ ﻣﺎﺩﺍﮔﺎﺳﮑﺎﺭ ﺗﺎ ﻗﺎﻫﺮﻩ ﻓﺎﻃﻤﯽ‬

‫ﻓﺎﻃﻤﻪﻣﻨﺘﻈﺮﯼ ﻭ ﺁﺭﺵ ﺷﯿﺮﯾﻦ ﺑﺎﺏ‬ ‫ﮐﺘﺎﺏﻣﻘﺪﺱ ﯾﺎ ﺁﻣﻮﺯﺵ ﻫﻨﺮﯼ؟ ﺑﺮﺭﺳﯽ ﻗﺮﺁﻥ ﭼﺎﭖ ﺳﻨﮕﯽ ﻓﺨﺮ ﺍﺷﺮﺍﻑ ﻭ‬ ‫ﺭﺳﺎﻟﻪﺧﻂ ﺁﻥ‬

‫‪12:40‬ﺗﺎ ‪ 2:00‬ﺑﻌﺪ ﺍﺯ ﻇﻬﺮ‬

‫ﭘﺎﻧﻞ‪:7‬‬ ‫ﺗﻌﺒﯿﻪﻭ ﺍﺷﺎﻋﻪ ﺩﺍﻧﺶ ﺩﺭ ﻫﻨﺮ ﮐﺘﺎﺏ‬

‫ﻧﺎﻫﺎﺭ‬

‫ﻣﺎﺭﮐﻮﺱﻣﯿﻠﻮﺭﺍﯾﺖ‬ ‫ﺧﻮﺩﯼﻫﺎ ﻭ ﺧﻮﺩﯼ ﻫﺎ ﺩﺭ ﺍﻧﺘﻘﺎﻝ ﺩﺍﻧﺶ‪ :‬ﻣﻮﺭﺩﯼ ﺍﺯ ﺷﯿﻮﻩ ﻫﺎﯼ ﺳﻨﺘﯽ‬ ‫ﺻﻨﺎﯾﻊﺩﺳﺘﯽ ﺩﺭ ﺳﻮﺭﯾﻪ ﺑﺰﺭﮒ‬

‫‪6:00‬ﺗﺎ ‪ 6:40‬ﺑﻌﺪ ﺍﺯ ﻇﻬﺮ‬

‫ﺍﺳﺪﺍﻟﻠﻪﺳﻮﺭﻥ ﻣﻠﯿﮑﯿﺎﻥ ﭼﯿﺮﻭﺍﻧﯽ‪ ،‬ﺍﻣﺎﻧﺖ ﻓﺮﻫﻨﮕﯽ ﺁﻗﺎﺧﺎﻥ ﭘﯿﺎﻡ ﺻﻮﻓﯿﺎﻧﻪ ﺩﺭﺑﺎﺭﻩ ﺳﻔﺎﻝ‬ ‫ﻧﯿﺸﺎﺑﻮﺭ‬

‫‪07‬‬

‫‪9:00‬ﺍﻟﯽ ‪ 10:40‬ﺻﺒﺢ‬

‫ﭘﺎﻧﻞ‪:5‬‬ ‫ﺍﺩﺍﯼﭼﯿﺰﯼ ﺭﺍ ﺩﺭ ﺁﻭﺭﺩﻥ؟ ﺗﻘﻠﯿﺪ‪ ،‬ﮐﭙﯽ ﺑﺮﺩﺍﺭﯼ‬ ‫ﻭﺟﻌﻞ ﻫﻨﺮ ﻭ ﻣﻌﻤﺎﺭﯼ ﺍﯾﺮﺍﻧﯽ‬

‫‪2:00‬ﺗﺎ ‪ 3:40‬ﺑﻌﺪ ﺍﺯ ﻇﻬﺮ‬

‫ﺭﺉﯿﺲ‪:‬ﭘﺮﺳﯿﺲ ﺑﺮﻟﮑﻤﭗ‬

‫ﺭﺉﯿﺲ‪:‬ﮐﺎﺭﯾﻦ ﺭﻭﻫﺮﺩﻧﺰ‬

‫ﺍﻣﯽﺍﺱ‪ .‬ﻻﻧﺪﻭ‬ ‫ﻧﮕﺮﺵﺻﻔﻮﯾﺎﻥ ﺑﻪ ﺗﺼﺎﻭﯾﺮ ﻣﻘﺪﺱ ﺩﺭ ﺍﺳﻨﺎﺩ‬ ‫ﻣﮑﺘﻮﺏﻭ ﺑﺼﺮﯼ‬

‫ﺳﺎﯾﻤﻮﻥﺭﺗﯿﮓ‬ ‫ﯾﮏﺗﺠﻤﯿﻊ ﻭﺍﻗﻌﯽ ﺍﺯ ﺳﺒﮏ ﻫﺎ؟ ﺯﯾﺮ ﺳﻮﺍﻝ ﺑﺮﺩﻥ ﺍﺻﺎﻟﺖ ﻧﻘﺎﺷﯽ ﻫﺎ ﺩﺭ ﻭﻭﺭﺧﻤﺴﻪ‬ ‫ﻧﻈﺎﻣﯽ‬

‫ﺍﺻﻠﯿﻬﺎﻥﺍﺭﮐﻤﻦ‬ ‫ﻧﻮﺷﺘﻪﻫﺎﯼ ﺑﯿﻮﮔﺮﺍﻓﯽ ﻣﺼﻮﺭ ﺑﻪ ﻋﻨﻮﺍﻥ ﯾﺎﺩﺑﻮﺩ‬ ‫ﺁﻣﻮﺯﺷﯽﻭ ﺗﺼﻮﯾﺮﯼ‬

‫ﯾﯿﻞﺭﺍﯾﺲ‬ ‫ﺳﺎﺧﺖﺁﻣﺮﯾﮑﺎ‪:‬‬ ‫ﺩﺭﯾﮏ ﺍﺗﺎﻗﮏ ﺻﻔﻮﯼ ﺩﺭ ﻣﻮﺯﻩ ﻫﻨﺮ ﻓﯿﻼﺩﻟﻔﯿﺎ‬

‫ﺁﻧﺎﺳﺘﺎﺯﯾﺎﺑﻮﭼﮑﺎﺭﻭﺍ‬ ‫ﺑﯿﻦﺷﺎﻫﺰﺍﺩﻩ ﺗﯿﻤﻮﺭﯼ ﻭ ﺍﻣﭙﺮﺍﺗﻮﺭ ﻣﻐﻮﻝ‪ :‬ﻣﯿﺮﺍﺙ ﺩﺭ ﺍﻧﺘﻘﺎﻝ‬

‫ﺍﯾﮕﻮﺭﺩﻣﭽﻨﮑﻮ‬ ‫ﺑﻨﺎﻫﺎﯼﺗﺎﺭﯾﺨﯽ ﻣﻌﺘﺒﺮ ﺩﺭ ﺳﻨﺖ ﺟﻌﻠﯽ‪ :‬ﺍﺧﺘﺮﺍﻉ ﻭ ﺁﻣﻮﺯﺵ‬ ‫ﺍﻭﺳﺘﻮﺱﺩﺭ ﺁﺳﯿﺎﯼ ﻣﺮﮐﺰﯼ ﺷﻮﺭﻭﯼ‬

‫ﺍﺳﺘﻔﺎﻥﮐﺎﻣﻮﻻ‬ ‫"ﺑﺎ ﺗﻤﺎﻡ ﺟﺰﺉﯿﺎﺕ"‪:‬‬ ‫ﺭﺷﯿﺪﺍﻟﺪﯾﻦﻭ ﻧﻤﺎﯾﺶ ﻋﻠﻢ‬

‫ﺭﺍﺷﻞﻭﺍﺭﺩ‬ ‫ﻗﯿﺼﺮﻭ ﻧﺎﭘﻞ ﮔﻠﻮﺏ‬ ‫‪10:40‬ﺗﺎ ‪ 11:00‬ﺻﺒﺢ‬ ‫‪11:00‬ﺻﺒﺢ ﺗﺎ ‪ 12:40‬ﺑﻌﺪ ﺍﺯ ﻇﻬﺮ‬

‫ﺯﻣﺎﻥﺍﺳﺘﺮﺍﺣﺖ ﺑﺮﺍﯼ ﻧﻮﺷﯿﺪﻥ ﻗﻬﻮﻩ‬

‫ﭘﺎﻧﻞ‪:6‬‬ ‫ﮐﻠﻤﻪﺁﺭﺍﺳﺘﻪ‬

‫‪3:40‬ﺗﺎ ‪ 4:00‬ﺑﻌﺪ ﺍﺯ ﻇﻬﺮ‬

‫ﺯﻣﺎﻥﺍﺳﺘﺮﺍﺣﺖ ﺑﺮﺍﯼ ﻧﻮﺷﯿﺪﻥ ﻗﻬﻮﻩ‬

‫‪4:00‬ﺗﺎ ‪ 5:20‬ﺑﻌﺪ ﺍﺯ ﻇﻬﺮ‬

‫ﭘﺎﻧﻞ‪:8‬‬

‫‪06‬‬

‫ﺁﻧﭽﻪﻫﻨﺮﻣﻨﺪﺍﻥ ﻭ ﺻﻨﻌﺘﮕﺮﺍﻥ ﻣﯽ ﺩﺍﻧﺴﺘﻨﺪ‬

‫ﺭﺉﯿﺲ‪:‬ﺷﯿﻼ ﺑﻠﺮ‬

‫ﺭﺉﯿﺲ‪:‬ﺍﺳﺘﻔﺎﻥ ﻭﺑﺮ‬

‫ﻧﻮﺣﻪﺍﺑﻮﺧﻄﻮﻩ‬ ‫ﺳﻨﺖﺗﻌﻠﯿﻢ ﺧﻄﺎﻁ ﻣﻤﻠﻮﮎ‪ :‬ﮐﺎﺭﻧﺎﻣﻪ ﻭ ﺁﺛﺎﺭ ﻋﺒﺪﺍﻟﺮﺣﻤﻦ ﺑﻦ ﺍﻟﺴﺎﯾﻖ‬

‫ﻓﺮﯾﺪﺭﯾﮏﻭﯾﮕﺖ‬ ‫ﮐﺸﻒﻣﺠﺪﺩ ﻧﻘﺎﺷﯽ ﺯﯾﺮ ﻟﻌﺎﺏ ﺩﺭ ﺍﻭﺍﺧﺮ ﺍﯾﺮﺍﻥ ﻗﺎﺟﺎﺭ‪ :‬ﺍﺳﺘﺎﺩ ﺳﻔﺎﻟﮕﺮ ﻋﻠﯽ‬ ‫ﻣﺤﻤﺪﺍﺻﻔﻬﺎﻧﯽ‬

‫ﻧﻮﺭﺍﻥﺑﻦ ﺍﺯﻭﻧﺎ‬ ‫ﺗﻨﺎﺳﺐﻭ ﺭﯾﺘﻢ‪:‬‬ ‫ﮔﻔﺘﻤﺎﻥﻫﺎﯼ ﻫﻤﮕﺮﺍ ﺩﺭﺑﺎﺭﻩ ﺧﻮﺷﻨﻮﯾﺴﯽ ﻭ ﻣﻮﺳﯿﻘﯽ ﺩﺭ ﺍﺳﻼﻡ ﻗﺮﻭﻥ ﻭﺳﻄﯽ‬

‫ﻣﯿﺮﯾﺎﻡﻋﻠﯽ ﺩﯼ ﺍﻭﻧﺰﺍﮔﺎ‬ ‫ﺭﺍﺯﺩﺍﺭﯼﺑﻪ ﻋﻨﻮﺍﻥ ﺯﯾﻨﺖ‪ :‬ﺍﻧﺘﻘﺎﻝ ﺩﺍﻧﺶ ﺩﺭ ﻃﻮﻝ ﻓﺮﺁﯾﻨﺪ‬ ‫ﺑﺎﻓﻨﺪﮔﯽﺩﺭ ﺭﻭﺳﺘﺎﯾﯽ ﻣﺮﺍﮐﺶ‬

‫ﺁﯾﺸﯿﻦﯾﻮﻟﺘﺎﺭ‪-‬ﯾﯿﻠﺪﯾﺮﯾﻢ‬ ‫ﭘﺮﺳﺶﺍﺯ ﻫﻨﺮﻣﻨﺪﺍﻥ ﺧﻮﺏ ﮐﺘﺎﺏ ﺩﺭ ﺩﺭﺑﺎﺭ ﻋﺜﻤﺎﻧﯽ‬

‫ﺍﺳﺘﻔﺎﻥﭘﺮﺍﺩﯾﻨﺰ‬ ‫ﮐﺮﯾﺴﺘﺎﻝﺳﻨﮕﯽ ﺯﻧﺞ‪ :‬ﺍﺯ ﻣﺎﺩﺍﮔﺎﺳﮑﺎﺭ ﺗﺎ ﻗﺎﻫﺮﻩ ﻓﺎﻃﻤﯽ‬

‫ﻓﺎﻃﻤﻪﻣﻨﺘﻈﺮﯼ ﻭ ﺁﺭﺵ ﺷﯿﺮﯾﻦ ﺑﺎﺏ‬ ‫ﮐﺘﺎﺏﻣﻘﺪﺱ ﯾﺎ ﺁﻣﻮﺯﺵ ﻫﻨﺮﯼ؟ ﺑﺮﺭﺳﯽ ﻗﺮﺁﻥ ﭼﺎﭖ ﺳﻨﮕﯽ ﻓﺨﺮ ﺍﺷﺮﺍﻑ ﻭ‬ ‫ﺭﺳﺎﻟﻪﺧﻂ ﺁﻥ‬

‫‪12:40‬ﺗﺎ ‪ 2:00‬ﺑﻌﺪ ﺍﺯ ﻇﻬﺮ‬

‫ﭘﺎﻧﻞ‪:7‬‬ ‫ﺗﻌﺒﯿﻪﻭ ﺍﺷﺎﻋﻪ ﺩﺍﻧﺶ ﺩﺭ ﻫﻨﺮ ﮐﺘﺎﺏ‬

‫ﻧﺎﻫﺎﺭ‬

‫ﻣﺎﺭﮐﻮﺱﻣﯿﻠﻮﺭﺍﯾﺖ‬ ‫ﺧﻮﺩﯼﻫﺎ ﻭ ﺧﻮﺩﯼ ﻫﺎ ﺩﺭ ﺍﻧﺘﻘﺎﻝ ﺩﺍﻧﺶ‪ :‬ﻣﻮﺭﺩﯼ ﺍﺯ ﺷﯿﻮﻩ ﻫﺎﯼ ﺳﻨﺘﯽ‬ ‫ﺻﻨﺎﯾﻊﺩﺳﺘﯽ ﺩﺭ ﺳﻮﺭﯾﻪ ﺑﺰﺭﮒ‬

‫‪6:00‬ﺗﺎ ‪ 6:40‬ﺑﻌﺪ ﺍﺯ ﻇﻬﺮ‬

‫ﺍﺳﺪﺍﻟﻠﻪﺳﻮﺭﻥ ﻣﻠﯿﮑﯿﺎﻥ ﭼﯿﺮﻭﺍﻧﯽ‪ ،‬ﺍﻣﺎﻧﺖ ﻓﺮﻫﻨﮕﯽ ﺁﻗﺎﺧﺎﻥ ﭘﯿﺎﻡ ﺻﻮﻓﯿﺎﻧﻪ ﺩﺭﺑﺎﺭﻩ ﺳﻔﺎﻝ‬ ‫ﻧﯿﺸﺎﺑﻮﺭ‬

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‫ﺁﯾﺎﻣﺠﻤﻮﻋﻪ ﻫﺎ ﻣﯽ ﺗﻮﺍﻧﻨﺪ ﺻﺤﺒﺖ ﮐﻨﻨﺪ؟ ﺁﻧﭽﻪ ﻣﯽ ﺗﻮﺍﻧﯿﻢ ﺍﺯ ﻣﺠﻤﻮﻋﻪ‬ ‫ﺍﻭﻟﯿﻪﻫﻨﺮ ﺍﺳﻼﻣﯽ ﺑﯿﺎﻣﻮﺯﯾﻢ‬

‫‪.‬ﻭﺟﻮﺩﺩﺍﺭﺩ‪ ،‬ﺩﺭ ﺣﺎﻟﯽ ﮐﻪ ﺗﻌﺪﺍﺩ ﮐﻤﺘﺮﯼ ﺩﺭ ﻣﻮﺯﻩ ﻫﻨﺮﻫﺎﯼ ﺗﺰﺉﯿﻨﯽ ﭘﺎﺭﯾﺲ ﻧﮕﻬﺪﺍﺭﯼ ﻣﯽ ﺷﻮﺩ ﻭ ﺗﻌﺪﺍﺩ ﻧﺎﻣﻌﻠﻮﻣﯽ‬

‫ﻧﯿﺰﺩﺭ ﺍﺩﯾﻨﺒﻮﺭﮒ ﻫﺴﺘﻨﺪ‪ .‬ﻋﻼﻭﻩ ﺑﺮ ﺍﺷﯿﺎﯾﯽ ﮐﻪ ﺩﺭ ﭘﺎﺭﯾﺲ ﺑﻪ ﻧﻤﺎﯾﺶ ﮔﺬﺍﺷﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﺣﺪﻭﺩ ‪ 700‬ﺷﯽ ﺩﺭ‬

‫ﺳﻨﺖﻣﻮﺭﯾﺲ ﺑﺎﻗﯽ ﻣﺎﻧﺪﻩ ﺍﺳﺖ ‪ V&A‬ﺁﻥ ﺭﺍ ﺩﯾﺪﻧﺪ ﻭ ﺩﺭ ﻣﻮﺭﺩ ﮐﯿﻔﯿﺖ ﺁﻥ ﺍﻇﻬﺎﺭ ﻧﻈﺮ ﮐﺮﺩﻧﺪ‪ .‬ﻋﺮﺏ ﺷﻨﺎﺱ‬

‫ﭘﺎﻧﻞ‪1‬‬

‫ﻣﺮﯾﻢﺭﻭﺳﺮ ﺍﻭﻭﻥ ﻭ ﻣﺮﺳﺪﺱ ﻭﻭﻻﯾﺖ ﻣﻮﺯﻩ‬ ‫ﻭﯾﮑﺘﻮﺭﯾﺎﻭ ﺁﻟﺒﺮﺕ‪ ،‬ﻟﻨﺪﻥ‪ ،‬ﻭ ﻣﻮﺳﺴﻪ ﻣﻠﯽ ﺗﺎﺭﯾﺦ‬ ‫ﻫﻨﺮ‪،‬ﭘﺎﺭﯾﺲ‬

‫ﺍﺑﺮﺍﺯﺗﻤﺎﯾﻞ ﺧﺒﺮﻩ ﺑﻪ ﺩﺭﮎ ﺯﻣﯿﻨﻪ ﺟﻨﯿﻨﯽ ﻫﻨﺮ ﺍﺳﻼﻣﯽ ﻭ ﺗﺸﮑﯿﻞ ﻣﺠﻤﻮﻋﻪ ﺍﯼ ﺟﺎﻣﻊ ﺍﺯ ﻧﻤﻮﻧﻪ ﻫﺎ‪.‬‬

‫ﺑﻪﻫﻤﺎﻥ ﺍﻧﺪﺍﺯﻩ ﺟﺎﻟﺐ ﺍﯾﻦ ﺍﺳﺖ ﮐﻪ ﭼﻪ ﮐﺎﺭﯼ ﺍﻧﺠﺎﻡ ﻣﯽ ﺩﻫﺪﻧﻪﺩﺭ ﻣﺠﻤﻮﻋﻪ ﻇﺎﻫﺮ ﻣﯽ ﺷﻮﺩ‪ :‬ﻫﯿﭻ ﻧﺴﺨﻪ ﺧﻄﯽ ﻭ ﻫﻨﺮ ﻓﯿﮕﻮﺭﺍﺗﯿﻮ ﺑﺴﯿﺎﺭ‬

‫ﮐﻤﯽﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺍﯾﻦ ﺗﻔﺎﻭﺕ ﻗﺎﺑﻞ ﺗﻮﺟﻬﯽ ﺑﺎ ﻣﺠﻤﻮﻋﻪ ﻫﺎﯼ ﻫﻨﺮﯼ ﺍﺳﻼﻣﯽ ﺍﺳﺖ ﮐﻪ ﺩﺭ ﻗﺮﻥ ﺑﯿﺴﺘﻢ ﻭ ﺍﻣﺮﻭﺯ ﺷﮑﻞ ﮔﺮﻓﺘﻪ ﺍﻧﺪ‪ ،‬ﮐﻪ ﺣﺎﮐﯽ‬ ‫ﺍﺯﺗﻐﯿﯿﺮ ﺩﺭ ﻣﺪ ﺍﺯ ﺯﻣﺎﻥ ﺧﺒﺮﻩ ﻫﺎﯼ ﺍﻭﻟﯿﻪ ﻣﺎﻧﻨﺪ ﺳﻨﺖ ﻣﻮﺭﯾﺲ ﺍﺳﺖ‪.‬‬

‫ﺍﯾﻦﻣﻘﺎﻟﻪ ﺍﻭﻟﯿﻦ ﻣﺸﺎﻫﺪﺍﺕ ﻣﺎ ﺭﺍ ﺩﺭ ﻣﻮﺭﺩ ﺁﻧﭽﻪ ﮐﻪ ﻣﯽ ﺗﻮﺍﻧﯿﻢ ﺑﺎ ﻣﻄﺎﻟﻌﻪ ﻣﺠﻤﻮﻋﻪ ﯾﮏ ﻧﻔﺮ ﺩﺭ ﻣﻮﺭﺩ ﺗﺎﺭﯾﺦ ﻧﮕﺎﺭﯼ ﻫﻨﺮ ﺍﺳﻼﻣﯽ‬

‫ﺑﯿﺎﻣﻮﺯﯾﻢ‪،‬ﻭ ﺁﻧﭽﻪ ﮐﻪ ﻓﻌﺎﻟﯿﺖ ﻫﺎﯼ ﺟﻤﻊ ﺁﻭﺭﯼ ﺳﻨﺖ ﻣﻮﺭﯾﺲ ﻣﯽ ﺗﻮﺍﻧﺪ ﺩﺭﺑﺎﺭﻩ ﺑﺎﺯﺍﺭ ﻫﻨﺮ ﻗﺎﻫﺮﻩ ﺩﺭ ﺩﻫﻪ ‪ 1870‬ﺑﻪ ﻣﺎ ﺑﮕﻮﯾﺪ‪ ،‬ﺑﻪ‬

‫ﺍﺷﺘﺮﺍﮎﻣﯽ ﮔﺬﺍﺭﺩ‪.‬‬

‫ﺩﺭﭘﺎﺭﯾﺲ ﻣﺎﻧﺪ‪ .‬ﺩﺭ ﺳﺎﻝ ‪ 1884‬ﺑﯿﺸﺘﺮ ﺍﺷﯿﺎء ﺍﻣﺎﻧﺖ ﺩﺍﺩﻩ ﺷﺪﻩ ﺗﻮﺳﻂ ﻣﻮﺯﻩ ﻟﻨﺪﻥ ﺧﺮﯾﺪﺍﺭﯼ ﺷﺪ‪ .‬ﺩﺭ ﺣﺎﻟﯽ ﮐﻪ‬

‫ﻣﻘﺪﺍﺭﺯﯾﺎﺩﯼ ﺑﻪ ﻣﻮﺯﻩ ﺳﻠﻄﻨﺘﯽ ﺍﺩﯾﻨﺒﻮﺭﮒ ﻓﺮﺳﺘﺎﺩﻩ ﺷﺪ‪ .‬ﺍﻣﺮﻭﺯ ﻣﺠﻤﻮﻋﻪ ﺳﻨﺖ ﻣﻮﺭﯾﺲ ﭘﺮﺍﮐﻨﺪﻩ ﺍﺳﺖ‪ .‬ﺗﻘﺮﯾﺒﺎ ً‬

‫‪200‬ﺷﯽ ﺍﺯ ﻣﺠﻤﻮﻋﻪ ﺍﻭ ﺩﺭ (‪ V&A‬ﺑﻌﺪﻫﺎ ﻣﻮﺯﻩ ﻭﯾﮑﺘﻮﺭﯾﺎ ﻭ ﺁﻟﺒﺮﺕ ﯾﺎ) ﺭﺍ ﺑﺮ ﻋﻬﺪﻩ ﺩﺍﺷﺖ‪ .‬ﺩﺭ ﭘﺎﯾﺎﻥ ﻧﻤﺎﯾﺸﮕﺎﻩ‪ ،‬ﺍﯾﻦ‬

‫ﻣﺠﻤﻮﻋﻪﺩﺭ ﭘﺎﺭﯾﺲ ﺑﻪ ﻧﻤﺎﯾﺶ ﮔﺬﺍﺷﺘﻪ ﺷﺪ‪ ،‬ﺟﺎﯾﯽ ﮐﻪ ﻣﺘﺼﺪﯾﺎﻥ ﻣﻮﺯﻩ ﮐﻨﺰﯾﻨﮕﺘﻮﻥ ﺟﻨﻮﺑﯽ "‪des Califes‬‬

‫‪ "L'Egypte‬ﯾﮏ ﮐﻨﺖ ﻓﺮﺍﻧﺴﻮﯼ ﺑﻮﺩ ﮐﻪ ﺍﺯ ﺳﺎﻝ ‪ 1868‬ﺗﺎ ‪ 1878‬ﺑﻪ ﻋﻨﻮﺍﻥ ﭘﺮﺱ ﻭ ﺟﻮ ﺑﺮﺍﯼ ﺧﺪﯾﻮ ﻣﺼﺮ ﺧﺪﻣﺖ‬

‫ﮐﺮﺩ‪.‬ﻫﻨﮕﺎﻣﯽ ﮐﻪ ﺩﺭ ﻗﺎﻫﺮﻩ ﺑﻮﺩ‪ ،‬ﻣﺠﻤﻮﻋﻪ ﺑﺰﺭﮔﯽ ﺭﺍ ﺗﺸﮑﯿﻞ ﺩﺍﺩ ﮐﻪ ﺑﯿﺸﺘﺮ ﺁﻥ ﺩﺭ ﻧﻤﺎﯾﺸﮕﺎﻩ ﺟﻬﺎﻧﯽ ﭘﺎﺭﯾﺲ ‪1878‬‬

‫ﺑﻪﻧﻤﺎﯾﺶ ﮔﺬﺍﺷﺘﻪ ﺷﺪ‪ .‬ﺳﻦ ﻣﻮﺭﯾﺲ ﺳﺮﭘﺮﺳﺘﯽ ﺑﺨﺶ (‪Gaston de Saint-Maurice )1831-1905‬ﻣﺰﻭﻥ‬ ‫ﻋﺮﺑﯽﺩﺭ ﻗﺎﻫﺮﻩ )ﺍﮐﻨﻮﻥ ﺑﺨﺸﯽ ﺍﺯ ﺳﻔﺎﺭﺕ ﻓﺮﺍﻧﺴﻪ ﻭ ﻣﻮﺿﻮﻉ ﮐﺘﺎﺏ ﺍﺧﯿﺮ ﻣﺮﺳﺪﺱ ﻭﻻﯾﺖ(‪.‬‬

‫ﺍﯾﺮﯾﻨﺎﮐﻮﺷﻮﺭﯾﺪﺯﻩ‬

‫ﻣﻮﺯﻩﻣﻠﯽ ﮔﺮﺟﺴﺘﺎﻥ‪ ،‬ﺗﻔﻠﯿﺲ‪ ،‬ﮔﺮﺟﺴﺘﺎﻥ‬

‫ﺍﺯﮐﻠﮑﺴﯿﻮﻧﺮﻫﺎﯼ ﺧﺼﻮﺻﯽ ﺗﺎ ﻣﺆﺳﺴﺎﺕ ﺩﻭﻟﺘﯽ‬

‫ﺍﯾﻦﻣﻘﺎﻟﻪ ﭼﮕﻮﻧﮕﯽ ﺍﺩﺍﻣﻪ ﻭ ﺍﯾﻔﺎﯼ ﻧﻘﺶ ﺁﻣﻮﺯﺵ ﺩﺭ ﺟﻤﻊ ﺁﻭﺭﯼ ﻭ ﻧﻤﺎﯾﺶ ﻫﻨﺮ ﺍﺳﻼﻣﯽ ﺩﺭ ﮔﺮﺟﺴﺘﺎﻥ ﺭﺍ ﺑﺮﺭﺳﯽ ﺧﻮﺍﻫﺪ ﮐﺮﺩ‪.‬‬ ‫ﺍﯾﻦﻣﻘﺎﻟﻪ ﺑﺮ ﺭﻭﯼ ﺍﻟﮑﺴﺎﻧﺪﺭ ﺭﻭﯾﻨﺎﺷﻮﯾﻠﯽ )ﻣﻌﺮﻭﻑ ﺑﻪ ﺭﻭﯾﻨﻮﻑ(‪ ،‬ﻋﮑﺎﺱ ﻣﻮﻓﻘﯽ ﮐﻪ ﺩﺭ ﻧﯿﻤﻪ ﺩﻭﻡ ﻗﺮﻥ ﻧﻮﺯﺩﻫﻢ ﺷﺮﻭﻉ ﺑﻪ ﺟﻤﻊ ﺁﻭﺭﯼ ﺁﺛﺎﺭ‬

‫ﺑﺎﺳﺘﺎﻧﯽﺍﺳﻼﻣﯽ ﮐﺮﺩ‪ ،‬ﺑﯿﺸﺘﺮ ﺩﺭ ﮔﺮﺟﺴﺘﺎﻥ ﻭ ﻗﻔﻘﺎﺯ‪ ،‬ﮐﻪ ﺩﺭ ﺁﻥ ﺯﻣﺎﻥ ﺗﻮﺳﻂ "ﺷﮑﺎﺭﭼﯿﺎﻥ" ﺧﺎﺭﺟﯽ ﻏﺮﻕ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺗﻤﺮﮐﺰ ﻣﯽ ﮐﻨﺪ‪ .‬ﺍﺯ‬

‫ﻣﺼﻨﻮﻋﺎﺕﻋﺘﯿﻘﻪ ﺍﻭ ﺍﻧﺒﻮﻫﯽ ﺍﺯ ﺍﺷﯿﺎء ﻣﻮﺭﺩ ﻋﻼﻗﻪ ﺭﺍ ﺑﺮﺍﯼ ﻣﻨﺸﺄ ﻣﺤﻠﯽ ﺁﻧﻬﺎ ﺑﻪ ﺍﻧﺪﺍﺯﻩ ﮐﯿﻔﯿﺖ ﺫﺍﺗﯽ ﺁﻧﻬﺎ ﺑﻪ ﺩﺳﺖ ﺁﻭﺭﺩ‪ ،‬ﺍﺯ ﺟﻤﻠﻪ ﻇﺮﻭﻑ‬ ‫ﻣﻌﺮﻭﻓﯽﻣﺎﻧﻨﺪ ﺍﻭﺭ ﺑﺼﺮﻩ ﻭ ﺍﻭﺭ ﺗﻔﻠﯿﺲ‪.‬‬

‫ﺍﯾﻦﻣﻘﺎﻟﻪ ﺑﺎ ﻫﺪﻑ ﺑﻪ ﺍﺷﺘﺮﺍﮎ ﮔﺬﺍﺷﺘﻦ ﻧﺘﺎﯾﺞ ﺍﻭﻟﯿﻪ ﯾﮏ ﭘﺮﻭﮊﻩ ﺗﺤﻘﯿﻘﺎﺗﯽ ﻣﺸﺘﺮﮎ ﺟﺪﯾﺪ ﺑﯿﻦ ﻣﻮﺳﺴﻪ ﻣﻠﯽ‬ ‫ﺗﺎﺭﯾﺦﻫﻨﺮ ﻭ ﻣﻮﺯﻩ ﻭﯾﮑﺘﻮﺭﯾﺎ ﻭ ﺁﻟﺒﺮﺕ‪ ،‬ﺑﺎ ﺗﻤﺮﮐﺰ ﺑﺮ ﺳﻨﺖ ﻣﻮﺭﯾﺲ ﻣﺮﺩ ﻭ ﻣﺠﻤﻮﻋﻪ ﺍﺵ‪ ،‬ﺍﻧﺠﺎﻡ ﻣﯽ ﺷﻮﺩ‪ .‬ﺍﯾﻦ‬

‫ﭘﺮﻭﮊﻩﺑﺎ ﻣﻄﺎﻟﻌﻪ ﺩﻗﯿﻖ ﻣﺠﻤﻮﻋﻪ ﻫﺎﯼ ‪ ،V&A‬ﺍﺷﯿﺎء ﭘﺮﺍﮐﻨﺪﻩ ﺩﺭ ﺳﺎﯾﺮ ﻣﻮﺳﺴﺎﺕ ﺭﺍ ﺩﺭ ﺑﺮ ﻣﯽ ﮔﯿﺮﺩ ﺗﺎ ﺗﺼﻮﯾﺮﯼ‬

‫ﭘﺎﻧﻮﺭﺍﻣﺎﺍﺯ ﮐﻞ ﻣﺠﻤﻮﻋﻪ ﺧﻮﺩ ﺑﺴﺎﺯﺩ‪.‬‬

‫ﻣﺠﻤﻮﻋﻪﺳﻨﺖ ﻣﻮﺭﯾﺲ ﺩﺭ ‪ V&A‬ﺷﺎﻣﻞ ﺍﺷﯿﺎء ﺗﺎﺭﯾﺨﯽ ﺍﺯ ﺳﺮﺍﺳﺮ ﺟﻬﺎﻥ ﺍﺳﻼﻡ‪ ،‬ﺑﻪ ﻭﯾﮋﻩ ﻣﺼﺮ ﻭ ﺳﻮﺭﯾﻪ ﺍﺳﺖ‪.‬‬

‫ﺍﯾﻨﻬﺎﻋﻤﺪﺗﺎ ً»ﻫﻨﺮﻫﺎﯼ ﺗﺰﺉﯿﻨﯽ« ﻫﺴﺘﻨﺪ‪ :‬ﮐﺎﺷﯽ‪ ،‬ﻣﻨﺴﻮﺟﺎﺕ‪ ،‬ﻣﻨﺒﺖ ﮐﺎﺭﯼ ﻓﻠﺰﯼ‪ ،‬ﻧﺠﺎﺭﯼ‪ ،‬ﺟﻮﺍﻫﺮﺍﺕ‪ ،‬ﻣﻬﺮﻫﺎ‪،‬‬

‫ﺣﺮﺯﻫﺎ‪،‬ﮐﺘﯿﺒﻪ ﻫﺎﯼ ﺳﻨﮕﯽ‪ ،‬ﺑﺎﺯﻭﻫﺎ ﻭ ﺯﺭﻩ‪ .‬ﻗﺪﻣﺖ ﺁﻧﻬﺎ ﺑﻪ ﻭﯾﮋﻩ ﺑﻪ ﻗﺮﻥ ‪ 14‬ﺗﺎ ‪ 16‬ﻣﯽ ﺭﺳﺪ‪ ،‬ﺍﻣﺎ ﻫﻤﭽﻨﯿﻦ ﺷﺎﻣﻞ‬ ‫ﺍﺷﯿﺎءﻗﺮﻥ ﻧﻮﺯﺩﻫﻤﯽ ﻣﺎﻧﻨﺪ ﻓﺮﺵ ﻫﺎﯼ ﺑﺎﮐﯿﻔﯿﺖ ﺍﺯ ﺍﯾﺮﺍﻥ ﻭ ﺁﺳﯿﺎﯼ ﻣﺮﮐﺰﯼ ﺍﺳﺖ ﮐﻪ ﻧﻮ ﺧﺮﯾﺪﺍﺭﯼ ﺷﺪﻩ ﺍﻧﺪ‪.‬‬

‫ﺳﻼﯾﻖﺳﻦ ﻣﻮﺭﯾﺲ ﺑﺴﯿﺎﺭ ﻣﺘﻨﻮﻉ ﺑﻮﺩ ﻭ ﻣﺠﻤﻮﻋﻪ ﺍﻭ ﻫﻤﭽﻨﯿﻦ ﺷﺎﻣﻞ ﻗﻄﻌﺎﺗﯽ ﺍﺯ ﺗﺮﮐﯿﻪ‪ ،‬ﻫﻨﺪ‪ ،‬ﺁﺳﯿﺎﯼ ﺷﺮﻗﯽ ﻭ‬ ‫ﺍﺭﻭﭘﺎﺑﻮﺩ‪ .‬ﺑﺮﺧﯽ ﺍﺯ ﺍﺷﯿﺎ ﺍﻟﺘﻘﺎﻃﯽ ﻫﺴﺘﻨﺪ‪ ،‬ﺍﻣﺎ ﺩﺭ ﮐﻞ ﺑﻪ ﻧﻈﺮ ﻣﯽ ﺭﺳﻨﺪ‬

‫ﺭﻭﯾﻨﺎﺷﻮﯾﻠﯽﻣﺠﻤﻮﻋﻪ ﺍﯼ ﺍﯾﺠﺎﺩ ﮐﺮﺩ ﮐﻪ ﺍﺯ ﺁﻥ ﯾﮏ ﻧﻤﺎﯾﺸﮕﺎﻩ ﺳﯿﺎﺭ ﺍﺳﺘﺨﺮﺍﺝ ﮐﺮﺩ ﮐﻪ ﺍﺯ ﺗﻔﻠﯿﺲ ﺑﻪ ﻣﺴﮑﻮ‪ ،‬ﺳﻦ ﭘﺘﺮﺯﺑﻮﺭﮒ ﻭ ﺁﺳﺘﺎﺭﺍﺧﺎﻥ‬

‫ﺑﺮﺩﻩﺷﺪ‪ .‬ﺍﻭ ﯾﮑﯽ ﺍﺯ ﺍﻭﻟﯿﻦ ﻣﻮﺯﻩ ﻫﺎﯼ ﺧﺼﻮﺻﯽ ﺭﺍ ﺩﺭ ﺍﻣﭙﺮﺍﺗﻮﺭﯼ ﺭﻭﺳﯿﻪ ﺍﯾﺠﺎﺩ ﮐﺮﺩ ﻭ ﺭﻭﺵ ﻫﺎﯼ ﺟﺪﯾﺪﯼ ﺭﺍ ﺑﺮﺍﯼ ﻧﻤﺎﯾﺶ ﺁﺛﺎﺭ ﺍﺯ ﺟﻤﻠﻪ‬

‫ﻋﮑﺲ‪،‬ﭼﻨﺪ ﺭﺳﺎﻧﻪ ﺍﯼ‪ ،‬ﺑﺮﭼﺴﺐ ﮔﺬﺍﺭﯼ ﻭ ﻓﻬﺮﺳﺖ ﻧﻮﯾﺴﯽ ﺁﺛﺎﺭ ﻣﻌﺮﻓﯽ ﮐﺮﺩ‪ .‬ﺑﺮﺧﯽ ﺍﺯ ﻫﺰﯾﻨﻪ ﻫﺎﯼ ﺍﯾﻦ ﺷﺮﮐﺖ ﺑﺎ ﻓﺮﻭﺵ ﺍﺷﯿﺎء ﺑﻪ‬

‫ﻣﺠﻤﻮﻋﻪ ﺩﺍﺭﺍﻥﻭ ﻣﺆﺳﺴﺎﺕ ﺟﺒﺮﺍﻥ ﺷﺪ‪ :‬ﮐﻨﺖ ﺑﻮﺑﺮﯾﻨﺴﮑﯽ‪ ،‬ﺍﺭﻣﯿﺘﺎﮊ‪ ،‬ﻭ ﻣﻮﺯﻩ ﻫﻨﺮ ﺍﺳﻼﻣﯽ ﺑﺮﻟﯿﻦ‪ ،‬ﻫﻤﮕﯽ ﺑﺮﺧﯽ ﺍﺯ ﺑﻬﺘﺮﯾﻦ ﺍﺷﯿﺎء ﺧﻮﺩ‬

‫ﺭﺍﺍﺯ ﺍﻭ ﺧﺮﯾﺪﻧﺪ‪.‬‬

‫ﻣﺠﻤﻮﻋﻪﺭﻭﯾﻨﺎﺷﻮﯾﻠﯽ ﺩﺭ ﻭﺻﯿﺖ ﻧﺎﻣﻪ ﺍﺵ ﺑﻪ ﺍﻧﺠﻤﻦ ﻧﺸﺮ ﺳﻮﺍﺩ ﺩﺭ ﻣﯿﺎﻥ ﮔﺮﺟﯽ ﻫﺎ ﻭﺍﮔﺬﺍﺭ ﺷﺪ‪ .‬ﺍﺯ ﻧﻈﺮ ﺭﻭﺣﯽ ﻣﺸﺎﺑﻪ ﻣﻮﺯﻩ ﻫﺎﯼ ﻏﺮﺑﯽ ﺑﺎ‬ ‫ﺗﺎﮐﯿﺪﺑﺮ ﺁﻣﻮﺯﺵ‪ ،‬ﻫﺪﻑ ﺟﺎﻣﻌﻪ ﺍﯾﻦ ﺑﻮﺩ ﮐﻪ ﮔﺮﺟﯽ ﻫﺎ ﺭﺍ ﺑﺎ ﺟﻨﺒﻪ ﻫﺎﯾﯽ ﺍﺯ ﺗﺎﺭﯾﺦ ﺧﻮﺩ ﻭ ﺟﻬﺎﻥ ﮔﺴﺘﺮﺩﻩ ﺗﺮ ﺁﺷﻨﺎ ﮐﻨﺪ‪ .‬ﺍﯾﻦ ﻣﺠﻤﻮﻋﻪ ﻫﺎ ﺑﻌﺪﺍ ً‬

‫ﺑﺎﻣﺠﻤﻮﻋﻪ ﻫﺎﯼ ﺷﺮﻗﯽ ﻣﻮﺯﻩ ﻫﻨﺮﻫﺎﯼ ﺯﯾﺒﺎﯼ ﺷﺎﻟﻮﺍ ﺍﻣﯿﺮﺍﻧﺎﺷﻮﯾﻠﯽ ﺍﺩﻏﺎﻡ ﺷﺪﻧﺪ ﻭ ﺍﮐﻨﻮﻥ ﺩﺭ ﻣﻮﺯﻩ ﻣﻠﯽ ﮔﺮﺟﺴﺘﺎﻥ ﺑﻪ ﻧﻤﺎﯾﺶ ﮔﺬﺍﺷﺘﻪ‬

‫ﺭﺉﯿﺲﻭ ﺑﺤﺚ ﮐﻨﻨﺪﻩ‪ :‬ﺁﻭﯾﻨﻮﺍﻡ ﺷﺎﻟﻢ‪ ،‬ﺩﺍﻧﺸﮕﺎﻩ ﮐﻠﻤﺒﯿﺎ‬

‫ﺑﺰﺭﮔﺘﺮﯾﻦﺍﺭﺯﺵ ﻭ ﮐﻤﯿﺎﺏ" ﻣﯽ ﺩﺍﻧﺴﺖ‪ .‬ﺩﺭ ﻧﻬﺎﯾﺖ‪ ،‬ﺑﺨﺸﯽ ﺍﺯ ﻣﺠﻤﻮﻋﻪ ﺑﻪ ﺻﻮﺭﺕ ﻗﺮﺿﯽ ﺑﻪ ﻟﻨﺪﻥ ﺁﻣﺪ ﻭ ﺑﻘﯿﻪ‬

‫ﻣﺠﻤﻮﻋﻪﻫﺎ ﻭ ﻧﻤﺎﯾﺸﮕﺎﻩ ﻫﺎﯼ ﺑﯿﻦ ﺩﺍﻧﺶ‬ ‫ﻭﺗﺨﯿﻞ‬

‫ﺍﺳﺘﻨﻠﯽﻟﯿﻦ ﭘﻮﻝ )‪ (1931-1854‬ﮐﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺸﺎﻭﺭ ﻣﻮﺯﻩ ﺩﺭ ﻣﻮﺭﺩ "ﻫﻨﺮ ﺳﺎﺭﺍﺳﻨﯿﮏ" ﻋﻤﻞ ﻣﯽ ﮐﺮﺩ‪ ،‬ﺁﻥ ﺭﺍ "‬

‫ﻣﯽ ﺷﻮﻧﺪ‪،‬ﺟﺎﯾﯽ ﮐﻪ ﺑﻪ ﺗﻼﺵ ﻫﺎﯼ ﺍﻟﮑﺴﺎﻧﺪﺭ ﺭﻭﯾﻨﺎﺷﻮﯾﻠﯽ ﺍﺩﺍﻣﻪ ﻣﯽ ﺩﻫﻨﺪ‪.‬‬

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‫ﺁﯾﺎﻣﺠﻤﻮﻋﻪ ﻫﺎ ﻣﯽ ﺗﻮﺍﻧﻨﺪ ﺻﺤﺒﺖ ﮐﻨﻨﺪ؟ ﺁﻧﭽﻪ ﻣﯽ ﺗﻮﺍﻧﯿﻢ ﺍﺯ ﻣﺠﻤﻮﻋﻪ‬ ‫ﺍﻭﻟﯿﻪﻫﻨﺮ ﺍﺳﻼﻣﯽ ﺑﯿﺎﻣﻮﺯﯾﻢ‬

‫‪.‬ﻭﺟﻮﺩﺩﺍﺭﺩ‪ ،‬ﺩﺭ ﺣﺎﻟﯽ ﮐﻪ ﺗﻌﺪﺍﺩ ﮐﻤﺘﺮﯼ ﺩﺭ ﻣﻮﺯﻩ ﻫﻨﺮﻫﺎﯼ ﺗﺰﺉﯿﻨﯽ ﭘﺎﺭﯾﺲ ﻧﮕﻬﺪﺍﺭﯼ ﻣﯽ ﺷﻮﺩ ﻭ ﺗﻌﺪﺍﺩ ﻧﺎﻣﻌﻠﻮﻣﯽ‬

‫ﻧﯿﺰﺩﺭ ﺍﺩﯾﻨﺒﻮﺭﮒ ﻫﺴﺘﻨﺪ‪ .‬ﻋﻼﻭﻩ ﺑﺮ ﺍﺷﯿﺎﯾﯽ ﮐﻪ ﺩﺭ ﭘﺎﺭﯾﺲ ﺑﻪ ﻧﻤﺎﯾﺶ ﮔﺬﺍﺷﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﺣﺪﻭﺩ ‪ 700‬ﺷﯽ ﺩﺭ‬

‫ﺳﻨﺖﻣﻮﺭﯾﺲ ﺑﺎﻗﯽ ﻣﺎﻧﺪﻩ ﺍﺳﺖ ‪ V&A‬ﺁﻥ ﺭﺍ ﺩﯾﺪﻧﺪ ﻭ ﺩﺭ ﻣﻮﺭﺩ ﮐﯿﻔﯿﺖ ﺁﻥ ﺍﻇﻬﺎﺭ ﻧﻈﺮ ﮐﺮﺩﻧﺪ‪ .‬ﻋﺮﺏ ﺷﻨﺎﺱ‬

‫ﭘﺎﻧﻞ‪1‬‬

‫ﻣﺮﯾﻢﺭﻭﺳﺮ ﺍﻭﻭﻥ ﻭ ﻣﺮﺳﺪﺱ ﻭﻭﻻﯾﺖ ﻣﻮﺯﻩ‬ ‫ﻭﯾﮑﺘﻮﺭﯾﺎﻭ ﺁﻟﺒﺮﺕ‪ ،‬ﻟﻨﺪﻥ‪ ،‬ﻭ ﻣﻮﺳﺴﻪ ﻣﻠﯽ ﺗﺎﺭﯾﺦ‬ ‫ﻫﻨﺮ‪،‬ﭘﺎﺭﯾﺲ‬

‫ﺍﺑﺮﺍﺯﺗﻤﺎﯾﻞ ﺧﺒﺮﻩ ﺑﻪ ﺩﺭﮎ ﺯﻣﯿﻨﻪ ﺟﻨﯿﻨﯽ ﻫﻨﺮ ﺍﺳﻼﻣﯽ ﻭ ﺗﺸﮑﯿﻞ ﻣﺠﻤﻮﻋﻪ ﺍﯼ ﺟﺎﻣﻊ ﺍﺯ ﻧﻤﻮﻧﻪ ﻫﺎ‪.‬‬

‫ﺑﻪﻫﻤﺎﻥ ﺍﻧﺪﺍﺯﻩ ﺟﺎﻟﺐ ﺍﯾﻦ ﺍﺳﺖ ﮐﻪ ﭼﻪ ﮐﺎﺭﯼ ﺍﻧﺠﺎﻡ ﻣﯽ ﺩﻫﺪﻧﻪﺩﺭ ﻣﺠﻤﻮﻋﻪ ﻇﺎﻫﺮ ﻣﯽ ﺷﻮﺩ‪ :‬ﻫﯿﭻ ﻧﺴﺨﻪ ﺧﻄﯽ ﻭ ﻫﻨﺮ ﻓﯿﮕﻮﺭﺍﺗﯿﻮ ﺑﺴﯿﺎﺭ‬

‫ﮐﻤﯽﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺍﯾﻦ ﺗﻔﺎﻭﺕ ﻗﺎﺑﻞ ﺗﻮﺟﻬﯽ ﺑﺎ ﻣﺠﻤﻮﻋﻪ ﻫﺎﯼ ﻫﻨﺮﯼ ﺍﺳﻼﻣﯽ ﺍﺳﺖ ﮐﻪ ﺩﺭ ﻗﺮﻥ ﺑﯿﺴﺘﻢ ﻭ ﺍﻣﺮﻭﺯ ﺷﮑﻞ ﮔﺮﻓﺘﻪ ﺍﻧﺪ‪ ،‬ﮐﻪ ﺣﺎﮐﯽ‬ ‫ﺍﺯﺗﻐﯿﯿﺮ ﺩﺭ ﻣﺪ ﺍﺯ ﺯﻣﺎﻥ ﺧﺒﺮﻩ ﻫﺎﯼ ﺍﻭﻟﯿﻪ ﻣﺎﻧﻨﺪ ﺳﻨﺖ ﻣﻮﺭﯾﺲ ﺍﺳﺖ‪.‬‬

‫ﺍﯾﻦﻣﻘﺎﻟﻪ ﺍﻭﻟﯿﻦ ﻣﺸﺎﻫﺪﺍﺕ ﻣﺎ ﺭﺍ ﺩﺭ ﻣﻮﺭﺩ ﺁﻧﭽﻪ ﮐﻪ ﻣﯽ ﺗﻮﺍﻧﯿﻢ ﺑﺎ ﻣﻄﺎﻟﻌﻪ ﻣﺠﻤﻮﻋﻪ ﯾﮏ ﻧﻔﺮ ﺩﺭ ﻣﻮﺭﺩ ﺗﺎﺭﯾﺦ ﻧﮕﺎﺭﯼ ﻫﻨﺮ ﺍﺳﻼﻣﯽ‬

‫ﺑﯿﺎﻣﻮﺯﯾﻢ‪،‬ﻭ ﺁﻧﭽﻪ ﮐﻪ ﻓﻌﺎﻟﯿﺖ ﻫﺎﯼ ﺟﻤﻊ ﺁﻭﺭﯼ ﺳﻨﺖ ﻣﻮﺭﯾﺲ ﻣﯽ ﺗﻮﺍﻧﺪ ﺩﺭﺑﺎﺭﻩ ﺑﺎﺯﺍﺭ ﻫﻨﺮ ﻗﺎﻫﺮﻩ ﺩﺭ ﺩﻫﻪ ‪ 1870‬ﺑﻪ ﻣﺎ ﺑﮕﻮﯾﺪ‪ ،‬ﺑﻪ‬

‫ﺍﺷﺘﺮﺍﮎﻣﯽ ﮔﺬﺍﺭﺩ‪.‬‬

‫ﺩﺭﭘﺎﺭﯾﺲ ﻣﺎﻧﺪ‪ .‬ﺩﺭ ﺳﺎﻝ ‪ 1884‬ﺑﯿﺸﺘﺮ ﺍﺷﯿﺎء ﺍﻣﺎﻧﺖ ﺩﺍﺩﻩ ﺷﺪﻩ ﺗﻮﺳﻂ ﻣﻮﺯﻩ ﻟﻨﺪﻥ ﺧﺮﯾﺪﺍﺭﯼ ﺷﺪ‪ .‬ﺩﺭ ﺣﺎﻟﯽ ﮐﻪ‬

‫ﻣﻘﺪﺍﺭﺯﯾﺎﺩﯼ ﺑﻪ ﻣﻮﺯﻩ ﺳﻠﻄﻨﺘﯽ ﺍﺩﯾﻨﺒﻮﺭﮒ ﻓﺮﺳﺘﺎﺩﻩ ﺷﺪ‪ .‬ﺍﻣﺮﻭﺯ ﻣﺠﻤﻮﻋﻪ ﺳﻨﺖ ﻣﻮﺭﯾﺲ ﭘﺮﺍﮐﻨﺪﻩ ﺍﺳﺖ‪ .‬ﺗﻘﺮﯾﺒﺎ ً‬

‫‪200‬ﺷﯽ ﺍﺯ ﻣﺠﻤﻮﻋﻪ ﺍﻭ ﺩﺭ (‪ V&A‬ﺑﻌﺪﻫﺎ ﻣﻮﺯﻩ ﻭﯾﮑﺘﻮﺭﯾﺎ ﻭ ﺁﻟﺒﺮﺕ ﯾﺎ) ﺭﺍ ﺑﺮ ﻋﻬﺪﻩ ﺩﺍﺷﺖ‪ .‬ﺩﺭ ﭘﺎﯾﺎﻥ ﻧﻤﺎﯾﺸﮕﺎﻩ‪ ،‬ﺍﯾﻦ‬

‫ﻣﺠﻤﻮﻋﻪﺩﺭ ﭘﺎﺭﯾﺲ ﺑﻪ ﻧﻤﺎﯾﺶ ﮔﺬﺍﺷﺘﻪ ﺷﺪ‪ ،‬ﺟﺎﯾﯽ ﮐﻪ ﻣﺘﺼﺪﯾﺎﻥ ﻣﻮﺯﻩ ﮐﻨﺰﯾﻨﮕﺘﻮﻥ ﺟﻨﻮﺑﯽ "‪des Califes‬‬

‫‪ "L'Egypte‬ﯾﮏ ﮐﻨﺖ ﻓﺮﺍﻧﺴﻮﯼ ﺑﻮﺩ ﮐﻪ ﺍﺯ ﺳﺎﻝ ‪ 1868‬ﺗﺎ ‪ 1878‬ﺑﻪ ﻋﻨﻮﺍﻥ ﭘﺮﺱ ﻭ ﺟﻮ ﺑﺮﺍﯼ ﺧﺪﯾﻮ ﻣﺼﺮ ﺧﺪﻣﺖ‬

‫ﮐﺮﺩ‪.‬ﻫﻨﮕﺎﻣﯽ ﮐﻪ ﺩﺭ ﻗﺎﻫﺮﻩ ﺑﻮﺩ‪ ،‬ﻣﺠﻤﻮﻋﻪ ﺑﺰﺭﮔﯽ ﺭﺍ ﺗﺸﮑﯿﻞ ﺩﺍﺩ ﮐﻪ ﺑﯿﺸﺘﺮ ﺁﻥ ﺩﺭ ﻧﻤﺎﯾﺸﮕﺎﻩ ﺟﻬﺎﻧﯽ ﭘﺎﺭﯾﺲ ‪1878‬‬

‫ﺑﻪﻧﻤﺎﯾﺶ ﮔﺬﺍﺷﺘﻪ ﺷﺪ‪ .‬ﺳﻦ ﻣﻮﺭﯾﺲ ﺳﺮﭘﺮﺳﺘﯽ ﺑﺨﺶ (‪Gaston de Saint-Maurice )1831-1905‬ﻣﺰﻭﻥ‬ ‫ﻋﺮﺑﯽﺩﺭ ﻗﺎﻫﺮﻩ )ﺍﮐﻨﻮﻥ ﺑﺨﺸﯽ ﺍﺯ ﺳﻔﺎﺭﺕ ﻓﺮﺍﻧﺴﻪ ﻭ ﻣﻮﺿﻮﻉ ﮐﺘﺎﺏ ﺍﺧﯿﺮ ﻣﺮﺳﺪﺱ ﻭﻻﯾﺖ(‪.‬‬

‫ﺍﯾﺮﯾﻨﺎﮐﻮﺷﻮﺭﯾﺪﺯﻩ‬

‫ﻣﻮﺯﻩﻣﻠﯽ ﮔﺮﺟﺴﺘﺎﻥ‪ ،‬ﺗﻔﻠﯿﺲ‪ ،‬ﮔﺮﺟﺴﺘﺎﻥ‬

‫ﺍﺯﮐﻠﮑﺴﯿﻮﻧﺮﻫﺎﯼ ﺧﺼﻮﺻﯽ ﺗﺎ ﻣﺆﺳﺴﺎﺕ ﺩﻭﻟﺘﯽ‬

‫ﺍﯾﻦﻣﻘﺎﻟﻪ ﭼﮕﻮﻧﮕﯽ ﺍﺩﺍﻣﻪ ﻭ ﺍﯾﻔﺎﯼ ﻧﻘﺶ ﺁﻣﻮﺯﺵ ﺩﺭ ﺟﻤﻊ ﺁﻭﺭﯼ ﻭ ﻧﻤﺎﯾﺶ ﻫﻨﺮ ﺍﺳﻼﻣﯽ ﺩﺭ ﮔﺮﺟﺴﺘﺎﻥ ﺭﺍ ﺑﺮﺭﺳﯽ ﺧﻮﺍﻫﺪ ﮐﺮﺩ‪.‬‬ ‫ﺍﯾﻦﻣﻘﺎﻟﻪ ﺑﺮ ﺭﻭﯼ ﺍﻟﮑﺴﺎﻧﺪﺭ ﺭﻭﯾﻨﺎﺷﻮﯾﻠﯽ )ﻣﻌﺮﻭﻑ ﺑﻪ ﺭﻭﯾﻨﻮﻑ(‪ ،‬ﻋﮑﺎﺱ ﻣﻮﻓﻘﯽ ﮐﻪ ﺩﺭ ﻧﯿﻤﻪ ﺩﻭﻡ ﻗﺮﻥ ﻧﻮﺯﺩﻫﻢ ﺷﺮﻭﻉ ﺑﻪ ﺟﻤﻊ ﺁﻭﺭﯼ ﺁﺛﺎﺭ‬

‫ﺑﺎﺳﺘﺎﻧﯽﺍﺳﻼﻣﯽ ﮐﺮﺩ‪ ،‬ﺑﯿﺸﺘﺮ ﺩﺭ ﮔﺮﺟﺴﺘﺎﻥ ﻭ ﻗﻔﻘﺎﺯ‪ ،‬ﮐﻪ ﺩﺭ ﺁﻥ ﺯﻣﺎﻥ ﺗﻮﺳﻂ "ﺷﮑﺎﺭﭼﯿﺎﻥ" ﺧﺎﺭﺟﯽ ﻏﺮﻕ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺗﻤﺮﮐﺰ ﻣﯽ ﮐﻨﺪ‪ .‬ﺍﺯ‬

‫ﻣﺼﻨﻮﻋﺎﺕﻋﺘﯿﻘﻪ ﺍﻭ ﺍﻧﺒﻮﻫﯽ ﺍﺯ ﺍﺷﯿﺎء ﻣﻮﺭﺩ ﻋﻼﻗﻪ ﺭﺍ ﺑﺮﺍﯼ ﻣﻨﺸﺄ ﻣﺤﻠﯽ ﺁﻧﻬﺎ ﺑﻪ ﺍﻧﺪﺍﺯﻩ ﮐﯿﻔﯿﺖ ﺫﺍﺗﯽ ﺁﻧﻬﺎ ﺑﻪ ﺩﺳﺖ ﺁﻭﺭﺩ‪ ،‬ﺍﺯ ﺟﻤﻠﻪ ﻇﺮﻭﻑ‬ ‫ﻣﻌﺮﻭﻓﯽﻣﺎﻧﻨﺪ ﺍﻭﺭ ﺑﺼﺮﻩ ﻭ ﺍﻭﺭ ﺗﻔﻠﯿﺲ‪.‬‬

‫ﺍﯾﻦﻣﻘﺎﻟﻪ ﺑﺎ ﻫﺪﻑ ﺑﻪ ﺍﺷﺘﺮﺍﮎ ﮔﺬﺍﺷﺘﻦ ﻧﺘﺎﯾﺞ ﺍﻭﻟﯿﻪ ﯾﮏ ﭘﺮﻭﮊﻩ ﺗﺤﻘﯿﻘﺎﺗﯽ ﻣﺸﺘﺮﮎ ﺟﺪﯾﺪ ﺑﯿﻦ ﻣﻮﺳﺴﻪ ﻣﻠﯽ‬ ‫ﺗﺎﺭﯾﺦﻫﻨﺮ ﻭ ﻣﻮﺯﻩ ﻭﯾﮑﺘﻮﺭﯾﺎ ﻭ ﺁﻟﺒﺮﺕ‪ ،‬ﺑﺎ ﺗﻤﺮﮐﺰ ﺑﺮ ﺳﻨﺖ ﻣﻮﺭﯾﺲ ﻣﺮﺩ ﻭ ﻣﺠﻤﻮﻋﻪ ﺍﺵ‪ ،‬ﺍﻧﺠﺎﻡ ﻣﯽ ﺷﻮﺩ‪ .‬ﺍﯾﻦ‬

‫ﭘﺮﻭﮊﻩﺑﺎ ﻣﻄﺎﻟﻌﻪ ﺩﻗﯿﻖ ﻣﺠﻤﻮﻋﻪ ﻫﺎﯼ ‪ ،V&A‬ﺍﺷﯿﺎء ﭘﺮﺍﮐﻨﺪﻩ ﺩﺭ ﺳﺎﯾﺮ ﻣﻮﺳﺴﺎﺕ ﺭﺍ ﺩﺭ ﺑﺮ ﻣﯽ ﮔﯿﺮﺩ ﺗﺎ ﺗﺼﻮﯾﺮﯼ‬

‫ﭘﺎﻧﻮﺭﺍﻣﺎﺍﺯ ﮐﻞ ﻣﺠﻤﻮﻋﻪ ﺧﻮﺩ ﺑﺴﺎﺯﺩ‪.‬‬

‫ﻣﺠﻤﻮﻋﻪﺳﻨﺖ ﻣﻮﺭﯾﺲ ﺩﺭ ‪ V&A‬ﺷﺎﻣﻞ ﺍﺷﯿﺎء ﺗﺎﺭﯾﺨﯽ ﺍﺯ ﺳﺮﺍﺳﺮ ﺟﻬﺎﻥ ﺍﺳﻼﻡ‪ ،‬ﺑﻪ ﻭﯾﮋﻩ ﻣﺼﺮ ﻭ ﺳﻮﺭﯾﻪ ﺍﺳﺖ‪.‬‬

‫ﺍﯾﻨﻬﺎﻋﻤﺪﺗﺎ ً»ﻫﻨﺮﻫﺎﯼ ﺗﺰﺉﯿﻨﯽ« ﻫﺴﺘﻨﺪ‪ :‬ﮐﺎﺷﯽ‪ ،‬ﻣﻨﺴﻮﺟﺎﺕ‪ ،‬ﻣﻨﺒﺖ ﮐﺎﺭﯼ ﻓﻠﺰﯼ‪ ،‬ﻧﺠﺎﺭﯼ‪ ،‬ﺟﻮﺍﻫﺮﺍﺕ‪ ،‬ﻣﻬﺮﻫﺎ‪،‬‬

‫ﺣﺮﺯﻫﺎ‪،‬ﮐﺘﯿﺒﻪ ﻫﺎﯼ ﺳﻨﮕﯽ‪ ،‬ﺑﺎﺯﻭﻫﺎ ﻭ ﺯﺭﻩ‪ .‬ﻗﺪﻣﺖ ﺁﻧﻬﺎ ﺑﻪ ﻭﯾﮋﻩ ﺑﻪ ﻗﺮﻥ ‪ 14‬ﺗﺎ ‪ 16‬ﻣﯽ ﺭﺳﺪ‪ ،‬ﺍﻣﺎ ﻫﻤﭽﻨﯿﻦ ﺷﺎﻣﻞ‬ ‫ﺍﺷﯿﺎءﻗﺮﻥ ﻧﻮﺯﺩﻫﻤﯽ ﻣﺎﻧﻨﺪ ﻓﺮﺵ ﻫﺎﯼ ﺑﺎﮐﯿﻔﯿﺖ ﺍﺯ ﺍﯾﺮﺍﻥ ﻭ ﺁﺳﯿﺎﯼ ﻣﺮﮐﺰﯼ ﺍﺳﺖ ﮐﻪ ﻧﻮ ﺧﺮﯾﺪﺍﺭﯼ ﺷﺪﻩ ﺍﻧﺪ‪.‬‬

‫ﺳﻼﯾﻖﺳﻦ ﻣﻮﺭﯾﺲ ﺑﺴﯿﺎﺭ ﻣﺘﻨﻮﻉ ﺑﻮﺩ ﻭ ﻣﺠﻤﻮﻋﻪ ﺍﻭ ﻫﻤﭽﻨﯿﻦ ﺷﺎﻣﻞ ﻗﻄﻌﺎﺗﯽ ﺍﺯ ﺗﺮﮐﯿﻪ‪ ،‬ﻫﻨﺪ‪ ،‬ﺁﺳﯿﺎﯼ ﺷﺮﻗﯽ ﻭ‬ ‫ﺍﺭﻭﭘﺎﺑﻮﺩ‪ .‬ﺑﺮﺧﯽ ﺍﺯ ﺍﺷﯿﺎ ﺍﻟﺘﻘﺎﻃﯽ ﻫﺴﺘﻨﺪ‪ ،‬ﺍﻣﺎ ﺩﺭ ﮐﻞ ﺑﻪ ﻧﻈﺮ ﻣﯽ ﺭﺳﻨﺪ‬

‫ﺭﻭﯾﻨﺎﺷﻮﯾﻠﯽﻣﺠﻤﻮﻋﻪ ﺍﯼ ﺍﯾﺠﺎﺩ ﮐﺮﺩ ﮐﻪ ﺍﺯ ﺁﻥ ﯾﮏ ﻧﻤﺎﯾﺸﮕﺎﻩ ﺳﯿﺎﺭ ﺍﺳﺘﺨﺮﺍﺝ ﮐﺮﺩ ﮐﻪ ﺍﺯ ﺗﻔﻠﯿﺲ ﺑﻪ ﻣﺴﮑﻮ‪ ،‬ﺳﻦ ﭘﺘﺮﺯﺑﻮﺭﮒ ﻭ ﺁﺳﺘﺎﺭﺍﺧﺎﻥ‬

‫ﺑﺮﺩﻩﺷﺪ‪ .‬ﺍﻭ ﯾﮑﯽ ﺍﺯ ﺍﻭﻟﯿﻦ ﻣﻮﺯﻩ ﻫﺎﯼ ﺧﺼﻮﺻﯽ ﺭﺍ ﺩﺭ ﺍﻣﭙﺮﺍﺗﻮﺭﯼ ﺭﻭﺳﯿﻪ ﺍﯾﺠﺎﺩ ﮐﺮﺩ ﻭ ﺭﻭﺵ ﻫﺎﯼ ﺟﺪﯾﺪﯼ ﺭﺍ ﺑﺮﺍﯼ ﻧﻤﺎﯾﺶ ﺁﺛﺎﺭ ﺍﺯ ﺟﻤﻠﻪ‬

‫ﻋﮑﺲ‪،‬ﭼﻨﺪ ﺭﺳﺎﻧﻪ ﺍﯼ‪ ،‬ﺑﺮﭼﺴﺐ ﮔﺬﺍﺭﯼ ﻭ ﻓﻬﺮﺳﺖ ﻧﻮﯾﺴﯽ ﺁﺛﺎﺭ ﻣﻌﺮﻓﯽ ﮐﺮﺩ‪ .‬ﺑﺮﺧﯽ ﺍﺯ ﻫﺰﯾﻨﻪ ﻫﺎﯼ ﺍﯾﻦ ﺷﺮﮐﺖ ﺑﺎ ﻓﺮﻭﺵ ﺍﺷﯿﺎء ﺑﻪ‬

‫ﻣﺠﻤﻮﻋﻪ ﺩﺍﺭﺍﻥﻭ ﻣﺆﺳﺴﺎﺕ ﺟﺒﺮﺍﻥ ﺷﺪ‪ :‬ﮐﻨﺖ ﺑﻮﺑﺮﯾﻨﺴﮑﯽ‪ ،‬ﺍﺭﻣﯿﺘﺎﮊ‪ ،‬ﻭ ﻣﻮﺯﻩ ﻫﻨﺮ ﺍﺳﻼﻣﯽ ﺑﺮﻟﯿﻦ‪ ،‬ﻫﻤﮕﯽ ﺑﺮﺧﯽ ﺍﺯ ﺑﻬﺘﺮﯾﻦ ﺍﺷﯿﺎء ﺧﻮﺩ‬

‫ﺭﺍﺍﺯ ﺍﻭ ﺧﺮﯾﺪﻧﺪ‪.‬‬

‫ﻣﺠﻤﻮﻋﻪﺭﻭﯾﻨﺎﺷﻮﯾﻠﯽ ﺩﺭ ﻭﺻﯿﺖ ﻧﺎﻣﻪ ﺍﺵ ﺑﻪ ﺍﻧﺠﻤﻦ ﻧﺸﺮ ﺳﻮﺍﺩ ﺩﺭ ﻣﯿﺎﻥ ﮔﺮﺟﯽ ﻫﺎ ﻭﺍﮔﺬﺍﺭ ﺷﺪ‪ .‬ﺍﺯ ﻧﻈﺮ ﺭﻭﺣﯽ ﻣﺸﺎﺑﻪ ﻣﻮﺯﻩ ﻫﺎﯼ ﻏﺮﺑﯽ ﺑﺎ‬ ‫ﺗﺎﮐﯿﺪﺑﺮ ﺁﻣﻮﺯﺵ‪ ،‬ﻫﺪﻑ ﺟﺎﻣﻌﻪ ﺍﯾﻦ ﺑﻮﺩ ﮐﻪ ﮔﺮﺟﯽ ﻫﺎ ﺭﺍ ﺑﺎ ﺟﻨﺒﻪ ﻫﺎﯾﯽ ﺍﺯ ﺗﺎﺭﯾﺦ ﺧﻮﺩ ﻭ ﺟﻬﺎﻥ ﮔﺴﺘﺮﺩﻩ ﺗﺮ ﺁﺷﻨﺎ ﮐﻨﺪ‪ .‬ﺍﯾﻦ ﻣﺠﻤﻮﻋﻪ ﻫﺎ ﺑﻌﺪﺍ ً‬

‫ﺑﺎﻣﺠﻤﻮﻋﻪ ﻫﺎﯼ ﺷﺮﻗﯽ ﻣﻮﺯﻩ ﻫﻨﺮﻫﺎﯼ ﺯﯾﺒﺎﯼ ﺷﺎﻟﻮﺍ ﺍﻣﯿﺮﺍﻧﺎﺷﻮﯾﻠﯽ ﺍﺩﻏﺎﻡ ﺷﺪﻧﺪ ﻭ ﺍﮐﻨﻮﻥ ﺩﺭ ﻣﻮﺯﻩ ﻣﻠﯽ ﮔﺮﺟﺴﺘﺎﻥ ﺑﻪ ﻧﻤﺎﯾﺶ ﮔﺬﺍﺷﺘﻪ‬

‫ﺭﺉﯿﺲﻭ ﺑﺤﺚ ﮐﻨﻨﺪﻩ‪ :‬ﺁﻭﯾﻨﻮﺍﻡ ﺷﺎﻟﻢ‪ ،‬ﺩﺍﻧﺸﮕﺎﻩ ﮐﻠﻤﺒﯿﺎ‬

‫ﺑﺰﺭﮔﺘﺮﯾﻦﺍﺭﺯﺵ ﻭ ﮐﻤﯿﺎﺏ" ﻣﯽ ﺩﺍﻧﺴﺖ‪ .‬ﺩﺭ ﻧﻬﺎﯾﺖ‪ ،‬ﺑﺨﺸﯽ ﺍﺯ ﻣﺠﻤﻮﻋﻪ ﺑﻪ ﺻﻮﺭﺕ ﻗﺮﺿﯽ ﺑﻪ ﻟﻨﺪﻥ ﺁﻣﺪ ﻭ ﺑﻘﯿﻪ‬

‫ﻣﺠﻤﻮﻋﻪﻫﺎ ﻭ ﻧﻤﺎﯾﺸﮕﺎﻩ ﻫﺎﯼ ﺑﯿﻦ ﺩﺍﻧﺶ‬ ‫ﻭﺗﺨﯿﻞ‬

‫ﺍﺳﺘﻨﻠﯽﻟﯿﻦ ﭘﻮﻝ )‪ (1931-1854‬ﮐﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺸﺎﻭﺭ ﻣﻮﺯﻩ ﺩﺭ ﻣﻮﺭﺩ "ﻫﻨﺮ ﺳﺎﺭﺍﺳﻨﯿﮏ" ﻋﻤﻞ ﻣﯽ ﮐﺮﺩ‪ ،‬ﺁﻥ ﺭﺍ "‬

‫ﻣﯽ ﺷﻮﻧﺪ‪،‬ﺟﺎﯾﯽ ﮐﻪ ﺑﻪ ﺗﻼﺵ ﻫﺎﯼ ﺍﻟﮑﺴﺎﻧﺪﺭ ﺭﻭﯾﻨﺎﺷﻮﯾﻠﯽ ﺍﺩﺍﻣﻪ ﻣﯽ ﺩﻫﻨﺪ‪.‬‬

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‫ﺳﻮﻟﻤﺎﺯﻣﺤﻤﺪﺯﺍﺩﻩ ﮐﯿﻮﻩ ﺩﺍﻧﺸﮕﺎﻩ‬ ‫ﮐﻠﺮﺍﺩﻭ‬ ‫ﺻﺤﻨﻪﺳﺎﺯﯼ ﺍﯾﻦ ﺍﻣﺮ ﺍﺳﻼﻣﯽ‪:‬‬

‫ﺗﻀﺎﺩﻫﺎﯼﻧﻤﺎﯾﺸﮕﺎﻩ ﻫﺎﯼ »ﻫﻨﺮ ﺍﺳﻼﻣﯽ«‬

‫ﻗﺮﻥﺍﺧﯿﺮ ﺷﺎﻫﺪ ﺍﻧﺘﻘﺎﺩﺍﺕ ﻓﺮﺍﻭﺍﻧﯽ ﺍﺯ ﻣﻔﻬﻮﻡ ﺟﻬﺎﻧﯽ »ﻫﻨﺮ ﺍﺳﻼﻣﯽ« ﻭ ﻧﻤﺎﯾﺸﮕﺎﻩ ﻫﺎﯼ ﺁﻥ ﺑﻮﺩﻩ ﺍﺳﺖ ﮐﻪ ﺗﻐﯿﯿﺮﺍﺕ ﺩﺭ ﻃﻮﻝ ﺯﻣﺎﻥ ﻭ‬

‫ﺗﻔﺎﻭﺕ ﻫﺎﯼﻣﮑﺎﻥ ﻫﺎ ﺭﺍ ﺑﻪ ﻧﻔﻊ ﯾﮏ ﻧﻬﺎﺩ ﻫﻤﮕﻦ ﻧﺎﺩﯾﺪﻩ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺩﺭ ﭘﺎﺳﺦ ﺑﻪ ﺍﻧﺘﻘﺎﺩﺍﺕ‪ ،‬ﺑﺴﯿﺎﺭﯼ ﺍﺯ ﻣﻮﺯﻩ ﻫﺎ ﺑﺎﺯﺳﺎﺯﯼ ﻫﺎﯼ ﻗﺎﺑﻞ‬ ‫ﺗﻮﺟﻬﯽﺭﺍ ﺍﻧﺠﺎﻡ ﺩﺍﺩﻩ ﺍﻧﺪ‪ .‬ﻧﺎﻡ ﻣﺠﻤﻮﻋﻪ ﻫﺎ ﻧﯿﺰ ﺑﻪ ﻃﻮﺭ ﮔﺴﺘﺮﺩﻩ ﻣﻮﺭﺩ ﺑﺎﺯﻧﮕﺮﯼ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪» .‬ﻫﻨﺮ ﺍﺳﻼﻣﯽ« ﺑﺎ ﻧﺎﻡ ﻫﺎﯼ ﻣﺨﺘﻠﻔﯽ‬

‫ﺟﺎﯾﮕﺰﯾﻦﺷﺪﻩ ﺍﺳﺖ ﮐﻪ ﺑﺮ ﻣﻌﻨﺎﯼ ﺩﯾﻨﯽ ﺗﺄﮐﯿﺪ ﻣﯽ ﮐﻨﺪ‪ .‬ﺩﺭ ﯾﮏ ﻣﺜﺎﻝ ﺍﻓﺮﺍﻃﯽ‪ ،‬ﻣﻮﺯﻩ ﻫﻨﺮ ﻣﺘﺮﻭﭘﻮﻟﯿﺘﻦ ﻧﺎﻡ ﻧﻤﺎﯾﺸﮕﺎﻩ ﺧﻮﺩ ﺭﺍ ﺑﻪ‬

‫»ﻫﻨﺮﻫﺎﯼﺳﺮﺯﻣﯿﻦ ﻫﺎﯼ ﻋﺮﺑﯽ‪ ،‬ﺗﺮﮐﯿﻪ‪ ،‬ﺍﯾﺮﺍﻥ‪ ،‬ﺁﺳﯿﺎﯼ ﻣﺮﮐﺰﯼ ﻭ ﺑﻌﺪﻫﺎ ﺁﺳﯿﺎﯼ ﺟﻨﻮﺑﯽ« ﺗﻐﯿﯿﺮ ﺩﺍﺩﻩ ﺍﺳﺖ‪ .‬ﺑﺎ ﺍﯾﻦ ﺣﺎﻝ‪ ،‬ﻣﻦ ﺍﺳﺘﺪﻻﻝ‬ ‫ﻣﯽ ﮐﻨﻢﮐﻪ ﻭﺣﺪﺕ ﻭ ﺩﺭ ﻧﺘﯿﺠﻪ ﻫﻤﮕﻨﯽ ﺁﻧﭽﻪ ﺗﺤﺖ ﺍﯾﻦ ﻧﺎﻡ ﻫﺎﯼ ﻣﺨﺘﻠﻒ ﻗﺮﺍﺭ ﻣﯽ ﮔﯿﺮﺩ‪ ،‬ﻫﻢ ﺍﺯ ﺳﻮﯼ ﻣﻮﺯﻩ ﻫﺎﯼ ﺟﻬﺎﻥ ﺷﻤﺎﺭ ﻭ ﻫﻢ‬

‫ﻣﻮﺯﻩ ﻫﺎﯼﻗﺮﻥ ﮐﻨﻮﻧﯽ »ﻫﻨﺮ ﺍﺳﻼﻣﯽ«‪ .‬ﻫﺮﭼﻨﺪ ﺷﺎﯾﺪ ﺑﺮﺍﯼ ﺍﻫﺪﺍﻑ ﻣﺘﻔﺎﻭﺕ‪ .‬ﺍﺯ ﺳﻮﯼ ﺩﯾﮕﺮ‪ ،‬ﺩﺭ ﺑﺮﺧﯽ ﮐﺸﻮﺭﻫﺎﯼ ﻣﺴﻠﻤﺎﻥ ﻣﺎﻧﻨﺪ ﺍﯾﺮﺍﻥ‬

‫ﻭﺗﺮﮐﯿﻪ ﮐﻪ ﺍﺯ ﻗﻀﺎ ﺩﻭ ﻣﻨﺒﻊ ﻣﻬﻢ »ﻫﻨﺮ ﺍﺳﻼﻣﯽ« ﻣﺤﺴﻮﺏ ﻣﯽ ﺷﻮﻧﺪ‪ ،‬ﻣﺠﻤﻮﻋﻪ ﺩﻭﺭﻩ ﺍﺳﻼﻣﯽ ﺩﺭ ﭼﺎﺭﭼﻮﺏ ﺗﺎﺭﯾﺦ ﻣﻠﯽ ﻗﺮﺍﺭ ﻣﯽ ﮔﯿﺮﺩ‪.‬‬

‫ﺑﺎﻧﮕﺎﻫﯽ ﺑﻪ ﻣﻮﺍﺭﺩ ﺍﺧﯿﺮ‪ ،‬ﺍﯾﻦ ﻣﻘﺎﻟﻪ ﺑﺮﺧﯽ ﺍﺯ ﺗﮑﻨﯿﮏ ﻫﺎﯼ ﻓﻀﺎﯾﯽ ﻣﻮﺭﺩ ﺍﺳﺘﻔﺎﺩﻩ ﺩﺭ ﻣﻮﺍﺭﺩ ﺍﻭﻝ ﺭﺍ ﺑﺮﺍﯼ ﺗﺤﮑﯿﻢ ﻣﻔﻬﻮﻡ ﻭﺣﺪﺕ ﻭ‬ ‫ﻫﻤﮕﻮﻧﯽ»ﻫﻨﺮ ﺍﺳﻼﻣﯽ« ﻣﻮﺭﺩ ﺑﺤﺚ ﻗﺮﺍﺭ ﻣﯽ ﺩﻫﺪ‪.‬‬

‫ﭘﯿﺸﺮﻓﺖﻣﻄﺎﻟﻌﺎﺕ ﻣﻌﻤﺎﺭﯼ ﺩﺭ ﺯﻣﯿﻨﻪ ﺑﻨﺎﻫﺎﯼ ﺍﺳﻼﻣﯽ ﺩﺭ ﺍﯾﺮﺍﻥ‪ ،‬ﺁﻣﯿﺨﺘﻪ ﺑﺎ ﺗﻐﯿﯿﺮ ﺷﮑﻞ ﺑﺎﻓﺖ ﻫﺎﯼ ﻓﺮﻫﻨﮕﯽ‪-‬ﺍﺟﺘﻤﺎﻋﯽ ﻭ ﺧﻮﺩﺁﮔﺎﻫﯽ‬ ‫ﮐﻪﺑﻪ ﻃﻮﺭ ﺭﯾﺸﻪ ﺍﯼ ﺩﺭ ﺍﯾﺮﺍﻥ ﺩﺭ ﺩﻭﺭﺍﻥ ﭘﺮ ﺭﻭﻧﻖ ﺭﮊﯾﻢ ﭘﻬﻠﻮﯼ ﺭﺥ ﺩﺍﺩ‪ .‬ﺑﺎ ﺍﯾﻦ ﺣﺎﻝ‪ ،‬ﻣﻬﻢ ﺗﺮﯾﻦ ﺗﻼﺵ ﺗﻮﺳﻂ ﭘﻮﭖ ﺁﻏﺎﺯ ﺷﺪ ﮐﻪ‬

‫ﻣﺴﺘﻨﺪﺍﺕﻋﮑﺎﺳﯽ ﻣﻌﻤﺎﺭﯼ ﻗﺮﻭﻥ ﻭﺳﻄﯽ ﺍﯾﺮﺍﻥ‪ ،‬ﺍﺯ ﺟﻤﻠﻪ ﻣﺴﺠﺪ ﺟﻤﻌﻪ ﺍﺻﻔﻬﺎﻥ‪ ،‬ﺭﺍ ﺑﺮﺍﯼ ﺁﺛﺎﺭ ﺗﺎﺭﯾﺨﯽ ﺧﻮﺩ ﺍﻧﺠﺎﻡ ﺩﺍﺩ‪.‬ﺑﺮﺭﺳﯽ ﻫﻨﺮ‬

‫ﯾﻮﮐﺎﮐﺎﺩﻭﯼ‬ ‫ﺩﺍﻧﺸﮕﺎﻩﺍﺩﯾﻨﺒﻮﺭﮒ‪ ،‬ﺍﻧﮕﻠﺴﺘﺎﻥ‬

‫ﺩﻭﻣﯽﺑﻪ ﻭﯾﮋﻩ ﭘﺘﺎﻧﺴﯿﻞ ﻋﮑﺲ ﻫﺎ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﺟﻠﻮﻩ ﻫﺎﯼ ﺑﺼﺮﯼ ﻓﺮﻡ ﻫﺎ ﻭ ﺳﺒﮏ ﻫﺎﯼ ﻣﻌﻤﺎﺭﯼ ﺍﯾﺪﻩ ﺁﻝ ﻭ ﻫﻤﭽﻨﯿﻦ ﻧﻤﺎﯾﺶ ﻫﺎﯼ ﺩﻭ‬

‫ﺑﻌﺪﯼﺑﺮﺍﯼ ﻋﻤﻮﻡ ﻣﺮﺩﻡ ﻭ ﻣﻨﺎﺑﻊ ﺗﺤﻘﯿﻘﺎﺗﯽ ﺑﺮﺍﯼ ﺩﺍﻧﺸﺠﻮﯾﺎﻥ ﻣﻮﺭﺩ ﺑﺮﺭﺳﯽ ﻗﺮﺍﺭ ﺩﺍﺩ‪.‬‬

‫ﺑﺎﺯﺍﻧﺪﯾﺸﯽﺑﻪ ﻭﺍﺳﻄﻪ ﮔﺮﯼ ﺩﺭ‬ ‫ﺑﺮﺭﺳﯽﻣﻌﻤﺎﺭﯼ ﺍﯾﺮﺍﻥ ﺍﺳﻼﻣﯽ ﻗﺮﻭﻥ ﻭﺳﻄﯽ‪ :‬ﻋﮑﺲ ﻫﺎ‪ ،‬ﻧﻤﺎﯾﺸﮕﺎﻩ ﻫﺎ ﻭ‬ ‫ﭘﺎﯾﺎﻥﻧﺎﻣﻪ ﻓﺎﺭﺳﯽ‪-‬ﮔﻮﺗﯿﮏ ﺩﺭ ﺩﻫﻪ ‪1930‬‬

‫ﻭﯾﺮﺍﻧﻪﺍﺳﻼﻡ ﺯﺩﺍﯾﯽ ﺳﺎﺧﺘﻪ ﺷﺪ ﻭ ﺍﺳﺎﺳﺎ ًﺑﻪ ﻋﻨﻮﺍﻥ ﻣﻌﻤﺎﺭﯼ ﺷﺒﻪ ﻣﺴﯿﺤﯽ ﺑﻪ ﻣﺨﺎﻃﺒﺎﻥ ﻏﺮﺑﯽ ﻣﻌﺮﻓﯽ ﺷﺪ‪ .‬ﺍﮔﺮﭼﻪ ﻗﺮﺍﺑﺖ ﺳﺒﮑﯽ ﺑﯿﻦ‬

‫ﻣﯽ ﺩﻫﺪﻭ ﺭﻭﻧﺪ ﺷﮑﻞ ﺩﻫﯽ ﻣﺠﺪﺩ ﺗﺼﺎﻭﯾﺮ ﻣﻌﻤﺎﺭﯼ ﺍﺳﻼﻣﯽ ﺩﻭﺭﻩ ﻫﺎﯼ ﺳﻠﺠﻮﻗﯽ ﺑﻪ ﻭﯾﮋﻩ ﻣﺴﺠﺪ ﺟﻤﻌﻪ ﺍﺻﻔﻬﺎﻥ ﺭﺍ ﻣﻮﺭﺩ ﺗﻮﺟﻪ ﻗﺮﺍﺭ‬

‫ﺑﺼﺮﯼﻣﻠﻤﻮﺳﯽ ﺑﺮﺍﯼ ﭘﯿﭽﯿﺪﮔﯽ ﺳﯿﺴﺘﻢ ﻃﺎﻕ ﺑﻨﺪﯼ ﺍﯾﺮﺍﻧﯽ ﻭ ﺳﺎﯾﺮ ﻭﯾﮋﮔﯽ ﻫﺎﯼ ﺗﮑﻨﻮﻟﻮﮊﯾﮑﯽ ﮐﻪ ﺩﺭ ﻋﮑﺲ ﻫﺎﯼ ﺳﺎﯾﺰ ﺑﺰﺭﮒ ﭘﺎﭖ ﺑﻪ‬

‫ﺍﯾﻦﻣﻘﺎﻟﻪ ﺷﮑﻞ ﮔﯿﺮﯼ ﮔﻔﺘﻤﺎﻥ ﻫﺎﯼ ﻫﻨﺮﯼ‪-‬ﺗﺎﺭﯾﺨﯽ ﺩﺭﺑﺎﺭﻩ ﻣﻌﻤﺎﺭﯼ ﺍﯾﺮﺍﻥ ﺍﺳﻼﻣﯽ ﺩﺭ ﺍﻭﺍﯾﻞ ﻗﺮﻥ ﺑﯿﺴﺘﻢ ﺭﺍ ﻣﻮﺭﺩ ﺍﺭﺯﯾﺎﺑﯽ ﻣﺠﺪﺩ ﻗﺮﺍﺭ‬

‫ﻣﯽ ﺩﻫﺪ‪. .‬ﺍﯾﻦ ﻣﻘﺎﻟﻪ ﺑﺮﮔﺮﻓﺘﻪ ﺍﺯ ﺍﺳﺘﻔﺎﺩﻩ ﮔﺴﺘﺮﺩﻩ ﺍﺯ ﻣﻨﺎﺑﻊ ﺁﺭﺷﯿﻮﯼ‪ ،‬ﭼﮕﻮﻧﮕﯽ ﺗﺒﺪﯾﻞ ﺷﺪﻥ ﻣﺴﺎﺟﺪ ﺳﻠﺠﻮﻗﯽ ﺑﻪ ﻃﻮﺭ ﮐﻠﯽ ﻭ ﻣﺴﺠﺪ‬

‫ﺗﺼﻮﯾﺮﻣﺴﺠﺪ ﺟﻤﻌﻪ ﺍﺻﻔﻬﺎﻥ ﺑﻪ ﺟﺎﯼ ﺗﺎﮐﯿﺪ ﺑﺮ ﺑﺎﻓﺖ ﺍﺻﻠﯽ ﺁﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﯾﮏ ﻣﺠﻤﻮﻋﻪ ﻣﺬﻫﺒﯽ ﺯﻧﺪﻩ ﻣﺴﻠﻤﺎﻥ‪ ،‬ﺑﺎ ﺩﻗﺖ ﺑﻪ ﻋﻨﻮﺍﻥ ﯾﮏ‬

‫ﻣﺴﺎﺟﺪﺳﺠﻠﻮﻕ ﻭ ﮐﻠﯿﺴﺎﻫﺎﯼ ﮔﻮﺗﯿﮏ ﻗﺒﻼ ًﺗﻮﺳﻂ ﻣﻮﺭﺧﺎﻥ ﻣﻌﻤﺎﺭﯼ ﻏﺮﺑﯽ ﭘﯿﺶ ﺍﺯ ﺩﻫﻪ ‪ 1930‬ﻣﻮﺭﺩ ﺗﻮﺟﻪ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪ ،‬ﺍﻣﺎ ﺷﻮﺍﻫﺪ‬ ‫ﻧﻤﺎﯾﺶﺩﺭﺁﻣﺪﻩ ﺑﻮﺩ‪ .‬ﻋﮑﺲ ﺩﯾﻮﺍﺭﯼ ﻧﺎﻣﯿﺪﻩ ﻣﯽ ﺷﻮﺩ(‪ ،‬ﮐﻪ ﺑﺎ ﻓﺼﺎﺣﺖ ﻓﻮﻕ ﺍﻟﻌﺎﺩﻩ ﺍﻭ ﺩﺭ ﺳﺨﻨﺮﺍﻧﯽ ﻫﺎﯼ ﻋﻤﻮﻣﯽ ﺑﯿﺸﺘﺮ ﺗﻘﻮﯾﺖ‬

‫ﺟﻤﻌﻪﺍﺻﻔﻬﺎﻥ ﺑﻪ ﻃﻮﺭ ﺧﺎﺹ ﺑﻪ ﺷﺎﻫﮑﺎﺭﻫﺎﯼ ﻣﻌﻤﺎﺭﯼ ﺍﯾﺮﺍﻧﯽ ﺍﺳﻼﻣﯽ ﺩﺭ ﮐﺴﻮﺕ »ﮐﻠﯿﺴﺎﯼ ﺟﺎﻣﻊ ﮔﻮﺗﯿﮏ ﺍﯾﺮﺍﻧﯽ« ﺭﺍ ﺑﺎ ﺗﺄﮐﯿﺪ ﺑﺮ ﺗﻮﺳﻌﻪ‬

‫ﻣﯽ ﺷﻮﺩ‪،‬ﺑﻪ ﺍﺑﻄﺎﻝ ﺗﺰ ﺍﯾﺮﺍﻧﯽ‪-‬ﮔﻮﺗﯿﮏ ﻭ ﺩﺭ ﻧﻬﺎﯾﺖ ﺑﻪ ﮐﺴﺐ ﺷﻬﺮﺕ ﺍﻭ ﺑﻪ ﻋﻨﻮﺍﻥ ﻗﻬﺮﻣﺎﻥ ﺁﻥ ﺯﻣﺎﻥ )ﻭ ﺑﻌﺪﺍ ًﺑﺎﺯﻧﺪﻩ( ﺍﯾﻦ ﻫﻨﺮ‪-‬ﺗﺎﺭﯾﺨﯽ‬

‫ﺑﺤﺚﺍﯾﻦ ﻣﻘﺎﻟﻪ ﺑﺮ ﺭﻭﯼ ﻧﻘﺶ ﻋﮑﺎﺳﯽ ﻣﺘﻤﺮﮐﺰ ﺍﺳﺖ ﻭ ﻣﺮﺑﻮﻁ ﺑﻪ ﺩﻭﺭﻩ ﺑﯿﻦ ﺍﻭﺍﺧﺮ ﺩﻫﻪ ‪ 1920‬ﻭ ﺍﻭﺍﯾﻞ ﺩﻫﻪ ‪ 1930‬ﺍﺳﺖ‪ ،‬ﺯﻣﺎﻧﯽ ﮐﻪ‬

‫ﺩﺭﻋﺼﺮ ﺭﺳﺎﻧﻪ ﻫﺎﯼ ﺩﯾﺠﯿﺘﺎﻝ ﻗﺮﻥ ﺑﯿﺴﺖ ﻭ ﯾﮑﻢ‪ ،‬ﻋﮑﺲ ﻫﺎﯼ ﻣﻌﻤﺎﺭﯼ ﻭ ﻧﻤﺎﯾﺸﮕﺎﻩ ﻫﺎﯼ ﺩﻫﻪ ﻫﺎﯼ ﺍﻭﻝ ﻗﺮﻥ ﺑﯿﺴﺘﻢ ﻣﻤﮑﻦ ﺍﺳﺖ ﻣﺎﻧﻨﺪ‬

‫ﮐﺮﺩ‪.‬ﺁﻧﺪﺭﻩ ﮔﺪﺍﺭ )‪ ،(1965-1881‬ﺍﺭﯾﮏ ﺷﺮﻭﺩﺭ )‪ ،(1971-1904‬ﻣﺎﯾﺮﻭﻥ ﺑﻤﻨﺖ ﺍﺳﻤﯿﺖ )‪ ،(1970-1897‬ﻭ ﺍﺭﯾﺶ ﺍﺷﻤﯿﺖ‬

‫ﺍﺳﻼﻣﯽﮐﻪ ﺑﻪ ﻃﻮﺭ ﭘﯿﻮﺳﺘﻪ ﺩﺭ ﺩﻫﻪ ‪ 1930‬ﺷﮑﻞ ﮔﺮﻓﺖ‪ ،‬ﻫﻤﭽﻨﺎﻥ ﺑﻪ ﺷﮑﻞ ﺩﻫﯽ ﺗﻔﮑﺮ ﻣﺎ ﺍﻣﺮﻭﺯ ﺍﺩﺍﻣﻪ ﻣﯽ ﺩﻫﺪ ﻭ ﻣﻘﺎﻟﻪ ﭘﯿﺸﻨﻬﺎﺩﯼ ﺑﻪ‬

‫ﺗﺤﻘﯿﻘﺎﺕﻣﯿﺎﻧﯽ ﻧﺸﺎﻥ ﻣﯽ ﺩﻫﺪ‪ .‬ﺍﺑﺰﺍﺭﻫﺎﯾﯽ ﺍﺯ ﻃﺮﺍﺣﯽ ﻫﺎﯼ ﺗﺤﻠﯿﻠﯽ ﺳﻨﺘﯽ ﺍﻣﺎ ﻫﻨﺮﯼ ﮔﺮﻓﺘﻪ ﺗﺎ ﺭﻭﺯﻧﺎﻣﻪ ﻧﮕﺎﺭﯼ ﻋﮑﺲ ﻭ ﻓﯿﻠﻢ ﺳﺎﺯﯼ‪.‬‬

‫ﭼﺸﻢﺍﻧﺪﺍﺯ ﻣﻌﻤﺎﺭﯼ ﻭ ﻣﯿﺮﺍﺙ ﻓﺮﻫﻨﮕﯽ ﺍﯾﺮﺍﻥ ﺗﻌﺪﺍﺩﯼ ﺍﺯ ﺍﻓﺮﺍﺩ ﮐﺎﺭﯾﺰﻣﺎﺗﯿﮏ ﻣﺎﻧﻨﺪ ﺁﺭﺗﻮﺭ ﺁﭘﻬﺎﻡ ﭘﻮﭖ )‪ (1969-1881‬ﺭﺍ ﺑﻪ ﺧﻮﺩ ﺟﺬﺏ‬

‫)‪ ،(1964-1897‬ﺑﻪ ﻧﺎﻡ ﭼﻨﺪ ﻣﻮﺭﺩ‪ .‬ﻫﺮ ﯾﮏ ﻧﻘﺶ ﺍﺳﺎﺳﯽ ﺩﺭ‬

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‫ﺍﯾﺮﺍﻧﯽ)‪ (1938-39‬ﻭ ﻫﻤﭽﻨﯿﻦ ﺑﺮﺍﯼ ﻣﺠﻤﻮﻋﻪ ﮐﻤﺘﺮ ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩ ﺍﻣﺎ ﻣﻬﻢ ﻧﻤﺎﯾﺸﮕﺎﻩ ﻫﺎﯼ ﺗﺒﻠﯿﻐﺎﺗﯽ ﻣﻌﻤﺎﺭﯼ ﺍﯾﺮﺍﻧﯽ ﺩﺭ ﺩﻫﻪ ‪.1930‬‬

‫ﻃﻮﻻﻧﯽﮐﻤﮏ ﮐﺮﺩ‪ .‬ﻣﻨﺎﻇﺮﻩ‪.‬‬

‫ﺩﻭﺭﻩﻗﺒﻞ ﺍﺯ ﺟﻨﮓ‪ ،‬ﺍﺭﺯﺵ ﺑﺼﺮﯼ ﻭ ﺗﺄﺛﯿﺮ ﺍﺟﺘﻤﺎﻋﯽ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪ .‬ﺑﺎ ﺍﯾﻦ ﺣﺎﻝ‪ ،‬ﺗﺼﻮﯾﺮﯼ ﺧﺎﺹ ﺍﺯ ﻣﻌﻤﺎﺭﯼ ﻗﺮﻭﻥ ﻭﺳﻄﺎﯾﯽ ﺍﯾﺮﺍﻥ‬ ‫ﺗﻔﺼﯿﻞﺍﯾﻦ ﻓﺮﺁﯾﻨﺪ ﺭﺍ ﺗﻮﺿﯿﺢ ﻣﯽ ﺩﻫﺪ‪.‬‬

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‫ﺳﻮﻟﻤﺎﺯﻣﺤﻤﺪﺯﺍﺩﻩ ﮐﯿﻮﻩ ﺩﺍﻧﺸﮕﺎﻩ‬ ‫ﮐﻠﺮﺍﺩﻭ‬ ‫ﺻﺤﻨﻪﺳﺎﺯﯼ ﺍﯾﻦ ﺍﻣﺮ ﺍﺳﻼﻣﯽ‪:‬‬

‫ﺗﻀﺎﺩﻫﺎﯼﻧﻤﺎﯾﺸﮕﺎﻩ ﻫﺎﯼ »ﻫﻨﺮ ﺍﺳﻼﻣﯽ«‬

‫ﻗﺮﻥﺍﺧﯿﺮ ﺷﺎﻫﺪ ﺍﻧﺘﻘﺎﺩﺍﺕ ﻓﺮﺍﻭﺍﻧﯽ ﺍﺯ ﻣﻔﻬﻮﻡ ﺟﻬﺎﻧﯽ »ﻫﻨﺮ ﺍﺳﻼﻣﯽ« ﻭ ﻧﻤﺎﯾﺸﮕﺎﻩ ﻫﺎﯼ ﺁﻥ ﺑﻮﺩﻩ ﺍﺳﺖ ﮐﻪ ﺗﻐﯿﯿﺮﺍﺕ ﺩﺭ ﻃﻮﻝ ﺯﻣﺎﻥ ﻭ‬

‫ﺗﻔﺎﻭﺕ ﻫﺎﯼﻣﮑﺎﻥ ﻫﺎ ﺭﺍ ﺑﻪ ﻧﻔﻊ ﯾﮏ ﻧﻬﺎﺩ ﻫﻤﮕﻦ ﻧﺎﺩﯾﺪﻩ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺩﺭ ﭘﺎﺳﺦ ﺑﻪ ﺍﻧﺘﻘﺎﺩﺍﺕ‪ ،‬ﺑﺴﯿﺎﺭﯼ ﺍﺯ ﻣﻮﺯﻩ ﻫﺎ ﺑﺎﺯﺳﺎﺯﯼ ﻫﺎﯼ ﻗﺎﺑﻞ‬ ‫ﺗﻮﺟﻬﯽﺭﺍ ﺍﻧﺠﺎﻡ ﺩﺍﺩﻩ ﺍﻧﺪ‪ .‬ﻧﺎﻡ ﻣﺠﻤﻮﻋﻪ ﻫﺎ ﻧﯿﺰ ﺑﻪ ﻃﻮﺭ ﮔﺴﺘﺮﺩﻩ ﻣﻮﺭﺩ ﺑﺎﺯﻧﮕﺮﯼ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪» .‬ﻫﻨﺮ ﺍﺳﻼﻣﯽ« ﺑﺎ ﻧﺎﻡ ﻫﺎﯼ ﻣﺨﺘﻠﻔﯽ‬

‫ﺟﺎﯾﮕﺰﯾﻦﺷﺪﻩ ﺍﺳﺖ ﮐﻪ ﺑﺮ ﻣﻌﻨﺎﯼ ﺩﯾﻨﯽ ﺗﺄﮐﯿﺪ ﻣﯽ ﮐﻨﺪ‪ .‬ﺩﺭ ﯾﮏ ﻣﺜﺎﻝ ﺍﻓﺮﺍﻃﯽ‪ ،‬ﻣﻮﺯﻩ ﻫﻨﺮ ﻣﺘﺮﻭﭘﻮﻟﯿﺘﻦ ﻧﺎﻡ ﻧﻤﺎﯾﺸﮕﺎﻩ ﺧﻮﺩ ﺭﺍ ﺑﻪ‬

‫»ﻫﻨﺮﻫﺎﯼﺳﺮﺯﻣﯿﻦ ﻫﺎﯼ ﻋﺮﺑﯽ‪ ،‬ﺗﺮﮐﯿﻪ‪ ،‬ﺍﯾﺮﺍﻥ‪ ،‬ﺁﺳﯿﺎﯼ ﻣﺮﮐﺰﯼ ﻭ ﺑﻌﺪﻫﺎ ﺁﺳﯿﺎﯼ ﺟﻨﻮﺑﯽ« ﺗﻐﯿﯿﺮ ﺩﺍﺩﻩ ﺍﺳﺖ‪ .‬ﺑﺎ ﺍﯾﻦ ﺣﺎﻝ‪ ،‬ﻣﻦ ﺍﺳﺘﺪﻻﻝ‬ ‫ﻣﯽ ﮐﻨﻢﮐﻪ ﻭﺣﺪﺕ ﻭ ﺩﺭ ﻧﺘﯿﺠﻪ ﻫﻤﮕﻨﯽ ﺁﻧﭽﻪ ﺗﺤﺖ ﺍﯾﻦ ﻧﺎﻡ ﻫﺎﯼ ﻣﺨﺘﻠﻒ ﻗﺮﺍﺭ ﻣﯽ ﮔﯿﺮﺩ‪ ،‬ﻫﻢ ﺍﺯ ﺳﻮﯼ ﻣﻮﺯﻩ ﻫﺎﯼ ﺟﻬﺎﻥ ﺷﻤﺎﺭ ﻭ ﻫﻢ‬

‫ﻣﻮﺯﻩ ﻫﺎﯼﻗﺮﻥ ﮐﻨﻮﻧﯽ »ﻫﻨﺮ ﺍﺳﻼﻣﯽ«‪ .‬ﻫﺮﭼﻨﺪ ﺷﺎﯾﺪ ﺑﺮﺍﯼ ﺍﻫﺪﺍﻑ ﻣﺘﻔﺎﻭﺕ‪ .‬ﺍﺯ ﺳﻮﯼ ﺩﯾﮕﺮ‪ ،‬ﺩﺭ ﺑﺮﺧﯽ ﮐﺸﻮﺭﻫﺎﯼ ﻣﺴﻠﻤﺎﻥ ﻣﺎﻧﻨﺪ ﺍﯾﺮﺍﻥ‬

‫ﻭﺗﺮﮐﯿﻪ ﮐﻪ ﺍﺯ ﻗﻀﺎ ﺩﻭ ﻣﻨﺒﻊ ﻣﻬﻢ »ﻫﻨﺮ ﺍﺳﻼﻣﯽ« ﻣﺤﺴﻮﺏ ﻣﯽ ﺷﻮﻧﺪ‪ ،‬ﻣﺠﻤﻮﻋﻪ ﺩﻭﺭﻩ ﺍﺳﻼﻣﯽ ﺩﺭ ﭼﺎﺭﭼﻮﺏ ﺗﺎﺭﯾﺦ ﻣﻠﯽ ﻗﺮﺍﺭ ﻣﯽ ﮔﯿﺮﺩ‪.‬‬

‫ﺑﺎﻧﮕﺎﻫﯽ ﺑﻪ ﻣﻮﺍﺭﺩ ﺍﺧﯿﺮ‪ ،‬ﺍﯾﻦ ﻣﻘﺎﻟﻪ ﺑﺮﺧﯽ ﺍﺯ ﺗﮑﻨﯿﮏ ﻫﺎﯼ ﻓﻀﺎﯾﯽ ﻣﻮﺭﺩ ﺍﺳﺘﻔﺎﺩﻩ ﺩﺭ ﻣﻮﺍﺭﺩ ﺍﻭﻝ ﺭﺍ ﺑﺮﺍﯼ ﺗﺤﮑﯿﻢ ﻣﻔﻬﻮﻡ ﻭﺣﺪﺕ ﻭ‬ ‫ﻫﻤﮕﻮﻧﯽ»ﻫﻨﺮ ﺍﺳﻼﻣﯽ« ﻣﻮﺭﺩ ﺑﺤﺚ ﻗﺮﺍﺭ ﻣﯽ ﺩﻫﺪ‪.‬‬

‫ﭘﯿﺸﺮﻓﺖﻣﻄﺎﻟﻌﺎﺕ ﻣﻌﻤﺎﺭﯼ ﺩﺭ ﺯﻣﯿﻨﻪ ﺑﻨﺎﻫﺎﯼ ﺍﺳﻼﻣﯽ ﺩﺭ ﺍﯾﺮﺍﻥ‪ ،‬ﺁﻣﯿﺨﺘﻪ ﺑﺎ ﺗﻐﯿﯿﺮ ﺷﮑﻞ ﺑﺎﻓﺖ ﻫﺎﯼ ﻓﺮﻫﻨﮕﯽ‪-‬ﺍﺟﺘﻤﺎﻋﯽ ﻭ ﺧﻮﺩﺁﮔﺎﻫﯽ‬ ‫ﮐﻪﺑﻪ ﻃﻮﺭ ﺭﯾﺸﻪ ﺍﯼ ﺩﺭ ﺍﯾﺮﺍﻥ ﺩﺭ ﺩﻭﺭﺍﻥ ﭘﺮ ﺭﻭﻧﻖ ﺭﮊﯾﻢ ﭘﻬﻠﻮﯼ ﺭﺥ ﺩﺍﺩ‪ .‬ﺑﺎ ﺍﯾﻦ ﺣﺎﻝ‪ ،‬ﻣﻬﻢ ﺗﺮﯾﻦ ﺗﻼﺵ ﺗﻮﺳﻂ ﭘﻮﭖ ﺁﻏﺎﺯ ﺷﺪ ﮐﻪ‬

‫ﻣﺴﺘﻨﺪﺍﺕﻋﮑﺎﺳﯽ ﻣﻌﻤﺎﺭﯼ ﻗﺮﻭﻥ ﻭﺳﻄﯽ ﺍﯾﺮﺍﻥ‪ ،‬ﺍﺯ ﺟﻤﻠﻪ ﻣﺴﺠﺪ ﺟﻤﻌﻪ ﺍﺻﻔﻬﺎﻥ‪ ،‬ﺭﺍ ﺑﺮﺍﯼ ﺁﺛﺎﺭ ﺗﺎﺭﯾﺨﯽ ﺧﻮﺩ ﺍﻧﺠﺎﻡ ﺩﺍﺩ‪.‬ﺑﺮﺭﺳﯽ ﻫﻨﺮ‬

‫ﯾﻮﮐﺎﮐﺎﺩﻭﯼ‬ ‫ﺩﺍﻧﺸﮕﺎﻩﺍﺩﯾﻨﺒﻮﺭﮒ‪ ،‬ﺍﻧﮕﻠﺴﺘﺎﻥ‬

‫ﺩﻭﻣﯽﺑﻪ ﻭﯾﮋﻩ ﭘﺘﺎﻧﺴﯿﻞ ﻋﮑﺲ ﻫﺎ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﺟﻠﻮﻩ ﻫﺎﯼ ﺑﺼﺮﯼ ﻓﺮﻡ ﻫﺎ ﻭ ﺳﺒﮏ ﻫﺎﯼ ﻣﻌﻤﺎﺭﯼ ﺍﯾﺪﻩ ﺁﻝ ﻭ ﻫﻤﭽﻨﯿﻦ ﻧﻤﺎﯾﺶ ﻫﺎﯼ ﺩﻭ‬

‫ﺑﻌﺪﯼﺑﺮﺍﯼ ﻋﻤﻮﻡ ﻣﺮﺩﻡ ﻭ ﻣﻨﺎﺑﻊ ﺗﺤﻘﯿﻘﺎﺗﯽ ﺑﺮﺍﯼ ﺩﺍﻧﺸﺠﻮﯾﺎﻥ ﻣﻮﺭﺩ ﺑﺮﺭﺳﯽ ﻗﺮﺍﺭ ﺩﺍﺩ‪.‬‬

‫ﺑﺎﺯﺍﻧﺪﯾﺸﯽﺑﻪ ﻭﺍﺳﻄﻪ ﮔﺮﯼ ﺩﺭ‬ ‫ﺑﺮﺭﺳﯽﻣﻌﻤﺎﺭﯼ ﺍﯾﺮﺍﻥ ﺍﺳﻼﻣﯽ ﻗﺮﻭﻥ ﻭﺳﻄﯽ‪ :‬ﻋﮑﺲ ﻫﺎ‪ ،‬ﻧﻤﺎﯾﺸﮕﺎﻩ ﻫﺎ ﻭ‬ ‫ﭘﺎﯾﺎﻥﻧﺎﻣﻪ ﻓﺎﺭﺳﯽ‪-‬ﮔﻮﺗﯿﮏ ﺩﺭ ﺩﻫﻪ ‪1930‬‬

‫ﻭﯾﺮﺍﻧﻪﺍﺳﻼﻡ ﺯﺩﺍﯾﯽ ﺳﺎﺧﺘﻪ ﺷﺪ ﻭ ﺍﺳﺎﺳﺎ ًﺑﻪ ﻋﻨﻮﺍﻥ ﻣﻌﻤﺎﺭﯼ ﺷﺒﻪ ﻣﺴﯿﺤﯽ ﺑﻪ ﻣﺨﺎﻃﺒﺎﻥ ﻏﺮﺑﯽ ﻣﻌﺮﻓﯽ ﺷﺪ‪ .‬ﺍﮔﺮﭼﻪ ﻗﺮﺍﺑﺖ ﺳﺒﮑﯽ ﺑﯿﻦ‬

‫ﻣﯽ ﺩﻫﺪﻭ ﺭﻭﻧﺪ ﺷﮑﻞ ﺩﻫﯽ ﻣﺠﺪﺩ ﺗﺼﺎﻭﯾﺮ ﻣﻌﻤﺎﺭﯼ ﺍﺳﻼﻣﯽ ﺩﻭﺭﻩ ﻫﺎﯼ ﺳﻠﺠﻮﻗﯽ ﺑﻪ ﻭﯾﮋﻩ ﻣﺴﺠﺪ ﺟﻤﻌﻪ ﺍﺻﻔﻬﺎﻥ ﺭﺍ ﻣﻮﺭﺩ ﺗﻮﺟﻪ ﻗﺮﺍﺭ‬

‫ﺑﺼﺮﯼﻣﻠﻤﻮﺳﯽ ﺑﺮﺍﯼ ﭘﯿﭽﯿﺪﮔﯽ ﺳﯿﺴﺘﻢ ﻃﺎﻕ ﺑﻨﺪﯼ ﺍﯾﺮﺍﻧﯽ ﻭ ﺳﺎﯾﺮ ﻭﯾﮋﮔﯽ ﻫﺎﯼ ﺗﮑﻨﻮﻟﻮﮊﯾﮑﯽ ﮐﻪ ﺩﺭ ﻋﮑﺲ ﻫﺎﯼ ﺳﺎﯾﺰ ﺑﺰﺭﮒ ﭘﺎﭖ ﺑﻪ‬

‫ﺍﯾﻦﻣﻘﺎﻟﻪ ﺷﮑﻞ ﮔﯿﺮﯼ ﮔﻔﺘﻤﺎﻥ ﻫﺎﯼ ﻫﻨﺮﯼ‪-‬ﺗﺎﺭﯾﺨﯽ ﺩﺭﺑﺎﺭﻩ ﻣﻌﻤﺎﺭﯼ ﺍﯾﺮﺍﻥ ﺍﺳﻼﻣﯽ ﺩﺭ ﺍﻭﺍﯾﻞ ﻗﺮﻥ ﺑﯿﺴﺘﻢ ﺭﺍ ﻣﻮﺭﺩ ﺍﺭﺯﯾﺎﺑﯽ ﻣﺠﺪﺩ ﻗﺮﺍﺭ‬

‫ﻣﯽ ﺩﻫﺪ‪. .‬ﺍﯾﻦ ﻣﻘﺎﻟﻪ ﺑﺮﮔﺮﻓﺘﻪ ﺍﺯ ﺍﺳﺘﻔﺎﺩﻩ ﮔﺴﺘﺮﺩﻩ ﺍﺯ ﻣﻨﺎﺑﻊ ﺁﺭﺷﯿﻮﯼ‪ ،‬ﭼﮕﻮﻧﮕﯽ ﺗﺒﺪﯾﻞ ﺷﺪﻥ ﻣﺴﺎﺟﺪ ﺳﻠﺠﻮﻗﯽ ﺑﻪ ﻃﻮﺭ ﮐﻠﯽ ﻭ ﻣﺴﺠﺪ‬

‫ﺗﺼﻮﯾﺮﻣﺴﺠﺪ ﺟﻤﻌﻪ ﺍﺻﻔﻬﺎﻥ ﺑﻪ ﺟﺎﯼ ﺗﺎﮐﯿﺪ ﺑﺮ ﺑﺎﻓﺖ ﺍﺻﻠﯽ ﺁﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﯾﮏ ﻣﺠﻤﻮﻋﻪ ﻣﺬﻫﺒﯽ ﺯﻧﺪﻩ ﻣﺴﻠﻤﺎﻥ‪ ،‬ﺑﺎ ﺩﻗﺖ ﺑﻪ ﻋﻨﻮﺍﻥ ﯾﮏ‬

‫ﻣﺴﺎﺟﺪﺳﺠﻠﻮﻕ ﻭ ﮐﻠﯿﺴﺎﻫﺎﯼ ﮔﻮﺗﯿﮏ ﻗﺒﻼ ًﺗﻮﺳﻂ ﻣﻮﺭﺧﺎﻥ ﻣﻌﻤﺎﺭﯼ ﻏﺮﺑﯽ ﭘﯿﺶ ﺍﺯ ﺩﻫﻪ ‪ 1930‬ﻣﻮﺭﺩ ﺗﻮﺟﻪ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺑﻮﺩ‪ ،‬ﺍﻣﺎ ﺷﻮﺍﻫﺪ‬ ‫ﻧﻤﺎﯾﺶﺩﺭﺁﻣﺪﻩ ﺑﻮﺩ‪ .‬ﻋﮑﺲ ﺩﯾﻮﺍﺭﯼ ﻧﺎﻣﯿﺪﻩ ﻣﯽ ﺷﻮﺩ(‪ ،‬ﮐﻪ ﺑﺎ ﻓﺼﺎﺣﺖ ﻓﻮﻕ ﺍﻟﻌﺎﺩﻩ ﺍﻭ ﺩﺭ ﺳﺨﻨﺮﺍﻧﯽ ﻫﺎﯼ ﻋﻤﻮﻣﯽ ﺑﯿﺸﺘﺮ ﺗﻘﻮﯾﺖ‬

‫ﺟﻤﻌﻪﺍﺻﻔﻬﺎﻥ ﺑﻪ ﻃﻮﺭ ﺧﺎﺹ ﺑﻪ ﺷﺎﻫﮑﺎﺭﻫﺎﯼ ﻣﻌﻤﺎﺭﯼ ﺍﯾﺮﺍﻧﯽ ﺍﺳﻼﻣﯽ ﺩﺭ ﮐﺴﻮﺕ »ﮐﻠﯿﺴﺎﯼ ﺟﺎﻣﻊ ﮔﻮﺗﯿﮏ ﺍﯾﺮﺍﻧﯽ« ﺭﺍ ﺑﺎ ﺗﺄﮐﯿﺪ ﺑﺮ ﺗﻮﺳﻌﻪ‬

‫ﻣﯽ ﺷﻮﺩ‪،‬ﺑﻪ ﺍﺑﻄﺎﻝ ﺗﺰ ﺍﯾﺮﺍﻧﯽ‪-‬ﮔﻮﺗﯿﮏ ﻭ ﺩﺭ ﻧﻬﺎﯾﺖ ﺑﻪ ﮐﺴﺐ ﺷﻬﺮﺕ ﺍﻭ ﺑﻪ ﻋﻨﻮﺍﻥ ﻗﻬﺮﻣﺎﻥ ﺁﻥ ﺯﻣﺎﻥ )ﻭ ﺑﻌﺪﺍ ًﺑﺎﺯﻧﺪﻩ( ﺍﯾﻦ ﻫﻨﺮ‪-‬ﺗﺎﺭﯾﺨﯽ‬

‫ﺑﺤﺚﺍﯾﻦ ﻣﻘﺎﻟﻪ ﺑﺮ ﺭﻭﯼ ﻧﻘﺶ ﻋﮑﺎﺳﯽ ﻣﺘﻤﺮﮐﺰ ﺍﺳﺖ ﻭ ﻣﺮﺑﻮﻁ ﺑﻪ ﺩﻭﺭﻩ ﺑﯿﻦ ﺍﻭﺍﺧﺮ ﺩﻫﻪ ‪ 1920‬ﻭ ﺍﻭﺍﯾﻞ ﺩﻫﻪ ‪ 1930‬ﺍﺳﺖ‪ ،‬ﺯﻣﺎﻧﯽ ﮐﻪ‬

‫ﺩﺭﻋﺼﺮ ﺭﺳﺎﻧﻪ ﻫﺎﯼ ﺩﯾﺠﯿﺘﺎﻝ ﻗﺮﻥ ﺑﯿﺴﺖ ﻭ ﯾﮑﻢ‪ ،‬ﻋﮑﺲ ﻫﺎﯼ ﻣﻌﻤﺎﺭﯼ ﻭ ﻧﻤﺎﯾﺸﮕﺎﻩ ﻫﺎﯼ ﺩﻫﻪ ﻫﺎﯼ ﺍﻭﻝ ﻗﺮﻥ ﺑﯿﺴﺘﻢ ﻣﻤﮑﻦ ﺍﺳﺖ ﻣﺎﻧﻨﺪ‬

‫ﮐﺮﺩ‪.‬ﺁﻧﺪﺭﻩ ﮔﺪﺍﺭ )‪ ،(1965-1881‬ﺍﺭﯾﮏ ﺷﺮﻭﺩﺭ )‪ ،(1971-1904‬ﻣﺎﯾﺮﻭﻥ ﺑﻤﻨﺖ ﺍﺳﻤﯿﺖ )‪ ،(1970-1897‬ﻭ ﺍﺭﯾﺶ ﺍﺷﻤﯿﺖ‬

‫ﺍﺳﻼﻣﯽﮐﻪ ﺑﻪ ﻃﻮﺭ ﭘﯿﻮﺳﺘﻪ ﺩﺭ ﺩﻫﻪ ‪ 1930‬ﺷﮑﻞ ﮔﺮﻓﺖ‪ ،‬ﻫﻤﭽﻨﺎﻥ ﺑﻪ ﺷﮑﻞ ﺩﻫﯽ ﺗﻔﮑﺮ ﻣﺎ ﺍﻣﺮﻭﺯ ﺍﺩﺍﻣﻪ ﻣﯽ ﺩﻫﺪ ﻭ ﻣﻘﺎﻟﻪ ﭘﯿﺸﻨﻬﺎﺩﯼ ﺑﻪ‬

‫ﺗﺤﻘﯿﻘﺎﺕﻣﯿﺎﻧﯽ ﻧﺸﺎﻥ ﻣﯽ ﺩﻫﺪ‪ .‬ﺍﺑﺰﺍﺭﻫﺎﯾﯽ ﺍﺯ ﻃﺮﺍﺣﯽ ﻫﺎﯼ ﺗﺤﻠﯿﻠﯽ ﺳﻨﺘﯽ ﺍﻣﺎ ﻫﻨﺮﯼ ﮔﺮﻓﺘﻪ ﺗﺎ ﺭﻭﺯﻧﺎﻣﻪ ﻧﮕﺎﺭﯼ ﻋﮑﺲ ﻭ ﻓﯿﻠﻢ ﺳﺎﺯﯼ‪.‬‬

‫ﭼﺸﻢﺍﻧﺪﺍﺯ ﻣﻌﻤﺎﺭﯼ ﻭ ﻣﯿﺮﺍﺙ ﻓﺮﻫﻨﮕﯽ ﺍﯾﺮﺍﻥ ﺗﻌﺪﺍﺩﯼ ﺍﺯ ﺍﻓﺮﺍﺩ ﮐﺎﺭﯾﺰﻣﺎﺗﯿﮏ ﻣﺎﻧﻨﺪ ﺁﺭﺗﻮﺭ ﺁﭘﻬﺎﻡ ﭘﻮﭖ )‪ (1969-1881‬ﺭﺍ ﺑﻪ ﺧﻮﺩ ﺟﺬﺏ‬

‫)‪ ،(1964-1897‬ﺑﻪ ﻧﺎﻡ ﭼﻨﺪ ﻣﻮﺭﺩ‪ .‬ﻫﺮ ﯾﮏ ﻧﻘﺶ ﺍﺳﺎﺳﯽ ﺩﺭ‬

‫‪10‬‬

‫ﺍﯾﺮﺍﻧﯽ)‪ (1938-39‬ﻭ ﻫﻤﭽﻨﯿﻦ ﺑﺮﺍﯼ ﻣﺠﻤﻮﻋﻪ ﮐﻤﺘﺮ ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩ ﺍﻣﺎ ﻣﻬﻢ ﻧﻤﺎﯾﺸﮕﺎﻩ ﻫﺎﯼ ﺗﺒﻠﯿﻐﺎﺗﯽ ﻣﻌﻤﺎﺭﯼ ﺍﯾﺮﺍﻧﯽ ﺩﺭ ﺩﻫﻪ ‪.1930‬‬

‫ﻃﻮﻻﻧﯽﮐﻤﮏ ﮐﺮﺩ‪ .‬ﻣﻨﺎﻇﺮﻩ‪.‬‬

‫ﺩﻭﺭﻩﻗﺒﻞ ﺍﺯ ﺟﻨﮓ‪ ،‬ﺍﺭﺯﺵ ﺑﺼﺮﯼ ﻭ ﺗﺄﺛﯿﺮ ﺍﺟﺘﻤﺎﻋﯽ ﻧﺪﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪ .‬ﺑﺎ ﺍﯾﻦ ﺣﺎﻝ‪ ،‬ﺗﺼﻮﯾﺮﯼ ﺧﺎﺹ ﺍﺯ ﻣﻌﻤﺎﺭﯼ ﻗﺮﻭﻥ ﻭﺳﻄﺎﯾﯽ ﺍﯾﺮﺍﻥ‬ ‫ﺗﻔﺼﯿﻞﺍﯾﻦ ﻓﺮﺁﯾﻨﺪ ﺭﺍ ﺗﻮﺿﯿﺢ ﻣﯽ ﺩﻫﺪ‪.‬‬

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‫ﺍﺯﻭﺳﺎﺭﯼ ﺗﺎ ﻣﺼﻄﻔﯽ ﻋﻠﯽ‪:‬‬ ‫ﺯﻣﯿﻨﻪﺳﺎﺯﯼ ﻣﻨﺎﺑﻊ ﻣﮑﺘﻮﺏ ﺗﺎﺭﯾﺦ ﻫﻨﺮ ﺍﺳﻼﻣﯽ‬

‫ﺩﺭﻃﯽ ﭼﻨﺪ ﺳﺎﻝ ﮔﺬﺷﺘﻪ‪ ،‬ﺩﺭ ﺗﻼﺵ ﺑﺮﺍﯼ ﻣﻄﺎﻟﻌﻪ ﻫﻨﺮ ﻭ ﻣﻌﻤﺎﺭﯼ ﺍﺳﻼﻣﯽ ﺧﺎﺭﺝ ﺍﺯ ﭘﺎﺭﺍﺩﺍﯾﻢ ﻫﺎﯼ ﺩﻭﮔﺎﻧﮕﯽ ﺳﻨﺘﯽ‬

‫ﺷﺮﻕ‪-‬ﻏﺮﺏ‪ ،‬ﺗﻌﺪﺍﺩ ﻓﺰﺍﯾﻨﺪﻩ ﺍﯼ ﺍﺯ ﻣﺤﻘﻘﺎﻥ ﺩﺍﻣﻨﻪ ﻣﻄﺎﻟﻌﺎﺕ ﺧﻮﺩ ﺭﺍ ﮔﺴﺘﺮﺵ ﺩﺍﺩﻩ ﺍﻧﺪ ﺗﺎ ﺑﺤﺚ ﻫﺎﯼ ﺗﺒﺎﺩﻝ‬

‫ﻓﺮﻫﻨﮕﯽﺑﯿﻦ ﻋﺜﻤﺎﻧﯽ ﻭ ﺍﯾﺘﺎﻟﯿﺎ ﺭﺍ ﺩﺭ ﺑﺮ ﮔﯿﺮﻧﺪ‪ .‬ﺩﻧﯿﺎﻫﺎ ﺁﺛﺎﺭ ﻗﺎﻧﻊ ﮐﻨﻨﺪﻩ ﺍﯾﻦ ﻣﺤﻘﻘﯿﻦ ﮐﻪ ﺑﺮ ﺍﺳﺎﺱ ﻧﻈﺮﯾﻪ ﻫﺎﯼ‬

‫ﺗﺮﺟﻤﻪ ﯼﺑﯿﻦ ﻓﺮﻫﻨﮕﯽ ﺍﺳﺖ‪ ،‬ﺑﻪ ﺍﺻﻄﻼﺡ ﻫﺎﯼ ﺑﺼﺮﯼ ﻣﺘﺪﺍﺧﻞ ﻭ ﺍﻏﻠﺐ ﺭﻗﺎﺑﺘﯽ ﻫﻨﺮ ﻭ ﻣﻌﻤﺎﺭﯼ ﻋﺜﻤﺎﻧﯽ ﻭ‬

‫ﺍﯾﺘﺎﻟﯿﺎﯾﯽﻣﯽ ﭘﺮﺩﺍﺯﺩ ﻭ ﻣﺎ ﺭﺍ ﺗﺸﻮﯾﻖ ﻣﯽ ﮐﻨﺪ ﺗﺎ ﺍﺯ ﻣﺮﺯﻫﺎﯼ ﻣﺼﻨﻮﻋﯽ ﺩﺭ ﻣﯿﺎﻥ ﺭﺷﺘﻪ ﻫﺎﯼ ﺩﺍﻧﺸﮕﺎﻫﯽ ﻭ ﺟﻐﺮﺍﻓﯿﺎﯼ‬

‫ﻫﻨﺮﺩﺭ ﺍﻣﭙﺮﺍﺗﻮﺭﯼ ﻋﺜﻤﺎﻧﯽ ﻭ ﺍﯾﺘﺎﻟﯿﺎ ﺩﺭ ﻗﺮﻥ ﺷﺎﻧﺰﺩﻫﻢ ﻓﺮﻣﻮﻟﻪ ﻭ ﻣﻨﺘﺸﺮ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬

‫ﮔﻞﮐﻠﻪ‬ ‫ﻣﺤﻘﻖﻣﺴﺘﻘﻞ‬

‫ﺭﻭﺍﺑﻂﻣﺘﻨﺎﺳﺐ‪:‬‬ ‫ﻋﻠﻢﻧﻘﺸﻪ ﺑﺮﺩﺍﺭﯼ ﻭ ﮐﻮﺑﯿﺖ ﻣﻌﻤﺎﺭ ﺩﺭ ﻣﻌﻤﺎﺭﯼ ﻋﺜﻤﺎﻧﯽ‬

‫ﮐﺎﻓﻪﺍﻓﻨﺪﯼﺭﺳﺎﻟﻪ ﻣﻌﻤﺎﺭﯾﻪ)ﮐﺘﺎﺑﯽ ﺩﺭ ﻣﻮﺭﺩ ﻣﻌﻤﺎﺭﯼ‪ ،‬ﺣﺪﻭﺩ ‪ (1614‬ﮐﻪ ﺗﻮﺳﻂ ﯾﮏ ﻣﺤﻘﻖ ﺑﺮﺍﯼ ﯾﮏ ﻣﻌﻤﺎﺭ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﻣﺘﻨﯽ‬

‫ﻣﻨﺤﺼﺮﺑﻪ ﻓﺮﺩ ﺩﺭ ﻣﻌﻤﺎﺭﯼ ﺑﻮﺩﻩ ﺍﺳﺖ‪ ،‬ﻧﻪ ﺗﻨﻬﺎ ﺩﺭ ﺟﻬﺎﻥ ﻋﺜﻤﺎﻧﯽ ﺑﻠﮑﻪ ﺩﺭ ﺟﻬﺎﻥ ﺍﺳﻼﻡ ﺑﻪ ﻃﻮﺭ ﮐﻠﯽ‪ .‬ﺩﺭ ﺣﺎﻟﯽ ﮐﻪ ﺍﻏﻠﺐ ﺁﻥ ﺭﺍ ﮐﺘﺎﺑﯽ‬

‫ﻧﺎﻣﻨﺴﺠﻢﻣﯽ ﺩﺍﻧﻨﺪ‪ ،‬ﺍﻣﺎ ﻣﻄﺎﻟﻌﻪ ﺩﻗﯿﻖ ﺗﺮ ﻣﻘﺎﺻﺪ ﺍﺳﺎﺳﯽ ﻧﻮﯾﺴﻨﺪﻩ ﺭﺍ ﺁﺷﮑﺎﺭ ﻣﯽ ﮐﻨﺪ‪ .‬ﻣﻦ ﻧﺸﺎﻥ ﻣﯽ ﺩﻫﻢ ﮐﻪ ﺑﻨﺎ ﺑﻪ ﮔﻔﺘﻪ ﮐﺎﻓﺮ ﺍﻓﻨﺪﯼ‪،‬‬ ‫ﻣﻌﻤﺎﺭﯼﻣﺒﺘﻨﯽ ﺑﺮ ﺷﯿﻮﻩ ﻫﺎﯼ ﻣﺨﺘﻠﻒ ﺩﺍﻧﺶ ﺍﺳﺖ‪ ،‬ﺍﺯ ﻋﻠﻢ ﻫﻨﺪﺳﻪ ﺗﺎ ﻋﻠﻢ ﻣﻮﺳﯿﻘﯽ‪.‬‬

‫ﻣﺘﻦﮐﺎﻓﺮ ﺍﻓﻨﺪﯼ ﻧﯿﺰ ﺷﺎﻣﻞ ﻓﺼﻮﻝ ﻋﻠﻢ ﻧﻘﺸﻪ ﺑﺮﺩﺍﺭﯼ ﺍﺳﺖ‪ .‬ﺑﺮ ﺍﺳﺎﺱ ﺍﯾﻦ ﻓﺼﻮﻝ‪ ،‬ﺍﯾﻦ ﻣﻘﺎﻟﻪ ﺑﻪ ﺑﺮﺭﺳﯽ ﭘﯿﻮﻧﺪ ﺫﺍﺗﯽ ﺑﯿﻦ ﻣﻌﻤﺎﺭﯼ‪،‬‬

‫ﻋﻠﻢﻧﻘﺸﻪ ﺑﺮﺩﺍﺭﯼ ﻭ ﻗﺎﻧﻮﻥ ﻭﺭﺍﺛﺖ ﻣﯽ ﭘﺮﺩﺍﺯﺩ ﮐﻪ ﻣﻌﯿﺎﺭﻫﺎﯼ ﺫﺭﺍﻉ ﻣﻌﻤﺎﺭ ﺭﺍ ﺩﺭ ﺍﻭﺍﯾﻞ ﺩﻧﯿﺎﯼ ﻣﺪﺭﻥ ﻋﺜﻤﺎﻧﯽ ﺗﻌﺮﯾﻒ ﻣﯽ ﮐﻨﺪ‪ .‬ﻣﻦ ﺗﻮﺿﯿﺢ‬

‫ﺍﯾﻦﻣﻘﺎﻟﻪ ﺍﺯ ﻃﺮﯾﻖ ﺗﺤﻠﯿﻞ ﺗﻄﺒﯿﻘﯽ ﺩﻭ ﻣﻨﺒﻊ ﻣﮑﺘﻮﺏ ﻣﻬﻢ ﺗﺎﺭﯾﺦ ﻫﻨﺮ ﻋﺜﻤﺎﻧﯽ ﻭ ﺍﯾﺘﺎﻟﯿﺎ‪ :‬ﻣﺼﻄﻔﯽ ﻋﻠﯽ ﺍﺯ‬

‫ﮔﺎﻟﯿﭙﻮﻟﯽﺑﻪ ﺍﯾﻦ ﻧﯿﺎﺯ ﺧﻮﺍﻫﺪ ﭘﺮﺩﺍﺧﺖ‪.‬ﮐﺎﺭﻫﺎﯼ ﺣﻤﺎﺳﯽ ﻫﻨﺮﻣﻨﺪﺍﻥ)‪ ،(1587‬ﺍﻭﻟﯿﻦ ﺭﺳﺎﻟﻪ ﻋﺜﻤﺎﻧﯽ ﺩﺭ ﻣﻮﺭﺩ ﺯﻧﺪﮔﯽ ﻭ‬

‫ﺁﺛﺎﺭﺧﻮﺷﻨﻮﯾﺴﺎﻥ ﻭ ﻧﻘﺎﺷﺎﻥ ﻣﺴﻠﻤﺎﻥ‪ ،‬ﻭ ﺟﻮﺭﺟﯿﻮ ﻭﺍﺯﺍﺭﯼ‪più eccellenti pittori, scultori, e architettori.‬‬

‫ﺧﻮﺍﻫﻢﺩﺍﺩ ﮐﻪ ﭼﮕﻮﻧﻪ ﯾﮏ ﻣﺤﻘﻖ ﺳﻌﯽ ﮐﺮﺩ ﻧﻈﻢ ﻫﺎﯼ ﮐﯿﻬﺎﻧﯽ‪ ،‬ﺭﯾﺎﺿﯽ ﻭ ﺍﺟﺘﻤﺎﻋﯽ ﺭﺍ ﺍﺯ ﻃﺮﯾﻖ ﺫﺭﺍﻉ ﻣﻌﻤﺎﺭ ﺩﺭ ﻃﻮﻝ ﺳﺎﻝ ﻫﺎﯼ ﭘﯿﭽﯿﺪﻩ‬ ‫ﻭﺩﮔﺮﮔﻮﻥ ﮐﻨﻨﺪﻩ ﻗﺮﻥ ﻫﻔﺪﻫﻢ ﺁﺷﺘﯽ ﺩﻫﺪ‪ .‬ﻋﻼﻭﻩ ﺑﺮ ﺍﯾﻦ‪ ،‬ﻣﻦ ﺩﺭ ﻣﻮﺭﺩ ﯾﮏ ﺳﻨﺪ ﻣﻨﺤﺼﺮ ﺑﻪ ﻓﺮﺩ ﺑﺤﺚ ﺧﻮﺍﻫﻢ ﮐﺮﺩ ﮐﻪ ﺑﻪ ﻧﻘﺶ ﮐﺎﻓﺮ‬

‫ﺍﻓﻨﺪﯼﺩﺭ ﺑﺮﺭﺳﯽ ﺑﻪ ﻋﻨﻮﺍﻥ ﮐﺎﺭﺷﻨﺎﺱ ﺣﻘﻮﻕ ﺩﯾﻨﯽ ﺩﺭ ﺩﺍﺩﮔﺎﻩ ﻣﺮﺑﻮﻁ ﻣﯽ ﺷﻮﺩ ﮐﻪ ﻫﻮﯾﺖ ﮐﻨﺠﮑﺎﻭ ﺍﻭ ﺭﺍ ﺭﻭﺷﻦ ﻣﯽ ﮐﻨﺪ‪.‬‬

‫'‪)Le Vite de‬ﻭﯾﺮﺍﯾﺶ ‪ ،1550 ،1‬ﻭﯾﺮﺍﯾﺶ ﺩﻭﻡ‪ ،(1568 ،‬ﮐﺘﺎﺏ ﻣﺮﺟﻊ ﺍﺳﺘﺎﻧﺪﺍﺭﺩ ﺩﺭ ﻣﻮﺭﺩ ﻫﻨﺮﻣﻨﺪﺍﻥ ﺭﻧﺴﺎﻧﺲ‬

‫ﺍﯾﺘﺎﻟﯿﺎ‪.‬ﺍﯾﻦ ﺩﻭ ﺍﺛﺮ ﺯﻧﺪﮔﯽ ﻧﺎﻣﻪ ﺍﯼ ﮐﻪ ﺁﺭﺯﻭﻫﺎﯼ ﻧﻮﯾﺴﻨﺪﮔﺎﻥ ﺧﻮﺩ ﺭﺍ ﺑﺮﺁﻭﺭﺩﻩ ﻣﯽ ﮐﻨﻨﺪ‪ ،‬ﻧﻘﺶ ﻋﻤﺪﻩ ﺍﯼ ﺩﺭ‬

‫ﺷﮑﻞ ﺩﻫﯽﻭ ﺍﻧﺘﻘﺎﻝ ﺩﺍﻧﺶ ﺩﺭ ﺑﺎﻓﺖ ﻋﺜﻤﺎﻧﯽ ﻭ ﺍﯾﺘﺎﻟﯿﺎﯾﯽ ﺧﻮﺩ ﺩﺍﺷﺘﻪ ﺍﻧﺪ‪ .‬ﺍﯾﻦ ﻣﻘﺎﻟﻪ ﺑﺎ ﭘﺮﺩﺍﺧﺘﻦ ﺑﻪ ﺗﺤﻠﯿﻞ‬

‫ﺍﺩﻋﺎﺷﺪﻩ ﺍﺳﺖ ﮐﻪ ﻣﻌﻤﺎﺭﺍﻥ ﻋﺜﻤﺎﻧﯽ ﭘﯿﺸﯿﻨﻪ ﻧﻈﺮﯼ ﻧﺪﺍﺷﺘﻪ ﺍﻧﺪ‪ .‬ﺑﺎ ﺍﯾﻦ ﺣﺎﻝ‪ ،‬ﺍﮔﺮﭼﻪ ﻧﻤﯽ ﺗﻮﺍﻥ ﺁﻥ ﺭﺍ ﺑﺮﺍﯼ ﻫﻤﻪ ﻣﻌﻤﺎﺭﺍﻥ ﺳﭙﺎﻩ ﺗﻌﻤﯿﻢ‬

‫ﻏﯿﺮﺍﺳﻼﻡ‪،‬ﻋﻨﺎﺻﺮ ﺯﺑﺎﻥ ﺷﻨﺎﺧﺘﯽ ﻭ ﻣﻔﻬﻮﻣﯽ ﻣﺸﺘﺮﮎ ﺗﺎﺭﯾﺦ ﻧﮕﺎﺭﯼ ﻫﻨﺮ ﻋﺜﻤﺎﻧﯽ ﻭ ﺍﯾﺘﺎﻟﯿﺎ ﺭﺍ ﺑﺮﺭﺳﯽ ﻣﯽ ﮐﻨﺪ‪ .‬ﺍﯾﻦ‬

‫ﮐﺎﻓﻪ‪،‬ﻣﻬﺎﺭﺕ ﻣﺤﻤﺪ ﺁﻗﺎ ﺩﺭ ﻃﺮﺍﺣﯽ ﯾﮑﯽ ﺍﺯ ﻧﺸﺎﻧﻪ ﻫﺎﯼ ﺍﺻﻠﯽ ﻣﻬﺎﺭﺕ ﺭﯾﺎﺿﯽ ﺍﻭﺳﺖ‪ .‬ﺑﻨﺎﺑﺮﺍﯾﻦ ﻣﻦ ﺑﺎ ﺑﺤﺚ ﺩﺭ ﻣﻮﺭﺩ ﭘﯿﻮﻧﺪ ﺫﺍﺗﯽ ﺑﯿﻦ‬

‫ﻫﺮﻣﻨﻮﺗﯿﮑﯽﺯﺑﺎﻥ ﺍﺩﺑﯽ ﻭ ﻣﺤﺘﻮﺍﯼ ﺩﻭ ﻣﺘﻦ ﻭ ﺗﺮﮐﯿﺐ ﺗﺤﻠﯿﻞ ﻫﺎﯾﯽ ﺍﺯ ﺭﺳﺎﻟﻪ ﻫﺎﯼ ﻣﺸﺎﺑﻪ ﺍﺯ ﺟﻬﺎﻥ ﺍﺳﻼﻡ ﻭ‬

‫ﻣﻘﺎﻟﻪﺑﺎ ﺗﻤﺮﮐﺰ ﺑﺮ ﻣﻌﯿﺎﺭﻫﺎﯼ ﻣﺼﻄﻔﯽ ﻋﻠﯽ ﻭ ﻭﺍﺯﺍﺭﯼ ﺑﺮﺍﯼ ﻗﻀﺎﻭﺕ ﺯﯾﺒﺎﯾﯽ ﺷﻨﺎﺧﺘﯽ‪ ،‬ﻧﻘﺎﻁ ﻫﻤﮕﺮﺍﯾﯽ ﻭ ﻭﺍﮔﺮﺍﯾﯽ ﺭﺍ‬ ‫ﺩﺭﺩﺭﮎ ﻋﺜﻤﺎﻧﯽ‪/‬ﺍﺳﻼﻣﯽ ﻭ ﺍﯾﺘﺎﻟﯿﺎﯾﯽ‪/‬ﺭﻧﺴﺎﻧﺴﯽ ﺍﺯ ﭘﯿﺸﺮﻓﺖ ﺗﺎﺭﯾﺨﯽ ﻫﻨﺮ ﻭ ﻧﻈﺮﯾﻪ ﻫﺎﯼ ﺍﺩﺭﺍﮎ ﺑﺼﺮﯼ ﺑﯿﺎﻥ‬

‫ﻣﯽ ﮐﻨﺪ‪.‬‬

‫ﺩﺍﺩ‪،‬ﺍﻣﺎ ﺍﺭﺟﺎﻋﺎﺕ ﻣﺨﺘﻠﻒ ﮐﺎﻓﺮ ﺍﻓﻨﺪﯼ ﺑﻪ ﺩﺍﻧﺶ ﻫﻨﺪﺳﯽ ﻣﺤﻤﺪ ﺁﻗﺎ ﺩﺭ ﻣﻮﺭﺩ ﯾﮏ ﻣﻌﻤﺎﺭ ﺍﺭﺷﺪ‪ ،‬ﺧﻼﻑ ﺍﯾﻦ ﺭﺍ ﻧﺸﺎﻥ ﻣﯽ ﺩﻫﺪ‪ .‬ﺑﻪ ﮔﺰﺍﺭﺵ‬ ‫ﻧﻘﺸﻪﻫﺎﯼ ﻣﻌﻤﺎﺭﯼ ﻭ ﻋﻠﻢ ﻧﻘﺸﻪ ﺑﺮﺩﺍﺭﯼ ﺩﺭ ﭘﺲ ﺯﻣﯿﻨﻪ ﺗﺸﺮﯾﻔﺎﺕ ﭘﺎﯾﻪ ﮔﺬﺍﺭﯼ ﻣﺴﺠﺪ ﺳﻠﻄﺎﻥ ﺍﺣﻤﺪ ﺑﻪ ﭘﺎﯾﺎﻥ ﺧﻮﺍﻫﻢ ﺭﺳﯿﺪ‪ .‬ﮐﺘﺎﺏ ﮐﺎﻓﺮ‬

‫ﺍﻓﻨﺪﯼﮐﻪ ﺑﺮﺍﯼ ﻣﻌﻤﺎﺭ ﺍﻋﻈﻢ‪ ،‬ﻣﺤﻤﺪ ﺁﻗﺎ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺑﺮ ﺍﺳﺎﺱ ﻋﻼﯾﻖ ﮔﻮﻧﺎﮔﻮﻥ ﮐﺎﻓﺮ ﺩﺭ ﻋﻠﻮﻡ ﺑﻮﺩ‪.‬‬

‫ﺭﺉﯿﺲﻭ ﺑﺤﺚ ﮐﻨﻨﺪﻩ‪ :‬ﮔﻠﺮﻭ ﻧﭽﯿﭗ ﺍﻭﻏﻠﻮ‪ ،‬ﺩﺍﻧﺸﮕﺎﻩ ﻫﺎﺭﻭﺍﺭﺩ‬

‫ﺍﯾﻦﺟﻬﺖ ﮔﯿﺮﯼ ﺟﺪﯾﺪ ﻫﯿﺠﺎﻥ ﺍﻧﮕﯿﺰ‪ ،‬ﻫﺮﭼﻨﺪ ﺩﯾﺮ‪ ،‬ﺭﺍ ﺩﺭ ﭘﮋﻭﻫﺶ ﺗﺴﻬﯿﻞ ﮐﺮﺩﻩ ﺍﺳﺖ‪.‬‬

‫ﺍﺭﻭﭘﺎﯼﻣﻌﺎﺻﺮ ﺗﺸﮑﯿﻞ ﺷﺪﻩ ﺍﻧﺪ‪ .‬ﺑﻠﮑﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺆﻟﻔﻪ ﻫﺎﯼ ﻓﻌﺎﻝ ﺷﯿﻮﻩ ﻫﺎﯼ ﻣﺘﻨﯽ ﻭ ﺑﺼﺮﯼ ﯾﺎﺩﮔﯿﺮﯼ ﺍﺳﺖ ﮐﻪ ﺗﻮﺳﻂ ﺍﺩﺑﺎ ﻭ ﺧﺒﺮﮔﺎﻥ‬

‫ﺩﺍﻧﺶﻭ ﺳﻨﺖ ﻫﺎﯼ ﺳﺎﺧﺘﻤﺎﻧﯽ‬

‫ﻣﺨﺘﻠﻒﻋﺒﻮﺭ ﮐﻨﯿﻢ‪ .‬ﺁﮔﺎﻫﯽ ﺑﯿﺸﺘﺮ ﺍﺯ ﺍﻫﻤﯿﺖ ﻣﻨﺎﺑﻊ ﺍﻭﻟﯿﻪ ﺑﺮﺍﯼ ﺗﺤﻘﯿﻘﺎﺕ ﺟﺎﻣﻊ ﻭ ﺍﻓﺰﺍﯾﺶ ﺩﺭ ﺩﺳﺘﺮﺱ ﺑﻮﺩﻥ ﺁﻧﻬﺎ‪،‬‬

‫ﭘﺎﻧﻞ‪2‬‬

‫ﺍﺳﺮﺍﺁﮐﯿﻦ‪-‬ﮐﯿﻮﺍﻧﭻ‬ ‫ﺩﺍﻧﺸﮕﺎﻩﻓﻠﻮﺭﯾﺪﺍ ﺟﻨﻮﺑﯽ‪ ،‬ﺍﯾﺎﻻﺕ ﻣﺘﺤﺪﻩ‬

‫ﺍﯾﻦﻣﻘﺎﻟﻪ ﻗﺼﺪ ﺩﺍﺭﺩ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺍﯾﻦ ﺭﻭﯾﮑﺮﺩ ﺟﺪﯾﺪ ﺩﺭ ﻣﻄﺎﻟﻌﻪ ﻣﺘﻮﻥ ﭘﯿﺸﺎﻣﺪﺭﻥ ﺩﺭ ﯾﮏ ﺯﻣﯿﻨﻪ ﺟﻬﺎﻧﯽ‪ ،‬ﺑﻪ ﻣﻮﺭﺧﺎﻥ ﻫﻨﺮ ﻭ ﻣﻌﻤﺎﺭﯼ‬

‫ﺍﺳﻼﻣﯽﮐﻤﮏ ﮐﻨﺪ ﺗﺎ ﻣﻨﺎﺑﻊ ﺍﻭﻟﯿﻪ ﺭﺍ ﺩﺭﮎ ﻭ ﺩﺭﮎ ﮐﻨﻨﺪ‪ ،‬ﻧﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺘﻮﻥ ﻓﺮﺩﯼ ﮐﻪ ﺩﺭ ﺧﻼء ﺗﺎﺭﯾﺨﯽ ﺟﺪﺍ ﺷﺪﻩ ﺍﺯ ﻓﺮﻫﻨﮓ ﻫﺎﯼ ﺑﺼﺮﯼ‬

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‫ﺍﺯﻭﺳﺎﺭﯼ ﺗﺎ ﻣﺼﻄﻔﯽ ﻋﻠﯽ‪:‬‬ ‫ﺯﻣﯿﻨﻪﺳﺎﺯﯼ ﻣﻨﺎﺑﻊ ﻣﮑﺘﻮﺏ ﺗﺎﺭﯾﺦ ﻫﻨﺮ ﺍﺳﻼﻣﯽ‬

‫ﺩﺭﻃﯽ ﭼﻨﺪ ﺳﺎﻝ ﮔﺬﺷﺘﻪ‪ ،‬ﺩﺭ ﺗﻼﺵ ﺑﺮﺍﯼ ﻣﻄﺎﻟﻌﻪ ﻫﻨﺮ ﻭ ﻣﻌﻤﺎﺭﯼ ﺍﺳﻼﻣﯽ ﺧﺎﺭﺝ ﺍﺯ ﭘﺎﺭﺍﺩﺍﯾﻢ ﻫﺎﯼ ﺩﻭﮔﺎﻧﮕﯽ ﺳﻨﺘﯽ‬

‫ﺷﺮﻕ‪-‬ﻏﺮﺏ‪ ،‬ﺗﻌﺪﺍﺩ ﻓﺰﺍﯾﻨﺪﻩ ﺍﯼ ﺍﺯ ﻣﺤﻘﻘﺎﻥ ﺩﺍﻣﻨﻪ ﻣﻄﺎﻟﻌﺎﺕ ﺧﻮﺩ ﺭﺍ ﮔﺴﺘﺮﺵ ﺩﺍﺩﻩ ﺍﻧﺪ ﺗﺎ ﺑﺤﺚ ﻫﺎﯼ ﺗﺒﺎﺩﻝ‬

‫ﻓﺮﻫﻨﮕﯽﺑﯿﻦ ﻋﺜﻤﺎﻧﯽ ﻭ ﺍﯾﺘﺎﻟﯿﺎ ﺭﺍ ﺩﺭ ﺑﺮ ﮔﯿﺮﻧﺪ‪ .‬ﺩﻧﯿﺎﻫﺎ ﺁﺛﺎﺭ ﻗﺎﻧﻊ ﮐﻨﻨﺪﻩ ﺍﯾﻦ ﻣﺤﻘﻘﯿﻦ ﮐﻪ ﺑﺮ ﺍﺳﺎﺱ ﻧﻈﺮﯾﻪ ﻫﺎﯼ‬

‫ﺗﺮﺟﻤﻪ ﯼﺑﯿﻦ ﻓﺮﻫﻨﮕﯽ ﺍﺳﺖ‪ ،‬ﺑﻪ ﺍﺻﻄﻼﺡ ﻫﺎﯼ ﺑﺼﺮﯼ ﻣﺘﺪﺍﺧﻞ ﻭ ﺍﻏﻠﺐ ﺭﻗﺎﺑﺘﯽ ﻫﻨﺮ ﻭ ﻣﻌﻤﺎﺭﯼ ﻋﺜﻤﺎﻧﯽ ﻭ‬

‫ﺍﯾﺘﺎﻟﯿﺎﯾﯽﻣﯽ ﭘﺮﺩﺍﺯﺩ ﻭ ﻣﺎ ﺭﺍ ﺗﺸﻮﯾﻖ ﻣﯽ ﮐﻨﺪ ﺗﺎ ﺍﺯ ﻣﺮﺯﻫﺎﯼ ﻣﺼﻨﻮﻋﯽ ﺩﺭ ﻣﯿﺎﻥ ﺭﺷﺘﻪ ﻫﺎﯼ ﺩﺍﻧﺸﮕﺎﻫﯽ ﻭ ﺟﻐﺮﺍﻓﯿﺎﯼ‬

‫ﻫﻨﺮﺩﺭ ﺍﻣﭙﺮﺍﺗﻮﺭﯼ ﻋﺜﻤﺎﻧﯽ ﻭ ﺍﯾﺘﺎﻟﯿﺎ ﺩﺭ ﻗﺮﻥ ﺷﺎﻧﺰﺩﻫﻢ ﻓﺮﻣﻮﻟﻪ ﻭ ﻣﻨﺘﺸﺮ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬

‫ﮔﻞﮐﻠﻪ‬ ‫ﻣﺤﻘﻖﻣﺴﺘﻘﻞ‬

‫ﺭﻭﺍﺑﻂﻣﺘﻨﺎﺳﺐ‪:‬‬ ‫ﻋﻠﻢﻧﻘﺸﻪ ﺑﺮﺩﺍﺭﯼ ﻭ ﮐﻮﺑﯿﺖ ﻣﻌﻤﺎﺭ ﺩﺭ ﻣﻌﻤﺎﺭﯼ ﻋﺜﻤﺎﻧﯽ‬

‫ﮐﺎﻓﻪﺍﻓﻨﺪﯼﺭﺳﺎﻟﻪ ﻣﻌﻤﺎﺭﯾﻪ)ﮐﺘﺎﺑﯽ ﺩﺭ ﻣﻮﺭﺩ ﻣﻌﻤﺎﺭﯼ‪ ،‬ﺣﺪﻭﺩ ‪ (1614‬ﮐﻪ ﺗﻮﺳﻂ ﯾﮏ ﻣﺤﻘﻖ ﺑﺮﺍﯼ ﯾﮏ ﻣﻌﻤﺎﺭ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﻣﺘﻨﯽ‬

‫ﻣﻨﺤﺼﺮﺑﻪ ﻓﺮﺩ ﺩﺭ ﻣﻌﻤﺎﺭﯼ ﺑﻮﺩﻩ ﺍﺳﺖ‪ ،‬ﻧﻪ ﺗﻨﻬﺎ ﺩﺭ ﺟﻬﺎﻥ ﻋﺜﻤﺎﻧﯽ ﺑﻠﮑﻪ ﺩﺭ ﺟﻬﺎﻥ ﺍﺳﻼﻡ ﺑﻪ ﻃﻮﺭ ﮐﻠﯽ‪ .‬ﺩﺭ ﺣﺎﻟﯽ ﮐﻪ ﺍﻏﻠﺐ ﺁﻥ ﺭﺍ ﮐﺘﺎﺑﯽ‬

‫ﻧﺎﻣﻨﺴﺠﻢﻣﯽ ﺩﺍﻧﻨﺪ‪ ،‬ﺍﻣﺎ ﻣﻄﺎﻟﻌﻪ ﺩﻗﯿﻖ ﺗﺮ ﻣﻘﺎﺻﺪ ﺍﺳﺎﺳﯽ ﻧﻮﯾﺴﻨﺪﻩ ﺭﺍ ﺁﺷﮑﺎﺭ ﻣﯽ ﮐﻨﺪ‪ .‬ﻣﻦ ﻧﺸﺎﻥ ﻣﯽ ﺩﻫﻢ ﮐﻪ ﺑﻨﺎ ﺑﻪ ﮔﻔﺘﻪ ﮐﺎﻓﺮ ﺍﻓﻨﺪﯼ‪،‬‬ ‫ﻣﻌﻤﺎﺭﯼﻣﺒﺘﻨﯽ ﺑﺮ ﺷﯿﻮﻩ ﻫﺎﯼ ﻣﺨﺘﻠﻒ ﺩﺍﻧﺶ ﺍﺳﺖ‪ ،‬ﺍﺯ ﻋﻠﻢ ﻫﻨﺪﺳﻪ ﺗﺎ ﻋﻠﻢ ﻣﻮﺳﯿﻘﯽ‪.‬‬

‫ﻣﺘﻦﮐﺎﻓﺮ ﺍﻓﻨﺪﯼ ﻧﯿﺰ ﺷﺎﻣﻞ ﻓﺼﻮﻝ ﻋﻠﻢ ﻧﻘﺸﻪ ﺑﺮﺩﺍﺭﯼ ﺍﺳﺖ‪ .‬ﺑﺮ ﺍﺳﺎﺱ ﺍﯾﻦ ﻓﺼﻮﻝ‪ ،‬ﺍﯾﻦ ﻣﻘﺎﻟﻪ ﺑﻪ ﺑﺮﺭﺳﯽ ﭘﯿﻮﻧﺪ ﺫﺍﺗﯽ ﺑﯿﻦ ﻣﻌﻤﺎﺭﯼ‪،‬‬

‫ﻋﻠﻢﻧﻘﺸﻪ ﺑﺮﺩﺍﺭﯼ ﻭ ﻗﺎﻧﻮﻥ ﻭﺭﺍﺛﺖ ﻣﯽ ﭘﺮﺩﺍﺯﺩ ﮐﻪ ﻣﻌﯿﺎﺭﻫﺎﯼ ﺫﺭﺍﻉ ﻣﻌﻤﺎﺭ ﺭﺍ ﺩﺭ ﺍﻭﺍﯾﻞ ﺩﻧﯿﺎﯼ ﻣﺪﺭﻥ ﻋﺜﻤﺎﻧﯽ ﺗﻌﺮﯾﻒ ﻣﯽ ﮐﻨﺪ‪ .‬ﻣﻦ ﺗﻮﺿﯿﺢ‬

‫ﺍﯾﻦﻣﻘﺎﻟﻪ ﺍﺯ ﻃﺮﯾﻖ ﺗﺤﻠﯿﻞ ﺗﻄﺒﯿﻘﯽ ﺩﻭ ﻣﻨﺒﻊ ﻣﮑﺘﻮﺏ ﻣﻬﻢ ﺗﺎﺭﯾﺦ ﻫﻨﺮ ﻋﺜﻤﺎﻧﯽ ﻭ ﺍﯾﺘﺎﻟﯿﺎ‪ :‬ﻣﺼﻄﻔﯽ ﻋﻠﯽ ﺍﺯ‬

‫ﮔﺎﻟﯿﭙﻮﻟﯽﺑﻪ ﺍﯾﻦ ﻧﯿﺎﺯ ﺧﻮﺍﻫﺪ ﭘﺮﺩﺍﺧﺖ‪.‬ﮐﺎﺭﻫﺎﯼ ﺣﻤﺎﺳﯽ ﻫﻨﺮﻣﻨﺪﺍﻥ)‪ ،(1587‬ﺍﻭﻟﯿﻦ ﺭﺳﺎﻟﻪ ﻋﺜﻤﺎﻧﯽ ﺩﺭ ﻣﻮﺭﺩ ﺯﻧﺪﮔﯽ ﻭ‬

‫ﺁﺛﺎﺭﺧﻮﺷﻨﻮﯾﺴﺎﻥ ﻭ ﻧﻘﺎﺷﺎﻥ ﻣﺴﻠﻤﺎﻥ‪ ،‬ﻭ ﺟﻮﺭﺟﯿﻮ ﻭﺍﺯﺍﺭﯼ‪più eccellenti pittori, scultori, e architettori.‬‬

‫ﺧﻮﺍﻫﻢﺩﺍﺩ ﮐﻪ ﭼﮕﻮﻧﻪ ﯾﮏ ﻣﺤﻘﻖ ﺳﻌﯽ ﮐﺮﺩ ﻧﻈﻢ ﻫﺎﯼ ﮐﯿﻬﺎﻧﯽ‪ ،‬ﺭﯾﺎﺿﯽ ﻭ ﺍﺟﺘﻤﺎﻋﯽ ﺭﺍ ﺍﺯ ﻃﺮﯾﻖ ﺫﺭﺍﻉ ﻣﻌﻤﺎﺭ ﺩﺭ ﻃﻮﻝ ﺳﺎﻝ ﻫﺎﯼ ﭘﯿﭽﯿﺪﻩ‬ ‫ﻭﺩﮔﺮﮔﻮﻥ ﮐﻨﻨﺪﻩ ﻗﺮﻥ ﻫﻔﺪﻫﻢ ﺁﺷﺘﯽ ﺩﻫﺪ‪ .‬ﻋﻼﻭﻩ ﺑﺮ ﺍﯾﻦ‪ ،‬ﻣﻦ ﺩﺭ ﻣﻮﺭﺩ ﯾﮏ ﺳﻨﺪ ﻣﻨﺤﺼﺮ ﺑﻪ ﻓﺮﺩ ﺑﺤﺚ ﺧﻮﺍﻫﻢ ﮐﺮﺩ ﮐﻪ ﺑﻪ ﻧﻘﺶ ﮐﺎﻓﺮ‬

‫ﺍﻓﻨﺪﯼﺩﺭ ﺑﺮﺭﺳﯽ ﺑﻪ ﻋﻨﻮﺍﻥ ﮐﺎﺭﺷﻨﺎﺱ ﺣﻘﻮﻕ ﺩﯾﻨﯽ ﺩﺭ ﺩﺍﺩﮔﺎﻩ ﻣﺮﺑﻮﻁ ﻣﯽ ﺷﻮﺩ ﮐﻪ ﻫﻮﯾﺖ ﮐﻨﺠﮑﺎﻭ ﺍﻭ ﺭﺍ ﺭﻭﺷﻦ ﻣﯽ ﮐﻨﺪ‪.‬‬

‫'‪)Le Vite de‬ﻭﯾﺮﺍﯾﺶ ‪ ،1550 ،1‬ﻭﯾﺮﺍﯾﺶ ﺩﻭﻡ‪ ،(1568 ،‬ﮐﺘﺎﺏ ﻣﺮﺟﻊ ﺍﺳﺘﺎﻧﺪﺍﺭﺩ ﺩﺭ ﻣﻮﺭﺩ ﻫﻨﺮﻣﻨﺪﺍﻥ ﺭﻧﺴﺎﻧﺲ‬

‫ﺍﯾﺘﺎﻟﯿﺎ‪.‬ﺍﯾﻦ ﺩﻭ ﺍﺛﺮ ﺯﻧﺪﮔﯽ ﻧﺎﻣﻪ ﺍﯼ ﮐﻪ ﺁﺭﺯﻭﻫﺎﯼ ﻧﻮﯾﺴﻨﺪﮔﺎﻥ ﺧﻮﺩ ﺭﺍ ﺑﺮﺁﻭﺭﺩﻩ ﻣﯽ ﮐﻨﻨﺪ‪ ،‬ﻧﻘﺶ ﻋﻤﺪﻩ ﺍﯼ ﺩﺭ‬

‫ﺷﮑﻞ ﺩﻫﯽﻭ ﺍﻧﺘﻘﺎﻝ ﺩﺍﻧﺶ ﺩﺭ ﺑﺎﻓﺖ ﻋﺜﻤﺎﻧﯽ ﻭ ﺍﯾﺘﺎﻟﯿﺎﯾﯽ ﺧﻮﺩ ﺩﺍﺷﺘﻪ ﺍﻧﺪ‪ .‬ﺍﯾﻦ ﻣﻘﺎﻟﻪ ﺑﺎ ﭘﺮﺩﺍﺧﺘﻦ ﺑﻪ ﺗﺤﻠﯿﻞ‬

‫ﺍﺩﻋﺎﺷﺪﻩ ﺍﺳﺖ ﮐﻪ ﻣﻌﻤﺎﺭﺍﻥ ﻋﺜﻤﺎﻧﯽ ﭘﯿﺸﯿﻨﻪ ﻧﻈﺮﯼ ﻧﺪﺍﺷﺘﻪ ﺍﻧﺪ‪ .‬ﺑﺎ ﺍﯾﻦ ﺣﺎﻝ‪ ،‬ﺍﮔﺮﭼﻪ ﻧﻤﯽ ﺗﻮﺍﻥ ﺁﻥ ﺭﺍ ﺑﺮﺍﯼ ﻫﻤﻪ ﻣﻌﻤﺎﺭﺍﻥ ﺳﭙﺎﻩ ﺗﻌﻤﯿﻢ‬

‫ﻏﯿﺮﺍﺳﻼﻡ‪،‬ﻋﻨﺎﺻﺮ ﺯﺑﺎﻥ ﺷﻨﺎﺧﺘﯽ ﻭ ﻣﻔﻬﻮﻣﯽ ﻣﺸﺘﺮﮎ ﺗﺎﺭﯾﺦ ﻧﮕﺎﺭﯼ ﻫﻨﺮ ﻋﺜﻤﺎﻧﯽ ﻭ ﺍﯾﺘﺎﻟﯿﺎ ﺭﺍ ﺑﺮﺭﺳﯽ ﻣﯽ ﮐﻨﺪ‪ .‬ﺍﯾﻦ‬

‫ﮐﺎﻓﻪ‪،‬ﻣﻬﺎﺭﺕ ﻣﺤﻤﺪ ﺁﻗﺎ ﺩﺭ ﻃﺮﺍﺣﯽ ﯾﮑﯽ ﺍﺯ ﻧﺸﺎﻧﻪ ﻫﺎﯼ ﺍﺻﻠﯽ ﻣﻬﺎﺭﺕ ﺭﯾﺎﺿﯽ ﺍﻭﺳﺖ‪ .‬ﺑﻨﺎﺑﺮﺍﯾﻦ ﻣﻦ ﺑﺎ ﺑﺤﺚ ﺩﺭ ﻣﻮﺭﺩ ﭘﯿﻮﻧﺪ ﺫﺍﺗﯽ ﺑﯿﻦ‬

‫ﻫﺮﻣﻨﻮﺗﯿﮑﯽﺯﺑﺎﻥ ﺍﺩﺑﯽ ﻭ ﻣﺤﺘﻮﺍﯼ ﺩﻭ ﻣﺘﻦ ﻭ ﺗﺮﮐﯿﺐ ﺗﺤﻠﯿﻞ ﻫﺎﯾﯽ ﺍﺯ ﺭﺳﺎﻟﻪ ﻫﺎﯼ ﻣﺸﺎﺑﻪ ﺍﺯ ﺟﻬﺎﻥ ﺍﺳﻼﻡ ﻭ‬

‫ﻣﻘﺎﻟﻪﺑﺎ ﺗﻤﺮﮐﺰ ﺑﺮ ﻣﻌﯿﺎﺭﻫﺎﯼ ﻣﺼﻄﻔﯽ ﻋﻠﯽ ﻭ ﻭﺍﺯﺍﺭﯼ ﺑﺮﺍﯼ ﻗﻀﺎﻭﺕ ﺯﯾﺒﺎﯾﯽ ﺷﻨﺎﺧﺘﯽ‪ ،‬ﻧﻘﺎﻁ ﻫﻤﮕﺮﺍﯾﯽ ﻭ ﻭﺍﮔﺮﺍﯾﯽ ﺭﺍ‬ ‫ﺩﺭﺩﺭﮎ ﻋﺜﻤﺎﻧﯽ‪/‬ﺍﺳﻼﻣﯽ ﻭ ﺍﯾﺘﺎﻟﯿﺎﯾﯽ‪/‬ﺭﻧﺴﺎﻧﺴﯽ ﺍﺯ ﭘﯿﺸﺮﻓﺖ ﺗﺎﺭﯾﺨﯽ ﻫﻨﺮ ﻭ ﻧﻈﺮﯾﻪ ﻫﺎﯼ ﺍﺩﺭﺍﮎ ﺑﺼﺮﯼ ﺑﯿﺎﻥ‬

‫ﻣﯽ ﮐﻨﺪ‪.‬‬

‫ﺩﺍﺩ‪،‬ﺍﻣﺎ ﺍﺭﺟﺎﻋﺎﺕ ﻣﺨﺘﻠﻒ ﮐﺎﻓﺮ ﺍﻓﻨﺪﯼ ﺑﻪ ﺩﺍﻧﺶ ﻫﻨﺪﺳﯽ ﻣﺤﻤﺪ ﺁﻗﺎ ﺩﺭ ﻣﻮﺭﺩ ﯾﮏ ﻣﻌﻤﺎﺭ ﺍﺭﺷﺪ‪ ،‬ﺧﻼﻑ ﺍﯾﻦ ﺭﺍ ﻧﺸﺎﻥ ﻣﯽ ﺩﻫﺪ‪ .‬ﺑﻪ ﮔﺰﺍﺭﺵ‬ ‫ﻧﻘﺸﻪﻫﺎﯼ ﻣﻌﻤﺎﺭﯼ ﻭ ﻋﻠﻢ ﻧﻘﺸﻪ ﺑﺮﺩﺍﺭﯼ ﺩﺭ ﭘﺲ ﺯﻣﯿﻨﻪ ﺗﺸﺮﯾﻔﺎﺕ ﭘﺎﯾﻪ ﮔﺬﺍﺭﯼ ﻣﺴﺠﺪ ﺳﻠﻄﺎﻥ ﺍﺣﻤﺪ ﺑﻪ ﭘﺎﯾﺎﻥ ﺧﻮﺍﻫﻢ ﺭﺳﯿﺪ‪ .‬ﮐﺘﺎﺏ ﮐﺎﻓﺮ‬

‫ﺍﻓﻨﺪﯼﮐﻪ ﺑﺮﺍﯼ ﻣﻌﻤﺎﺭ ﺍﻋﻈﻢ‪ ،‬ﻣﺤﻤﺪ ﺁﻗﺎ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺑﺮ ﺍﺳﺎﺱ ﻋﻼﯾﻖ ﮔﻮﻧﺎﮔﻮﻥ ﮐﺎﻓﺮ ﺩﺭ ﻋﻠﻮﻡ ﺑﻮﺩ‪.‬‬

‫ﺭﺉﯿﺲﻭ ﺑﺤﺚ ﮐﻨﻨﺪﻩ‪ :‬ﮔﻠﺮﻭ ﻧﭽﯿﭗ ﺍﻭﻏﻠﻮ‪ ،‬ﺩﺍﻧﺸﮕﺎﻩ ﻫﺎﺭﻭﺍﺭﺩ‬

‫ﺍﯾﻦﺟﻬﺖ ﮔﯿﺮﯼ ﺟﺪﯾﺪ ﻫﯿﺠﺎﻥ ﺍﻧﮕﯿﺰ‪ ،‬ﻫﺮﭼﻨﺪ ﺩﯾﺮ‪ ،‬ﺭﺍ ﺩﺭ ﭘﮋﻭﻫﺶ ﺗﺴﻬﯿﻞ ﮐﺮﺩﻩ ﺍﺳﺖ‪.‬‬

‫ﺍﺭﻭﭘﺎﯼﻣﻌﺎﺻﺮ ﺗﺸﮑﯿﻞ ﺷﺪﻩ ﺍﻧﺪ‪ .‬ﺑﻠﮑﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺆﻟﻔﻪ ﻫﺎﯼ ﻓﻌﺎﻝ ﺷﯿﻮﻩ ﻫﺎﯼ ﻣﺘﻨﯽ ﻭ ﺑﺼﺮﯼ ﯾﺎﺩﮔﯿﺮﯼ ﺍﺳﺖ ﮐﻪ ﺗﻮﺳﻂ ﺍﺩﺑﺎ ﻭ ﺧﺒﺮﮔﺎﻥ‬

‫ﺩﺍﻧﺶﻭ ﺳﻨﺖ ﻫﺎﯼ ﺳﺎﺧﺘﻤﺎﻧﯽ‬

‫ﻣﺨﺘﻠﻒﻋﺒﻮﺭ ﮐﻨﯿﻢ‪ .‬ﺁﮔﺎﻫﯽ ﺑﯿﺸﺘﺮ ﺍﺯ ﺍﻫﻤﯿﺖ ﻣﻨﺎﺑﻊ ﺍﻭﻟﯿﻪ ﺑﺮﺍﯼ ﺗﺤﻘﯿﻘﺎﺕ ﺟﺎﻣﻊ ﻭ ﺍﻓﺰﺍﯾﺶ ﺩﺭ ﺩﺳﺘﺮﺱ ﺑﻮﺩﻥ ﺁﻧﻬﺎ‪،‬‬

‫ﭘﺎﻧﻞ‪2‬‬

‫ﺍﺳﺮﺍﺁﮐﯿﻦ‪-‬ﮐﯿﻮﺍﻧﭻ‬ ‫ﺩﺍﻧﺸﮕﺎﻩﻓﻠﻮﺭﯾﺪﺍ ﺟﻨﻮﺑﯽ‪ ،‬ﺍﯾﺎﻻﺕ ﻣﺘﺤﺪﻩ‬

‫ﺍﯾﻦﻣﻘﺎﻟﻪ ﻗﺼﺪ ﺩﺍﺭﺩ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺍﯾﻦ ﺭﻭﯾﮑﺮﺩ ﺟﺪﯾﺪ ﺩﺭ ﻣﻄﺎﻟﻌﻪ ﻣﺘﻮﻥ ﭘﯿﺸﺎﻣﺪﺭﻥ ﺩﺭ ﯾﮏ ﺯﻣﯿﻨﻪ ﺟﻬﺎﻧﯽ‪ ،‬ﺑﻪ ﻣﻮﺭﺧﺎﻥ ﻫﻨﺮ ﻭ ﻣﻌﻤﺎﺭﯼ‬

‫ﺍﺳﻼﻣﯽﮐﻤﮏ ﮐﻨﺪ ﺗﺎ ﻣﻨﺎﺑﻊ ﺍﻭﻟﯿﻪ ﺭﺍ ﺩﺭﮎ ﻭ ﺩﺭﮎ ﮐﻨﻨﺪ‪ ،‬ﻧﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺘﻮﻥ ﻓﺮﺩﯼ ﮐﻪ ﺩﺭ ﺧﻼء ﺗﺎﺭﯾﺨﯽ ﺟﺪﺍ ﺷﺪﻩ ﺍﺯ ﻓﺮﻫﻨﮓ ﻫﺎﯼ ﺑﺼﺮﯼ‬

‫‪13‬‬

‫ﺩﺍﻧﺸﮕﺎﻩﮐﻤﺒﺮﯾﺞ‪ ،‬ﺍﻧﮕﻠﺴﺘﺎﻥ‬

‫ﯾﺎﺳﺮﻃﺒﻌﺎ‬ ‫ﻣﺤﻘﻖﻣﺴﺘﻘﻞ‬

‫ﺳﺎﺧﺖﺑﺎﺭﻭﮎ ﻋﺜﻤﺎﻧﯽ‪:‬‬ ‫ﺗﻤﺮﯾﻦﻣﻌﻤﺎﺭﯼ ﺩﺭ ﺍﺳﺘﺎﻧﺒﻮﻝ ﻗﺮﻥ ﻫﺠﺪﻫﻢ‬

‫ﻧﻮﺭﺍﻣﺎﻡ‪:‬‬ ‫ﺍﺑﻌﺎﺩﺍﺷﺮﺍﻗﯽ ﺩﺭ ﻣﺴﺠﺪ ﺷﯿﺦ ﻟﻄﻒ ﺍﻟﻠﻪ )‪ (1603-1919‬ﺍﺻﻔﻬﺎﻥ‬

‫‪Ünver Rüstem‬‬

‫ﺍﺳﺘﺎﻧﺒﻮﻝﻗﺮﻥ ﻫﺠﺪﻫﻢ ﺷﺎﻫﺪ ﻇﻬﻮﺭ ﻧﻮﻉ ﺟﺪﯾﺪﯼ ﺍﺯ ﻣﻌﻤﺎﺭﯼ ﻋﺜﻤﺎﻧﯽ ﺑﻮﺩ ﮐﻪ ﻣﺸﺨﺼﻪ ﺁﻥ ﺍﺳﺘﻔﺎﺩﻩ ﺁﺷﮑﺎﺭ ﺍﺯ ﺍﺷﮑﺎﻝ ﺍﺭﻭﭘﺎﯾﯽ ﺳﺎﺯﯼ‬

‫ﺩﺭﯾﮏ ﻣﻌﺮﻭﻑﺣﺪﯾﺚﺍﻣﺎﻡ ﺣﺴﯿﻦ)ﻉ( ﺍﺉﻤﻪ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ »ﺷﯿﺮﻫﺎﯼ ﻧﻮﺭﯼ ﮐﻪ ﺑﻪ ﺩﻭﺭ ﻋﺮﺵ ﺍﻟﺮﺣﻤﻦ ﻣﯽ ﭼﺮﺧﺪ« ﺗﻮﺻﯿﻒ ﻣﯽ ﮐﻨﺪ‪،‬‬

‫ﺑﻮﺩ‪.‬ﺍﯾﻦ ﺣﺎﻟﺖ ﮐﻪ ﺗﻮﺳﻂ ﻣﺤﻘﻘﺎﻥ ﺑﺎﺭﻭﮎ ﻋﺜﻤﺎﻧﯽ ﻟﻘﺐ ﮔﺮﻓﺖ‪ ،‬ﺑﻪ ﺳﺮﻋﺖ ﺍﺻﻄﻼﺣﺎﺕ ﺗﺜﺒﯿﺖ ﺷﺪﻩ ﺑﯿﺸﺘﺮﯼ ﺭﺍ ﺗﺤﺖ ﺍﻟﺸﻌﺎﻉ ﻗﺮﺍﺭ‬

‫ﮐﯿﻔﯿﺘﯽﺫﺍﺗﯽ ﺍﺯ ﻧﻮﺭ ﺍﺑﺪﯼ ﮐﻪ ﺩﺭ ﭘﺎﯾﻪ ﺍﻧﺪﯾﺸﻪ ﺍﻣﺎﻣﯿﻪ ﻭ ﺗﻼﻗﯽ ﺁﻥ ﺑﺎ ﮐﻼﻡ ﺍﺷﺮﺍﻗﯽ ﺩﺭ ﻗﺮﻭﻥ ﻭﺳﻄﯽ ﻣﺘﺄﺧﺮ ﻗﺮﺍﺭ ﺩﺍﺷﺖ‪ .‬ﭘﯿﻮﻧﺪﻫﺎﯼ‬

‫ﻣﻄﺎﻟﻌﻪﻗﺮﺍﺭ ﻧﮕﺮﻓﺘﻪ ﺍﺳﺖ‪ ،‬ﻏﻔﻠﺘﯽ ﮐﻪ ﺑﻪ ﺍﯾﻦ ﺑﺎﻭﺭ ﭘﺎﯾﺪﺍﺭ ﮐﻤﮏ ﮐﺮﺩﻩ ‪ -‬ﻭ ﻧﺸﺎﻧﻪ ﺍﯼ ﺍﺯ ﺁﻥ ﺍﺳﺖ ‪ -‬ﺍﯾﻦ ﺑﺎﻭﺭ ﭘﺎﯾﺪﺍﺭ ﮐﻪ ﺑﺎﺭﻭﮎ ﻋﺜﻤﺎﻧﯽ‬

‫ﺭﺍﺑﻪ ﺣﺎﺷﯿﻪ ﻣﯽ ﺑﺮﺩ‪ ،‬ﻭﮔﺮﻧﻪ ﺗﻮﺳﻂ ﺑﺮﺧﯽ ﺍﺯ ﻣﻮﺭﺧﺎﻥ ﺑﺮﺟﺴﺘﻪ ﻫﻨﺮ ﺍﺳﻼﻣﯽ ﺭﺩ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬

‫ﺩﺍﺩﺗﺎ ﺑﻪ ﺳﺒﮏ ﺍﻣﭙﺮﺍﺗﻮﺭﯼ ﺑﺮﺗﺮ ﺗﺒﺪﯾﻞ ﺷﻮﺩ‪ .‬ﺑﺎ ﺍﯾﻦ ﺣﺎﻝ‪ ،‬ﻣﮑﺎﻧﯿﺴﻢ ﻫﺎﯾﯽ ﮐﻪ ﺍﺯ ﻃﺮﯾﻖ ﺁﻥ ﺍﯾﻦ ﺗﻐﯿﯿﺮ ﺭﻭﯼ ﺩﺍﺩ ﺗﺎ ﺣﺪ ﺯﯾﺎﺩﯼ ﻣﻮﺭﺩ‬

‫ﻣﺤﺼﻮﻝﺗﺄﺛﯿﺮﺍﺕ ﯾﮏ ﻃﺮﻓﻪ ﻏﺮﺏ ﻣﺴﻠﻂ ﻓﺰﺍﯾﻨﺪﻩ ﺍﯼ ﺑﻮﺩﻩ ﺍﺳﺖ‪.‬‬

‫ﺍﯾﻦﻣﻘﺎﻟﻪ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻣﻨﺎﺑﻊ ﺍﻭﻟﯿﻪ ﻧﺎﺩﯾﺪﻩ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﻭ ﻧﺎﺷﻨﺎﺧﺘﻪ‪ ،‬ﻧﻘﺶ ﺍﺑﺰﺍﺭﯼ ﺭﺍ ﮐﻪ ﺗﻐﯿﯿﺮ ﺭﻭﯾﻪ ﻫﺎﯼ ﻣﻌﻤﺎﺭﯼ ﺩﺭ ﺗﺴﻬﯿﻞ ﺑﺎﺭﻭﮎ‬

‫ﻋﺜﻤﺎﻧﯽﺍﯾﻔﺎ ﮐﺮﺩﻩ ﺍﺳﺖ‪ ،‬ﺑﺮﺭﺳﯽ ﺧﻮﺍﻫﺪ ﮐﺮﺩ‪ .‬ﺑﻪ ﻭﯾﮋﻩ ﻇﻬﻮﺭ ﮔﺮﻭﻩ ﻫﺎﯼ ﻣﺒﺘﮑﺮ ﻣﻌﻤﺎﺭﺍﻥ ﻋﺜﻤﺎﻧﯽ ﻏﯿﺮﻣﺴﻠﻤﺎﻥ ﮐﻪ ﺑﺮ ﺗﺠﺎﺭﺕ ﺳﺎﺧﺘﻤﺎﻥ‬

‫ﺍﺳﺘﺎﻧﺒﻮﻝﻣﺴﻠﻂ ﺷﺪﻧﺪ‪ ،‬ﻣﻬﻢ ﺑﻮﺩ‪ .‬ﺍﯾﻨﻬﺎ ﻋﻤﺪﺗﺎ ﯾﻮﻧﺎﻧﯽ ﻭ ﺍﺭﻣﻨﯽ ﻫﺴﺘﻨﺪﮐﺎﻟﻔﺎﺱ)"ﺍﺳﺘﺎﺩ ﺳﺎﺯﺍﻥ«( ﺍﺯ ﺍﺭﺗﺒﺎﻃﺎﺕ ﺗﺠﺎﺭﯼ ﻭ ﻓﺮﻫﻨﮕﯽ ﺟﻮﺍﻣﻊ‬

‫ﺧﻮﺩﺑﺎ ﺍﺭﻭﭘﺎﯼ ﻏﺮﺑﯽ ﺑﺮﺍﯼ ﺍﯾﺠﺎﺩ ﺳﺒﮑﯽ ﺍﺳﺘﻔﺎﺩﻩ ﮐﺮﺩﻧﺪ ﮐﻪ ﭘﺎﺳﺨﮕﻮﯼ ﺳﻠﯿﻘﻪ ﻫﺎﯼ ﻧﻮﻇﻬﻮﺭ ﺩﺭ ﻣﯿﺎﻥ ﺣﺎﻣﯿﺎﻥ ﻧﺨﺒﻪ ﻣﺴﻠﻤﺎﻥ ﺁﻧﻬﺎ ﺑﻮﺩ ﮐﻪ‬ ‫ﺧﻮﺩﺑﻪ ﺩﻧﺒﺎﻝ ﺭﻭﺍﺑﻂ ﺩﯾﭙﻠﻤﺎﺗﯿﮏ ﻧﺰﺩﯾﮑﺘﺮ ﺑﺎ ﺟﻬﺎﻥ ﻣﺴﯿﺤﯿﺖ ﺑﻮﺩﻧﺪ‪ .‬ﺍﮔﺮﭼﻪ ﺍﻏﻠﺐ ﺧﺎﺭﺝ ﺍﺯ ﭼﺎﺭﭼﻮﺏ ﻧﻬﺎﺩﯼ ﺳﭙﺎﻩ ﺍﻣﭙﺮﺍﺗﻮﺭﯼ‪،‬ﮐﺎﻟﻔﺎﺱﺑﺎ‬

‫ﻣﻮﻓﻘﯿﺖﺳﻬﻢ ﺷﯿﺮ ﺍﺯ ﮐﻤﯿﺴﯿﻮﻥ ﻫﺎﯼ ﺳﻠﻄﻨﺘﯽ ﺭﺍ ﺗﻀﻤﯿﻦ ﮐﺮﺩ ﻭ ﻣﻨﻈﺮﻩ ﺣﺮﻓﻪ ﺍﯼ ﺭﺍ ﮐﻪ ﻗﺒﻼ ًﺗﻮﺳﻂ ﻣﻌﻤﺎﺭﺍﻥ ﻣﺴﻠﻤﺎﻥ ﻣﻨﺼﻮﺏ ﺩﺭﺑﺎﺭ‬

‫ﻣﻔﻬﻮﻣﯽﺑﯿﻦ ﺗﺉﻮﺳﻮﻓﯽ ﺍﺷﺮﺍﻗﯽ ﻭ ﻣﻌﻤﺎﺭﯼ ﺍﯾﺮﺍﻧﯽ ﺍﺯ ﺩﯾﺮﺑﺎﺯ ﻣﻄﺮﺡ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﻋﻤﺪﺗﺎ ًﺩﺭ ﻗﺎﻟﺐ ﯾﮏ ﮔﻔﺘﻤﺎﻥ ﻫﻤﯿﺸﮕﯽ ﮐﻪ ﺗﺎﺭﯾﺦ‬

‫ﺍﯾﻦﻣﻘﺎﻟﻪ ﺑﺮﺭﺳﯽ ﺗﺎﺭﯾﺨﯽ ﭘﯿﻮﻧﺪ ﺣﮑﻤﺖ ﺍﺷﺮﺍﻗﯽ ﻭ ﻣﻌﻤﺎﺭﯼ ﻣﺬﻫﺒﯽ ﺻﻔﻮﯼ‪ ،‬ﺑﻪ ﻭﯾﮋﻩ ﻣﺴﺠﺪ ﺷﯿﺦ ﻟﻄﻒ ﺍﻟﻠﻪ )‪ (1603-1919‬ﺩﺭ‬

‫ﺍﺻﻔﻬﺎﻥﺭﺍ ﭘﯿﺸﻨﻬﺎﺩ ﻣﯽ ﮐﻨﺪ ﮐﻪ ﺍﻭﻟﯿﻦ ﻣﺴﺠﺪﯼ ﺑﻮﺩ ﮐﻪ ﺗﻮﺳﻂ ﺷﺎﻩ ﻋﺒﺎﺱ ﺍﻭﻝ ﺩﺭ ﺍﺻﻔﻬﺎﻥ ﺳﺎﺧﺘﻪ ﺷﺪ ﻭ ﺍﻭﻟﯿﻦ ﺑﻨﺎﯼ ﺁﻥ ﺑﻮﺩ‪ .‬ﺩﺭ‬

‫ﻣﯿﺪﺍﻥﻧﻘﺶ ﺟﻬﺎﻥ ﻣﻌﺮﻭﻑ ﺍﻭ ﺑﺮﭘﺎ ﺷﻮﺩ‪ .‬ﺍﯾﻦ ﻣﻘﺎﻟﻪ ﻋﻤﺪﺗﺎ ًﺑﺮ ﺭﻭﯼ ﻓﺮﻣﻮﻝ ﺑﻨﺪﯼ ﻣﺠﺪﺩ ﮔﻨﺒﺪﻫﺎﯼ ﺻﻔﻮﯼ ﺩﺭ ﺍﻭﺍﯾﻞ ﻗﺮﻥ ﻫﻔﺪﻫﻢ‪ ،‬ﮐﻪ‬

‫ﺑﻬﺘﺮﯾﻦﻧﻤﻮﻧﻪ ﺁﻥ ﮔﻨﺒﺪ ﺷﯿﺦ ﻟﻄﻒ ﺍﻟﻠﻪ‪ ،‬ﺑﻪ ﻧﯿﻤﮑﺮﻩ ﻫﺎﯼ ﺗﺎﺑﺸﯽ ﺻﺎﻑ ﺍﺳﺖ‪ ،‬ﺍﺭﺍﺉﻪ ﻣﯽ ﮐﻨﺪ‪ ،‬ﺗﻔﺴﯿﺮﯼ ﺍﺯ ﺍﯾﻦ ﺑﻨﺎﯼ ﺗﺎﺭﯾﺨﯽ ﺩﺭ ﺭﺍﺑﻄﻪ ﺑﺎ‬

‫ﺣﮑﻤﺖﻧﻮﺭ ﮐﻪ ﺗﻮﺳﻂ ﺷﯿﺦ ﻣﻼﺻﺪﺭﺍ ﻭ ﻓﺮﻣﻮﻝ ﺑﻨﺪﯼ ﺷﺪﻩ ﺍﺭﺍﺉﻪ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺗﻮﺳﻂ ﻧﻮﯾﺴﻨﺪﮔﺎﻥ ﻭ ﺷﺎﻋﺮﺍﻥ ﻣﻌﺎﺻﺮ‪ ،‬ﺑﻪ ﻭﯾﮋﻩ ﺧﻮﺩ ﺷﯿﺦ‬ ‫ﻟﻄﻒﺍﻟﻠﻪ ﺍﻟﻤﯿﺴﯽ ﻭ ﺷﯿﺦ ﺑﻬﺎﯾﯽ ﻋﺎﻣﻠﯽ ﺷﺮﺡ ﺩﺍﺩﻩ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻣﻄﺎﻟﻌﻪ ﺩﻗﯿﻖ ﻣﺴﺎﺉﻞ ﺳﯿﺎﺳﯽ‪ ،‬ﺗﺎﺭﯾﺨﯽ‪ ،‬ﻣﻌﻤﺎﺭﯼ‪ ،‬ﺗﺰﺉﯿﻨﯽ‪،‬‬

‫ﮐﻨﺘﺮﻝﻣﯽ ﺷﺪ‪ ،‬ﺩﮔﺮﮔﻮﻥ ﮐﺮﺩ‪.‬‬

‫ﭼﻪﭼﯿﺰﯼ ﺍﺟﺎﺯﻩ ﺩﺍﺩﮐﺎﻟﻔﺎﺱﺑﺮﺍﯼ ﺷﮑﻮﻓﺎﯾﯽ‪ ،‬ﺗﺨﺼﺺ ﺁﻧﻬﺎ ﺩﺭ ﺗﻄﺒﯿﻖ ﻓﺮﻡ ﻫﺎﯼ ﻣﺸﺘﻖ ﺷﺪﻩ ﺧﺎﺭﺟﯽ ﺑﺮﺍﯼ ﺍﻫﺪﺍﻑ ﻣﺸﺨﺺ ﻋﺜﻤﺎﻧﯽ‬

‫ﺑﻮﺩ‪.‬ﺩﺭ ﺣﺎﻟﯽ ﮐﻪ ﺩﺭﮎ ﺁﻧﻬﺎ ﺍﺯ ﻣﺪﻝ ﻫﺎﯼ ﺍﺭﻭﭘﺎﯾﯽ ﻋﻤﺪﺗﺎ ًﺑﺮ ﮐﺎﻻﻫﺎﯼ ﻭﺍﺭﺩﺍﺗﯽ ﻭ ﮐﺘﺎﺏ ﻫﺎﯼ ﻣﺼﻮﺭ ﺍﺳﺘﻮﺍﺭ ﺍﺳﺖ‪ ،‬ﺷﻮﺍﻫﺪ ﻣﻌﻤﺎﺭﯼ‬ ‫ﻧﺸﺎﻥﻣﯽ ﺩﻫﺪ ﮐﻪ ﺑﺮﺧﯽ ﺍﺯ ﮐﺎﻟﻔﺎﺱﺍﺯ ﻃﺮﯾﻖ ﺳﻔﺮ ﺑﻪ ﺩﺍﻧﺶ ﺩﺳﺖ ﺍﻭﻝ ﻫﻨﺮ ﻏﺮﺑﯽ ﺩﺳﺖ ﯾﺎﻓﺖ‪ .‬ﻋﻼﻭﻩ ﺑﺮ ﺍﯾﻦ‪ ،‬ﻧﻘﻞ ﻗﻮﻝ ﻫﺎﯼ‬

‫ﻣﺨﺘﻠﻒﺑﯿﺰﺍﻧﺴﯽ ﺩﺭ ﻣﯿﺎﻥ ﺳﺎﺧﺘﻤﺎﻥ ﻫﺎ ﻧﺸﺎﻥ ﻣﯽ ﺩﻫﺪ ﮐﻪ ﺍﯾﻦ ﻣﻌﻤﺎﺭﺍﻥ ﺑﻪ ﻣﯿﺮﺍﺙ ﻋﺘﯿﻘﻪ ﺧﻮﺩ ﺍﺳﺘﺎﻧﺒﻮﻝ ﻧﯿﺰ ﻧﮕﺎﻩ ﻣﯽ ﮐﺮﺩﻧﺪ‪ ،‬ﮔﻮﯾﯽ‬

‫ﻣﯽ ﺧﻮﺍﻫﻨﺪﺍﺩﻋﺎﯼ ﻣﺤﻠﯽ ﺑﺮ ﻫﻤﺎﻥ ﻣﯿﺮﺍﺙ ﮐﻼﺳﯿﮏ ﺯﯾﺮﺑﻨﺎﯼ ﺑﺎﺭﻭﮎ ﺩﺭ ﺍﺭﻭﭘﺎ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪ .‬ﭼﻨﯿﻦ ﺧﻮﺩﺁﮔﺎﻫﯽ ﺯﯾﺒﺎﯾﯽ ﺷﻨﺎﺧﺘﯽ‬

‫ﺩﺭﻧﻬﺎﯾﺖ‪ ،‬ﻣﺴﺠﺪ ﺷﯿﺦ ﻟﻄﻒ ﺍﻟﻠﻪ ﺭﺍ ﻧﻮﻋﯽ ﻧﻤﺎﺯﺧﺎﻧﻪ ﺳﻠﻄﻨﺘﯽ ﺑﺮﺍﯼ ﻋﺒﺎﺩﺕ ﺧﺼﻮﺻﯽ ﺩﺭﺑﺎﺭ ﺻﻔﻮﯼ ﺩﺍﻧﺴﺘﻪ ﺍﻧﺪ‪ ،‬ﻣﻨﻈﺮﻩ ﺍﯼ ﮐﻪ‬

‫ﻣﯽ ﺗﻮﺍﻧﺪﺩﻟﯿﻠﯽ ﺑﺮﺍﯼ ﻧﺒﻮﺩ ﻣﻨﺎﺭﻩ‪ ،‬ﺻﺤﻦ ﯾﺎ ﺣﺘﯽ ﺳﻨﻮﺗﺎﻑ ﺩﺭ ﺁﻥ ﺑﺎﺷﺪ‪ .‬ﻣﯽ ﺗﻮﺍﻥ ﺑﯿﺸﺘﺮ ﺍﺳﺘﺪﻻﻝ ﮐﺮﺩ ﮐﻪ ﻣﺴﺠﺪ ﻟﻄﻒ ﺍﻟﻠﻪ ﯾﮏ ﺑﻨﺎﯼ‬

‫ﺗﺎﺭﯾﺨﯽﻋﻤﺪﺗﺎ ًﻧﻤﺎﺩﯾﻦ ‪ -‬ﺗﺎ ﺣﺪﻭﺩﯼ ﺷﺒﯿﻪ ﻗﺒﻪ ﺍﻟﺼﺨﺮﻩ ﺩﺭ ﺍﻭﺭﺷﻠﯿﻢ ‪ -‬ﺑﻮﺩ ﮐﻪ ﺍﯾﺪﻩ ﻫﺎﯼ ﮐﻼﻣﯽ ﻭ ﺣﺘﯽ ﺟﺎﻩ ﻃﻠﺒﯽ ﻫﺎﯼ ﺳﯿﺎﺳﯽ ﺩﻭﻟﺖ ﺑﺎﻟﻎ‬

‫ﺻﻔﻮﯼﺭﺍ ﻧﺸﺎﻥ ﻣﯽ ﺩﺍﺩ‪.‬‬

‫ﻧﺸﺎﻥ ﺩﻫﻨﺪﻩﮔﻔﺘﻤﺎﻥ ﻫﺎﯼ ﻓﮑﺮﯼ ﻧﺎﻧﻮﺷﺘﻪ ﺍﯼ ﺍﺳﺖ ﮐﻪ ﻣﯽ ﺑﺎﯾﺴﺖ ﺑﺎﺭﻭﮎ ﻋﺜﻤﺎﻧﯽ ﺭﺍ ﺍﺣﺎﻃﻪ ﮐﺮﺩﻩ ﺑﺎﺷﺪ ﻭ ﺍﯾﻦ ﺩﯾﺪﮔﺎﻩ ﺭﺍ ﮐﻪ ﺍﯾﻦ‬

‫ﺳﺒﮏﺍﺯ ﺗﺄﺛﯿﺮ ﺑﯿﺮﻭﻧﯽ ﺯﺍﺩﻩ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﺑﯿﺸﺘﺮ ﺑﻪ ﭼﺎﻟﺶ ﻣﯽ ﮐﺸﺪ‪.‬‬

‫ﺩﺭﻭﺍﻗﻊ‪ ،‬ﺩﺭﺑﺎﺭ ﺳﻠﻄﺎﻥ ﻋﻤﺪﺍ ًﺑﺎﺭﻭﮎ ﻋﺜﻤﺎﻧﯽ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﯾﮏ ﺣﺎﻟﺖ ﺧﻮﺍﻧﺎ ﺩﺭ ﺳﻄﺢ ﺑﯿﻦ ﺍﻟﻤﻠﻠﯽ ﺗﻘﻮﯾﺖ ﮐﺮﺩ ﮐﻪ ﺟﺎﯾﮕﺎﻩ ﺍﻣﭙﺮﺍﺗﻮﺭﯼ‬

‫ﺭﺍﺩﺭ ﺻﺤﻨﻪ ﺟﻬﺎﻧﯽ ﺩﺭ ﺯﻣﺎﻥ ﺗﺸﺪﯾﺪ ﺗﻌﺎﻣﻞ ﺷﺮﻕ ﻭ ﻏﺮﺏ ﺍﻋﻼﻡ ﻣﯽ ﮐﺮﺩ‪ .‬ﺳﺮﻣﺎﯾﻪ ﮔﺬﺍﺭﯼ ﺑﺮ ﻧﻘﺶ ﺗﺜﺒﯿﺖ ﺷﺪﻩ ﺟﻮﺍﻣﻊ ﺧﻮﺩ ﺑﻪ‬

‫ﻋﻨﻮﺍﻥﻭﺍﺳﻄﻪ ﺑﺎ ﺍﺭﻭﭘﺎ‪ ،‬ﺩﺭ ﺣﺎﻝ ﺻﻌﻮﺩﮐﺎﻟﻔﺎﺱﺑﻪ ﻃﻮﺭ ﮐﺎﻣﻞ ﻗﺎﺩﺭ ﺑﻪ ﺗﺤﻘﻖ ﺑﺨﺸﯿﺪﻥ ﺑﻪ ﺍﯾﻦ ﺑﯿﺎﻧﯿﻪ ﺑﻠﻨﺪﭘﺮﻭﺍﺯﺍﻧﻪ ﻣﻌﻤﺎﺭﯼ ﺑﻮﺩﻧﺪ‪.‬‬

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‫ﺩﺍﻧﺸﮕﺎﻩﮐﻤﺒﺮﯾﺞ‪ ،‬ﺍﻧﮕﻠﺴﺘﺎﻥ‬

‫ﯾﺎﺳﺮﻃﺒﻌﺎ‬ ‫ﻣﺤﻘﻖﻣﺴﺘﻘﻞ‬

‫ﺳﺎﺧﺖﺑﺎﺭﻭﮎ ﻋﺜﻤﺎﻧﯽ‪:‬‬ ‫ﺗﻤﺮﯾﻦﻣﻌﻤﺎﺭﯼ ﺩﺭ ﺍﺳﺘﺎﻧﺒﻮﻝ ﻗﺮﻥ ﻫﺠﺪﻫﻢ‬

‫ﻧﻮﺭﺍﻣﺎﻡ‪:‬‬ ‫ﺍﺑﻌﺎﺩﺍﺷﺮﺍﻗﯽ ﺩﺭ ﻣﺴﺠﺪ ﺷﯿﺦ ﻟﻄﻒ ﺍﻟﻠﻪ )‪ (1603-1919‬ﺍﺻﻔﻬﺎﻥ‬

‫‪Ünver Rüstem‬‬

‫ﺍﺳﺘﺎﻧﺒﻮﻝﻗﺮﻥ ﻫﺠﺪﻫﻢ ﺷﺎﻫﺪ ﻇﻬﻮﺭ ﻧﻮﻉ ﺟﺪﯾﺪﯼ ﺍﺯ ﻣﻌﻤﺎﺭﯼ ﻋﺜﻤﺎﻧﯽ ﺑﻮﺩ ﮐﻪ ﻣﺸﺨﺼﻪ ﺁﻥ ﺍﺳﺘﻔﺎﺩﻩ ﺁﺷﮑﺎﺭ ﺍﺯ ﺍﺷﮑﺎﻝ ﺍﺭﻭﭘﺎﯾﯽ ﺳﺎﺯﯼ‬

‫ﺩﺭﯾﮏ ﻣﻌﺮﻭﻑﺣﺪﯾﺚﺍﻣﺎﻡ ﺣﺴﯿﻦ)ﻉ( ﺍﺉﻤﻪ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ »ﺷﯿﺮﻫﺎﯼ ﻧﻮﺭﯼ ﮐﻪ ﺑﻪ ﺩﻭﺭ ﻋﺮﺵ ﺍﻟﺮﺣﻤﻦ ﻣﯽ ﭼﺮﺧﺪ« ﺗﻮﺻﯿﻒ ﻣﯽ ﮐﻨﺪ‪،‬‬

‫ﺑﻮﺩ‪.‬ﺍﯾﻦ ﺣﺎﻟﺖ ﮐﻪ ﺗﻮﺳﻂ ﻣﺤﻘﻘﺎﻥ ﺑﺎﺭﻭﮎ ﻋﺜﻤﺎﻧﯽ ﻟﻘﺐ ﮔﺮﻓﺖ‪ ،‬ﺑﻪ ﺳﺮﻋﺖ ﺍﺻﻄﻼﺣﺎﺕ ﺗﺜﺒﯿﺖ ﺷﺪﻩ ﺑﯿﺸﺘﺮﯼ ﺭﺍ ﺗﺤﺖ ﺍﻟﺸﻌﺎﻉ ﻗﺮﺍﺭ‬

‫ﮐﯿﻔﯿﺘﯽﺫﺍﺗﯽ ﺍﺯ ﻧﻮﺭ ﺍﺑﺪﯼ ﮐﻪ ﺩﺭ ﭘﺎﯾﻪ ﺍﻧﺪﯾﺸﻪ ﺍﻣﺎﻣﯿﻪ ﻭ ﺗﻼﻗﯽ ﺁﻥ ﺑﺎ ﮐﻼﻡ ﺍﺷﺮﺍﻗﯽ ﺩﺭ ﻗﺮﻭﻥ ﻭﺳﻄﯽ ﻣﺘﺄﺧﺮ ﻗﺮﺍﺭ ﺩﺍﺷﺖ‪ .‬ﭘﯿﻮﻧﺪﻫﺎﯼ‬

‫ﻣﻄﺎﻟﻌﻪﻗﺮﺍﺭ ﻧﮕﺮﻓﺘﻪ ﺍﺳﺖ‪ ،‬ﻏﻔﻠﺘﯽ ﮐﻪ ﺑﻪ ﺍﯾﻦ ﺑﺎﻭﺭ ﭘﺎﯾﺪﺍﺭ ﮐﻤﮏ ﮐﺮﺩﻩ ‪ -‬ﻭ ﻧﺸﺎﻧﻪ ﺍﯼ ﺍﺯ ﺁﻥ ﺍﺳﺖ ‪ -‬ﺍﯾﻦ ﺑﺎﻭﺭ ﭘﺎﯾﺪﺍﺭ ﮐﻪ ﺑﺎﺭﻭﮎ ﻋﺜﻤﺎﻧﯽ‬

‫ﺭﺍﺑﻪ ﺣﺎﺷﯿﻪ ﻣﯽ ﺑﺮﺩ‪ ،‬ﻭﮔﺮﻧﻪ ﺗﻮﺳﻂ ﺑﺮﺧﯽ ﺍﺯ ﻣﻮﺭﺧﺎﻥ ﺑﺮﺟﺴﺘﻪ ﻫﻨﺮ ﺍﺳﻼﻣﯽ ﺭﺩ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬

‫ﺩﺍﺩﺗﺎ ﺑﻪ ﺳﺒﮏ ﺍﻣﭙﺮﺍﺗﻮﺭﯼ ﺑﺮﺗﺮ ﺗﺒﺪﯾﻞ ﺷﻮﺩ‪ .‬ﺑﺎ ﺍﯾﻦ ﺣﺎﻝ‪ ،‬ﻣﮑﺎﻧﯿﺴﻢ ﻫﺎﯾﯽ ﮐﻪ ﺍﺯ ﻃﺮﯾﻖ ﺁﻥ ﺍﯾﻦ ﺗﻐﯿﯿﺮ ﺭﻭﯼ ﺩﺍﺩ ﺗﺎ ﺣﺪ ﺯﯾﺎﺩﯼ ﻣﻮﺭﺩ‬

‫ﻣﺤﺼﻮﻝﺗﺄﺛﯿﺮﺍﺕ ﯾﮏ ﻃﺮﻓﻪ ﻏﺮﺏ ﻣﺴﻠﻂ ﻓﺰﺍﯾﻨﺪﻩ ﺍﯼ ﺑﻮﺩﻩ ﺍﺳﺖ‪.‬‬

‫ﺍﯾﻦﻣﻘﺎﻟﻪ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻣﻨﺎﺑﻊ ﺍﻭﻟﯿﻪ ﻧﺎﺩﯾﺪﻩ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﻭ ﻧﺎﺷﻨﺎﺧﺘﻪ‪ ،‬ﻧﻘﺶ ﺍﺑﺰﺍﺭﯼ ﺭﺍ ﮐﻪ ﺗﻐﯿﯿﺮ ﺭﻭﯾﻪ ﻫﺎﯼ ﻣﻌﻤﺎﺭﯼ ﺩﺭ ﺗﺴﻬﯿﻞ ﺑﺎﺭﻭﮎ‬

‫ﻋﺜﻤﺎﻧﯽﺍﯾﻔﺎ ﮐﺮﺩﻩ ﺍﺳﺖ‪ ،‬ﺑﺮﺭﺳﯽ ﺧﻮﺍﻫﺪ ﮐﺮﺩ‪ .‬ﺑﻪ ﻭﯾﮋﻩ ﻇﻬﻮﺭ ﮔﺮﻭﻩ ﻫﺎﯼ ﻣﺒﺘﮑﺮ ﻣﻌﻤﺎﺭﺍﻥ ﻋﺜﻤﺎﻧﯽ ﻏﯿﺮﻣﺴﻠﻤﺎﻥ ﮐﻪ ﺑﺮ ﺗﺠﺎﺭﺕ ﺳﺎﺧﺘﻤﺎﻥ‬

‫ﺍﺳﺘﺎﻧﺒﻮﻝﻣﺴﻠﻂ ﺷﺪﻧﺪ‪ ،‬ﻣﻬﻢ ﺑﻮﺩ‪ .‬ﺍﯾﻨﻬﺎ ﻋﻤﺪﺗﺎ ﯾﻮﻧﺎﻧﯽ ﻭ ﺍﺭﻣﻨﯽ ﻫﺴﺘﻨﺪﮐﺎﻟﻔﺎﺱ)"ﺍﺳﺘﺎﺩ ﺳﺎﺯﺍﻥ«( ﺍﺯ ﺍﺭﺗﺒﺎﻃﺎﺕ ﺗﺠﺎﺭﯼ ﻭ ﻓﺮﻫﻨﮕﯽ ﺟﻮﺍﻣﻊ‬

‫ﺧﻮﺩﺑﺎ ﺍﺭﻭﭘﺎﯼ ﻏﺮﺑﯽ ﺑﺮﺍﯼ ﺍﯾﺠﺎﺩ ﺳﺒﮑﯽ ﺍﺳﺘﻔﺎﺩﻩ ﮐﺮﺩﻧﺪ ﮐﻪ ﭘﺎﺳﺨﮕﻮﯼ ﺳﻠﯿﻘﻪ ﻫﺎﯼ ﻧﻮﻇﻬﻮﺭ ﺩﺭ ﻣﯿﺎﻥ ﺣﺎﻣﯿﺎﻥ ﻧﺨﺒﻪ ﻣﺴﻠﻤﺎﻥ ﺁﻧﻬﺎ ﺑﻮﺩ ﮐﻪ‬ ‫ﺧﻮﺩﺑﻪ ﺩﻧﺒﺎﻝ ﺭﻭﺍﺑﻂ ﺩﯾﭙﻠﻤﺎﺗﯿﮏ ﻧﺰﺩﯾﮑﺘﺮ ﺑﺎ ﺟﻬﺎﻥ ﻣﺴﯿﺤﯿﺖ ﺑﻮﺩﻧﺪ‪ .‬ﺍﮔﺮﭼﻪ ﺍﻏﻠﺐ ﺧﺎﺭﺝ ﺍﺯ ﭼﺎﺭﭼﻮﺏ ﻧﻬﺎﺩﯼ ﺳﭙﺎﻩ ﺍﻣﭙﺮﺍﺗﻮﺭﯼ‪،‬ﮐﺎﻟﻔﺎﺱﺑﺎ‬

‫ﻣﻮﻓﻘﯿﺖﺳﻬﻢ ﺷﯿﺮ ﺍﺯ ﮐﻤﯿﺴﯿﻮﻥ ﻫﺎﯼ ﺳﻠﻄﻨﺘﯽ ﺭﺍ ﺗﻀﻤﯿﻦ ﮐﺮﺩ ﻭ ﻣﻨﻈﺮﻩ ﺣﺮﻓﻪ ﺍﯼ ﺭﺍ ﮐﻪ ﻗﺒﻼ ًﺗﻮﺳﻂ ﻣﻌﻤﺎﺭﺍﻥ ﻣﺴﻠﻤﺎﻥ ﻣﻨﺼﻮﺏ ﺩﺭﺑﺎﺭ‬

‫ﻣﻔﻬﻮﻣﯽﺑﯿﻦ ﺗﺉﻮﺳﻮﻓﯽ ﺍﺷﺮﺍﻗﯽ ﻭ ﻣﻌﻤﺎﺭﯼ ﺍﯾﺮﺍﻧﯽ ﺍﺯ ﺩﯾﺮﺑﺎﺯ ﻣﻄﺮﺡ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﻋﻤﺪﺗﺎ ًﺩﺭ ﻗﺎﻟﺐ ﯾﮏ ﮔﻔﺘﻤﺎﻥ ﻫﻤﯿﺸﮕﯽ ﮐﻪ ﺗﺎﺭﯾﺦ‬

‫ﺍﯾﻦﻣﻘﺎﻟﻪ ﺑﺮﺭﺳﯽ ﺗﺎﺭﯾﺨﯽ ﭘﯿﻮﻧﺪ ﺣﮑﻤﺖ ﺍﺷﺮﺍﻗﯽ ﻭ ﻣﻌﻤﺎﺭﯼ ﻣﺬﻫﺒﯽ ﺻﻔﻮﯼ‪ ،‬ﺑﻪ ﻭﯾﮋﻩ ﻣﺴﺠﺪ ﺷﯿﺦ ﻟﻄﻒ ﺍﻟﻠﻪ )‪ (1603-1919‬ﺩﺭ‬

‫ﺍﺻﻔﻬﺎﻥﺭﺍ ﭘﯿﺸﻨﻬﺎﺩ ﻣﯽ ﮐﻨﺪ ﮐﻪ ﺍﻭﻟﯿﻦ ﻣﺴﺠﺪﯼ ﺑﻮﺩ ﮐﻪ ﺗﻮﺳﻂ ﺷﺎﻩ ﻋﺒﺎﺱ ﺍﻭﻝ ﺩﺭ ﺍﺻﻔﻬﺎﻥ ﺳﺎﺧﺘﻪ ﺷﺪ ﻭ ﺍﻭﻟﯿﻦ ﺑﻨﺎﯼ ﺁﻥ ﺑﻮﺩ‪ .‬ﺩﺭ‬

‫ﻣﯿﺪﺍﻥﻧﻘﺶ ﺟﻬﺎﻥ ﻣﻌﺮﻭﻑ ﺍﻭ ﺑﺮﭘﺎ ﺷﻮﺩ‪ .‬ﺍﯾﻦ ﻣﻘﺎﻟﻪ ﻋﻤﺪﺗﺎ ًﺑﺮ ﺭﻭﯼ ﻓﺮﻣﻮﻝ ﺑﻨﺪﯼ ﻣﺠﺪﺩ ﮔﻨﺒﺪﻫﺎﯼ ﺻﻔﻮﯼ ﺩﺭ ﺍﻭﺍﯾﻞ ﻗﺮﻥ ﻫﻔﺪﻫﻢ‪ ،‬ﮐﻪ‬

‫ﺑﻬﺘﺮﯾﻦﻧﻤﻮﻧﻪ ﺁﻥ ﮔﻨﺒﺪ ﺷﯿﺦ ﻟﻄﻒ ﺍﻟﻠﻪ‪ ،‬ﺑﻪ ﻧﯿﻤﮑﺮﻩ ﻫﺎﯼ ﺗﺎﺑﺸﯽ ﺻﺎﻑ ﺍﺳﺖ‪ ،‬ﺍﺭﺍﺉﻪ ﻣﯽ ﮐﻨﺪ‪ ،‬ﺗﻔﺴﯿﺮﯼ ﺍﺯ ﺍﯾﻦ ﺑﻨﺎﯼ ﺗﺎﺭﯾﺨﯽ ﺩﺭ ﺭﺍﺑﻄﻪ ﺑﺎ‬

‫ﺣﮑﻤﺖﻧﻮﺭ ﮐﻪ ﺗﻮﺳﻂ ﺷﯿﺦ ﻣﻼﺻﺪﺭﺍ ﻭ ﻓﺮﻣﻮﻝ ﺑﻨﺪﯼ ﺷﺪﻩ ﺍﺭﺍﺉﻪ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺗﻮﺳﻂ ﻧﻮﯾﺴﻨﺪﮔﺎﻥ ﻭ ﺷﺎﻋﺮﺍﻥ ﻣﻌﺎﺻﺮ‪ ،‬ﺑﻪ ﻭﯾﮋﻩ ﺧﻮﺩ ﺷﯿﺦ‬ ‫ﻟﻄﻒﺍﻟﻠﻪ ﺍﻟﻤﯿﺴﯽ ﻭ ﺷﯿﺦ ﺑﻬﺎﯾﯽ ﻋﺎﻣﻠﯽ ﺷﺮﺡ ﺩﺍﺩﻩ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻣﻄﺎﻟﻌﻪ ﺩﻗﯿﻖ ﻣﺴﺎﺉﻞ ﺳﯿﺎﺳﯽ‪ ،‬ﺗﺎﺭﯾﺨﯽ‪ ،‬ﻣﻌﻤﺎﺭﯼ‪ ،‬ﺗﺰﺉﯿﻨﯽ‪،‬‬

‫ﮐﻨﺘﺮﻝﻣﯽ ﺷﺪ‪ ،‬ﺩﮔﺮﮔﻮﻥ ﮐﺮﺩ‪.‬‬

‫ﭼﻪﭼﯿﺰﯼ ﺍﺟﺎﺯﻩ ﺩﺍﺩﮐﺎﻟﻔﺎﺱﺑﺮﺍﯼ ﺷﮑﻮﻓﺎﯾﯽ‪ ،‬ﺗﺨﺼﺺ ﺁﻧﻬﺎ ﺩﺭ ﺗﻄﺒﯿﻖ ﻓﺮﻡ ﻫﺎﯼ ﻣﺸﺘﻖ ﺷﺪﻩ ﺧﺎﺭﺟﯽ ﺑﺮﺍﯼ ﺍﻫﺪﺍﻑ ﻣﺸﺨﺺ ﻋﺜﻤﺎﻧﯽ‬

‫ﺑﻮﺩ‪.‬ﺩﺭ ﺣﺎﻟﯽ ﮐﻪ ﺩﺭﮎ ﺁﻧﻬﺎ ﺍﺯ ﻣﺪﻝ ﻫﺎﯼ ﺍﺭﻭﭘﺎﯾﯽ ﻋﻤﺪﺗﺎ ًﺑﺮ ﮐﺎﻻﻫﺎﯼ ﻭﺍﺭﺩﺍﺗﯽ ﻭ ﮐﺘﺎﺏ ﻫﺎﯼ ﻣﺼﻮﺭ ﺍﺳﺘﻮﺍﺭ ﺍﺳﺖ‪ ،‬ﺷﻮﺍﻫﺪ ﻣﻌﻤﺎﺭﯼ‬ ‫ﻧﺸﺎﻥﻣﯽ ﺩﻫﺪ ﮐﻪ ﺑﺮﺧﯽ ﺍﺯ ﮐﺎﻟﻔﺎﺱﺍﺯ ﻃﺮﯾﻖ ﺳﻔﺮ ﺑﻪ ﺩﺍﻧﺶ ﺩﺳﺖ ﺍﻭﻝ ﻫﻨﺮ ﻏﺮﺑﯽ ﺩﺳﺖ ﯾﺎﻓﺖ‪ .‬ﻋﻼﻭﻩ ﺑﺮ ﺍﯾﻦ‪ ،‬ﻧﻘﻞ ﻗﻮﻝ ﻫﺎﯼ‬

‫ﻣﺨﺘﻠﻒﺑﯿﺰﺍﻧﺴﯽ ﺩﺭ ﻣﯿﺎﻥ ﺳﺎﺧﺘﻤﺎﻥ ﻫﺎ ﻧﺸﺎﻥ ﻣﯽ ﺩﻫﺪ ﮐﻪ ﺍﯾﻦ ﻣﻌﻤﺎﺭﺍﻥ ﺑﻪ ﻣﯿﺮﺍﺙ ﻋﺘﯿﻘﻪ ﺧﻮﺩ ﺍﺳﺘﺎﻧﺒﻮﻝ ﻧﯿﺰ ﻧﮕﺎﻩ ﻣﯽ ﮐﺮﺩﻧﺪ‪ ،‬ﮔﻮﯾﯽ‬

‫ﻣﯽ ﺧﻮﺍﻫﻨﺪﺍﺩﻋﺎﯼ ﻣﺤﻠﯽ ﺑﺮ ﻫﻤﺎﻥ ﻣﯿﺮﺍﺙ ﮐﻼﺳﯿﮏ ﺯﯾﺮﺑﻨﺎﯼ ﺑﺎﺭﻭﮎ ﺩﺭ ﺍﺭﻭﭘﺎ ﺩﺍﺷﺘﻪ ﺑﺎﺷﻨﺪ‪ .‬ﭼﻨﯿﻦ ﺧﻮﺩﺁﮔﺎﻫﯽ ﺯﯾﺒﺎﯾﯽ ﺷﻨﺎﺧﺘﯽ‬

‫ﺩﺭﻧﻬﺎﯾﺖ‪ ،‬ﻣﺴﺠﺪ ﺷﯿﺦ ﻟﻄﻒ ﺍﻟﻠﻪ ﺭﺍ ﻧﻮﻋﯽ ﻧﻤﺎﺯﺧﺎﻧﻪ ﺳﻠﻄﻨﺘﯽ ﺑﺮﺍﯼ ﻋﺒﺎﺩﺕ ﺧﺼﻮﺻﯽ ﺩﺭﺑﺎﺭ ﺻﻔﻮﯼ ﺩﺍﻧﺴﺘﻪ ﺍﻧﺪ‪ ،‬ﻣﻨﻈﺮﻩ ﺍﯼ ﮐﻪ‬

‫ﻣﯽ ﺗﻮﺍﻧﺪﺩﻟﯿﻠﯽ ﺑﺮﺍﯼ ﻧﺒﻮﺩ ﻣﻨﺎﺭﻩ‪ ،‬ﺻﺤﻦ ﯾﺎ ﺣﺘﯽ ﺳﻨﻮﺗﺎﻑ ﺩﺭ ﺁﻥ ﺑﺎﺷﺪ‪ .‬ﻣﯽ ﺗﻮﺍﻥ ﺑﯿﺸﺘﺮ ﺍﺳﺘﺪﻻﻝ ﮐﺮﺩ ﮐﻪ ﻣﺴﺠﺪ ﻟﻄﻒ ﺍﻟﻠﻪ ﯾﮏ ﺑﻨﺎﯼ‬

‫ﺗﺎﺭﯾﺨﯽﻋﻤﺪﺗﺎ ًﻧﻤﺎﺩﯾﻦ ‪ -‬ﺗﺎ ﺣﺪﻭﺩﯼ ﺷﺒﯿﻪ ﻗﺒﻪ ﺍﻟﺼﺨﺮﻩ ﺩﺭ ﺍﻭﺭﺷﻠﯿﻢ ‪ -‬ﺑﻮﺩ ﮐﻪ ﺍﯾﺪﻩ ﻫﺎﯼ ﮐﻼﻣﯽ ﻭ ﺣﺘﯽ ﺟﺎﻩ ﻃﻠﺒﯽ ﻫﺎﯼ ﺳﯿﺎﺳﯽ ﺩﻭﻟﺖ ﺑﺎﻟﻎ‬

‫ﺻﻔﻮﯼﺭﺍ ﻧﺸﺎﻥ ﻣﯽ ﺩﺍﺩ‪.‬‬

‫ﻧﺸﺎﻥ ﺩﻫﻨﺪﻩﮔﻔﺘﻤﺎﻥ ﻫﺎﯼ ﻓﮑﺮﯼ ﻧﺎﻧﻮﺷﺘﻪ ﺍﯼ ﺍﺳﺖ ﮐﻪ ﻣﯽ ﺑﺎﯾﺴﺖ ﺑﺎﺭﻭﮎ ﻋﺜﻤﺎﻧﯽ ﺭﺍ ﺍﺣﺎﻃﻪ ﮐﺮﺩﻩ ﺑﺎﺷﺪ ﻭ ﺍﯾﻦ ﺩﯾﺪﮔﺎﻩ ﺭﺍ ﮐﻪ ﺍﯾﻦ‬

‫ﺳﺒﮏﺍﺯ ﺗﺄﺛﯿﺮ ﺑﯿﺮﻭﻧﯽ ﺯﺍﺩﻩ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﺑﯿﺸﺘﺮ ﺑﻪ ﭼﺎﻟﺶ ﻣﯽ ﮐﺸﺪ‪.‬‬

‫ﺩﺭﻭﺍﻗﻊ‪ ،‬ﺩﺭﺑﺎﺭ ﺳﻠﻄﺎﻥ ﻋﻤﺪﺍ ًﺑﺎﺭﻭﮎ ﻋﺜﻤﺎﻧﯽ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﯾﮏ ﺣﺎﻟﺖ ﺧﻮﺍﻧﺎ ﺩﺭ ﺳﻄﺢ ﺑﯿﻦ ﺍﻟﻤﻠﻠﯽ ﺗﻘﻮﯾﺖ ﮐﺮﺩ ﮐﻪ ﺟﺎﯾﮕﺎﻩ ﺍﻣﭙﺮﺍﺗﻮﺭﯼ‬

‫ﺭﺍﺩﺭ ﺻﺤﻨﻪ ﺟﻬﺎﻧﯽ ﺩﺭ ﺯﻣﺎﻥ ﺗﺸﺪﯾﺪ ﺗﻌﺎﻣﻞ ﺷﺮﻕ ﻭ ﻏﺮﺏ ﺍﻋﻼﻡ ﻣﯽ ﮐﺮﺩ‪ .‬ﺳﺮﻣﺎﯾﻪ ﮔﺬﺍﺭﯼ ﺑﺮ ﻧﻘﺶ ﺗﺜﺒﯿﺖ ﺷﺪﻩ ﺟﻮﺍﻣﻊ ﺧﻮﺩ ﺑﻪ‬

‫ﻋﻨﻮﺍﻥﻭﺍﺳﻄﻪ ﺑﺎ ﺍﺭﻭﭘﺎ‪ ،‬ﺩﺭ ﺣﺎﻝ ﺻﻌﻮﺩﮐﺎﻟﻔﺎﺱﺑﻪ ﻃﻮﺭ ﮐﺎﻣﻞ ﻗﺎﺩﺭ ﺑﻪ ﺗﺤﻘﻖ ﺑﺨﺸﯿﺪﻥ ﺑﻪ ﺍﯾﻦ ﺑﯿﺎﻧﯿﻪ ﺑﻠﻨﺪﭘﺮﻭﺍﺯﺍﻧﻪ ﻣﻌﻤﺎﺭﯼ ﺑﻮﺩﻧﺪ‪.‬‬

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‫ﭘﺎﻧﻞ‪3‬‬

‫ﮐﺘﺎﺑﺨﺎﻧﻪﻧﺴﺨﻪ ﻫﺎﯼ ﺧﻄﯽ ﺍﺳﻼﻣﯽ ﺩﺍﻧﺸﮕﺎﻩ ﻣﯿﺸﯿﮕﺎﻥ ﺩﺭ ﺣﺎﻝ ﺣﺎﺿﺮ ﺩﺍﺭﺍﯼ ﭼﻬﺎﺭ ﺁﻟﺒﻮﻡ ﺑﺰﺭﮒ ﺍﺯ ﺁﺛﺎﺭ ﻣﺨﺘﻠﻒ ﺭﻭﯼ ﮐﺎﻏﺬ ﺍﺳﺖ ﮐﻪ‬

‫ﻧﺴﺨﻪﺧﻄﯽ ﻣﺼﻮﺭ ﮐﻪ ﻗﺒﻼ ﻣﻄﺎﻟﻌﻪ ﻧﺸﺪﻩ ﺑﻮﺩ ﺍﺯ ﺟﺎﻣﯽﯾﻮﺳﻒ ﻭ ﺯﻟﯿﺨﺎ )ﺩﺍﻧﺸﮕﺎﻩ ﻣﯿﺸﯿﮕﺎﻥ ‪(Isl. MS 358‬‬

‫ﺗﺤﺖﻧﻈﺎﺭﺕ ﺳﻠﻄﺎﻥ ﻋﺒﺪﺍﻟﺤﻤﯿﺪ ﺩﻭﻡ ﺩﺭ ﺍﻭﺍﺧﺮ ﻗﺮﻥ ﻧﻮﺯﺩﻫﻢ ﺍﺳﺘﺎﻧﺒﻮﻝ ﺻﺤﺎﻓﯽ ﺷﺪﻩ ﺍﻧﺪ‪ .‬ﺁﻟﺒﻮﻡ ﻫﺎﯼ ﻋﺒﺪﺍﻟﺤﻤﯿﺪ ﺩﻭﻡ ﺩﺭ ﻣﯿﺎﻥ‬

‫ﺩﻫﺪ‪.‬ﺑﻪ ﺩﻟﯿﻞ ﻭﺧﺎﻣﺖ ﻭﺿﻌﯿﺖ ﻧﺴﺨﻪ ﺧﻄﯽ‪ ،‬ﻧﻘﺎﺷﯽ ﻫﺎﯼ ﺯﯾﺮﯾﻦ ﺗﺮﮐﯿﺐ ﺑﻨﺪﯼ ﻫﺎ ﻗﺎﺑﻞ ﻣﺸﺎﻫﺪﻩ ﺍﺳﺖ ﻭ‬

‫ﺗﺬﻫﯿﺐ‪،‬ﮐﺎﻏﺬﻫﺎﯼ ﺗﺰﺉﯿﻨﯽ ﺑﺴﯿﺎﺭ ﺍﺳﺘﺎﺩﺍﻧﻪ‪ ،‬ﻭ ﻫﻤﭽﻨﯿﻦ ﭼﻨﺪ ﻧﻘﺎﺷﯽ ﻭ ﻃﺮﺍﺣﯽ ﺑﻪ ﻧﻤﺎﯾﺶ ﻣﯽ ﮔﺬﺍﺭﻧﺪ ‪ -‬ﺑﺎ ﺗﺎﺭﯾﺦ ﻫﺎﯼ ﺳﻪ ﻗﺮﻥ‪ .‬ﭘﺲ‬

‫ﭘﯿﭽﯿﺪﻩﻭﺭﻗﻪ ﻫﺎﯼ ﻧﻘﺎﺷﯽ ﺷﺪﻩ ﮐﺪﮐﺲ ﮐﻤﮏ ﻣﯽ ﮐﻨﺪ‪ .‬ﻋﻼﻭﻩ ﺑﺮ ﺍﯾﻦ‪ ،‬ﺳﺎﯾﺮ ﻣﻄﺎﻟﺐ ﺑﺼﺮﯼ ﻣﺮﺗﺒﻂ ﺑﺎ ﺗﺼﺎﻭﯾﺮ‬

‫ﺩﺭﭼﻪ ﺷﺮﺍﯾﻄﯽ ﻭﺍﺭﺩ ﺩﺭﺑﺎﺭ ﻋﺜﻤﺎﻧﯽ ﺷﺪﻩ ﺍﻧﺪ‪ ،‬ﭼﺎﺭﭼﻮﺏ ﺑﻨﺪﯼ ﻣﺠﺪﺩ ﺑﻌﺪﯼ ﺁﻧﻬﺎ ﺍﺯ ﻣﺎﻫﯿﺖ ﯾﺎﺩﮔﯿﺮﯼ ﻫﻨﺮ ﮐﺘﺎﺏ ﺻﺤﺒﺖ ﻣﯽ ﮐﻨﺪ‪ .‬ﺩﺭ‬

‫ﻧﻘﺎﺷﯽﻫﺎﯼ ﻣﻮﺟﻮﺩ ﺩﺭ ﺍﺳﻞ‪ MS 358 .‬ﺭﺍ ﻣﯽ ﺗﻮﺍﻥ ﺩﺭ ﺳﺎﯾﺮ ﺁﻟﺒﻮﻡ ﻫﺎﯼ ﻧﻘﺎﺷﯽ ﻫﺎ ﻭ ﮐﺘﺐ ﻣﺼﻮﺭ ﺻﻔﻮﯼ‪ ،‬ﺍﺯ‬

‫ﺁﻣﻮﺯﺷﯽﺧﺎﺹ ﻫﺴﺘﻨﺪ‪.‬ﺩﯾﺪﺍﺭﯼﻋﻨﺎﺻﺮ‪.‬‬

‫ﺷﺎﻣﻞﺳﺘﻮﻧﯽ ﺍﺳﺖ ﮐﻪ ‪ 13‬ﻧﻘﺎﺷﯽ ﮐﺘﺎﺏ ﺭﺍ ﺑﻪ ﻫﻨﺮﻣﻨﺪ ﺍﯾﺮﺍﻧﯽ ﻗﺮﻥ ﻫﻔﺪﻫﻢ ﻣﻌﯿﻦ ﻣﻮﺳﻮﻭﯾﺮ ﻧﺴﺒﺖ ﻣﯽ‬

‫ﺑﻨﺎﺑﺮﺍﯾﻦﺑﺮﺍﯼ ﺑﺮﺭﺳﯽ ﺩﻗﯿﻖ ﺩﺭ ﺩﺳﺘﺮﺱ ﺍﺳﺖ‪ .‬ﺍﯾﻦ ﺟﺰﺉﯿﺎﺕ ﺑﺼﺮﯼ ﺑﻪ ﺗﻌﯿﯿﻦ ﺩﺳﺖ ﻫﻨﺮﻣﻨﺪ ﺩﺭ ﺗﻮﻟﯿﺪ‬ ‫ﺣﺎﮐﯽﺍﺯ ﺁﻥ ﺍﺳﺖ ﮐﻪ ﺩﺳﺖ ﻫﻨﺮﻣﻨﺪ ﺑﻪ ﺗﻨﻬﺎﯾﯽ ﯾﺎ ﺑﺪﻭﻥ ﻭﺳﺎﯾﻞ ﺑﺼﺮﯼ ﮐﺎﺭ ﻧﻤﯽ ﮐﺮﺩ‪ .‬ﺩﺭ ﻭﺍﻗﻊ‪ ،‬ﺑﺮﺧﯽ ﺍﺯ‬ ‫ﺟﻤﻠﻪﯾﮏ ﮐﺘﺎﺏ ﯾﻬﻮﺩﯼ‪-‬ﻓﺎﺭﺳﯽ ﯾﺎﻓﺖ‪ .‬ﯾﻮﺳﻒ ﻭ ﺯﻟﯿﺨﺎﻧﺴﺨﻪ ﺧﻄﯽ‬

‫ﺍﯾﻦﻧﺴﺨﻪ ﺧﻄﯽ ﻣﺼﻮﺭ ﺻﻔﻮﯼ ﺍﺯﯾﻮﺳﻒ ﻭ ﺯﻟﯿﺨﺎﺭﺍﻩ ﻫﺎﯼ ﻣﺘﻌﺪﺩﯼ ﺭﺍ ﺑﺮﺍﯼ ﮐﺎﻭﺵ ﺩﺭ ﺍﺑﺰﺍﺭﻫﺎ ﻭ ﺗﮑﻨﯿﮏ ﻫﺎﯼ‬

‫ﻣﺨﺘﻠﻒﻣﻮﺭﺩ ﺍﺳﺘﻔﺎﺩﻩ ﺑﺮﺍﯼ ﺗﻮﻟﯿﺪ ﻧﻘﺎﺷﯽ ﺩﺭ ﺍﺻﻔﻬﺎﻥ ﻗﺮﻥ ﻫﻔﺪﻫﻢ ﺑﺎﺯ ﻣﯽ ﮐﻨﺪ‪ .‬ﻓﺮﺁﯾﻨﺪﻫﺎﯼ ﺗﺼﻮﯾﺮﺳﺎﺯﯼ ﺩﺭ‬

‫ﻫﻨﺮﻫﺎﯼﮐﺘﺎﺏ ‪ -‬ﺍﺯ ﺟﻤﻠﻪ ﺯﯾﺮ ﻧﻘﺎﺷﯽ‪ ،‬ﺍﻧﺘﻘﺎﻝ ﺗﺼﻮﯾﺮ‪ ،‬ﮔﺮﺩﺵ ﻭ ﮐﭙﯽ ﮐﺮﺩﻥ ‪ -‬ﺑﺮ ﻣﺠﻤﻮﻋﻪ ﺑﺼﺮﯼ ﮔﺴﺘﺮﺩﻩ ﺍﯼ‬ ‫ﺗﺄﮐﯿﺪﻣﯽ ﮐﻨﺪ ﮐﻪ ﻫﻨﺮﻣﻨﺪﺍﻥ ﺩﺭ ﺁﻥ ﻣﻬﺎﺭﺕ ﺩﺍﺷﺘﻨﺪ ﻭ ﺍﺯ ﺁﻥ ﺑﺮﺍﯼ ﺗﻮﻟﯿﺪ ﺗﺮﮐﯿﺐ ﻫﺎ ﺍﺳﺘﻔﺎﺩﻩ ﻣﯽ ﮐﺮﺩﻧﺪ‪.‬‬

‫ﻫﻨﺮﻣﻨﺪﺍﻧﯽﮐﻪ ﺩﺭ ﺍﯾﻦ ﺷﯿﻮﻩ ﻫﺎﯼ ﺗﺼﻮﯾﺮﯼ ﺁﻣﻮﺯﺵ ﺩﯾﺪﻩ ﻭ ﮐﺎﺭ ﻣﯽ ﮐﻨﻨﺪ‪ ،‬ﺑﺮ ﻣﻬﺎﺭﺕ ﻫﻨﺮﯼ ﻭ ﺯﯾﺮﮐﯽ ﺑﺼﺮﯼ ﺩﺭ‬

‫ﺗﮑﺮﺍﺭﺗﺄﮐﯿﺪ ﺩﺍﺷﺘﻨﺪ‪ .‬ﺑﻨﺎﺑﺮﺍﯾﻦ‪ ،‬ﺷﻨﺎﺳﺎﯾﯽ ﺩﺳﺖ ﻓﺮﺩﯼ ﯾﮏ ﻫﻨﺮﻣﻨﺪ ﺍﺳﺘﺎﺩ ﺩﺭ ﯾﮏ ﺷﯽ ﺧﻼﻕ ﺑﺎﯾﺪ ﺩﺭ ﺯﻣﯿﻨﻪ‬

‫ﻫﺎﯼﻣﺸﺘﺮﮎ‪ ،‬ﺍﺯ ﺟﻤﻠﻪ ﺍﺷﺘﺮﺍﮎ ﮔﺬﺍﺭﯼ ﻭ ﮐﭙﯽ ﮐﺮﺩﻥ ﺗﺼﺎﻭﯾﺮ‪ ،‬ﺩﺭﮎ ﺷﻮﺩ‪ .‬ﺍﯾﻦ ﻣﻘﺎﻟﻪ ﺑﺮ ﺍﺳﺎﺱ ﺷﻮﺍﻫﺪ ﺑﺼﺮﯼ‬ ‫ﻣﻌﺎﺻﺮﻭ ﺷﯿﻮﻩ ﻫﺎﯼ ﻧﻘﺎﺷﯽ‪ ،‬ﺍﺳﺘﺪﻻﻝ ﻣﯽ ﮐﻨﺪ ﮐﻪ ﻫﻨﺮﻣﻨﺪ ﻣﻌﯿﻦ ﻣﺴﺎﻭﯾﺮ ﻣﺠﺮﯼ ﻧﻘﺎﺷﯽ ﻫﺎﯼ ﻧﺴﺨﻪ ﺧﻄﯽ‬

‫ﺑﻮﺩﻩﺍﺳﺖ‪ .‬ﺑﺎ ﺍﯾﻦ ﺣﺎﻝ‪،‬‬

‫ﺟﻠﺪﻫﺎﯼﭼﺮﻣﯽ ﻗﺮﻣﺰ ﺧﻮﺩ‪ ،‬ﺧﻮﺷﻨﻮﯾﺴﯽ ﻫﺎﯼ ﻣﺘﻌﺪﺩﯼ ﺭﺍ ﺑﺎ ﺧﻂ ﻫﺎﯼ ﻣﺨﺘﻠﻒ‪ ،‬ﻣﺘﻮﻥ ﺑﻪ ﺯﺑﺎﻥ ﻫﺎﯼ ﻣﺨﺘﻠﻒ‪ ،‬ﻧﻤﻮﻧﻪ ﻫﺎﯼ ﺑﺮﺟﺴﺘﻪ‬

‫ﭼﮕﻮﻧﻪﺁﻧﻬﺎ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺠﻤﻮﻋﻪ ﻫﺎﯼ ﻣﺘﻨﻮﻉ ﻭ ﺩﺭ ﻋﯿﻦ ﺣﺎﻝ ﻣﺪﻭﻥ ﻋﻤﻞ ﻣﯽ ﮐﻨﻨﺪ؟ ﺩﺭ ﺣﺎﻟﯽ ﮐﻪ ﻣﺸﺨﺺ ﻧﯿﺴﺖ ﺍﯾﻦ ﻧﻤﻮﻧﻪ ﻫﺎ ﭼﮕﻮﻧﻪ ﯾﺎ‬ ‫ﺣﺎﻟﯽﮐﻪ ﺑﯿﺸﺘﺮ ﮐﺘﺎﺏ ﻫﺎ ﺭﺍ ﻣﯽ ﺗﻮﺍﻥ ﺑﻪ ﻃﻮﺭ ﮐﻠﯽ ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﺷﯿﺎء ﺁﻣﻮﺯﺷﯽ ﻃﺒﻘﻪ ﺑﻨﺪﯼ ﮐﺮﺩ‪ ،‬ﺁﻟﺒﻮﻡ ﻫﺎ ﻧﺸﺎﻥ ﺩﻫﻨﺪﻩ ﯾﮏ ﺭﻭﺵ‬

‫ﻋﻼﻭﻩﺑﺮ ﺍﯾﻦ‪ ،‬ﺁﻟﺒﻮﻡ ﻫﺎﯼ ﻋﺒﺪﺍﻟﺤﻤﯿﺪ ﺩﻭﻡ ﺑﻪ ﺗﻨﻬﺎﯾﯽ ﺍﺷﯿﺎﯾﯽ ﻫﺴﺘﻨﺪ‪ ،‬ﻧﻪ ﺻﺮﻓﺎ ًﻣﺠﻤﻮﻋﻪ ﺍﯼ ﺍﺯ ﻧﻤﻮﻧﻪ ﻫﺎﯼ ﻣﺘﻔﺎﻭﺕ ﺍﺯ ﺁﺛﺎﺭ ﻗﺎﺑﻞ ﺗﻮﺟﻪ‬

‫ﺭﻭﯼﮐﺎﻏﺬ‪ .‬ﺑﺎﺯﺳﺎﺯﯼ ﺁﻧﻬﺎ ﺑﻪ ﻋﻨﻮﺍﻥ ﺁﻟﺒﻮﻡ ﺑﻪ ﺁﻧﻬﺎ ﺯﻧﺪﮔﯽ ﺟﺪﯾﺪﯼ ﻣﯽ ﺑﺨﺸﺪ‪ ،‬ﺑﺎ ﻫﺪﻓﯽ ﺟﺪﯾﺪ‪ :‬ﺁﻣﻮﺯﺵ ﺑﯿﻨﻨﺪﮔﺎﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﺁﮔﺎﻫﺎﻥ ﺟﻨﺒﻪ‬

‫ﻫﺎﯼﻣﺨﺘﻠﻒ ﺗﻮﻟﯿﺪ ﻧﺴﺨﻪ ﻫﺎﯼ ﺧﻄﯽ‪ .‬ﺑﺎ ﺍﯾﻦ ﺣﺎﻝ‪ ،‬ﺍﮔﺮﭼﻪ ﺍﯾﻦ ﺁﻟﺒﻮﻡ ﻫﺎ ﻫﻤﭽﻨﺎﻥ ﺳﻨﺖ ﺻﺪﻫﺎ ﺳﺎﻟﻪ ﺁﻟﺒﻮﻡ ﺳﺎﺯﯼ ﺩﺭ ﺳﺮﺯﻣﯿﻦ ﻫﺎﯼ‬ ‫ﺍﺳﻼﻣﯽﺭﺍ ﺍﺩﺍﻣﻪ ﻣﯽ ﺩﻫﻨﺪ‪ ،‬ﺑﺎﯾﺪ ﻣﺤﯿﻂ ﻓﺮﻫﻨﮕﯽ ﻭ ﺳﯿﺎﺳﯽ ﻗﺮﻥ ﻧﻮﺯﺩﻫﻤﯽ ﺁﻥ ﻫﺎ ﺭﺍ ﺑﻪ ﻭﯾﮋﻩ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﭘﺮﻭﮊﻩ ﻫﺎﯼ ﻣﺪﺭﻥ ﺳﺎﺯﯼ‬

‫ﻫﻤﺰﻣﺎﻥ‪،‬ﺍﺯ ﺟﻤﻠﻪ ﺍﺻﻼﺣﺎﺕ ﺁﻣﻮﺯﺷﯽ‪ ،‬ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺖ‪ .‬ﺩﺭ ﺍﯾﻦ ﺯﻣﯿﻨﻪ‪ ،‬ﺍﯾﻦ ﻣﻘﺎﻟﻪ ﺁﻟﺒﻮﻡ ﻫﺎﯼ ﻋﺒﺪﺍﻟﺤﻤﯿﺪ ﺩﻭﻡ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﻧﺒﺎﺭ ﺩﺍﻧﺶ ﻭ‬

‫ﺍﺑﺰﺍﺭﯼﺑﺮﺍﯼ ﺁﻣﻮﺯﺵ ﻫﻨﺮ ﮐﺘﺎﺏ ﺩﺭ ﺯﻣﺎﻧﯽ ﮐﻪ ﮐﺘﺎﺏ ﻫﺎﯼ ﭼﺎﭘﯽ ﺩﺭ ﺣﺎﻝ ﺗﺒﺪﯾﻞ ﺷﺪﻥ ﺑﻪ ﻫﻨﺠﺎﺭ ﺑﻮﺩﻧﺪ‪ ،‬ﺗﺤﻠﯿﻞ ﻣﯽ ﮐﻨﺪ‪ .‬ﺑﺪﯾﻦ ﺗﺮﺗﯿﺐ‪،‬‬

‫ﺭﺉﯿﺲﻭ ﺑﺤﺚ ﮐﻨﻨﺪﻩ‪ :‬ﮐﺮﯾﺴﺘﯿﻦ ﮔﺮﻭﺑﺮ‪ ،‬ﮔﺮﻭﻩ ﺗﺎﺭﯾﺦ ﻫﻨﺮ‪ ،‬ﺩﺍﻧﺸﮕﺎﻩ ﻣﯿﺸﯿﮕﺎﻥ‬

‫ﻓﺮﺁﯾﻨﺪﻫﺎﯼﺗﺼﻮﯾﺮﺳﺎﺯﯼ )ﺗﺼﻮﯾﺮ(‪:‬‬ ‫ﺩﺳﺘﻨﻮﺷﺘﻪﻣﺼﻮﺭ ﺍﺯﯾﻮﺳﻒ ﻭ ﺯﻟﯿﺨﺎ ﻣﻨﺴﻮﺏ ﺑﻪ‬ ‫ﻣﻌﯿﻦﻣﺴﺎﻭﯾﺮ‬

‫ﺁﻟﺒﻮﻡﻫﺎﯼ ﺧﻮﺷﻨﻮﯾﺴﯽ ﻋﺜﻤﺎﻧﯽ ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﻧﺒﺎﺭ‬ ‫ﺩﺍﻧﺶﻭ ﺍﺑﺰﺍﺭ ﺁﻣﻮﺯﺷﯽ‬

‫ﺳﺎﺧﺖﺩﺍﻧﺶ ﺩﺭ ﻫﻨﺮﻫﺎﯼ ﮐﺘﺎﺏ ﻓﺎﺭﺳﯽ ﻭ ﺗﺮﮐﯽ‬

‫ﺍﻟﯿﺰﺍﺑﺖﺭﺍﻭﻩ‬ ‫ﺩﺍﻧﺸﮕﺎﻩﻣﯿﺸﯿﮕﺎﻥ‪ ،‬ﺍﯾﺎﻻﺕ ﻣﺘﺤﺪﻩ‬

‫ﺍﺷﻠﯽﺩﯾﻤﯿﮓ‬ ‫ﺩﺍﻧﺸﮕﺎﻩﻣﯿﺸﯿﮕﺎﻥ‪ ،‬ﺍﯾﺎﻻﺕ ﻣﺘﺤﺪﻩ‬

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‫ﭘﺎﻧﻞ‪3‬‬

‫ﮐﺘﺎﺑﺨﺎﻧﻪﻧﺴﺨﻪ ﻫﺎﯼ ﺧﻄﯽ ﺍﺳﻼﻣﯽ ﺩﺍﻧﺸﮕﺎﻩ ﻣﯿﺸﯿﮕﺎﻥ ﺩﺭ ﺣﺎﻝ ﺣﺎﺿﺮ ﺩﺍﺭﺍﯼ ﭼﻬﺎﺭ ﺁﻟﺒﻮﻡ ﺑﺰﺭﮒ ﺍﺯ ﺁﺛﺎﺭ ﻣﺨﺘﻠﻒ ﺭﻭﯼ ﮐﺎﻏﺬ ﺍﺳﺖ ﮐﻪ‬

‫ﻧﺴﺨﻪﺧﻄﯽ ﻣﺼﻮﺭ ﮐﻪ ﻗﺒﻼ ﻣﻄﺎﻟﻌﻪ ﻧﺸﺪﻩ ﺑﻮﺩ ﺍﺯ ﺟﺎﻣﯽﯾﻮﺳﻒ ﻭ ﺯﻟﯿﺨﺎ )ﺩﺍﻧﺸﮕﺎﻩ ﻣﯿﺸﯿﮕﺎﻥ ‪(Isl. MS 358‬‬

‫ﺗﺤﺖﻧﻈﺎﺭﺕ ﺳﻠﻄﺎﻥ ﻋﺒﺪﺍﻟﺤﻤﯿﺪ ﺩﻭﻡ ﺩﺭ ﺍﻭﺍﺧﺮ ﻗﺮﻥ ﻧﻮﺯﺩﻫﻢ ﺍﺳﺘﺎﻧﺒﻮﻝ ﺻﺤﺎﻓﯽ ﺷﺪﻩ ﺍﻧﺪ‪ .‬ﺁﻟﺒﻮﻡ ﻫﺎﯼ ﻋﺒﺪﺍﻟﺤﻤﯿﺪ ﺩﻭﻡ ﺩﺭ ﻣﯿﺎﻥ‬

‫ﺩﻫﺪ‪.‬ﺑﻪ ﺩﻟﯿﻞ ﻭﺧﺎﻣﺖ ﻭﺿﻌﯿﺖ ﻧﺴﺨﻪ ﺧﻄﯽ‪ ،‬ﻧﻘﺎﺷﯽ ﻫﺎﯼ ﺯﯾﺮﯾﻦ ﺗﺮﮐﯿﺐ ﺑﻨﺪﯼ ﻫﺎ ﻗﺎﺑﻞ ﻣﺸﺎﻫﺪﻩ ﺍﺳﺖ ﻭ‬

‫ﺗﺬﻫﯿﺐ‪،‬ﮐﺎﻏﺬﻫﺎﯼ ﺗﺰﺉﯿﻨﯽ ﺑﺴﯿﺎﺭ ﺍﺳﺘﺎﺩﺍﻧﻪ‪ ،‬ﻭ ﻫﻤﭽﻨﯿﻦ ﭼﻨﺪ ﻧﻘﺎﺷﯽ ﻭ ﻃﺮﺍﺣﯽ ﺑﻪ ﻧﻤﺎﯾﺶ ﻣﯽ ﮔﺬﺍﺭﻧﺪ ‪ -‬ﺑﺎ ﺗﺎﺭﯾﺦ ﻫﺎﯼ ﺳﻪ ﻗﺮﻥ‪ .‬ﭘﺲ‬

‫ﭘﯿﭽﯿﺪﻩﻭﺭﻗﻪ ﻫﺎﯼ ﻧﻘﺎﺷﯽ ﺷﺪﻩ ﮐﺪﮐﺲ ﮐﻤﮏ ﻣﯽ ﮐﻨﺪ‪ .‬ﻋﻼﻭﻩ ﺑﺮ ﺍﯾﻦ‪ ،‬ﺳﺎﯾﺮ ﻣﻄﺎﻟﺐ ﺑﺼﺮﯼ ﻣﺮﺗﺒﻂ ﺑﺎ ﺗﺼﺎﻭﯾﺮ‬

‫ﺩﺭﭼﻪ ﺷﺮﺍﯾﻄﯽ ﻭﺍﺭﺩ ﺩﺭﺑﺎﺭ ﻋﺜﻤﺎﻧﯽ ﺷﺪﻩ ﺍﻧﺪ‪ ،‬ﭼﺎﺭﭼﻮﺏ ﺑﻨﺪﯼ ﻣﺠﺪﺩ ﺑﻌﺪﯼ ﺁﻧﻬﺎ ﺍﺯ ﻣﺎﻫﯿﺖ ﯾﺎﺩﮔﯿﺮﯼ ﻫﻨﺮ ﮐﺘﺎﺏ ﺻﺤﺒﺖ ﻣﯽ ﮐﻨﺪ‪ .‬ﺩﺭ‬

‫ﻧﻘﺎﺷﯽﻫﺎﯼ ﻣﻮﺟﻮﺩ ﺩﺭ ﺍﺳﻞ‪ MS 358 .‬ﺭﺍ ﻣﯽ ﺗﻮﺍﻥ ﺩﺭ ﺳﺎﯾﺮ ﺁﻟﺒﻮﻡ ﻫﺎﯼ ﻧﻘﺎﺷﯽ ﻫﺎ ﻭ ﮐﺘﺐ ﻣﺼﻮﺭ ﺻﻔﻮﯼ‪ ،‬ﺍﺯ‬

‫ﺁﻣﻮﺯﺷﯽﺧﺎﺹ ﻫﺴﺘﻨﺪ‪.‬ﺩﯾﺪﺍﺭﯼﻋﻨﺎﺻﺮ‪.‬‬

‫ﺷﺎﻣﻞﺳﺘﻮﻧﯽ ﺍﺳﺖ ﮐﻪ ‪ 13‬ﻧﻘﺎﺷﯽ ﮐﺘﺎﺏ ﺭﺍ ﺑﻪ ﻫﻨﺮﻣﻨﺪ ﺍﯾﺮﺍﻧﯽ ﻗﺮﻥ ﻫﻔﺪﻫﻢ ﻣﻌﯿﻦ ﻣﻮﺳﻮﻭﯾﺮ ﻧﺴﺒﺖ ﻣﯽ‬

‫ﺑﻨﺎﺑﺮﺍﯾﻦﺑﺮﺍﯼ ﺑﺮﺭﺳﯽ ﺩﻗﯿﻖ ﺩﺭ ﺩﺳﺘﺮﺱ ﺍﺳﺖ‪ .‬ﺍﯾﻦ ﺟﺰﺉﯿﺎﺕ ﺑﺼﺮﯼ ﺑﻪ ﺗﻌﯿﯿﻦ ﺩﺳﺖ ﻫﻨﺮﻣﻨﺪ ﺩﺭ ﺗﻮﻟﯿﺪ‬ ‫ﺣﺎﮐﯽﺍﺯ ﺁﻥ ﺍﺳﺖ ﮐﻪ ﺩﺳﺖ ﻫﻨﺮﻣﻨﺪ ﺑﻪ ﺗﻨﻬﺎﯾﯽ ﯾﺎ ﺑﺪﻭﻥ ﻭﺳﺎﯾﻞ ﺑﺼﺮﯼ ﮐﺎﺭ ﻧﻤﯽ ﮐﺮﺩ‪ .‬ﺩﺭ ﻭﺍﻗﻊ‪ ،‬ﺑﺮﺧﯽ ﺍﺯ‬ ‫ﺟﻤﻠﻪﯾﮏ ﮐﺘﺎﺏ ﯾﻬﻮﺩﯼ‪-‬ﻓﺎﺭﺳﯽ ﯾﺎﻓﺖ‪ .‬ﯾﻮﺳﻒ ﻭ ﺯﻟﯿﺨﺎﻧﺴﺨﻪ ﺧﻄﯽ‬

‫ﺍﯾﻦﻧﺴﺨﻪ ﺧﻄﯽ ﻣﺼﻮﺭ ﺻﻔﻮﯼ ﺍﺯﯾﻮﺳﻒ ﻭ ﺯﻟﯿﺨﺎﺭﺍﻩ ﻫﺎﯼ ﻣﺘﻌﺪﺩﯼ ﺭﺍ ﺑﺮﺍﯼ ﮐﺎﻭﺵ ﺩﺭ ﺍﺑﺰﺍﺭﻫﺎ ﻭ ﺗﮑﻨﯿﮏ ﻫﺎﯼ‬

‫ﻣﺨﺘﻠﻒﻣﻮﺭﺩ ﺍﺳﺘﻔﺎﺩﻩ ﺑﺮﺍﯼ ﺗﻮﻟﯿﺪ ﻧﻘﺎﺷﯽ ﺩﺭ ﺍﺻﻔﻬﺎﻥ ﻗﺮﻥ ﻫﻔﺪﻫﻢ ﺑﺎﺯ ﻣﯽ ﮐﻨﺪ‪ .‬ﻓﺮﺁﯾﻨﺪﻫﺎﯼ ﺗﺼﻮﯾﺮﺳﺎﺯﯼ ﺩﺭ‬

‫ﻫﻨﺮﻫﺎﯼﮐﺘﺎﺏ ‪ -‬ﺍﺯ ﺟﻤﻠﻪ ﺯﯾﺮ ﻧﻘﺎﺷﯽ‪ ،‬ﺍﻧﺘﻘﺎﻝ ﺗﺼﻮﯾﺮ‪ ،‬ﮔﺮﺩﺵ ﻭ ﮐﭙﯽ ﮐﺮﺩﻥ ‪ -‬ﺑﺮ ﻣﺠﻤﻮﻋﻪ ﺑﺼﺮﯼ ﮔﺴﺘﺮﺩﻩ ﺍﯼ‬ ‫ﺗﺄﮐﯿﺪﻣﯽ ﮐﻨﺪ ﮐﻪ ﻫﻨﺮﻣﻨﺪﺍﻥ ﺩﺭ ﺁﻥ ﻣﻬﺎﺭﺕ ﺩﺍﺷﺘﻨﺪ ﻭ ﺍﺯ ﺁﻥ ﺑﺮﺍﯼ ﺗﻮﻟﯿﺪ ﺗﺮﮐﯿﺐ ﻫﺎ ﺍﺳﺘﻔﺎﺩﻩ ﻣﯽ ﮐﺮﺩﻧﺪ‪.‬‬

‫ﻫﻨﺮﻣﻨﺪﺍﻧﯽﮐﻪ ﺩﺭ ﺍﯾﻦ ﺷﯿﻮﻩ ﻫﺎﯼ ﺗﺼﻮﯾﺮﯼ ﺁﻣﻮﺯﺵ ﺩﯾﺪﻩ ﻭ ﮐﺎﺭ ﻣﯽ ﮐﻨﻨﺪ‪ ،‬ﺑﺮ ﻣﻬﺎﺭﺕ ﻫﻨﺮﯼ ﻭ ﺯﯾﺮﮐﯽ ﺑﺼﺮﯼ ﺩﺭ‬

‫ﺗﮑﺮﺍﺭﺗﺄﮐﯿﺪ ﺩﺍﺷﺘﻨﺪ‪ .‬ﺑﻨﺎﺑﺮﺍﯾﻦ‪ ،‬ﺷﻨﺎﺳﺎﯾﯽ ﺩﺳﺖ ﻓﺮﺩﯼ ﯾﮏ ﻫﻨﺮﻣﻨﺪ ﺍﺳﺘﺎﺩ ﺩﺭ ﯾﮏ ﺷﯽ ﺧﻼﻕ ﺑﺎﯾﺪ ﺩﺭ ﺯﻣﯿﻨﻪ‬

‫ﻫﺎﯼﻣﺸﺘﺮﮎ‪ ،‬ﺍﺯ ﺟﻤﻠﻪ ﺍﺷﺘﺮﺍﮎ ﮔﺬﺍﺭﯼ ﻭ ﮐﭙﯽ ﮐﺮﺩﻥ ﺗﺼﺎﻭﯾﺮ‪ ،‬ﺩﺭﮎ ﺷﻮﺩ‪ .‬ﺍﯾﻦ ﻣﻘﺎﻟﻪ ﺑﺮ ﺍﺳﺎﺱ ﺷﻮﺍﻫﺪ ﺑﺼﺮﯼ‬ ‫ﻣﻌﺎﺻﺮﻭ ﺷﯿﻮﻩ ﻫﺎﯼ ﻧﻘﺎﺷﯽ‪ ،‬ﺍﺳﺘﺪﻻﻝ ﻣﯽ ﮐﻨﺪ ﮐﻪ ﻫﻨﺮﻣﻨﺪ ﻣﻌﯿﻦ ﻣﺴﺎﻭﯾﺮ ﻣﺠﺮﯼ ﻧﻘﺎﺷﯽ ﻫﺎﯼ ﻧﺴﺨﻪ ﺧﻄﯽ‬

‫ﺑﻮﺩﻩﺍﺳﺖ‪ .‬ﺑﺎ ﺍﯾﻦ ﺣﺎﻝ‪،‬‬

‫ﺟﻠﺪﻫﺎﯼﭼﺮﻣﯽ ﻗﺮﻣﺰ ﺧﻮﺩ‪ ،‬ﺧﻮﺷﻨﻮﯾﺴﯽ ﻫﺎﯼ ﻣﺘﻌﺪﺩﯼ ﺭﺍ ﺑﺎ ﺧﻂ ﻫﺎﯼ ﻣﺨﺘﻠﻒ‪ ،‬ﻣﺘﻮﻥ ﺑﻪ ﺯﺑﺎﻥ ﻫﺎﯼ ﻣﺨﺘﻠﻒ‪ ،‬ﻧﻤﻮﻧﻪ ﻫﺎﯼ ﺑﺮﺟﺴﺘﻪ‬

‫ﭼﮕﻮﻧﻪﺁﻧﻬﺎ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺠﻤﻮﻋﻪ ﻫﺎﯼ ﻣﺘﻨﻮﻉ ﻭ ﺩﺭ ﻋﯿﻦ ﺣﺎﻝ ﻣﺪﻭﻥ ﻋﻤﻞ ﻣﯽ ﮐﻨﻨﺪ؟ ﺩﺭ ﺣﺎﻟﯽ ﮐﻪ ﻣﺸﺨﺺ ﻧﯿﺴﺖ ﺍﯾﻦ ﻧﻤﻮﻧﻪ ﻫﺎ ﭼﮕﻮﻧﻪ ﯾﺎ‬ ‫ﺣﺎﻟﯽﮐﻪ ﺑﯿﺸﺘﺮ ﮐﺘﺎﺏ ﻫﺎ ﺭﺍ ﻣﯽ ﺗﻮﺍﻥ ﺑﻪ ﻃﻮﺭ ﮐﻠﯽ ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﺷﯿﺎء ﺁﻣﻮﺯﺷﯽ ﻃﺒﻘﻪ ﺑﻨﺪﯼ ﮐﺮﺩ‪ ،‬ﺁﻟﺒﻮﻡ ﻫﺎ ﻧﺸﺎﻥ ﺩﻫﻨﺪﻩ ﯾﮏ ﺭﻭﺵ‬

‫ﻋﻼﻭﻩﺑﺮ ﺍﯾﻦ‪ ،‬ﺁﻟﺒﻮﻡ ﻫﺎﯼ ﻋﺒﺪﺍﻟﺤﻤﯿﺪ ﺩﻭﻡ ﺑﻪ ﺗﻨﻬﺎﯾﯽ ﺍﺷﯿﺎﯾﯽ ﻫﺴﺘﻨﺪ‪ ،‬ﻧﻪ ﺻﺮﻓﺎ ًﻣﺠﻤﻮﻋﻪ ﺍﯼ ﺍﺯ ﻧﻤﻮﻧﻪ ﻫﺎﯼ ﻣﺘﻔﺎﻭﺕ ﺍﺯ ﺁﺛﺎﺭ ﻗﺎﺑﻞ ﺗﻮﺟﻪ‬

‫ﺭﻭﯼﮐﺎﻏﺬ‪ .‬ﺑﺎﺯﺳﺎﺯﯼ ﺁﻧﻬﺎ ﺑﻪ ﻋﻨﻮﺍﻥ ﺁﻟﺒﻮﻡ ﺑﻪ ﺁﻧﻬﺎ ﺯﻧﺪﮔﯽ ﺟﺪﯾﺪﯼ ﻣﯽ ﺑﺨﺸﺪ‪ ،‬ﺑﺎ ﻫﺪﻓﯽ ﺟﺪﯾﺪ‪ :‬ﺁﻣﻮﺯﺵ ﺑﯿﻨﻨﺪﮔﺎﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﺁﮔﺎﻫﺎﻥ ﺟﻨﺒﻪ‬

‫ﻫﺎﯼﻣﺨﺘﻠﻒ ﺗﻮﻟﯿﺪ ﻧﺴﺨﻪ ﻫﺎﯼ ﺧﻄﯽ‪ .‬ﺑﺎ ﺍﯾﻦ ﺣﺎﻝ‪ ،‬ﺍﮔﺮﭼﻪ ﺍﯾﻦ ﺁﻟﺒﻮﻡ ﻫﺎ ﻫﻤﭽﻨﺎﻥ ﺳﻨﺖ ﺻﺪﻫﺎ ﺳﺎﻟﻪ ﺁﻟﺒﻮﻡ ﺳﺎﺯﯼ ﺩﺭ ﺳﺮﺯﻣﯿﻦ ﻫﺎﯼ‬ ‫ﺍﺳﻼﻣﯽﺭﺍ ﺍﺩﺍﻣﻪ ﻣﯽ ﺩﻫﻨﺪ‪ ،‬ﺑﺎﯾﺪ ﻣﺤﯿﻂ ﻓﺮﻫﻨﮕﯽ ﻭ ﺳﯿﺎﺳﯽ ﻗﺮﻥ ﻧﻮﺯﺩﻫﻤﯽ ﺁﻥ ﻫﺎ ﺭﺍ ﺑﻪ ﻭﯾﮋﻩ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﭘﺮﻭﮊﻩ ﻫﺎﯼ ﻣﺪﺭﻥ ﺳﺎﺯﯼ‬

‫ﻫﻤﺰﻣﺎﻥ‪،‬ﺍﺯ ﺟﻤﻠﻪ ﺍﺻﻼﺣﺎﺕ ﺁﻣﻮﺯﺷﯽ‪ ،‬ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺖ‪ .‬ﺩﺭ ﺍﯾﻦ ﺯﻣﯿﻨﻪ‪ ،‬ﺍﯾﻦ ﻣﻘﺎﻟﻪ ﺁﻟﺒﻮﻡ ﻫﺎﯼ ﻋﺒﺪﺍﻟﺤﻤﯿﺪ ﺩﻭﻡ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﻧﺒﺎﺭ ﺩﺍﻧﺶ ﻭ‬

‫ﺍﺑﺰﺍﺭﯼﺑﺮﺍﯼ ﺁﻣﻮﺯﺵ ﻫﻨﺮ ﮐﺘﺎﺏ ﺩﺭ ﺯﻣﺎﻧﯽ ﮐﻪ ﮐﺘﺎﺏ ﻫﺎﯼ ﭼﺎﭘﯽ ﺩﺭ ﺣﺎﻝ ﺗﺒﺪﯾﻞ ﺷﺪﻥ ﺑﻪ ﻫﻨﺠﺎﺭ ﺑﻮﺩﻧﺪ‪ ،‬ﺗﺤﻠﯿﻞ ﻣﯽ ﮐﻨﺪ‪ .‬ﺑﺪﯾﻦ ﺗﺮﺗﯿﺐ‪،‬‬

‫ﺭﺉﯿﺲﻭ ﺑﺤﺚ ﮐﻨﻨﺪﻩ‪ :‬ﮐﺮﯾﺴﺘﯿﻦ ﮔﺮﻭﺑﺮ‪ ،‬ﮔﺮﻭﻩ ﺗﺎﺭﯾﺦ ﻫﻨﺮ‪ ،‬ﺩﺍﻧﺸﮕﺎﻩ ﻣﯿﺸﯿﮕﺎﻥ‬

‫ﻓﺮﺁﯾﻨﺪﻫﺎﯼﺗﺼﻮﯾﺮﺳﺎﺯﯼ )ﺗﺼﻮﯾﺮ(‪:‬‬ ‫ﺩﺳﺘﻨﻮﺷﺘﻪﻣﺼﻮﺭ ﺍﺯﯾﻮﺳﻒ ﻭ ﺯﻟﯿﺨﺎ ﻣﻨﺴﻮﺏ ﺑﻪ‬ ‫ﻣﻌﯿﻦﻣﺴﺎﻭﯾﺮ‬

‫ﺁﻟﺒﻮﻡﻫﺎﯼ ﺧﻮﺷﻨﻮﯾﺴﯽ ﻋﺜﻤﺎﻧﯽ ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﻧﺒﺎﺭ‬ ‫ﺩﺍﻧﺶﻭ ﺍﺑﺰﺍﺭ ﺁﻣﻮﺯﺷﯽ‬

‫ﺳﺎﺧﺖﺩﺍﻧﺶ ﺩﺭ ﻫﻨﺮﻫﺎﯼ ﮐﺘﺎﺏ ﻓﺎﺭﺳﯽ ﻭ ﺗﺮﮐﯽ‬

‫ﺍﻟﯿﺰﺍﺑﺖﺭﺍﻭﻩ‬ ‫ﺩﺍﻧﺸﮕﺎﻩﻣﯿﺸﯿﮕﺎﻥ‪ ،‬ﺍﯾﺎﻻﺕ ﻣﺘﺤﺪﻩ‬

‫ﺍﺷﻠﯽﺩﯾﻤﯿﮓ‬ ‫ﺩﺍﻧﺸﮕﺎﻩﻣﯿﺸﯿﮕﺎﻥ‪ ،‬ﺍﯾﺎﻻﺕ ﻣﺘﺤﺪﻩ‬

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‫ﺍﯾﻠﮑﺮﺍﻭﺭﯾﻢ ﺑﯿﻨﺒﺎﺵ‬

‫ﺩﺍﻧﺸﮕﺎﻩﻟﻨﺪﻥ‪ ،‬ﺍﻧﮕﻠﺴﺘﺎﻥ‬

‫"ﺳﺎﯾﻪ ﺍﺟﺪﺍﺩ"‪:‬‬ ‫ﭘﯿﮑﺮﺑﻨﺪﯼﻣﺠﺪﺩ ﮔﺬﺷﺘﻪ ﺩﺭ ﺩﺭﺧﺘﺎﻥ ﺗﺒﺎﺭﺷﻨﺎﺳﯽ ﻋﺜﻤﺎﻧﯽ‬

‫ﺩﺭﺧﺖﺗﺒﺎﺭﺷﻨﺎﺳﯽ ﺑﻪ ﻋﻨﻮﺍﻥ ﯾﮏ ﮊﺍﻧﺮ ﺗﺎﺭﯾﺦ ﻧﮕﺎﺭﯼ ﺩﺭ ﻗﺮﻥ ﺳﯿﺰﺩﻫﻢ ﻇﻬﻮﺭ ﮐﺮﺩ‪ ،‬ﺯﻣﺎﻧﯽ ﮐﻪ ﺩﻭﺩﻣﺎﻥ ﺳﻠﺴﻠﻪ ﺣﺎﮐﻢ ﻧﯿﺎﺯ ﺑﻪ ﺗﻌﺮﯾﻒ ﺍﻗﺘﺪﺍﺭ‬

‫ﺣﺎﮐﻤﯿﺖﺧﻮﺩ ﺩﺭ ﺑﺤﺮﺍﻥ ﻣﺸﺮﻭﻃﻪ ﺩﺭ ﺣﺎﻝ ﻇﻬﻮﺭ ﻣﺤﯿﻂ ﺳﯿﺎﺳﯽ ﭘﺲ ﺍﺯ ﺧﻠﯿﻔﻪ ﺩﺍﺷﺘﻨﺪ‪ .‬ﻧﻤﻮﻧﻪ ﻫﺎﯼ ﻣﻮﺟﻮﺩ ﻧﺸﺎﻥ ﻣﯽ ﺩﻫﻨﺪ ﮐﻪ ﺩﺭﺧﺖ‬

‫ﺷﺠﺮﻩ ﻧﺎﻣﻪﺍﺑﺰﺍﺭ ﻣﻨﺎﺳﺒﯽ ﺭﺍ ﺩﺭ ﺍﺧﺘﯿﺎﺭ ﻣﻘﺎﻣﺎﺕ ﺳﯿﺎﺳﯽ ﻗﺮﺍﺭ ﻣﯽ ﺩﻫﺪ ﺗﺎ ﮔﺬﺷﺘﻪ ﺭﺍ ﺑﺎ ﺣﺎﻝ ﺑﻪ ﺷﮑﻠﯽ ﺧﻄﯽ ﯾﮑﯽ ﮐﻨﻨﺪ‪ .‬ﺑﻪ ﻋﺒﺎﺭﺕ ﺩﯾﮕﺮ‪،‬‬ ‫ﺩﺭﺧﺖﺗﺒﺎﺭﺷﻨﺎﺳﯽ ﺑﺴﺘﺮﯼ ﺑﻮﺩ ﮐﻪ ﻣﯽ ﺗﻮﺍﻥ ﺑﺮ ﺭﻭﯼ ﺁﻥ ﻃﯿﻒ ﮐﺎﻣﻠﯽ ﺍﺯ ﺗﮑﻨﯿﮏ ﻫﺎﯼ ﺑﺼﺮﯼ ﻭ ﺭﻭﺍﯾﯽ ﺑﺮﺍﯼ ﺗﻔﺴﯿﺮ ﻣﺠﺪﺩ ﮔﺬﺷﺘﻪ ﺑﺪﻭﻥ‬

‫ﺗﻐﯿﯿﺮﺧﻄﻮﻁ ﮐﻠﯽ ﻧﮕﺮﺵ ﺗﺎﺭﯾﺨﯽ ﺑﻪ ﮐﺎﺭ ﮔﺮﻓﺖ‪.‬‬

‫ﺍﻋﺘﻘﺎﺩﺍﻭ ﺑﺎ ﺭﺅﯾﺎﯾﯽ ﺗﺄﯾﯿﺪ ﺷﺪ ﮐﻪ ﺩﺭ ﺁﻥ ﺑﺎ ﺣﻀﺮﺕ ﺧﻀﺮ ﺭﻭﺑﺮﻭ ﺷﺪ ﻭ ﻣﻨﺸﺄ ﺷﺮﯾﻌﺖ ﺭﺍ ﺑﺮﺍﯼ ﺧﻮﺩ ﺩﯾﺪ‪.‬‬ ‫ﭘﯿﺶﺍﺯ ﺍﯾﻦ ﻣﻼﻗﺎﺕ‪ ،‬ﺷﻌﺮﺍﻧﯽ ﺍﺯ ﻣﻬﻤﺘﺮﯾﻦ ﺷﯿﺦ ﺧﻮﺩ‪ ،‬ﻋﻠﯽ ﺍﻟﺨﻮﺍﺹ ﺍﻟﺒﺮﻭﻟﻮﺳﯽ )ﻣﺘﻮﻓﯽ ‪ 1532‬ﯾﺎ ‪ (1533‬ﺍﺯ ﻣﻬﻤﺘﺮﯾﻦ ﺷﯿﺦ ﺧﻮﺩ‪،‬‬

‫ﮐﺘﮏﮐﺎﺭﯼ ﺑﺮﮒ ﺧﺮﻣﺎ ﺑﯿﺴﻮﺍﺩ‪ ،‬ﭘﺮﺳﯿﺪﻩ ﺑﻮﺩ ﮐﻪ ﮐﺪﺍﻡ ﻣﮑﺘﺐ ﺣﻘﻮﻗﯽ ﺑﻬﺘﺮ ﺍﺳﺖ‪ .‬ﺷﯿﺦ ﺩﺭ ﭘﺎﺳﺦ ﺑﺎ ﭼﻮﺏ ﺧﻮﺩ ﻧﻤﻮﺩﺍﺭﯼ ﺑﺮ ﺭﻭﯼ ﺩﯾﻮﺍﺭ‬

‫ﮐﺸﯿﺪﮐﻪ ﻣﻨﺒﻊ ﻣﺸﺘﺮﮎ ﻣﮑﺎﺗﺐ ﺣﻘﻮﻗﯽ ﺭﺍ ﻧﺸﺎﻥ ﻣﯽ ﺩﺍﺩ‪ .‬ﺍﻭ ﺍﺯ ﺍﯾﻦ ﻧﻤﻮﺩﺍﺭ ﺍﺳﺘﻔﺎﺩﻩ ﮐﺮﺩ ﺗﺎ ﺗﻮﺿﯿﺢ ﺩﻫﺪ ﮐﻪ ﻫﯿﭻ ﻣﮑﺘﺒﯽ ﺑﻬﺘﺮ ﺍﺯ ﻫﯿﭻ‬

‫ﻣﺪﺭﺳﻪﺍﯼ ﺍﺩﻋﺎﯼ ﻗﺎﻧﻮﻥ ﻧﺪﺍﺭﺩ‪.‬‬

‫ﺍﻟﺸﻌﺮﺍﻧﯽﺑﻪ ﭘﯿﺮﻭﯼ ﺍﺯ ﺷﯿﺦ ﺧﻮﺩ‪ ،‬ﺗﻌﺪﺍﺩﯼ ﺗﺼﻮﯾﺮ ﻧﮕﺎﺭﻩ ﺭﺍ ﮔﻨﺠﺎﻧﺪﻩ ﺍﺳﺖ ‪ -‬ﮐﻪ ﺍﻭ ﺁﻧﻬﺎ ﺭﺍ ﻧﺎﻣﯿﺪﻩ ﺍﺳﺖ‪.‬ﺍﻣﺜﺎﻝ ﻣﺤﺴﻮﺳﻪﯾﺎ "ﺍﺳﺘﻌﺎﺭﻩ‬

‫ﻫﺎﯼﻣﻌﻘﻮﻝ" ‪ -‬ﺩﺭ ﻣﻘﺪﻣﻪ ﺍﻭﻣﯿﺰﺍﻥ‪ .‬ﺣﺪﺍﻗﻞ ﯾﮑﯽ ﺍﺯ ﺍﯾﻦ ﺗﺎﺑﻠﻮﻫﺎ ﺑﻪ ﻭﺿﻮﺡ ﺑﺎﺯﺗﻮﻟﯿﺪ ﺗﻮﺿﯿﺤﯽ ﺍﺳﺖ ﮐﻪ ﺍﻭ ﺍﺯ ﺷﯿﺦ ﺧﻮﺩ ﺑﻪ ﺻﻮﺭﺕ‬

‫ﺗﺼﻮﯾﺮﯼﺩﺭﯾﺎﻓﺖ ﮐﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻟﺸﻌﺮﺍﻧﯽ ﺑﺎ ﻣﻌﺮﻓﯽ ﻭ ﺯﯾﺮﻧﻮﯾﺲ ﻧﮕﺎﺭﻩ ﻫﺎ‪ ،‬ﺩﺳﺘﻮﺭﺍﺗﯽ ﺑﺮﺍﯼ ﺩﯾﺪﻥ ﻭ ﺗﻌﻤﻖ ﺍﯾﻦ ﺍﺳﺘﻌﺎﺭﻩ ﻫﺎﯼ ﺑﺼﺮﯼ ﺑﻪ‬

‫ﻣﻨﻈﻮﺭﺷﻨﺎﺧﺖ ﻣﻔﺎﻫﯿﻤﯽ ﮐﻪ ﺩﻻﻟﺖ ﺑﺮ ﺁﻥ ﻫﺎ ﺩﺍﺭﻧﺪ‪ ،‬ﺩﺍﺭﺩ‪ .‬ﺍﯾﻦ ﺩﺳﺘﻮﺭﺍﺕ ﻋﻼﻭﻩ ﺑﺮ ﺭﻭﺷﻦ ﺳﺎﺧﺘﻦ ﻣﻔﺎﻫﯿﻢ ﺑﺮﺍﯼ ﻣﺨﺎﻃﺒﺎﻥ ﻏﯿﺮ ﺭﻭﺣﺎﻧﯽ‬ ‫ﺧﻮﺩ‪،‬ﻣﻨﻌﮑﺲ ﮐﻨﻨﺪﻩ ﻣﻔﺎﻫﯿﻢ ﺻﻮﻓﯿﺎﻧﻪ ﺍﺯ ﺩﻟﻬﺮﻩ ﺍﺳﺖ ‪ -‬ﻣﺎﻧﻨﺪ ﺁﻧﭽﻪ ﺩﺭ ﺁﺛﺎﺭ ﻣﻨﺴﻮﺏ ﺑﻪ ﻏﺰﺍﻟﯽ ﻭ ﺍﺑﻦ ﻋﺮﺑﯽ ﮐﻪ ﻣﻌﺮﻭﻑ ﺍﺳﺖ ﺷﻌﺮﺍﻧﯽ‬

‫ﻋﺜﻤﺎﻧﯽ ﻫﺎﻭﺍﺭﺙ ﺷﯿﻮﻩ ﻫﺎﯼ ﻣﻐﻮﻝ ﻭ ﺗﯿﻤﻮﺭﯼ ﺩﺭ ﺳﺮﻭﺩﻥ ﺩﺭﺧﺖ ﻫﺎﯼ ﻧﺴﺐ ﺷﻨﺎﺧﺘﯽ ﺑﻮﺩﻧﺪ‪ ،‬ﺍﻣﺎ ﺁﻧﻬﺎ ﻫﻤﭽﻨﯿﻦ ﺑﻪ ﺷﺪﺕ ﻣﺠﻤﻮﻋﻪ‬

‫ﺍﺩﺑﯽﻭ ﺑﺼﺮﯼ ﺍﯾﻦ ﮊﺍﻧﺮ ﺭﺍ ﮔﺴﺘﺮﺵ ﺩﺍﺩﻧﺪ‪ .‬ﺍﺯ ﺑﻪ ﺍﺻﻄﻼﺡ ﺗﻮﻣﺎﺭﯼ ﻫﻤﺎﯾﻮﻥ)ﮐﻪ ﺩﺭ ﮐﺎﺭﮔﺎﻩ ﻫﺎﯼ ﮐﺎﺥ ﺩﺭ ﺍﺳﺘﺎﻧﺒﻮﻝ ﺩﺭ ﺯﻣﺎﻥ ﺳﻠﻄﻨﺖ‬

‫ﺳﻠﯿﻤﺎﻥﺑﺎﺷﮑﻮﻩ ﺗﺎ (‪Topkapı Sarayı Kütüphanesi A. 3599‬ﺳﺒﺤﺎﺕ ﺍﻻﺣﺒﺎﺭ ﯾﮏ ﺳﻠﺴﻠﻪ ﺩﺭﺧﺖ ﻧﺴﺐ ﺷﻨﺎﺧﺘﯽ ﮐﭙﯽ ﺑﺮﺩﺍﺭﯼ‬

‫ﺁﻧﻬﺎﺭﺍ ﻣﻄﺎﻟﻌﻪ ﮐﺮﺩﻩ ﺍﺳﺖ ‪ -‬ﮐﻪ ﻧﯿﺎﺯ ﺑﻪ ﻣﻌﻨﻮﯼ ﺩﺍﺭﺩ‪ .‬ﻣﯿﺎﻧﺠﯿﮕﺮﯼ ﺑﺼﺮﯼ ﺩﺭ ﻭﺍﻗﻊ‪ ،‬ﻧﻤﻮﺩﺍﺭﻫﺎﯼ ﻣﺮﺑﻮﻁ ﺑﻪ ﻣﻔﺎﻫﯿﻢ ﻫﺴﺘﯽ ﺷﻨﺎﺧﺘﯽ ﻭ‬

‫ﮐﯿﻬﺎﻥ ﺷﻨﺎﺧﺘﯽﺩﺭ ﻧﻮﺷﺘﻪ ﻫﺎﯼ ﺻﻮﻓﯿﺎﻧﻪ ﺩﯾﮕﺮ ﻇﺎﻫﺮ ﻣﯽ ﺷﻮﻧﺪ‪ ،‬ﺍﮔﺮﭼﻪ ﺍﻫﻤﯿﺖ ﺁﻧﻬﺎ ﺑﻪ ﻋﻨﻮﺍﻥ ﻭﺍﺳﻄﻪ ﻫﺎﯼ ﺑﺼﺮﯼ ﺗﺎ ﺣﺪ ﺯﯾﺎﺩﯼ ﻣﻮﺭﺩ‬ ‫ﻣﻄﺎﻟﻌﻪﻗﺮﺍﺭ ﻧﮕﺮﻓﺘﻪ ﺍﺳﺖ‪.‬‬

‫ﺷﺪﻩﮐﻪ ﺯﻣﺎﻧﯽ ﺩﺭ ﻗﺮﻥ ﻫﻔﺪﻫﻢ ﺳﺎﺧﺘﻪ ﺷﺪ‪ ،‬ﺩﺭﺧﺘﺎﻥ ﻧﺴﺐ ﺷﻨﺎﺧﺘﯽ ﻋﺜﻤﺎﻧﯽ ﺩﺭ ﻗﺮﻥ ﺷﺎﻧﺰﺩﻫﻢ ﺍﺑﺰﺍﺭ ﻣﺘﻨﯽ ﺍﻭﻟﯿﻪ ﺍﯼ ﺑﻮﺩﻧﺪ ﮐﻪ ﺍﺯ ﻃﺮﯾﻖ‬ ‫ﺁﻥﺗﺼﻮﯾﺮﺳﺎﺯﯼ ﺳﻠﺴﻠﻪ ﺍﯼ ﻋﺜﻤﺎﻧﯽ‪ ،‬ﯾﮏ ﺟﻬﺎﻥ ﺑﯿﻨﯽ ﺟﻬﺎﻧﯽ ﻭ ﺗﺎﺭﯾﺨﯽ ﺭﺍ ﺑﻪ ﻧﻤﺎﯾﺶ ﮔﺬﺍﺷﺖ‪ .‬ﺩﺭ ﺍﯾﻦ ﺩﺭﺧﺘﺎﻥ ﺷﺠﺮﻩ ﻧﺎﻣﻪ‪ ،‬ﺳﻠﺴﻠﻪ‬

‫ﻋﺜﻤﺎﻧﯽﺑﻪ ﻋﻨﻮﺍﻥ ﻧﻘﻄﻪ ﺍﻭﺝ ﯾﮏ ﭘﯿﺸﺮﻓﺖ ﺗﺎﺭﯾﺨﯽ ﻣﻌﺎﺩ ﺷﻨﺎﺧﺘﯽ ﺍﺭﺍﺉﻪ ﺷﺪ‪ .‬ﺑﻪ ﻧﻈﺮ ﻣﯽ ﺭﺳﺪ ﮐﻪ ﺩﺭﺧﺘﺎﻥ ﺗﺒﺎﺭﺷﻨﺎﺳﯽ ﻣﺘﺄﺧﺮ ﻋﺜﻤﺎﻧﯽ‬

‫ﺍﻫﻤﯿﺖﭘﯿﮑﺘﻮﮔﺮﺍﻡ ﻫﺎ ﺑﺮﺍﯼ ﺍﻧﺘﻘﺎﻝ ﻣﺪﺍﻭﻡ ﺍﺛﺮ ﻭ ﻣﻔﺎﻫﯿﻢ ﺁﻥ ﺩﺭ ﺑﺎﺯﺗﻮﻟﯿﺪ ﻭﻓﺎﺩﺍﺭﺍﻧﻪ ﺁﻧﻬﺎ ﺩﺭ ﻧﺴﺨﻪ ﻫﺎﯼ ﺧﻄﯽ ﻣﺘﻌﺪﺩﯼ ﮐﻪ ﺩﺭ ﻗﺮﻥ ﻫﺎﯼ‬

‫ﺑﻌﺪﺗﺎﺭﯾﺨﯽ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻩ ﺍﻧﺪ ﻭ ﻭﺿﻌﯿﺖ ﺻﺮﻓﺎ ًﺷﺠﺮﻩ ﻧﺎﻣﻪ ﺭﺍ ﺑﻪ ﺩﺳﺖ ﺁﻭﺭﺩﻩ ﺍﻧﺪ‪ .‬ﺩﺭ ﻣﻘﺎﻟﻪ ﺧﻮﺩ‪ ،‬ﻣﺤﺘﻮﯾﺎﺕ ﻭ ﺳﺎﺯﻣﺎﻧﺪﻫﯽ ﺭﺍ ﺑﺎ‬

‫ﭘﺲﺍﺯ ﺗﺮﮐﯿﺐ ﺍﺛﺮ ﺗﻮﻟﯿﺪ ﺷﺪﻩ ﺍﻧﺪ ﻣﻨﻌﮑﺲ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺑﺎ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻦ ﯾﮏ ﻧﺴﺨﻪ ﺧﻄﯽ ﻗﺮﻥ ﻫﻔﺪﻫﻤﯽ ﺍﺯ ﮐﺘﺎﺏﻣﯿﺰﺍﻥﺍﯾﻦ ﻣﻘﺎﻟﻪ ﮐﻪ‬

‫‪ ،Tabaka-yi Mülûk-i‬ﺩﺭﺧﺖ ﻣﻬﻢ ﺷﺠﺮﻩ ﻧﺎﻣﻪ ﺍﯼ ﮐﻪ ﺍﻣﺮﻭﺯﻩ ﺑﺨﺸﯽ ﺍﺯ ﻣﺠﻤﻮﻋﻪ ﻧﺴﺦ ﺧﻄﯽ ﻏﻨﯽ ﺍﺳﻼﻣﯽ ﺩﺍﻧﺸﮕﺎﻩ ﻣﯿﺸﯿﮕﺎﻥ ﺍﺳﺖ‪.‬‬

‫ﻋﺜﻤﺎﻧﯽﺩﺭ ﻃﻮﻝ ﻗﺮﻥ ﻫﺎﯼ ‪ 17‬ﻭ ‪ 18‬ﺍﺳﺘﻔﺎﺩﻩ ﻣﯽ ﮐﻨﺪ ﺗﺎ ﻧﻘﺶ ﺍﯾﻦ ﺍﺳﺘﻌﺎﺭﻩ ﻫﺎﯼ ﺑﺼﺮﯼ ﺩﺭ ﺍﻧﺘﻘﺎﻝ ﻣﻔﺎﻫﯿﻢ ﮐﻠﯿﺪﯼ ﺭﺍ ﺗﺤﻠﯿﻞ ﮐﻨﺪ‪.‬‬

‫ﻫﻢﻣﻘﺎﯾﺴﻪ ﺧﻮﺍﻫﻢ ﮐﺮﺩ ‪Tomar-ı Hümayun)Österreichische Staatsbibliothek HO 11(،‬ﻭ ﺳﺒﺤﺎﺕ ﺍﻻﺣﺒﺎﺭﺑﺎ‪Osmâniyân‬‬

‫ﻣﻘﺎﻟﻪﻣﻦ ﺍﺳﺘﺪﻻﻝ ﻣﯽ ﮐﻨﺪ ﮐﻪ ﺩﺭﺧﺘﺎﻥ ﺷﺠﺮﻩ ﻧﺎﻣﻪ ﻋﺜﻤﺎﻧﯽ ﭘﺲ ﺍﺯ ﻗﺮﻥ ﻫﻔﺪﻫﻢ ﺭﻭﻧﺪ ﻋﺎﺩﯼ ﺳﺎﺯﯼ ﮔﻔﺘﻤﺎﻥ ﺗﺎﺭﯾﺨﯽ ﺭﺍ ﻃﯽ ﮐﺮﺩﻧﺪ‪.‬‬

‫ﺩﺭﮐﺘﺎﺑﺨﺎﻧﻪ ﺩﺍﻧﺸﮕﺎﻩ ﻣﯿﺸﯿﮕﺎﻥ ﺑﺮﮔﺰﺍﺭ ﻣﯽ ﺷﻮﺩ‪ ،‬ﺍﺯ ﺷﻮﺍﻫﺪ ﻣﺠﻤﻮﻋﻪ ﺍﯼ ﺍﺯ ﻧﺴﺨﻪ ﻫﺎﯼ ﺧﻄﯽ ﺗﻮﻟﯿﺪ ﺷﺪﻩ ﻋﻤﺪﺗﺎ ًﺩﺭ ﺳﺮﺯﻣﯿﻦ ﻫﺎﯼ‬

‫ﻣﯿﺰﺍﻥ‪ .‬ﻫﻤﭽﻨﯿﻦ ﺑﻪ ﺩﻧﺒﺎﻝ ﮐﺸﻒ ﻧﻘﺶ ﺍﺑﺰﺍﺭﻫﺎﯼ ﺑﺼﺮﯼ ﺩﺭ ﻣﯿﺎﻧﺠﯽ ﮔﺮﯼ ﺩﺍﻧﺶ ﺩﺭ ﻓﺮﻫﻨﮓ ﻫﺎﯼ ﯾﺎﺩﮔﯿﺮﯼ ﺻﻮﻓﯿﺎﻧﻪ ﺍﺳﺖ‪.‬‬

‫ﺍﻭﯾﻦﮐﺮﺍﭘﻒ‬

‫ﺩﺍﻧﺸﮕﺎﻩﻣﯿﺸﯿﮕﺎﻥ‪ ،‬ﺍﯾﺎﻻﺕ ﻣﺘﺤﺪﻩ‬ ‫"ﺍﺳﺘﻌﺎﺭﻩ ﻫﺎﯼ ﻣﻌﻘﻮﻝ"‪:‬‬

‫ﺗﺼﺎﻭﻳﺮﺩﺭ ﺭﻭﺍﻳﺎﺕ ﺍﻟﺸﻌﺮﺍﻧﻲﺍﻟﻤﯿﺰﺍﻥ ﺍﻟﮑﺒﺮﯼ‬

‫ﻧﻮﺷﺘﻪ ﻫﺎﯼﺻﻮﻓﯽ ﻭ ﻣﺤﻘﻖ ﭘﺮﮐﺎﺭ ﻣﺼﺮﯼ‪ ،‬ﻋﺒﺪﺍﻟﻮﻫﺎﺏ ﺍﻟﺸﻌﺮﺍﻧﯽ )ﻣﺘﻮﻓﯽ ‪ (1565‬ﻧﺸﺎﻥ ﺩﻫﻨﺪﻩ ﻋﻼﻗﻪ ﯼ ﭼﺸﻤﮕﯿﺮ ﺑﻪ ﺩﻏﺪﻏﻪ ﻫﺎﯼ‬

‫ﺣﻘﻮﻗﯽﻭ ﻣﻌﻨﻮﯼ ﻣﺮﺩﻡ ﻋﺎﺩﯼ ﺍﺳﺖ‪ ،‬ﺑﻪ ﻭﯾﮋﻩ ﺳﺮﺩﺭﮔﻤﯽ ﺁﻥ ﻫﺎ ﭘﯿﺮﺍﻣﻮﻥ ﺑﺤﺚ ﻫﺎﯼ ﻋﻠﻤﺎ ﻭ ﻓﻘﻬﺎﯼ ﺟﻬﺎﻥ‪ .‬ﻣﺪﺍﺭﺱ ﺣﻘﻮﻗﯽ ﻣﺨﺘﻠﻒ‬ ‫ﺩﺭﮐﺎﺭ ﺍﻭ ﺩﺭ ﺍﻭﺍﺳﻂ ﻗﺮﻥ ﺷﺎﻧﺰﺩﻫﻢﺍﻟﻤﯿﺰﺍﻥ ﺍﻟﮑﺒﺮﯼ)ﺗﻌﺎﺩﻝ ﺑﺰﺭﮒﺍﻟﺸﻌﺮﺍﻧﯽ ﺑﺮﺍﯼ ﺍﻋﺘﻘﺎﺩﺵ ﺑﻪ ﺍﻋﺘﺒﺎﺭ ﻭ ﺑﺮﺍﺑﺮﯼ ﻫﻤﻪ ﻣﮑﺎﺗﺐ ﺣﻘﻮﻗﯽ ﻭ‬

‫ﻣﻨﺸﺄﺁﻧﻬﺎ ﺩﺭ ﯾﮏ ﻣﻨﺒﻊ‪ ،‬ﺗﻮﺟﯿﻬﯽ ﻧﻈﺮﯼ ‪ -‬ﮐﻪ ﺭﯾﺸﻪ ﺩﺭ ﻣﻔﺮﻭﺿﺎﺕ ﺻﻮﻓﯿﺎﻧﻪ ﺩﺍﺭﺩ ‪ -‬ﺍﺭﺍﺉﻪ ﻣﯽ ﮐﻨﺪ‪ .‬ﻃﺒﻖ ﮔﺰﺍﺭﺵ ﺧﻮﺩﺵ‪،‬‬

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‫ﺍﯾﻠﮑﺮﺍﻭﺭﯾﻢ ﺑﯿﻨﺒﺎﺵ‬

‫ﺩﺍﻧﺸﮕﺎﻩﻟﻨﺪﻥ‪ ،‬ﺍﻧﮕﻠﺴﺘﺎﻥ‬

‫"ﺳﺎﯾﻪ ﺍﺟﺪﺍﺩ"‪:‬‬ ‫ﭘﯿﮑﺮﺑﻨﺪﯼﻣﺠﺪﺩ ﮔﺬﺷﺘﻪ ﺩﺭ ﺩﺭﺧﺘﺎﻥ ﺗﺒﺎﺭﺷﻨﺎﺳﯽ ﻋﺜﻤﺎﻧﯽ‬

‫ﺩﺭﺧﺖﺗﺒﺎﺭﺷﻨﺎﺳﯽ ﺑﻪ ﻋﻨﻮﺍﻥ ﯾﮏ ﮊﺍﻧﺮ ﺗﺎﺭﯾﺦ ﻧﮕﺎﺭﯼ ﺩﺭ ﻗﺮﻥ ﺳﯿﺰﺩﻫﻢ ﻇﻬﻮﺭ ﮐﺮﺩ‪ ،‬ﺯﻣﺎﻧﯽ ﮐﻪ ﺩﻭﺩﻣﺎﻥ ﺳﻠﺴﻠﻪ ﺣﺎﮐﻢ ﻧﯿﺎﺯ ﺑﻪ ﺗﻌﺮﯾﻒ ﺍﻗﺘﺪﺍﺭ‬

‫ﺣﺎﮐﻤﯿﺖﺧﻮﺩ ﺩﺭ ﺑﺤﺮﺍﻥ ﻣﺸﺮﻭﻃﻪ ﺩﺭ ﺣﺎﻝ ﻇﻬﻮﺭ ﻣﺤﯿﻂ ﺳﯿﺎﺳﯽ ﭘﺲ ﺍﺯ ﺧﻠﯿﻔﻪ ﺩﺍﺷﺘﻨﺪ‪ .‬ﻧﻤﻮﻧﻪ ﻫﺎﯼ ﻣﻮﺟﻮﺩ ﻧﺸﺎﻥ ﻣﯽ ﺩﻫﻨﺪ ﮐﻪ ﺩﺭﺧﺖ‬

‫ﺷﺠﺮﻩ ﻧﺎﻣﻪﺍﺑﺰﺍﺭ ﻣﻨﺎﺳﺒﯽ ﺭﺍ ﺩﺭ ﺍﺧﺘﯿﺎﺭ ﻣﻘﺎﻣﺎﺕ ﺳﯿﺎﺳﯽ ﻗﺮﺍﺭ ﻣﯽ ﺩﻫﺪ ﺗﺎ ﮔﺬﺷﺘﻪ ﺭﺍ ﺑﺎ ﺣﺎﻝ ﺑﻪ ﺷﮑﻠﯽ ﺧﻄﯽ ﯾﮑﯽ ﮐﻨﻨﺪ‪ .‬ﺑﻪ ﻋﺒﺎﺭﺕ ﺩﯾﮕﺮ‪،‬‬ ‫ﺩﺭﺧﺖﺗﺒﺎﺭﺷﻨﺎﺳﯽ ﺑﺴﺘﺮﯼ ﺑﻮﺩ ﮐﻪ ﻣﯽ ﺗﻮﺍﻥ ﺑﺮ ﺭﻭﯼ ﺁﻥ ﻃﯿﻒ ﮐﺎﻣﻠﯽ ﺍﺯ ﺗﮑﻨﯿﮏ ﻫﺎﯼ ﺑﺼﺮﯼ ﻭ ﺭﻭﺍﯾﯽ ﺑﺮﺍﯼ ﺗﻔﺴﯿﺮ ﻣﺠﺪﺩ ﮔﺬﺷﺘﻪ ﺑﺪﻭﻥ‬

‫ﺗﻐﯿﯿﺮﺧﻄﻮﻁ ﮐﻠﯽ ﻧﮕﺮﺵ ﺗﺎﺭﯾﺨﯽ ﺑﻪ ﮐﺎﺭ ﮔﺮﻓﺖ‪.‬‬

‫ﺍﻋﺘﻘﺎﺩﺍﻭ ﺑﺎ ﺭﺅﯾﺎﯾﯽ ﺗﺄﯾﯿﺪ ﺷﺪ ﮐﻪ ﺩﺭ ﺁﻥ ﺑﺎ ﺣﻀﺮﺕ ﺧﻀﺮ ﺭﻭﺑﺮﻭ ﺷﺪ ﻭ ﻣﻨﺸﺄ ﺷﺮﯾﻌﺖ ﺭﺍ ﺑﺮﺍﯼ ﺧﻮﺩ ﺩﯾﺪ‪.‬‬ ‫ﭘﯿﺶﺍﺯ ﺍﯾﻦ ﻣﻼﻗﺎﺕ‪ ،‬ﺷﻌﺮﺍﻧﯽ ﺍﺯ ﻣﻬﻤﺘﺮﯾﻦ ﺷﯿﺦ ﺧﻮﺩ‪ ،‬ﻋﻠﯽ ﺍﻟﺨﻮﺍﺹ ﺍﻟﺒﺮﻭﻟﻮﺳﯽ )ﻣﺘﻮﻓﯽ ‪ 1532‬ﯾﺎ ‪ (1533‬ﺍﺯ ﻣﻬﻤﺘﺮﯾﻦ ﺷﯿﺦ ﺧﻮﺩ‪،‬‬

‫ﮐﺘﮏﮐﺎﺭﯼ ﺑﺮﮒ ﺧﺮﻣﺎ ﺑﯿﺴﻮﺍﺩ‪ ،‬ﭘﺮﺳﯿﺪﻩ ﺑﻮﺩ ﮐﻪ ﮐﺪﺍﻡ ﻣﮑﺘﺐ ﺣﻘﻮﻗﯽ ﺑﻬﺘﺮ ﺍﺳﺖ‪ .‬ﺷﯿﺦ ﺩﺭ ﭘﺎﺳﺦ ﺑﺎ ﭼﻮﺏ ﺧﻮﺩ ﻧﻤﻮﺩﺍﺭﯼ ﺑﺮ ﺭﻭﯼ ﺩﯾﻮﺍﺭ‬

‫ﮐﺸﯿﺪﮐﻪ ﻣﻨﺒﻊ ﻣﺸﺘﺮﮎ ﻣﮑﺎﺗﺐ ﺣﻘﻮﻗﯽ ﺭﺍ ﻧﺸﺎﻥ ﻣﯽ ﺩﺍﺩ‪ .‬ﺍﻭ ﺍﺯ ﺍﯾﻦ ﻧﻤﻮﺩﺍﺭ ﺍﺳﺘﻔﺎﺩﻩ ﮐﺮﺩ ﺗﺎ ﺗﻮﺿﯿﺢ ﺩﻫﺪ ﮐﻪ ﻫﯿﭻ ﻣﮑﺘﺒﯽ ﺑﻬﺘﺮ ﺍﺯ ﻫﯿﭻ‬

‫ﻣﺪﺭﺳﻪﺍﯼ ﺍﺩﻋﺎﯼ ﻗﺎﻧﻮﻥ ﻧﺪﺍﺭﺩ‪.‬‬

‫ﺍﻟﺸﻌﺮﺍﻧﯽﺑﻪ ﭘﯿﺮﻭﯼ ﺍﺯ ﺷﯿﺦ ﺧﻮﺩ‪ ،‬ﺗﻌﺪﺍﺩﯼ ﺗﺼﻮﯾﺮ ﻧﮕﺎﺭﻩ ﺭﺍ ﮔﻨﺠﺎﻧﺪﻩ ﺍﺳﺖ ‪ -‬ﮐﻪ ﺍﻭ ﺁﻧﻬﺎ ﺭﺍ ﻧﺎﻣﯿﺪﻩ ﺍﺳﺖ‪.‬ﺍﻣﺜﺎﻝ ﻣﺤﺴﻮﺳﻪﯾﺎ "ﺍﺳﺘﻌﺎﺭﻩ‬

‫ﻫﺎﯼﻣﻌﻘﻮﻝ" ‪ -‬ﺩﺭ ﻣﻘﺪﻣﻪ ﺍﻭﻣﯿﺰﺍﻥ‪ .‬ﺣﺪﺍﻗﻞ ﯾﮑﯽ ﺍﺯ ﺍﯾﻦ ﺗﺎﺑﻠﻮﻫﺎ ﺑﻪ ﻭﺿﻮﺡ ﺑﺎﺯﺗﻮﻟﯿﺪ ﺗﻮﺿﯿﺤﯽ ﺍﺳﺖ ﮐﻪ ﺍﻭ ﺍﺯ ﺷﯿﺦ ﺧﻮﺩ ﺑﻪ ﺻﻮﺭﺕ‬

‫ﺗﺼﻮﯾﺮﯼﺩﺭﯾﺎﻓﺖ ﮐﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻟﺸﻌﺮﺍﻧﯽ ﺑﺎ ﻣﻌﺮﻓﯽ ﻭ ﺯﯾﺮﻧﻮﯾﺲ ﻧﮕﺎﺭﻩ ﻫﺎ‪ ،‬ﺩﺳﺘﻮﺭﺍﺗﯽ ﺑﺮﺍﯼ ﺩﯾﺪﻥ ﻭ ﺗﻌﻤﻖ ﺍﯾﻦ ﺍﺳﺘﻌﺎﺭﻩ ﻫﺎﯼ ﺑﺼﺮﯼ ﺑﻪ‬

‫ﻣﻨﻈﻮﺭﺷﻨﺎﺧﺖ ﻣﻔﺎﻫﯿﻤﯽ ﮐﻪ ﺩﻻﻟﺖ ﺑﺮ ﺁﻥ ﻫﺎ ﺩﺍﺭﻧﺪ‪ ،‬ﺩﺍﺭﺩ‪ .‬ﺍﯾﻦ ﺩﺳﺘﻮﺭﺍﺕ ﻋﻼﻭﻩ ﺑﺮ ﺭﻭﺷﻦ ﺳﺎﺧﺘﻦ ﻣﻔﺎﻫﯿﻢ ﺑﺮﺍﯼ ﻣﺨﺎﻃﺒﺎﻥ ﻏﯿﺮ ﺭﻭﺣﺎﻧﯽ‬ ‫ﺧﻮﺩ‪،‬ﻣﻨﻌﮑﺲ ﮐﻨﻨﺪﻩ ﻣﻔﺎﻫﯿﻢ ﺻﻮﻓﯿﺎﻧﻪ ﺍﺯ ﺩﻟﻬﺮﻩ ﺍﺳﺖ ‪ -‬ﻣﺎﻧﻨﺪ ﺁﻧﭽﻪ ﺩﺭ ﺁﺛﺎﺭ ﻣﻨﺴﻮﺏ ﺑﻪ ﻏﺰﺍﻟﯽ ﻭ ﺍﺑﻦ ﻋﺮﺑﯽ ﮐﻪ ﻣﻌﺮﻭﻑ ﺍﺳﺖ ﺷﻌﺮﺍﻧﯽ‬

‫ﻋﺜﻤﺎﻧﯽ ﻫﺎﻭﺍﺭﺙ ﺷﯿﻮﻩ ﻫﺎﯼ ﻣﻐﻮﻝ ﻭ ﺗﯿﻤﻮﺭﯼ ﺩﺭ ﺳﺮﻭﺩﻥ ﺩﺭﺧﺖ ﻫﺎﯼ ﻧﺴﺐ ﺷﻨﺎﺧﺘﯽ ﺑﻮﺩﻧﺪ‪ ،‬ﺍﻣﺎ ﺁﻧﻬﺎ ﻫﻤﭽﻨﯿﻦ ﺑﻪ ﺷﺪﺕ ﻣﺠﻤﻮﻋﻪ‬

‫ﺍﺩﺑﯽﻭ ﺑﺼﺮﯼ ﺍﯾﻦ ﮊﺍﻧﺮ ﺭﺍ ﮔﺴﺘﺮﺵ ﺩﺍﺩﻧﺪ‪ .‬ﺍﺯ ﺑﻪ ﺍﺻﻄﻼﺡ ﺗﻮﻣﺎﺭﯼ ﻫﻤﺎﯾﻮﻥ)ﮐﻪ ﺩﺭ ﮐﺎﺭﮔﺎﻩ ﻫﺎﯼ ﮐﺎﺥ ﺩﺭ ﺍﺳﺘﺎﻧﺒﻮﻝ ﺩﺭ ﺯﻣﺎﻥ ﺳﻠﻄﻨﺖ‬

‫ﺳﻠﯿﻤﺎﻥﺑﺎﺷﮑﻮﻩ ﺗﺎ (‪Topkapı Sarayı Kütüphanesi A. 3599‬ﺳﺒﺤﺎﺕ ﺍﻻﺣﺒﺎﺭ ﯾﮏ ﺳﻠﺴﻠﻪ ﺩﺭﺧﺖ ﻧﺴﺐ ﺷﻨﺎﺧﺘﯽ ﮐﭙﯽ ﺑﺮﺩﺍﺭﯼ‬

‫ﺁﻧﻬﺎﺭﺍ ﻣﻄﺎﻟﻌﻪ ﮐﺮﺩﻩ ﺍﺳﺖ ‪ -‬ﮐﻪ ﻧﯿﺎﺯ ﺑﻪ ﻣﻌﻨﻮﯼ ﺩﺍﺭﺩ‪ .‬ﻣﯿﺎﻧﺠﯿﮕﺮﯼ ﺑﺼﺮﯼ ﺩﺭ ﻭﺍﻗﻊ‪ ،‬ﻧﻤﻮﺩﺍﺭﻫﺎﯼ ﻣﺮﺑﻮﻁ ﺑﻪ ﻣﻔﺎﻫﯿﻢ ﻫﺴﺘﯽ ﺷﻨﺎﺧﺘﯽ ﻭ‬

‫ﮐﯿﻬﺎﻥ ﺷﻨﺎﺧﺘﯽﺩﺭ ﻧﻮﺷﺘﻪ ﻫﺎﯼ ﺻﻮﻓﯿﺎﻧﻪ ﺩﯾﮕﺮ ﻇﺎﻫﺮ ﻣﯽ ﺷﻮﻧﺪ‪ ،‬ﺍﮔﺮﭼﻪ ﺍﻫﻤﯿﺖ ﺁﻧﻬﺎ ﺑﻪ ﻋﻨﻮﺍﻥ ﻭﺍﺳﻄﻪ ﻫﺎﯼ ﺑﺼﺮﯼ ﺗﺎ ﺣﺪ ﺯﯾﺎﺩﯼ ﻣﻮﺭﺩ‬ ‫ﻣﻄﺎﻟﻌﻪﻗﺮﺍﺭ ﻧﮕﺮﻓﺘﻪ ﺍﺳﺖ‪.‬‬

‫ﺷﺪﻩﮐﻪ ﺯﻣﺎﻧﯽ ﺩﺭ ﻗﺮﻥ ﻫﻔﺪﻫﻢ ﺳﺎﺧﺘﻪ ﺷﺪ‪ ،‬ﺩﺭﺧﺘﺎﻥ ﻧﺴﺐ ﺷﻨﺎﺧﺘﯽ ﻋﺜﻤﺎﻧﯽ ﺩﺭ ﻗﺮﻥ ﺷﺎﻧﺰﺩﻫﻢ ﺍﺑﺰﺍﺭ ﻣﺘﻨﯽ ﺍﻭﻟﯿﻪ ﺍﯼ ﺑﻮﺩﻧﺪ ﮐﻪ ﺍﺯ ﻃﺮﯾﻖ‬ ‫ﺁﻥﺗﺼﻮﯾﺮﺳﺎﺯﯼ ﺳﻠﺴﻠﻪ ﺍﯼ ﻋﺜﻤﺎﻧﯽ‪ ،‬ﯾﮏ ﺟﻬﺎﻥ ﺑﯿﻨﯽ ﺟﻬﺎﻧﯽ ﻭ ﺗﺎﺭﯾﺨﯽ ﺭﺍ ﺑﻪ ﻧﻤﺎﯾﺶ ﮔﺬﺍﺷﺖ‪ .‬ﺩﺭ ﺍﯾﻦ ﺩﺭﺧﺘﺎﻥ ﺷﺠﺮﻩ ﻧﺎﻣﻪ‪ ،‬ﺳﻠﺴﻠﻪ‬

‫ﻋﺜﻤﺎﻧﯽﺑﻪ ﻋﻨﻮﺍﻥ ﻧﻘﻄﻪ ﺍﻭﺝ ﯾﮏ ﭘﯿﺸﺮﻓﺖ ﺗﺎﺭﯾﺨﯽ ﻣﻌﺎﺩ ﺷﻨﺎﺧﺘﯽ ﺍﺭﺍﺉﻪ ﺷﺪ‪ .‬ﺑﻪ ﻧﻈﺮ ﻣﯽ ﺭﺳﺪ ﮐﻪ ﺩﺭﺧﺘﺎﻥ ﺗﺒﺎﺭﺷﻨﺎﺳﯽ ﻣﺘﺄﺧﺮ ﻋﺜﻤﺎﻧﯽ‬

‫ﺍﻫﻤﯿﺖﭘﯿﮑﺘﻮﮔﺮﺍﻡ ﻫﺎ ﺑﺮﺍﯼ ﺍﻧﺘﻘﺎﻝ ﻣﺪﺍﻭﻡ ﺍﺛﺮ ﻭ ﻣﻔﺎﻫﯿﻢ ﺁﻥ ﺩﺭ ﺑﺎﺯﺗﻮﻟﯿﺪ ﻭﻓﺎﺩﺍﺭﺍﻧﻪ ﺁﻧﻬﺎ ﺩﺭ ﻧﺴﺨﻪ ﻫﺎﯼ ﺧﻄﯽ ﻣﺘﻌﺪﺩﯼ ﮐﻪ ﺩﺭ ﻗﺮﻥ ﻫﺎﯼ‬

‫ﺑﻌﺪﺗﺎﺭﯾﺨﯽ ﺧﻮﺩ ﺭﺍ ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻩ ﺍﻧﺪ ﻭ ﻭﺿﻌﯿﺖ ﺻﺮﻓﺎ ًﺷﺠﺮﻩ ﻧﺎﻣﻪ ﺭﺍ ﺑﻪ ﺩﺳﺖ ﺁﻭﺭﺩﻩ ﺍﻧﺪ‪ .‬ﺩﺭ ﻣﻘﺎﻟﻪ ﺧﻮﺩ‪ ،‬ﻣﺤﺘﻮﯾﺎﺕ ﻭ ﺳﺎﺯﻣﺎﻧﺪﻫﯽ ﺭﺍ ﺑﺎ‬

‫ﭘﺲﺍﺯ ﺗﺮﮐﯿﺐ ﺍﺛﺮ ﺗﻮﻟﯿﺪ ﺷﺪﻩ ﺍﻧﺪ ﻣﻨﻌﮑﺲ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺑﺎ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻦ ﯾﮏ ﻧﺴﺨﻪ ﺧﻄﯽ ﻗﺮﻥ ﻫﻔﺪﻫﻤﯽ ﺍﺯ ﮐﺘﺎﺏﻣﯿﺰﺍﻥﺍﯾﻦ ﻣﻘﺎﻟﻪ ﮐﻪ‬

‫‪ ،Tabaka-yi Mülûk-i‬ﺩﺭﺧﺖ ﻣﻬﻢ ﺷﺠﺮﻩ ﻧﺎﻣﻪ ﺍﯼ ﮐﻪ ﺍﻣﺮﻭﺯﻩ ﺑﺨﺸﯽ ﺍﺯ ﻣﺠﻤﻮﻋﻪ ﻧﺴﺦ ﺧﻄﯽ ﻏﻨﯽ ﺍﺳﻼﻣﯽ ﺩﺍﻧﺸﮕﺎﻩ ﻣﯿﺸﯿﮕﺎﻥ ﺍﺳﺖ‪.‬‬

‫ﻋﺜﻤﺎﻧﯽﺩﺭ ﻃﻮﻝ ﻗﺮﻥ ﻫﺎﯼ ‪ 17‬ﻭ ‪ 18‬ﺍﺳﺘﻔﺎﺩﻩ ﻣﯽ ﮐﻨﺪ ﺗﺎ ﻧﻘﺶ ﺍﯾﻦ ﺍﺳﺘﻌﺎﺭﻩ ﻫﺎﯼ ﺑﺼﺮﯼ ﺩﺭ ﺍﻧﺘﻘﺎﻝ ﻣﻔﺎﻫﯿﻢ ﮐﻠﯿﺪﯼ ﺭﺍ ﺗﺤﻠﯿﻞ ﮐﻨﺪ‪.‬‬

‫ﻫﻢﻣﻘﺎﯾﺴﻪ ﺧﻮﺍﻫﻢ ﮐﺮﺩ ‪Tomar-ı Hümayun)Österreichische Staatsbibliothek HO 11(،‬ﻭ ﺳﺒﺤﺎﺕ ﺍﻻﺣﺒﺎﺭﺑﺎ‪Osmâniyân‬‬

‫ﻣﻘﺎﻟﻪﻣﻦ ﺍﺳﺘﺪﻻﻝ ﻣﯽ ﮐﻨﺪ ﮐﻪ ﺩﺭﺧﺘﺎﻥ ﺷﺠﺮﻩ ﻧﺎﻣﻪ ﻋﺜﻤﺎﻧﯽ ﭘﺲ ﺍﺯ ﻗﺮﻥ ﻫﻔﺪﻫﻢ ﺭﻭﻧﺪ ﻋﺎﺩﯼ ﺳﺎﺯﯼ ﮔﻔﺘﻤﺎﻥ ﺗﺎﺭﯾﺨﯽ ﺭﺍ ﻃﯽ ﮐﺮﺩﻧﺪ‪.‬‬

‫ﺩﺭﮐﺘﺎﺑﺨﺎﻧﻪ ﺩﺍﻧﺸﮕﺎﻩ ﻣﯿﺸﯿﮕﺎﻥ ﺑﺮﮔﺰﺍﺭ ﻣﯽ ﺷﻮﺩ‪ ،‬ﺍﺯ ﺷﻮﺍﻫﺪ ﻣﺠﻤﻮﻋﻪ ﺍﯼ ﺍﺯ ﻧﺴﺨﻪ ﻫﺎﯼ ﺧﻄﯽ ﺗﻮﻟﯿﺪ ﺷﺪﻩ ﻋﻤﺪﺗﺎ ًﺩﺭ ﺳﺮﺯﻣﯿﻦ ﻫﺎﯼ‬

‫ﻣﯿﺰﺍﻥ‪ .‬ﻫﻤﭽﻨﯿﻦ ﺑﻪ ﺩﻧﺒﺎﻝ ﮐﺸﻒ ﻧﻘﺶ ﺍﺑﺰﺍﺭﻫﺎﯼ ﺑﺼﺮﯼ ﺩﺭ ﻣﯿﺎﻧﺠﯽ ﮔﺮﯼ ﺩﺍﻧﺶ ﺩﺭ ﻓﺮﻫﻨﮓ ﻫﺎﯼ ﯾﺎﺩﮔﯿﺮﯼ ﺻﻮﻓﯿﺎﻧﻪ ﺍﺳﺖ‪.‬‬

‫ﺍﻭﯾﻦﮐﺮﺍﭘﻒ‬

‫ﺩﺍﻧﺸﮕﺎﻩﻣﯿﺸﯿﮕﺎﻥ‪ ،‬ﺍﯾﺎﻻﺕ ﻣﺘﺤﺪﻩ‬ ‫"ﺍﺳﺘﻌﺎﺭﻩ ﻫﺎﯼ ﻣﻌﻘﻮﻝ"‪:‬‬

‫ﺗﺼﺎﻭﻳﺮﺩﺭ ﺭﻭﺍﻳﺎﺕ ﺍﻟﺸﻌﺮﺍﻧﻲﺍﻟﻤﯿﺰﺍﻥ ﺍﻟﮑﺒﺮﯼ‬

‫ﻧﻮﺷﺘﻪ ﻫﺎﯼﺻﻮﻓﯽ ﻭ ﻣﺤﻘﻖ ﭘﺮﮐﺎﺭ ﻣﺼﺮﯼ‪ ،‬ﻋﺒﺪﺍﻟﻮﻫﺎﺏ ﺍﻟﺸﻌﺮﺍﻧﯽ )ﻣﺘﻮﻓﯽ ‪ (1565‬ﻧﺸﺎﻥ ﺩﻫﻨﺪﻩ ﻋﻼﻗﻪ ﯼ ﭼﺸﻤﮕﯿﺮ ﺑﻪ ﺩﻏﺪﻏﻪ ﻫﺎﯼ‬

‫ﺣﻘﻮﻗﯽﻭ ﻣﻌﻨﻮﯼ ﻣﺮﺩﻡ ﻋﺎﺩﯼ ﺍﺳﺖ‪ ،‬ﺑﻪ ﻭﯾﮋﻩ ﺳﺮﺩﺭﮔﻤﯽ ﺁﻥ ﻫﺎ ﭘﯿﺮﺍﻣﻮﻥ ﺑﺤﺚ ﻫﺎﯼ ﻋﻠﻤﺎ ﻭ ﻓﻘﻬﺎﯼ ﺟﻬﺎﻥ‪ .‬ﻣﺪﺍﺭﺱ ﺣﻘﻮﻗﯽ ﻣﺨﺘﻠﻒ‬ ‫ﺩﺭﮐﺎﺭ ﺍﻭ ﺩﺭ ﺍﻭﺍﺳﻂ ﻗﺮﻥ ﺷﺎﻧﺰﺩﻫﻢﺍﻟﻤﯿﺰﺍﻥ ﺍﻟﮑﺒﺮﯼ)ﺗﻌﺎﺩﻝ ﺑﺰﺭﮒﺍﻟﺸﻌﺮﺍﻧﯽ ﺑﺮﺍﯼ ﺍﻋﺘﻘﺎﺩﺵ ﺑﻪ ﺍﻋﺘﺒﺎﺭ ﻭ ﺑﺮﺍﺑﺮﯼ ﻫﻤﻪ ﻣﮑﺎﺗﺐ ﺣﻘﻮﻗﯽ ﻭ‬

‫ﻣﻨﺸﺄﺁﻧﻬﺎ ﺩﺭ ﯾﮏ ﻣﻨﺒﻊ‪ ،‬ﺗﻮﺟﯿﻬﯽ ﻧﻈﺮﯼ ‪ -‬ﮐﻪ ﺭﯾﺸﻪ ﺩﺭ ﻣﻔﺮﻭﺿﺎﺕ ﺻﻮﻓﯿﺎﻧﻪ ﺩﺍﺭﺩ ‪ -‬ﺍﺭﺍﺉﻪ ﻣﯽ ﮐﻨﺪ‪ .‬ﻃﺒﻖ ﮔﺰﺍﺭﺵ ﺧﻮﺩﺵ‪،‬‬

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‫ﭘﻨﺞﺿﻠﻌﯽ ﻭ ﺩﻩ ﺿﻠﻌﯽ ﺩﺭ ﻫﻨﺮ ﺍﺳﻼﻣﯽ‪:‬‬ ‫ﻫﻨﺪﺳﻪﺁﺷﮑﺎﺭ ﺷﺪﻩ ﺍﺳﺖ‬

‫ﺑﺮﺧﻼﻑ ﻣﺮﺑﻊ ﻫﺎ ﻭ ﻣﺜﻠﺚ ﻫﺎﯼ ﻣﺘﺴﺎﻭﯼ ﺍﻻﺿﻼﻉ‪ ،‬ﭘﻨﺞ ﺿﻠﻌﯽ ﻫﺎ ﻭ ﺩﻩ ﺿﻠﻌﯽ ﻫﺎﯼ ﻣﻨﺘﻈﻢ ﻧﻤﯽ ﺗﻮﺍﻧﻨﺪ‬

‫ﺻﻔﺤﻪﺭﺍ ﺗﺴﻤﻪ ﺩﻫﻨﺪ‪ .‬ﯾﻌﻨﯽ ﻧﻤﯽ ﺗﻮﺍﻧﻨﺪ ﻫﻮﺍﭘﯿﻤﺎ ﺭﺍ ﺑﺪﻭﻥ ﺷﮑﺎﻑ ﻭ ﺑﺪﻭﻥ ﻫﻤﭙﻮﺷﺎﻧﯽ ﺑﭙﻮﺷﺎﻧﻨﺪ‪ .‬ﺍﺯ ﭼﻨﺪ‬

‫ﺿﻠﻌﯽﻫﺎﯼ ﻣﻨﺘﻈﻢ )ﺁﻧﻬﺎﯾﯽ ﮐﻪ ﺍﺿﻼﻉ ﺑﺎ ﻃﻮﻝ ﻭ ﺯﻭﺍﯾﺎﯼ ﻣﺴﺎﻭﯼ ﺩﺍﺭﻧﺪ(‪ ،‬ﻓﻘﻂ ﻣﺜﻠﺚ ﻫﺎ‪ ،‬ﻣﺮﺑﻊ ﻫﺎ ﻭ ﺷﺶ‬

‫ﺿﻠﻌﯽﻫﺎﯼ ﻣﺘﺴﺎﻭﯼ ﺍﻻﺿﻼﻉ ﻣﯽ ﺗﻮﺍﻧﻨﺪ ﺻﻔﺤﻪ ﺭﺍ ﺗﺴﻠﯿﺢ ﮐﻨﻨﺪ‪ .‬ﺍﯾﻦ ﺣﻘﺎﯾﻖ ﻫﻨﺪﺳﯽ ﺍﺳﺎﺳﯽ ﺯﯾﺮﺑﻨﺎﯼ ﺑﺎﺯﯼ ﺑﺎ‬ ‫ﻧﻘﻮﺵﻫﻨﺪﺳﯽ ﺩﺭ ﻫﻨﺮ ﺍﺳﻼﻣﯽ ﻭ ﺳﺎﺧﺘﺎﺭ ﺩﻭﺑﻌﺪﯼ ﻧﻘﻮﺵ ﻫﻨﺪﺳﯽ ﺍﺳﻼﻣﯽ ﺩﺭ ﺻﻔﺤﻪ ﺍﺳﺖ‪ .‬ﻫﻤﻪ ﺍﯾﻦ‬

‫ﭘﻨﻞ‪4‬‬

‫ﮐﺎﺭﻭﻝﺑﯿﺮ‬ ‫ﺩﺍﻧﺸﮕﺎﻩﮐﺎﻟﯿﻔﺮﻧﯿﺎ‪ ،‬ﺑﺮﮐﻠﯽ‪ ،‬ﺍﯾﺎﻻﺕ ﻣﺘﺤﺪﻩ‬

‫ﻃﺮﺍﺣﯽﻫﻨﺪﺳﯽ ﭘﻨﺞ ﺿﻠﻌﯽ ﺑﺎﻋﺚ ﺍﯾﺠﺎﺩ ﭘﻨﺞ ﺿﻠﻌﯽ ﻭ ﺩﻩ ﺿﻠﻌﯽ ﻣﯽ ﺷﻮﺩ‪ .‬ﺍﯾﻦ ﺣﻮﺯﻩ ﺧﺎﺹ ﺍﺯ ﻃﺮﺍﺣﯽ ﻫﻨﺪﺳﯽ ﺍﺳﻼﻣﯽ ﺑﺮﺍﯼ ﻗﺮﻥ ﻫﺎ‬

‫ﺻﻨﻌﺘﮕﺮﺍﻥﺭﺍ ﺩﺭ ﺳﺮﺍﺳﺮ ﺟﻬﺎﻥ ﺍﺳﻼﻡ ﻣﺠﺬﻭﺏ ﺧﻮﺩ ﮐﺮﺩﻩ ﺍﺳﺖ‪ ،‬ﺯﯾﺮﺍ ﻗﻮﺍﻧﯿﻦ ﺁﻥ ﺑﺎ ﻗﻮﺍﻧﯿﻨﯽ ﮐﻪ ﺩﺭ ﻣﻮﺭﺩ ﻃﺮﺍﺣﯽ ﻫﻨﺪﺳﯽ ﭼﻬﺎﺭﮔﺎﻧﻪ ﻭ‬

‫ﺷﺸﮕﺎﻧﻪﺍﻋﻤﺎﻝ ﻣﯽ ﺷﻮﺩ ﻣﺘﻔﺎﻭﺕ ﺍﺳﺖ‪ .‬ﺗﺴﻠﻂ ﺑﺮ ﻃﺮﺍﺣﯽ ﻫﻨﺪﺳﯽ ﭘﻨﺠﮕﺎﻧﻪ ﺩﺷﻮﺍﺭﺗﺮ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﻓﺮﺻﺖ ﺑﯿﺸﺘﺮﯼ ﺑﺮﺍﯼ ﺧﻼﻗﯿﺖ ﻭ‬

‫ﻧﻮﺁﻭﺭﯼﺍﺭﺍﺉﻪ ﻣﯽ ﺩﻫﺪ‪.‬‬

‫ﺁﻧﭽﻪﺩﺭﮎ ﻧﻤﯽ ﺷﻮﺩ ﺍﯾﻦ ﺍﺳﺖ ﮐﻪ ﭼﮕﻮﻧﻪ ﻭ ﭼﺮﺍ ﺻﻨﻌﺘﮕﺮﺍﻥ ﺑﻪ ﺳﺎﺧﺘﻦ ﺍﻟﮕﻮﻫﺎﯼ ﭘﻨﺞ ﮔﺎﻧﻪ ﺁﻣﺪﻧﺪ‪ .‬ﺁﯾﺎ ﺁﻧﻬﺎ ﺍﺯ ﺍﻟﮕﻮﻫﺎﯼ ﭼﻬﺎﺭ ﻭ ﺷﺶ ﮔﺎﻧﻪ‬ ‫ﺷﺮﻭﻉﮐﺮﺩﻧﺪ ﻭ ﺑﺎ ﻣﻬﺎﺭﺕ ﺑﯿﺸﺘﺮ ﺩﺭ ﻣﺴﯿﺮ "ﺷﻐﻞ" ﺣﺮﻓﻪ ﺍﯼ ﺧﻮﺩ ﺑﻪ ﭘﻨﺞ ﺑﺮﺍﺑﺮ ﭘﯿﺸﺮﻓﺖ ﮐﺮﺩﻧﺪ؟ ﺁﯾﺎ ﺯﻣﺎﻧﯽ ﮐﻪ ﭼﺎﻟﺶ ﻫﺎ ﻭ ﻓﺮﺻﺖ ﻫﺎﯼ‬ ‫ﺧﻼﻗﺎﻧﻪﻃﺮﺍﺣﯽ ﭘﻨﺞ ﮔﺎﻧﻪ ﺭﺍ ﺗﺠﺮﺑﻪ ﮐﺮﺩﻧﺪ‪ ،‬ﻫﺮﮔﺰ ﺑﻪ ﺍﻟﮕﻮﻫﺎﯼ ﭼﻬﺎﺭ ﻭ ﺷﺶ ﮔﺎﻧﻪ ﺑﺎﺯﮔﺸﺘﻨﺪ؟ ﭼﮕﻮﻧﻪ ﻣﻬﺎﺭﺕ ﻫﺎﯼ ﺧﻮﺩ ﺭﺍ ﺗﻮﺳﻌﻪ ﺩﺍﺩﻧﺪ؟‬

‫ﭼﮕﻮﻧﻪﻣﻤﮑﻦ ﺍﺳﺖ ﮐﻪ ﺗﺮﮐﯿﺒﺎﺕ ﺑﺮﺝ ﻣﻘﺒﺮﻩ ﻣﺮﺍﻏﻪ ﻓﻮﻕ ﺍﻟﻌﺎﺩﻩ ﭘﯿﺸﺮﻓﺘﻪ ﻭ ﻣﺎﻫﺮﺍﻧﻪ ﺑﺎﺷﺪ؟ ﺁﯾﺎ ﺗﺮﮐﯿﺐ ﺩﻩ ﺑﺮﺍﺑﺮﯼ ﺑﺴﯿﺎﺭ ﻧﺎﺩﺭ ﺩﺭ ﻣﺪﺭﺳﻪ‬

‫‪ Bou Innaniya‬ﺩﺭ ﻓﺲ ﻣﯽ ﺗﻮﺍﻧﺪ ﭼﯿﺰﯼ ﺩﺭ ﻣﻮﺭﺩ ﺗﺮﺟﯿﺤﺎﺕ ﻃﺮﺍﺣﯽ ﺻﻨﻌﺘﮕﺮﺍﻥ ﻣﺎﺭﯾﻨﯽ ﺑﻪ ﻣﺎ ﺑﮕﻮﯾﺪ؟ ﭼﺮﺍ ﺗﻨﻬﺎ ﯾﮏ ﺗﺮﮐﯿﺐ ﻣﻮﺟﻮﺩ ﺑﺎ‬ ‫ﻃﺮﺡﺳﺘﺎﺭﻩ ﺍﯼ ﺑﯿﺴﺖ ﺑﺮﺍﺑﺮﯼ ﻭﺟﻮﺩ ﺩﺍﺭﺩ )ﺩﺭﺳﺎﺑﯿﻞﻣﺠﻤﻮﻋﻪ ﺍﻟﻐﻮﺭﯼ ﺩﺭ ﻗﺎﻫﺮﻩ(؟‬

‫ﻭﯾﮋﮔﯽﻫﺎﯼ ﻫﻨﺪﺳﯽ ﺑﺮ ﺗﻘﺴﯿﻤﺎﺕ ﺩﺍﯾﺮﻩ ﺗﮑﯿﻪ ﺩﺍﺭﻧﺪ‪.‬‬

‫ﻣﺮﺗﺒﻂ‪،‬ﻣﺎﻧﻨﺪ ﺩﻩ ﺿﻠﻌﯽ‪ ،‬ﺳﺘﺎﺭﻩ ﻫﺎﯼ ﭘﻨﺞ ﭘﺮ‪ ،‬ﻭ ﺳﺘﺎﺭﻩ ﻫﺎﯼ ﺩﻩ ﭘﺮ ﺩﺭ ﺍﻟﮕﻮﻫﺎﯼ ﺻﻔﺤﻪ ﺗﺄﮐﯿﺪ ﻣﯽ ﮐﻨﻨﺪ‪.‬‬

‫ﺍﯾﻦﻣﻘﺎﻟﻪ ﺑﺎ ﻧﮕﺎﻫﯽ ﺑﻪ ﻫﻨﺮ ﺍﺳﻼﻣﯽ‪ ،‬ﻭ ﺑﺎ ﺍﺳﺘﻨﺎﺩ ﺑﻪ ﻣﻨﺎﺑﻊ ﻣﺘﻨﯽ ﺍﺯ ﺟﻤﻠﻪ ﺭﺳﺎﻟﻪ ﻫﺎﯼ ﺭﯾﺎﺿﯽ‪ ،‬ﺯﻧﺪﮔﯽ ﻧﺎﻣﻪ ﻫﺎﯼ‬

‫ﻋﻠﻤﯽ‪،‬ﻭ ﺷﻌﺮ‪ ،‬ﺗﻔﺴﯿﺮﯼ ﺍﺯ ﺍﻟﮕﻮﻫﺎﯼ ﻫﻨﺪﺳﯽ ﺭﺍ ﺍﺭﺍﺉﻪ ﻣﯽ ﮐﻨﺪ ﮐﻪ ﻣﺮﺑﻮﻁ ﺑﻪ ﻣﻄﺎﻟﻌﻪ ﺭﯾﺎﺿﯿﺎﺕ ﭘﺴﺎﺍﻗﻠﯿﺪﺳﯽ‬

‫ﺩﺭﺳﺮﺯﻣﯿﻦ ﻫﺎﯼ ﺍﺳﻼﻣﯽ ﺷﺮﻗﯽ ﺩﺭ ﻗﺮﻭﻥ ‪ 10‬ﺗﺎ ‪ 12‬ﺍﺳﺖ‪ .‬ﺟﻮﺯﺟﺎﻧﯽ ﻣﻮﺭﺥ ﻗﺮﻥ ﺳﯿﺰﺩﻫﻢ ﺑﻪ "ﻫﻨﺪﺳﻪ ﺁﺷﮑﺎﺭ‬

‫ﺟﯽﺑﻮﻧﺮ‬ ‫ﻣﺸﺎﻭﺭﻃﺮﺍﺣﯽ ﻣﺴﺘﻘﻞ‬

‫ﺷﺪﻩ" ﺩﺭ ﻣﻌﻤﺎﺭﯼ ﺍﺷﺎﺭﻩ ﻣﯽ ﮐﻨﺪ‪ .‬ﺍﺳﺘﺪﻻﻝ ﻣﯽ ﺷﻮﺩ ﮐﻪ ﮐﺎﻭﺵ ﻫﺎﯼ ﻓﺸﺮﺩﻩ ﺟﺒﺮ ﻭ ﻫﻨﺪﺳﻪ‪ ،‬ﺑﻪ ﻭﯾﮋﻩ‪ ،‬ﻣﻄﺎﻟﻌﻪ‬

‫ﻧﻘﺶﺳﺎﺯﻧﺪﻩ ﺩﻩ ﺿﻠﻌﯽ ﻭ ﭘﻨﺘﺎﮔﻮﻥ ﺩﺭ ﺗﻮﺳﻌﻪ‬ ‫ﻃﺮﺍﺣﯽﻫﻨﺪﺳﯽ ﺍﺳﻼﻣﯽ‬

‫ﯾﮏﺭﺳﺎﻟﻪ ﻋﺜﻤﺎﻧﯽ ﺩﺭ ﻗﺮﻥ ﻫﻔﺪﻫﻢ ﺍﯾﻦ ﺭﺍﺑﻄﻪ ﺭﺍ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﻧﻘﺶ ﻫﻨﺪﺳﻪ ﺩﺭ ﺁﻣﻮﺯﺵ ﻣﻌﻤﺎﺭﺍﻥ‪ ،‬ﮐﻪ ﺷﺎﻣﻞ ﺗﻬﯿﻪ‬

‫ﺗﺰﯾﯿﻨﺎﺕﻣﻌﻤﺎﺭﯼ ﺧﻮﺩ ﮐﺮﺩﻧﺪ‪ .‬ﻧﻤﻮﻧﻪ ﻫﺎﯾﯽ ﺍﺯ ﻣﻨﺎﺭﻩ ﻣﺴﻌﻮﺩ ﺳﻮﻡ ﺩﺭ ﮔﺰﻧﯽ )‪ ،(1115-1099‬ﻣﺴﺠﺪ ﺟﻤﻌﻪ ﮔﻠﭙﺎﯾﮕﺎﻥ )‪،(1818-1105‬‬

‫ﻭﯾﮋﮔﯽﻫﺎﯼ ﭼﻨﺪﺿﻠﻌﯽ ﻫﺎ‪ ،‬ﺑﯿﺎﻥ ﺑﺼﺮﯼ ﺭﺍ ﺩﺭ ﻣﻌﻤﺎﺭﯼ ﻭ ﻫﻨﺮ ﭘﯿﺪﺍ ﮐﺮﺩ‪.‬‬

‫ﻣﻨﺒﺖﮐﺎﺭﯼ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻣﺮﻭﺍﺭﯾﺪ ﺑﻮﺩ‪ ،‬ﺑﯿﺎﻥ ﻣﯽ ﮐﻨﺪ‪.‬ﺻﺪﻓﮑﺎﺭ(‪ .‬ﻧﻤﻮﻧﻪ ﻫﺎﯼ ﺑﺴﯿﺎﺭﯼ ﺍﺯ ﺍﯾﻦ ﺻﻨﻌﺖ ﻣﻌﺘﺒﺮ‬

‫ﻋﺜﻤﺎﻧﯽﺍﻣﺮﻭﺯﻩ ﺩﺭ ﮐﺎﺥ ﺗﻮﭘﮑﺎﭘﯽ ﻭ ﺳﺎﯾﺮ ﻣﺠﻤﻮﻋﻪ ﻫﺎﯼ ﻣﻮﺯﻩ ﺑﺎﻗﯽ ﻣﺎﻧﺪﻩ ﺍﺳﺖ ﮐﻪ ﺗﺴﻠﻂ ﺑﺮ ﭼﺎﻟﺶ ﻫﺎﯼ ﭘﻨﺞ‬

‫ﺿﻠﻌﯽﻭ ﺩﻩ ﺿﻠﻌﯽ ﺭﺍ ﺩﺭ ﺳﺎﺧﺘﻦ ﺍﻟﮕﻮﻫﺎﯼ ﻫﻨﺪﺳﯽ ﺩﺭ ﻫﻮﺍﭘﯿﻤﺎ ﻧﺸﺎﻥ ﻣﯽ ﺩﻫﺪ‪.‬‬

‫ﺍﺭﯾﮏﺑﺮﻭﮒ‬ ‫ﻧﻮﯾﺴﻨﺪﻩﻭ ﻃﺮﺍﺡ ﻣﺴﺘﻘﻞ‬

‫ﺍﺯﺁﻏﺎﺯ ﻗﺮﻥ ﺩﻭﺍﺯﺩﻫﻢ‪ ،‬ﻫﻨﺮﻣﻨﺪﺍﻥ ﻫﻨﺪﺳﯽ ﻣﺴﻠﻤﺎﻥ ﺩﺭ ﺧﺮﺍﺳﺎﻥ ﻭ ﺷﺮﻕ ﺍﯾﺮﺍﻥ ﺷﺮﻭﻉ ﺑﻪ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻧﻘﻮﺵ ﺑﺎ ﺗﻘﺎﺭﻥ ﭘﻨﺞ ﺑﺮﺍﺑﺮﯼ ﺩﺭ‬ ‫ﻣﻘﺒﺮﻩﮐﻮﺍﺟﻪ ﺍﺗﺎﺑﮏ ﺩﺭ ﮐﺮﻣﺎﻥ )‪ (1100-50‬ﻭ ﻃﺎﻕ ﺗﺸﺮﯾﻔﺎﺗﯽ ﺩﺭ ﺑﺴُﺖ )ﭘﺲ ﺍﺯ ‪ (1149‬ﯾﺎﻓﺖ ﺷﺪﻩ ﺍﺳﺖ‪ ( .‬ﻫﺴﺘﻨﺪ‬

‫ﺭﺉﯿﺲﻭ ﺑﺤﺚ ﮐﻨﻨﺪﻩ‪ :‬ﻫﺎﺷﻢ ﺳﺮﮐﯿﺲ‪ ،‬ﺩﺍﻧﺸﮕﺎﻩ ﻫﺎﺭﻭﺍﺭﺩ‬

‫ﻋﻼﻭﻩﺑﺮ ﺍﯾﻦ‪ ،‬ﭼﻨﯿﻦ ﺍﺻﻮﻝ ﺍﺳﺎﺳﯽ ﻭ ﻗﻮﺍﻧﯿﻦ ﺗﻘﺎﺭﻥ‪ ،‬ﺑﺮ ﺍﻫﻤﯿﺖ ﻭﯾﮋﻩ ﭘﻨﺞ ﺿﻠﻌﯽ ﻫﺎ ﻭ ﺍﺷﮑﺎﻝ ﻫﻨﺪﺳﯽ‬

‫ﺁﺯﻣﺎﯾﺸﯽﺑﻪ ﺍﯾﻦ ﺳﺆﺍﻻﺕ ﺑﺎﯾﺪ ﺍﺯ ﻧﮕﺎﻩ ﺩﻗﯿﻖ ﺑﻪ ﺗﺮﮐﯿﺐ ﺑﻨﺪﯼ ﻫﺎ ﻭ ﺗﻼﺵ ﺑﺮﺍﯼ ﺩﺭﮎ ﭼﮕﻮﻧﮕﯽ ﺳﺎﺧﺖ ﺁﻧﻬﺎ ﺑﺎﺷﺪ‪.‬‬

‫ﭘﻨﺞﺿﻠﻌﯽ ﻭ ﺩﻩ ﺿﻠﻌﯽ ﺩﺭ ﻫﻨﺮ ﺍﺳﻼﻣﯽ‬

‫ﭘﺎﺳﺦﺍﯾﻦ ﭘﺮﺳﺶ ﻫﺎ ﺭﺍ ﻫﺮﮔﺰ ﻧﻤﯽ ﺗﻮﺍﻥ ﺑﺎ ﺟﺴﺖ ﻭ ﺟﻮﯼ ﺷﻮﺍﻫﺪ ﺗﺎﺭﯾﺨﯽ ﯾﺎﻓﺖ‪ .‬ﭼﻨﯿﻦ ﺷﻮﺍﻫﺪﯼ ﺑﻪ ﺳﺎﺩﮔﯽ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﻫﺮ ﭘﺎﺳﺦ‬

‫ﺍﻫﻤﯿﺖﭘﻨﺞ ﺿﻠﻌﯽ ﻭ ﺩﻩ ﺿﻠﻌﯽ ﺩﺭ ﻫﻨﺮ ﺍﺳﻼﻣﯽ‬

‫ﺩﺭﺗﺮﮐﯿﺒﺎﺕ ﻫﻨﺪﺳﯽ‪ ،‬ﭘﻨﺞ ﺿﻠﻌﯽ ﻭ ﺩﻩ ﺿﻠﻌﯽ ﻣﯽ ﺗﻮﺍﻧﻨﺪ ﺑﻪ ﻋﻨﻮﺍﻥ ﯾﮏ ﺟﺰء ﻗﺎﺑﻞ ﻣﺸﺎﻫﺪﻩ ﯾﺎ ﺑﻪ ﻋﻨﻮﺍﻥ ﯾﮏ‬

‫ﻣﺸﺎﺭﮐﺖﮐﻨﻨﺪﻩ ﺳﺎﺧﺘﺎﺭﯼ ﻧﺎﻣﺮﺉﯽ ﻇﺎﻫﺮ ﺷﻮﻧﺪ‪ .‬ﺑﺮﺍﯼ ﺩﺭﮎ ﺍﻫﻤﯿﺖ ﻫﺮ ﺩﻭ ﭼﻨﺪ ﺿﻠﻌﯽ ﺩﺭ ﻫﻨﺮ ﺍﺳﻼﻣﯽ‪ ،‬ﻧﮕﺎﻫﯽ ﺑﻪ‬

‫ﻫﺮﺩﻭ ﻧﻘﺶ ﻣﻬﻢ ﺍﺳﺖ‪.‬‬

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‫ﭘﻨﺞﺿﻠﻌﯽ ﻭ ﺩﻩ ﺿﻠﻌﯽ ﺩﺭ ﻫﻨﺮ ﺍﺳﻼﻣﯽ‪:‬‬ ‫ﻫﻨﺪﺳﻪﺁﺷﮑﺎﺭ ﺷﺪﻩ ﺍﺳﺖ‬

‫ﺑﺮﺧﻼﻑ ﻣﺮﺑﻊ ﻫﺎ ﻭ ﻣﺜﻠﺚ ﻫﺎﯼ ﻣﺘﺴﺎﻭﯼ ﺍﻻﺿﻼﻉ‪ ،‬ﭘﻨﺞ ﺿﻠﻌﯽ ﻫﺎ ﻭ ﺩﻩ ﺿﻠﻌﯽ ﻫﺎﯼ ﻣﻨﺘﻈﻢ ﻧﻤﯽ ﺗﻮﺍﻧﻨﺪ‬

‫ﺻﻔﺤﻪﺭﺍ ﺗﺴﻤﻪ ﺩﻫﻨﺪ‪ .‬ﯾﻌﻨﯽ ﻧﻤﯽ ﺗﻮﺍﻧﻨﺪ ﻫﻮﺍﭘﯿﻤﺎ ﺭﺍ ﺑﺪﻭﻥ ﺷﮑﺎﻑ ﻭ ﺑﺪﻭﻥ ﻫﻤﭙﻮﺷﺎﻧﯽ ﺑﭙﻮﺷﺎﻧﻨﺪ‪ .‬ﺍﺯ ﭼﻨﺪ‬

‫ﺿﻠﻌﯽﻫﺎﯼ ﻣﻨﺘﻈﻢ )ﺁﻧﻬﺎﯾﯽ ﮐﻪ ﺍﺿﻼﻉ ﺑﺎ ﻃﻮﻝ ﻭ ﺯﻭﺍﯾﺎﯼ ﻣﺴﺎﻭﯼ ﺩﺍﺭﻧﺪ(‪ ،‬ﻓﻘﻂ ﻣﺜﻠﺚ ﻫﺎ‪ ،‬ﻣﺮﺑﻊ ﻫﺎ ﻭ ﺷﺶ‬

‫ﺿﻠﻌﯽﻫﺎﯼ ﻣﺘﺴﺎﻭﯼ ﺍﻻﺿﻼﻉ ﻣﯽ ﺗﻮﺍﻧﻨﺪ ﺻﻔﺤﻪ ﺭﺍ ﺗﺴﻠﯿﺢ ﮐﻨﻨﺪ‪ .‬ﺍﯾﻦ ﺣﻘﺎﯾﻖ ﻫﻨﺪﺳﯽ ﺍﺳﺎﺳﯽ ﺯﯾﺮﺑﻨﺎﯼ ﺑﺎﺯﯼ ﺑﺎ‬ ‫ﻧﻘﻮﺵﻫﻨﺪﺳﯽ ﺩﺭ ﻫﻨﺮ ﺍﺳﻼﻣﯽ ﻭ ﺳﺎﺧﺘﺎﺭ ﺩﻭﺑﻌﺪﯼ ﻧﻘﻮﺵ ﻫﻨﺪﺳﯽ ﺍﺳﻼﻣﯽ ﺩﺭ ﺻﻔﺤﻪ ﺍﺳﺖ‪ .‬ﻫﻤﻪ ﺍﯾﻦ‬

‫ﭘﻨﻞ‪4‬‬

‫ﮐﺎﺭﻭﻝﺑﯿﺮ‬ ‫ﺩﺍﻧﺸﮕﺎﻩﮐﺎﻟﯿﻔﺮﻧﯿﺎ‪ ،‬ﺑﺮﮐﻠﯽ‪ ،‬ﺍﯾﺎﻻﺕ ﻣﺘﺤﺪﻩ‬

‫ﻃﺮﺍﺣﯽﻫﻨﺪﺳﯽ ﭘﻨﺞ ﺿﻠﻌﯽ ﺑﺎﻋﺚ ﺍﯾﺠﺎﺩ ﭘﻨﺞ ﺿﻠﻌﯽ ﻭ ﺩﻩ ﺿﻠﻌﯽ ﻣﯽ ﺷﻮﺩ‪ .‬ﺍﯾﻦ ﺣﻮﺯﻩ ﺧﺎﺹ ﺍﺯ ﻃﺮﺍﺣﯽ ﻫﻨﺪﺳﯽ ﺍﺳﻼﻣﯽ ﺑﺮﺍﯼ ﻗﺮﻥ ﻫﺎ‬

‫ﺻﻨﻌﺘﮕﺮﺍﻥﺭﺍ ﺩﺭ ﺳﺮﺍﺳﺮ ﺟﻬﺎﻥ ﺍﺳﻼﻡ ﻣﺠﺬﻭﺏ ﺧﻮﺩ ﮐﺮﺩﻩ ﺍﺳﺖ‪ ،‬ﺯﯾﺮﺍ ﻗﻮﺍﻧﯿﻦ ﺁﻥ ﺑﺎ ﻗﻮﺍﻧﯿﻨﯽ ﮐﻪ ﺩﺭ ﻣﻮﺭﺩ ﻃﺮﺍﺣﯽ ﻫﻨﺪﺳﯽ ﭼﻬﺎﺭﮔﺎﻧﻪ ﻭ‬

‫ﺷﺸﮕﺎﻧﻪﺍﻋﻤﺎﻝ ﻣﯽ ﺷﻮﺩ ﻣﺘﻔﺎﻭﺕ ﺍﺳﺖ‪ .‬ﺗﺴﻠﻂ ﺑﺮ ﻃﺮﺍﺣﯽ ﻫﻨﺪﺳﯽ ﭘﻨﺠﮕﺎﻧﻪ ﺩﺷﻮﺍﺭﺗﺮ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﻓﺮﺻﺖ ﺑﯿﺸﺘﺮﯼ ﺑﺮﺍﯼ ﺧﻼﻗﯿﺖ ﻭ‬

‫ﻧﻮﺁﻭﺭﯼﺍﺭﺍﺉﻪ ﻣﯽ ﺩﻫﺪ‪.‬‬

‫ﺁﻧﭽﻪﺩﺭﮎ ﻧﻤﯽ ﺷﻮﺩ ﺍﯾﻦ ﺍﺳﺖ ﮐﻪ ﭼﮕﻮﻧﻪ ﻭ ﭼﺮﺍ ﺻﻨﻌﺘﮕﺮﺍﻥ ﺑﻪ ﺳﺎﺧﺘﻦ ﺍﻟﮕﻮﻫﺎﯼ ﭘﻨﺞ ﮔﺎﻧﻪ ﺁﻣﺪﻧﺪ‪ .‬ﺁﯾﺎ ﺁﻧﻬﺎ ﺍﺯ ﺍﻟﮕﻮﻫﺎﯼ ﭼﻬﺎﺭ ﻭ ﺷﺶ ﮔﺎﻧﻪ‬ ‫ﺷﺮﻭﻉﮐﺮﺩﻧﺪ ﻭ ﺑﺎ ﻣﻬﺎﺭﺕ ﺑﯿﺸﺘﺮ ﺩﺭ ﻣﺴﯿﺮ "ﺷﻐﻞ" ﺣﺮﻓﻪ ﺍﯼ ﺧﻮﺩ ﺑﻪ ﭘﻨﺞ ﺑﺮﺍﺑﺮ ﭘﯿﺸﺮﻓﺖ ﮐﺮﺩﻧﺪ؟ ﺁﯾﺎ ﺯﻣﺎﻧﯽ ﮐﻪ ﭼﺎﻟﺶ ﻫﺎ ﻭ ﻓﺮﺻﺖ ﻫﺎﯼ‬ ‫ﺧﻼﻗﺎﻧﻪﻃﺮﺍﺣﯽ ﭘﻨﺞ ﮔﺎﻧﻪ ﺭﺍ ﺗﺠﺮﺑﻪ ﮐﺮﺩﻧﺪ‪ ،‬ﻫﺮﮔﺰ ﺑﻪ ﺍﻟﮕﻮﻫﺎﯼ ﭼﻬﺎﺭ ﻭ ﺷﺶ ﮔﺎﻧﻪ ﺑﺎﺯﮔﺸﺘﻨﺪ؟ ﭼﮕﻮﻧﻪ ﻣﻬﺎﺭﺕ ﻫﺎﯼ ﺧﻮﺩ ﺭﺍ ﺗﻮﺳﻌﻪ ﺩﺍﺩﻧﺪ؟‬

‫ﭼﮕﻮﻧﻪﻣﻤﮑﻦ ﺍﺳﺖ ﮐﻪ ﺗﺮﮐﯿﺒﺎﺕ ﺑﺮﺝ ﻣﻘﺒﺮﻩ ﻣﺮﺍﻏﻪ ﻓﻮﻕ ﺍﻟﻌﺎﺩﻩ ﭘﯿﺸﺮﻓﺘﻪ ﻭ ﻣﺎﻫﺮﺍﻧﻪ ﺑﺎﺷﺪ؟ ﺁﯾﺎ ﺗﺮﮐﯿﺐ ﺩﻩ ﺑﺮﺍﺑﺮﯼ ﺑﺴﯿﺎﺭ ﻧﺎﺩﺭ ﺩﺭ ﻣﺪﺭﺳﻪ‬

‫‪ Bou Innaniya‬ﺩﺭ ﻓﺲ ﻣﯽ ﺗﻮﺍﻧﺪ ﭼﯿﺰﯼ ﺩﺭ ﻣﻮﺭﺩ ﺗﺮﺟﯿﺤﺎﺕ ﻃﺮﺍﺣﯽ ﺻﻨﻌﺘﮕﺮﺍﻥ ﻣﺎﺭﯾﻨﯽ ﺑﻪ ﻣﺎ ﺑﮕﻮﯾﺪ؟ ﭼﺮﺍ ﺗﻨﻬﺎ ﯾﮏ ﺗﺮﮐﯿﺐ ﻣﻮﺟﻮﺩ ﺑﺎ‬ ‫ﻃﺮﺡﺳﺘﺎﺭﻩ ﺍﯼ ﺑﯿﺴﺖ ﺑﺮﺍﺑﺮﯼ ﻭﺟﻮﺩ ﺩﺍﺭﺩ )ﺩﺭﺳﺎﺑﯿﻞﻣﺠﻤﻮﻋﻪ ﺍﻟﻐﻮﺭﯼ ﺩﺭ ﻗﺎﻫﺮﻩ(؟‬

‫ﻭﯾﮋﮔﯽﻫﺎﯼ ﻫﻨﺪﺳﯽ ﺑﺮ ﺗﻘﺴﯿﻤﺎﺕ ﺩﺍﯾﺮﻩ ﺗﮑﯿﻪ ﺩﺍﺭﻧﺪ‪.‬‬

‫ﻣﺮﺗﺒﻂ‪،‬ﻣﺎﻧﻨﺪ ﺩﻩ ﺿﻠﻌﯽ‪ ،‬ﺳﺘﺎﺭﻩ ﻫﺎﯼ ﭘﻨﺞ ﭘﺮ‪ ،‬ﻭ ﺳﺘﺎﺭﻩ ﻫﺎﯼ ﺩﻩ ﭘﺮ ﺩﺭ ﺍﻟﮕﻮﻫﺎﯼ ﺻﻔﺤﻪ ﺗﺄﮐﯿﺪ ﻣﯽ ﮐﻨﻨﺪ‪.‬‬

‫ﺍﯾﻦﻣﻘﺎﻟﻪ ﺑﺎ ﻧﮕﺎﻫﯽ ﺑﻪ ﻫﻨﺮ ﺍﺳﻼﻣﯽ‪ ،‬ﻭ ﺑﺎ ﺍﺳﺘﻨﺎﺩ ﺑﻪ ﻣﻨﺎﺑﻊ ﻣﺘﻨﯽ ﺍﺯ ﺟﻤﻠﻪ ﺭﺳﺎﻟﻪ ﻫﺎﯼ ﺭﯾﺎﺿﯽ‪ ،‬ﺯﻧﺪﮔﯽ ﻧﺎﻣﻪ ﻫﺎﯼ‬

‫ﻋﻠﻤﯽ‪،‬ﻭ ﺷﻌﺮ‪ ،‬ﺗﻔﺴﯿﺮﯼ ﺍﺯ ﺍﻟﮕﻮﻫﺎﯼ ﻫﻨﺪﺳﯽ ﺭﺍ ﺍﺭﺍﺉﻪ ﻣﯽ ﮐﻨﺪ ﮐﻪ ﻣﺮﺑﻮﻁ ﺑﻪ ﻣﻄﺎﻟﻌﻪ ﺭﯾﺎﺿﯿﺎﺕ ﭘﺴﺎﺍﻗﻠﯿﺪﺳﯽ‬

‫ﺩﺭﺳﺮﺯﻣﯿﻦ ﻫﺎﯼ ﺍﺳﻼﻣﯽ ﺷﺮﻗﯽ ﺩﺭ ﻗﺮﻭﻥ ‪ 10‬ﺗﺎ ‪ 12‬ﺍﺳﺖ‪ .‬ﺟﻮﺯﺟﺎﻧﯽ ﻣﻮﺭﺥ ﻗﺮﻥ ﺳﯿﺰﺩﻫﻢ ﺑﻪ "ﻫﻨﺪﺳﻪ ﺁﺷﮑﺎﺭ‬

‫ﺟﯽﺑﻮﻧﺮ‬ ‫ﻣﺸﺎﻭﺭﻃﺮﺍﺣﯽ ﻣﺴﺘﻘﻞ‬

‫ﺷﺪﻩ" ﺩﺭ ﻣﻌﻤﺎﺭﯼ ﺍﺷﺎﺭﻩ ﻣﯽ ﮐﻨﺪ‪ .‬ﺍﺳﺘﺪﻻﻝ ﻣﯽ ﺷﻮﺩ ﮐﻪ ﮐﺎﻭﺵ ﻫﺎﯼ ﻓﺸﺮﺩﻩ ﺟﺒﺮ ﻭ ﻫﻨﺪﺳﻪ‪ ،‬ﺑﻪ ﻭﯾﮋﻩ‪ ،‬ﻣﻄﺎﻟﻌﻪ‬

‫ﻧﻘﺶﺳﺎﺯﻧﺪﻩ ﺩﻩ ﺿﻠﻌﯽ ﻭ ﭘﻨﺘﺎﮔﻮﻥ ﺩﺭ ﺗﻮﺳﻌﻪ‬ ‫ﻃﺮﺍﺣﯽﻫﻨﺪﺳﯽ ﺍﺳﻼﻣﯽ‬

‫ﯾﮏﺭﺳﺎﻟﻪ ﻋﺜﻤﺎﻧﯽ ﺩﺭ ﻗﺮﻥ ﻫﻔﺪﻫﻢ ﺍﯾﻦ ﺭﺍﺑﻄﻪ ﺭﺍ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﻧﻘﺶ ﻫﻨﺪﺳﻪ ﺩﺭ ﺁﻣﻮﺯﺵ ﻣﻌﻤﺎﺭﺍﻥ‪ ،‬ﮐﻪ ﺷﺎﻣﻞ ﺗﻬﯿﻪ‬

‫ﺗﺰﯾﯿﻨﺎﺕﻣﻌﻤﺎﺭﯼ ﺧﻮﺩ ﮐﺮﺩﻧﺪ‪ .‬ﻧﻤﻮﻧﻪ ﻫﺎﯾﯽ ﺍﺯ ﻣﻨﺎﺭﻩ ﻣﺴﻌﻮﺩ ﺳﻮﻡ ﺩﺭ ﮔﺰﻧﯽ )‪ ،(1115-1099‬ﻣﺴﺠﺪ ﺟﻤﻌﻪ ﮔﻠﭙﺎﯾﮕﺎﻥ )‪،(1818-1105‬‬

‫ﻭﯾﮋﮔﯽﻫﺎﯼ ﭼﻨﺪﺿﻠﻌﯽ ﻫﺎ‪ ،‬ﺑﯿﺎﻥ ﺑﺼﺮﯼ ﺭﺍ ﺩﺭ ﻣﻌﻤﺎﺭﯼ ﻭ ﻫﻨﺮ ﭘﯿﺪﺍ ﮐﺮﺩ‪.‬‬

‫ﻣﻨﺒﺖﮐﺎﺭﯼ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻣﺮﻭﺍﺭﯾﺪ ﺑﻮﺩ‪ ،‬ﺑﯿﺎﻥ ﻣﯽ ﮐﻨﺪ‪.‬ﺻﺪﻓﮑﺎﺭ(‪ .‬ﻧﻤﻮﻧﻪ ﻫﺎﯼ ﺑﺴﯿﺎﺭﯼ ﺍﺯ ﺍﯾﻦ ﺻﻨﻌﺖ ﻣﻌﺘﺒﺮ‬

‫ﻋﺜﻤﺎﻧﯽﺍﻣﺮﻭﺯﻩ ﺩﺭ ﮐﺎﺥ ﺗﻮﭘﮑﺎﭘﯽ ﻭ ﺳﺎﯾﺮ ﻣﺠﻤﻮﻋﻪ ﻫﺎﯼ ﻣﻮﺯﻩ ﺑﺎﻗﯽ ﻣﺎﻧﺪﻩ ﺍﺳﺖ ﮐﻪ ﺗﺴﻠﻂ ﺑﺮ ﭼﺎﻟﺶ ﻫﺎﯼ ﭘﻨﺞ‬

‫ﺿﻠﻌﯽﻭ ﺩﻩ ﺿﻠﻌﯽ ﺭﺍ ﺩﺭ ﺳﺎﺧﺘﻦ ﺍﻟﮕﻮﻫﺎﯼ ﻫﻨﺪﺳﯽ ﺩﺭ ﻫﻮﺍﭘﯿﻤﺎ ﻧﺸﺎﻥ ﻣﯽ ﺩﻫﺪ‪.‬‬

‫ﺍﺭﯾﮏﺑﺮﻭﮒ‬ ‫ﻧﻮﯾﺴﻨﺪﻩﻭ ﻃﺮﺍﺡ ﻣﺴﺘﻘﻞ‬

‫ﺍﺯﺁﻏﺎﺯ ﻗﺮﻥ ﺩﻭﺍﺯﺩﻫﻢ‪ ،‬ﻫﻨﺮﻣﻨﺪﺍﻥ ﻫﻨﺪﺳﯽ ﻣﺴﻠﻤﺎﻥ ﺩﺭ ﺧﺮﺍﺳﺎﻥ ﻭ ﺷﺮﻕ ﺍﯾﺮﺍﻥ ﺷﺮﻭﻉ ﺑﻪ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻧﻘﻮﺵ ﺑﺎ ﺗﻘﺎﺭﻥ ﭘﻨﺞ ﺑﺮﺍﺑﺮﯼ ﺩﺭ‬ ‫ﻣﻘﺒﺮﻩﮐﻮﺍﺟﻪ ﺍﺗﺎﺑﮏ ﺩﺭ ﮐﺮﻣﺎﻥ )‪ (1100-50‬ﻭ ﻃﺎﻕ ﺗﺸﺮﯾﻔﺎﺗﯽ ﺩﺭ ﺑﺴُﺖ )ﭘﺲ ﺍﺯ ‪ (1149‬ﯾﺎﻓﺖ ﺷﺪﻩ ﺍﺳﺖ‪ ( .‬ﻫﺴﺘﻨﺪ‬

‫ﺭﺉﯿﺲﻭ ﺑﺤﺚ ﮐﻨﻨﺪﻩ‪ :‬ﻫﺎﺷﻢ ﺳﺮﮐﯿﺲ‪ ،‬ﺩﺍﻧﺸﮕﺎﻩ ﻫﺎﺭﻭﺍﺭﺩ‬

‫ﻋﻼﻭﻩﺑﺮ ﺍﯾﻦ‪ ،‬ﭼﻨﯿﻦ ﺍﺻﻮﻝ ﺍﺳﺎﺳﯽ ﻭ ﻗﻮﺍﻧﯿﻦ ﺗﻘﺎﺭﻥ‪ ،‬ﺑﺮ ﺍﻫﻤﯿﺖ ﻭﯾﮋﻩ ﭘﻨﺞ ﺿﻠﻌﯽ ﻫﺎ ﻭ ﺍﺷﮑﺎﻝ ﻫﻨﺪﺳﯽ‬

‫ﺁﺯﻣﺎﯾﺸﯽﺑﻪ ﺍﯾﻦ ﺳﺆﺍﻻﺕ ﺑﺎﯾﺪ ﺍﺯ ﻧﮕﺎﻩ ﺩﻗﯿﻖ ﺑﻪ ﺗﺮﮐﯿﺐ ﺑﻨﺪﯼ ﻫﺎ ﻭ ﺗﻼﺵ ﺑﺮﺍﯼ ﺩﺭﮎ ﭼﮕﻮﻧﮕﯽ ﺳﺎﺧﺖ ﺁﻧﻬﺎ ﺑﺎﺷﺪ‪.‬‬

‫ﭘﻨﺞﺿﻠﻌﯽ ﻭ ﺩﻩ ﺿﻠﻌﯽ ﺩﺭ ﻫﻨﺮ ﺍﺳﻼﻣﯽ‬

‫ﭘﺎﺳﺦﺍﯾﻦ ﭘﺮﺳﺶ ﻫﺎ ﺭﺍ ﻫﺮﮔﺰ ﻧﻤﯽ ﺗﻮﺍﻥ ﺑﺎ ﺟﺴﺖ ﻭ ﺟﻮﯼ ﺷﻮﺍﻫﺪ ﺗﺎﺭﯾﺨﯽ ﯾﺎﻓﺖ‪ .‬ﭼﻨﯿﻦ ﺷﻮﺍﻫﺪﯼ ﺑﻪ ﺳﺎﺩﮔﯽ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪ .‬ﻫﺮ ﭘﺎﺳﺦ‬

‫ﺍﻫﻤﯿﺖﭘﻨﺞ ﺿﻠﻌﯽ ﻭ ﺩﻩ ﺿﻠﻌﯽ ﺩﺭ ﻫﻨﺮ ﺍﺳﻼﻣﯽ‬

‫ﺩﺭﺗﺮﮐﯿﺒﺎﺕ ﻫﻨﺪﺳﯽ‪ ،‬ﭘﻨﺞ ﺿﻠﻌﯽ ﻭ ﺩﻩ ﺿﻠﻌﯽ ﻣﯽ ﺗﻮﺍﻧﻨﺪ ﺑﻪ ﻋﻨﻮﺍﻥ ﯾﮏ ﺟﺰء ﻗﺎﺑﻞ ﻣﺸﺎﻫﺪﻩ ﯾﺎ ﺑﻪ ﻋﻨﻮﺍﻥ ﯾﮏ‬

‫ﻣﺸﺎﺭﮐﺖﮐﻨﻨﺪﻩ ﺳﺎﺧﺘﺎﺭﯼ ﻧﺎﻣﺮﺉﯽ ﻇﺎﻫﺮ ﺷﻮﻧﺪ‪ .‬ﺑﺮﺍﯼ ﺩﺭﮎ ﺍﻫﻤﯿﺖ ﻫﺮ ﺩﻭ ﭼﻨﺪ ﺿﻠﻌﯽ ﺩﺭ ﻫﻨﺮ ﺍﺳﻼﻣﯽ‪ ،‬ﻧﮕﺎﻫﯽ ﺑﻪ‬

‫ﻫﺮﺩﻭ ﻧﻘﺶ ﻣﻬﻢ ﺍﺳﺖ‪.‬‬

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‫ﭘﺎﻧﻞ‪5‬‬

‫ﺩﺭﻣﯿﺎﻥ ﻗﺪﯾﻤﯽ ﺗﺮﯾﻦ ﺍﻟﮕﻮﻫﺎﯼ ﭘﻨﺠﮕﺎﻧﻪ ﺗﺎﺭﯾﺨﯽ‪ .‬ﺩﺭ ﻃﯽ ‪ 150‬ﺳﺎﻝ‪ ،‬ﺍﯾﻦ ﺗﻨﻮﻉ ﻣﻨﺤﺼﺮ ﺑﻪ ﻓﺮﺩ ﺍﺯ ﻃﺮﺡ ﻫﺎﯼ ﺍﺳﻼﻣﯽ ﺑﻪ ﺑﺨﺶ ﻣﻬﻤﯽ ﺍﺯ‬

‫ﻣﺠﻤﻮﻋﻪﺗﺰﺉﯿﻨﯽ ﺍﺳﻼﻣﯽ ﺗﺒﺪﯾﻞ ﺷﺪ‪ .‬ﺭﻭﺵ ﺷﻨﺎﺳﯽ ﻣﺴﺉﻮﻝ ﺍﯾﻦ ﻃﺮﺡ ﻫﺎﯼ ﭘﻨﺞ ﮔﺎﻧﻪ ﺍﺯ ﻣﺠﻤﻮﻋﻪ ﻣﺤﺪﻭﺩﯼ ﺍﺯ ﭼﻨﺪ ﺿﻠﻌﯽ ﻫﺎ‪ ،‬ﺍﺯ‬

‫ﺟﻤﻠﻪﺩﻩ ﺿﻠﻌﯽ ﻭ ﭘﻨﺞ ﺿﻠﻌﯽ‪ ،‬ﺍﺳﺘﻔﺎﺩﻩ ﻣﯽ ﮐﻨﺪ ﮐﻪ ﺑﺎ ﻫﻢ ﺗﺮﮐﯿﺐ ﻣﯽ ﺷﻮﻧﺪ ﺗﺎ ﺧﻄﻮﻁ ﭼﻨﺪ ﺿﻠﻌﯽ ﺭﺍ ﺗﺸﮑﯿﻞ ﺩﻫﻨﺪ ﮐﻪ ﺍﺯ ﺁﻧﻬﺎ ﺍﻟﮕﻮﻫﺎﯼ‬ ‫ﻫﻨﺪﺳﯽﺍﺳﺘﺨﺮﺍﺝ ﻣﯽ ﺷﻮﺩ‪ .‬ﺍﯾﻦ ﺭﻭﺵ ﺑﻪ ﻋﻨﻮﺍﻥﺗﮑﻨﯿﮏ ﭼﻨﺪ ﺿﻠﻌﯽ‪.‬‬

‫ﺷﻮﺍﻫﺪﻗﺎﺑﻞ ﺗﻮﺟﻬﯽ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﮐﻪ ﻧﺸﺎﻥ ﻣﯽ ﺩﻫﺪ ﺍﯾﻦ ﺭﻭﺵ ﺍﻭﻟﯿﻪ ﻃﺮﺍﺣﯽ ﺗﺎﺭﯾﺨﯽ ﺍﺳﺖ ﮐﻪ ﺗﻮﺳﻂ ﻣﺒﺘﮑﺮﺍﻥ ﺍﯾﻦ ﺳﻨﺖ ﺑﻪ ﮐﺎﺭ ﮔﺮﻓﺘﻪ‬

‫ﺷﺪﻩﺍﺳﺖ‪ .‬ﺑﻪ ﺍﯾﻦ ﺗﺮﺗﯿﺐ‪،‬ﺗﮑﻨﯿﮏ ﭼﻨﺪ ﺿﻠﻌﯽﺑﺮﺍﯼ ﻇﻬﻮﺭ ﺍﯾﻦ ﺭﺷﺘﻪ ﻫﻨﺪﺳﯽ ﺑﻪ ﻋﻨﻮﺍﻥ ﯾﮏ ﺗﻮﺭ ﺩ ﻓﻮﺭﺱ ﺯﯾﻨﺘﯽ ﺍﺳﺎﺳﯽ ﺍﺳﺖ‪ .‬ﮐﺎﺭﺑﺮﺩ‬

‫ﺍﺯﺗﮑﻨﯿﮏ ﭼﻨﺪ ﺿﻠﻌﯽﻫﻢ ﺳﯿﺴﺘﻤﺎﺗﯿﮏ ﻭ ﻫﻢ ﻏﯿﺮ ﺳﯿﺴﺘﻤﺎﺗﯿﮏ ﺑﻮﺩ‪ .‬ﭘﻨﺞ ﺳﯿﺴﺘﻢ ﺭﻭﺵ ﺷﻨﺎﺧﺘﯽ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﮐﻪ ﺍﺯ ﻧﻈﺮ ﺗﺎﺭﯾﺨﯽ ﻣﻮﺭﺩ‬

‫ﺍﺳﺘﻔﺎﺩﻩﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺍﻧﺪ‪:‬ﺳﯿﺴﺘﻢ ﭼﻨﺪ ﺿﻠﻌﯽ ﻫﺎﯼ ﻣﻨﻈﻢ‪،‬ﺳﯿﺴﺘﻢ ‪،A 4/8‬ﺳﯿﺴﺘﻢ ‪ ،B 4/8‬ﺳﯿﺴﺘﻢ ‪ ،5/10‬ﻭﺳﺎﻣﺎﻧﻪ ‪ .7/14‬ﺍﺯ ﺍﯾﻦ‬

‫ﻣﻮﺳﺴﻪﺍﺳﻤﯿﺘﺴﻮﻧﯿﺎﻥ‪ ،‬ﺍﯾﺎﻻﺕ ﻣﺘﺤﺪﻩ‬

‫ﯾﮏﺗﺠﻤﯿﻊ ﻭﺍﻗﻌﯽ ﺍﺯ ﺳﺒﮏ ﻫﺎ؟ ﺯﯾﺮ ﺳﻮﺍﻝ‬ ‫ﺑﺮﺩﻥﺍﺻﺎﻟﺖ ﻧﻘﺎﺷﯽ ﻫﺎ ﺩﺭ ﻭﻭﺭﺧﻤﺴﻪﻧﻈﺎﻣﯽ‬ ‫ﻣﺎﻧﻨﺪﺗﻌﺪﺍﺩ ﺑﯽ ﺷﻤﺎﺭ ﻧﺴﺨﻪ ﻫﺎﯼ ﺧﻄﯽ‪ ،‬ﻧﺴﺨﻪ ﺍﯼ ﺍﺯﺧﻤﺴﻪﻧﻈﺎﻣﯽ )ﮔﺎﻟﺮﯼ ﺁﺭﺗﻮﺭ ﺍﻡ‪ .‬ﺳﺎﮐﻠﺮ ‪ -‬ﻣﻮﺳﺴﻪ‬

‫ﺍﺳﻤﯿﺘﺴﻮﻧﯿﺎﻥ‪،‬ﻭﺍﺷﻨﮕﺘﻦ‪ ،‬ﺩﯼ ﺳﯽ‪ (S1986.61 ،‬ﻣﻨﺴﻮﺏ ﺑﻪ ﺍﯾﺮﺍﻥ ﻗﺮﻥ ﭘﺎﻧﺰﺩﻫﻢ ﻭ ﺍﮐﻨﻮﻥ ﻧﺎﻗﺺ ﺑﻪ ﺷﺒﻪ ﻗﺎﺭﻩ‬

‫ﻣﯿﺎﻥ‪،‬ﺳﯿﺴﺘﻢ ‪5/10‬ﺩﺍﺭﺍﯼ ﺑﯿﺸﺘﺮﯾﻦ ﺩﺭﺟﻪ ﺗﻨﻮﻉ ﻃﺮﺍﺣﯽ‪ ،‬ﺍﺯ ﺟﻤﻠﻪ ﺍﻟﮕﻮﻫﺎﯼ ﺑﺴﯿﺎﺭ ﭘﯿﭽﯿﺪﻩ ﺩﻭ ﺳﻄﺤﯽ ﺍﺳﺖ ﮐﻪ ﺩﺭ ﻃﻮﻝ ﻗﺮﻥ ‪ 14‬ﻭ ‪15‬‬

‫ﻫﻨﺪﺭﺳﯿﺪﻩ ﺍﺳﺖ‪ .‬ﻣﺎﻧﻨﺪ ﺑﺴﯿﺎﺭﯼ ﺩﯾﮕﺮ‪ ،‬ﺍﯾﻦ ﮐﺘﺎﺏ ﻧﯿﺰ ﺑﻌﺪﺍ ًﺗﻌﻤﯿﺮ ﻭ ﺍﺻﻼﺡ ﺷﺪ‪ ،‬ﻣﻨﻄﻘﻪ ﻣﺘﻦ ﺑﺮ ﺭﻭﯼ‬

‫ﻣﺎﮊﻭﻝﻫﺎﯼ ﭼﻨﺪ ﺿﻠﻌﯽ ﺍﻭﻟﯿﻪ ﻫﺴﺘﻨﺪﺳﯿﺴﺘﻢ ‪5/10‬ﻭ ﺑﻪ ﻋﻨﻮﺍﻥ ﻋﻮﺍﻣﻞ ﺗﻌﯿﯿﻦ ﮐﻨﻨﺪﻩ ﮐﻠﯿﺪﯼ ﺑﺮﺍﯼ ﺍﯾﺠﺎﺩ ﻣﺠﻤﻮﻋﻪ ﮐﺎﻣﻞ ﻣﺎﮊﻭﻝ ﻫﺎﯼ‬

‫ﻧﯿﺴﺖ‪،‬ﺍﻓﺰﻭﺩﻥ ﺗﺼﻮﯾﺮﯼ ﺑﻪ ‪Vever‬ﺧﻤﺴﻪﺍﺯ ﭘﯿﭽﯿﺪﻩ ﺗﺮﯾﻦ ﺑﺎﺯﺳﺎﺯﯼ ﻫﺎﯼ ﺑﻌﺪﯼ ﻫﺴﺘﻨﺪ‪ .‬ﺩﺭ ﭼﮏ ﻟﯿﺴﺖ‬

‫ﺗﻮﻟﯿﺪﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻭﺍﺿﺢ ﺍﺳﺖ ﮐﻪﺳﯿﺴﺘﻢ ‪5/10‬ﺑﺮﺍﯼ ﺳﻨﺖ ﮐﻠﯽ ﻫﻨﺮ ﻫﻨﺪﺳﯽ ﺍﺳﻼﻣﯽ ﺑﺴﯿﺎﺭ ﻣﻬﻢ ﺍﺳﺖ‪ .‬ﭘﻨﺞ ﺿﻠﻌﯽ ﻭ ﺩﻩ ﺿﻠﻌﯽ‬

‫ﭼﻨﺪﺿﻠﻌﯽ ﺑﺮﺍﯼ ﺍﯾﻦ ﺳﯿﺴﺘﻢ ﻋﻤﻞ ﻣﯽ ﮐﻨﺪ‪ .‬ﺁﻧﭽﻪ ﻣﻬﻢ ﺗﺮ ﺍﺯ ﻫﺮ ﺳﯿﺴﺘﻢ ﭼﻨﺪ ﺿﻠﻌﯽ ﺩﯾﮕﺮﯼ ﺍﺳﺖ ﮐﻪ ﺩﺭ ﻃﻮﻝ ﺗﺎﺭﯾﺦ ﺑﺮﺍﯼ ﺍﯾﺠﺎﺩ‬ ‫ﺍﻟﮕﻮﻫﺎﯼﻫﻨﺪﺳﯽ ﺍﺳﺘﻔﺎﺩﻩ ﻣﯽ ﺷﺪ‪ ،‬ﺑﻪ ﻧﻈﺮ ﻣﯽ ﺭﺳﺪ ﮐﻪ ﻭﯾﮋﮔﯽ ﻫﺎﯼ ﺗﺜﺒﯿﺖ ﮐﻨﻨﺪﻩ ﺩﻩ ﺿﻠﻌﯽ ﻭ ﭘﻨﺞ ﺿﻠﻌﯽ ﺍﺯ ﺭﻭﺵ ﺷﻨﺎﺳﯽ‬

‫ﺭﺉﯿﺲﻭ ﺑﺤﺚ ﮐﻨﻨﺪﻩ‪ :‬ﮐﺎﺭﯾﻦ ﺭﻭﻫﺮﺩﻧﺰ‬

‫ﻭﺁﻫﻨﮕﺴﺎﺯﯼ ﻫﻨﺮ ﻭ ﻣﻌﻤﺎﺭﯼ ﺍﯾﺮﺍﻧﯽ‬

‫ﺍﺩﺍﯼﭼﯿﺰﯼ ﺭﺍ ﺩﺭ ﺁﻭﺭﺩﻥ؟ ﺗﻘﻠﯿﺪ‪ ،‬ﮐﭙﯽ ﮐﺮﺩﻥ‪،‬‬

‫ﺗﻮﺳﻌﻪ ﯾﺎﻓﺘﻪﺍﻟﮕﻮﺳﺎﺯﯼ ﻏﯿﺮﺳﯿﺴﺘﻤﺎﺗﯿﮏ ﮐﻪ ﺑﻪ ﺩﻧﺒﺎﻝ ﺁﻥ ﺍﻟﮕﻮﺑﺮﺩﺍﺭﯼ ﻣﯽ ﺷﺪ‪ ،‬ﺧﺒﺮ ﺩﺍﺩ‪.‬ﺳﯿﺴﺘﻢ ‪ .5/10‬ﺑﻪ ﺍﯾﻦ ﺗﺮﺗﯿﺐ‪ ،‬ﺩﻩ ﺿﻠﻌﯽ ﻭ‬

‫ﭘﻨﺞﺿﻠﻌﯽ ﺍﺣﺘﻤﺎﻻ ًﻧﻘﺶ ﻣﻬﻤﯽ ﺩﺭ ﺗﻮﺳﻌﻪ ﺍﻟﮕﻮﻫﺎﯼ ﻫﻨﺪﺳﯽ ﭘﯿﭽﯿﺪﻩ ﺍﯼ ﺩﺍﺷﺘﻨﺪ ﮐﻪ ﺑﺎ ﺗﺮﮐﯿﺒﺎﺕ ﻣﺨﺘﻠﻒ ﺍﺷﮑﺎﻝ ﺳﺘﺎﺭﻩ ﺩﺭ ﯾﮏ ﻃﺮﺡ‬

‫ﻭﺍﺣﺪ‪،‬ﻣﺎﻧﻨﺪ ﺳﺘﺎﺭﻩ ﻫﺎﯼ ‪ 11 ،10 ،9‬ﻭ ‪ 12‬ﭘﺮ ﻣﺸﺨﺺ ﻣﯽ ﺷﻮﺩ‪ .‬ﭼﻨﯿﻦ ﻧﻘﻮﺵ ﺗﺮﮐﯿﺒﯽ ﺍﺯ ﻭﯾﮋﮔﯽ ﻫﺎﯼ ﺑﺎﺭﺯ ﺍﯾﻦ ﺳﻨﺖ ﺯﯾﻨﺘﯽ ﺍﺳﺖ‪ .‬ﺍﺯ‬

‫ﺣﺎﺷﯿﻪ ﻫﺎﯼﺟﺪﯾﺪ ﻗﺮﺍﺭ ﮔﺮﻓﺖ ﻭ ﺗﺼﺎﻭﯾﺮ ﺑﺴﯿﺎﺭﯼ ﺍﺿﺎﻓﻪ ﺷﺪ‪ ،‬ﺍﺣﺘﻤﺎﻻ ًﺩﺭ ﻫﻨﺪ‪ .‬ﺍﮔﺮ ﭼﻪ ﯾﮏ ﻋﻤﻞ ﻏﯿﺮ ﻣﻌﻤﻮﻝ‬

‫ﻣﺠﻤﻮﻋﻪﻣﻨﺘﺸﺮ ﺷﺪﻩ ﺩﺭ ﺳﺎﻝ ‪ ،1988‬ﮔﻠﻦ ﺩﯼ ﻟﻮﺭﯼ ﻭ ﻣﯿﻠﻮ ﺳﯽ ﺑﯿﭻ ﺑﻪ ﻃﻮﺭ ﻗﺎﻧﻊ ﮐﻨﻨﺪﻩ ﺍﯼ ﺳﺎﺧﺖ ﻧﺴﺨﻪ‬

‫ﺍﺻﻠﯽﺭﺍ ﺑﻪ ﻏﺮﺏ ﺍﯾﺮﺍﻥ ﺩﺭ ﺣﺪﻭﺩ ﺳﺎﻝ ‪ 1470‬ﻧﺴﺒﺖ ﺩﺍﺩﻧﺪ‪ .‬ﺳﺒﮏ ﺩﺭﺑﺎﺭﯼ ﺗﺮﮐﻤﻦ ﻭ ﺳﺒﮏ ﻣﻐﻮﻝ ﺯﯾﺮ ﺍﻣﭙﺮﺍﺗﻮﺭﯼ‪.‬‬ ‫ﺩﺭﻭﺍﻗﻊ‪ ،‬ﯾﮏ ﺑﺮﺭﺳﯽ ﺟﺪﯾﺪﺗﺮ‪ ،‬ﭘﻨﺞ ‪ -‬ﺍﮔﺮ ﻧﻪ ﺑﯿﺸﺘﺮ ‪ -‬ﺣﺎﻟﺖ ﻫﺎﯼ ﺗﺼﻮﯾﺮﯼ ﻣﺨﺘﻠﻒ‪ ،‬ﺍﺯ ﺟﻤﻠﻪ ﺳﺒﮏ ﻫﺎﯼ‬

‫ﻏﯿﺮﻣﻌﻤﻮﻝ»ﺗﺮﮐﻤﺎﻥ ﮔﻮﻧﻪ« ﻭ »ﺗﯿﻤﻮﺭﯼ ﻣﺎﻧﻨﺪ« ﺭﺍ ﺑﺮﻣﯽ ﺷﻤﺮﺩ‪.‬‬

‫ﺁﻧﺠﺎﯾﯽﮐﻪ ﺩﻩ ﺿﻠﻌﯽ ﻭ ﭘﻨﺞ ﺿﻠﻌﯽ ﻣﺴﺒﺐ ﺑﺮﺗﺮﯼ ﺯﯾﺎﺩ ﺍﻟﮕﻮﻫﺎﯼ ﻫﻨﺪﺳﯽ ﭘﻨﺞ ﺿﻠﻌﯽ ﻫﺴﺘﻨﺪ ﮐﻪ ﺩﺭ ﺯﯾﺒﺎﯾﯽ ﺷﻨﺎﺳﯽ ﻓﺮﻫﻨﮓ ﻫﺎﯼ‬

‫ﺍﺳﻼﻣﯽﻧﻘﺶ ﺍﺳﺎﺳﯽ ﺩﺍﺭﻧﺪ ﻭ ﺑﻪ ﻧﻈﺮ ﻣﯽ ﺭﺳﺪ ﮐﻪ ﻭﯾﮋﮔﯽ ﻫﺎﯼ ﺗﺴﻠﯿﺢ ﺩﻩ ﺿﻠﻌﯽ ﻭ ﭘﻨﺞ ﺿﻠﻌﯽ ﻧﻘﺶ ﻣﻬﻤﯽ ﺩﺭ ﮔﺴﺘﺮﺵ ﻓﺮﻫﻨﮓ ﺍﯾﻔﺎ‬ ‫ﮐﺮﺩﻩﺍﺳﺖ‪.‬ﺗﮑﻨﯿﮏ ﭼﻨﺪ ﺿﻠﻌﯽﺩﺭ ﻃﺮﺍﺣﯽ ﻏﯿﺮ ﺳﯿﺴﺘﻤﺎﺗﯿﮏ‪ ،‬ﭘﻨﺞ ﺿﻠﻌﯽ ﻭ ﺩﻩ ﺿﻠﻌﯽ ﺑﺎﯾﺪ ﺑﻪ ﻋﻨﻮﺍﻥ ﻋﻮﺍﻣﻞ ﺍﺳﺎﺳﯽ ﺩﺭ ﺯﯾﺒﺎﯾﯽ ﻭ ﺗﻨﻮﻉ‬

‫ﻫﻨﺮﺍﺳﻼﻣﯽ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻪ ﺷﻮﻧﺪ‪.‬‬

‫ﻫﺪﻑﺍﯾﻦ ﻣﻘﺎﻟﻪ ﺍﺭﺍﺉﻪ ﯾﮏ ﻓﺮﺿﯿﻪ ﺟﺪﯾﺪ ﺑﺮﺍﯼ ﻣﺮﺍﺣﻞ ﻣﺘﻮﺍﻟﯽ ﺩﮔﺮﮔﻮﻧﯽ ﺩﺭ ﻧﺴﺨﻪ ﺧﻄﯽ ﻧﻪ ﺗﻨﻬﺎ ﺍﺯ ﻃﺮﯾﻖ ﺗﺤﻠﯿﻞ‬

‫ﺳﺒﮏ‪،‬ﺑﻠﮑﻪ ﺍﺯ ﻃﺮﯾﻖ ﺑﺮﺭﺳﯽ ﮐﺪﺷﻨﺎﺧﺘﯽ ﺍﺳﺖ‪ .‬ﺩﺭ ﻧﺘﯿﺠﻪ‪ ،‬ﻣﻤﮑﻦ ﺍﺳﺖ ﺑﺘﻮﺍﻥ ﺯﻣﺎﻥ ﺍﺿﺎﻓﺎﺕ ﺗﺼﻮﯾﺮﯼ ﺑﻌﺪﯼ ﺭﺍ‬

‫ﻣﺘﻤﺎﯾﺰﻭ ﻣﺤﺪﻭﺩ ﮐﺮﺩ‪ .‬ﺑﺎ ﺍﯾﻦ ﺣﺎﻝ‪ ،‬ﺟﺎﯼ ﺗﻌﺠﺐ ﺍﺳﺖ ﮐﻪ ﺍﺻﺎﻟﺖ ﻧﻘﺎﺷﯽ ﻫﺎﯼ ﺗﯿﻤﻮﺭﯼ ﻭ ﺗﺮﮐﻤﺎﻥ ﻣﺎﻧﻨﺪ ﻭ ﻓﺮﺍﺗﺮ ﺍﺯ‬ ‫ﺁﻧﻬﺎﺩﺭ ﮐﻞ ﻧﺴﺨﻪ ﺧﻄﯽ ﻫﺮﮔﺰ ﺯﯾﺮ ﺳﺆﺍﻝ ﻧﺮﻓﺖ‪ .‬ﺩﺭ ﻭﺍﻗﻊ‪ ،‬ﯾﺎ ﺍﯾﻦ ﺗﺼﺎﻭﯾﺮ ﮐﭙﯽ ﺩﺭﺳﺘﯽ ﺍﺯ ﻣﺪﻝ ﻫﺎﯼ ﺍﯾﺮﺍﻧﯽ ﻗﺒﻠﯽ‬

‫ﻫﺴﺘﻨﺪﮐﻪ ﻣﻤﮑﻦ ﺍﺳﺖ ﺩﺭ ﻫﻨﺪ ﻗﺮﻥ ﺷﺎﻧﺰﺩﻫﻢ ﯾﺎ ﻫﻔﺪﻫﻢ ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺍﻧﺪ ﯾﺎ ﺑﻪ ﺳﺎﺩﮔﯽ ﺗﻘﻠﺒﯽ ﻫﺴﺘﻨﺪ ﮐﻪ ﺯﻣﺎﻧﯽ‬ ‫ﻗﺒﻞﺍﺯ ﺩﺳﺘﯿﺎﺑﯽ ﻫﻨﺮﯼ ﻭﻭﺭ ﺑﻪ ﻧﺴﺨﻪ ﺧﻄﯽ ﺩﺭ ﭘﺎﯾﺎﻥ ﻗﺮﻥ ﻧﻮﺯﺩﻫﻢ ﺍﺿﺎﻓﻪ ﺷﺪﻩ ﺍﻧﺪ‪.‬‬

‫ﺷﺎﺭﻭﻥﺳﯽ ﺍﺳﻤﯿﺖ ﻭ ﺷﯿﺮﺍﺯ ﻋﻠﯿﻬﺎﯼ ﻣﻮﺳﺴﻪ ﻓﻨﺎﻭﺭﯼ‬ ‫ﻣﺎﺳﺎﭼﻮﺳﺖ‪،‬ﺍﯾﺎﻻﺕ ﻣﺘﺤﺪﻩ‪ ،‬ﻭ ﺁﻏﺎ ﺧﺎﻥ ﺗﺮﺍﺳﺖ ﺑﺮﺍﯼ‬ ‫ﻓﺮﻫﻨﮓ‪،‬ﺳﻮﺉﯿﺲ‬ ‫‪Archnet a Demonstration Workshop‬‬ ‫ﻫﺪﻑﺍﺯ ﺍﯾﻦ ﮐﺎﺭﮔﺎﻩ ﻧﻤﺎﯾﺶ ‪ Archnet‬ﻣﺠﺪﺩﺍ ًﺭﺍﻩ ﺍﻧﺪﺍﺯﯼ ﺷﺪﻩ ﻭ ﻧﺸﺎﻥ ﺩﺍﺩﻥ ﻗﺎﺑﻠﯿﺖ ﻫﺎ‪ ،‬ﺍﺑﺰﺍﺭﻫﺎ ﻭ ﺭﻭﺵ ﻫﺎﯼ ﺟﺪﯾﺪ ﺑﺮﺍﯼ ﺍﺳﺘﻔﺎﺩﻩ‬

‫ﮐﺎﻣﻞﺍﺯ ﺁﻥ ﺑﻪ ﺟﺎﻣﻌﻪ ﮐﺎﺭﺑﺮ ﺍﺳﺖ‪ .‬ﺍﯾﻦ ﮐﺎﺭﮔﺎﻩ ﺍﺯ ﻃﺮﯾﻖ ﻧﻤﺎﯾﺶ ﺑﻼﺩﺭﻧﮓ ﺑﻪ ﺳﻮﺍﻻﺕ ﻭ ﻧﮕﺮﺍﻧﯽ ﻫﺎﯼ ﮐﺎﺭﺑﺮﺍﻥ ﭘﺎﺳﺦ ﺧﻮﺍﻫﺪ ﺩﺍﺩ‪.‬‬

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‫ﺳﺎﯾﻤﻮﻥﺭﺗﯿﮓ‬

‫ﺑﻪﻫﺮ ﻧﺘﯿﺠﻪ ﺍﯼ ﮐﻪ ﻣﯽ ﮔﯿﺮﯾﻢ‪ ،‬ﺑﻪ ﻧﻈﺮ ﻣﯽ ﺭﺳﺪ ﮐﻪ ﺑﺮﺍﯼ ﺣﻮﺯﻩ ﺭﻭ ﺑﻪ ﺭﺷﺪ ﻫﻨﺮﻫﺎﯼ ﺍﺳﻼﻣﯽ ﮐﺘﺎﺏ ﺩﺭ ﺍﻭﺍﯾﻞ ﻗﺮﻥ‬ ‫ﺑﯿﺴﺘﻢﺍﻫﻤﯿﺖ ﺯﯾﺎﺩﯼ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﺩﺭ ﻣﻮﺭﺩ ﺍﻭﻝ‪ ،‬ﻧﻘﺎﺷﯽ ﻫﺎ ﻧﻪ ﺗﻨﻬﺎ ﺍﯾﻦ ﻭﺍﻗﻌﯿﺖ ﺭﺍ ﻧﺸﺎﻥ ﻣﯽ ﺩﻫﻨﺪ ﮐﻪ‬

‫ﻧﻘﺎﺷﺎﻥﺩﺍﻧﺶ ﮐﺎﻣﻠﯽ ﺍﺯ ﺗﺎﺭﯾﺨﭽﻪ ﺳﺒﮏ ﻫﺎ ﺩﺍﺷﺘﻨﺪ‪ ،‬ﺑﻠﮑﻪ ﺗﻮﺍﻧﺎﯾﯽ ﺗﻘﻠﯿﺪ ﻭ ﺑﺎﺯﺗﻮﻟﯿﺪ ﺻﺎﺩﻗﺎﻧﻪ ﺗﺼﺎﻭﯾﺮ ﮔﺬﺷﺘﻪ ﺭﺍ‬

‫ﻧﯿﺰﺩﺍﺷﺘﻨﺪ‪ .‬ﺩﺭ ﻓﺮﺿﯿﻪ ﺩﻭﻡ‪ ،‬ﻧﺴﺨﻪ ﺧﻄﯽ ﺑﺎﯾﺪ ﺑﻪ ﻃﻮﺭ ﻓﺮﺿﯽ ﺩﺭ ﺑﺪﻧﻪ ﺑﺰﺭﮔﯽ ﺍﺯ ﺟﻌﻠﯿﺎﺕ ﮐﻪ ﻋﻤﺪﺗﺎ ًﺑﺮﺍﯼ ﺑﺎﺯﺍﺭ‬

‫ﻫﻨﺮﻏﺮﺏ ﺩﺭ ﺣﺪﻭﺩ ﺳﺎﻝ ‪ 1900‬ﺍﯾﺠﺎﺩ ﺷﺪﻩ ﺍﻧﺪ ﺍﺩﻏﺎﻡ ﺷﻮﺩ‪ .‬ﺍﺯ ﻃﺮﯾﻖ ﺑﺮﺭﺳﯽ ﻣﻮﺍﺯﯼ ﻫﺮ ﺩﻭ ﺍﺣﺘﻤﺎﻝ‪ ،‬ﻣﻦ ﺩﺭ‬

‫ﻧﻬﺎﯾﺖﭘﺎﺭﺍﺩﺍﯾﻢ ﻫﺎﯾﯽ ﺭﺍ ﮐﻪ ﺗﻮﺳﻂ ﻣﺤﻘﻘﺎﻥ ﺩﺭ ﺗﻼﺵ ﺧﻮﺩ ﺗﻮﺳﻌﻪ ﺩﺍﺩﻩ ﻭ ﻣﻮﺭﺩ ﺍﺳﺘﻔﺎﺩﻩ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺍﻧﺪ‪ ،‬ﺯﯾﺮ‬

‫ﺳﻮﺍﻝﻣﯽ ﺑﺮﻡ‪ .‬ﺑﺮﺍﯼ ﺗﺸﺨﯿﺺ ﺍﺻﻞ ﺍﺯ ﺟﻌﻠﯽ‬

‫ﭘﺎﻧﻞ‪5‬‬

‫ﺩﺭﻣﯿﺎﻥ ﻗﺪﯾﻤﯽ ﺗﺮﯾﻦ ﺍﻟﮕﻮﻫﺎﯼ ﭘﻨﺠﮕﺎﻧﻪ ﺗﺎﺭﯾﺨﯽ‪ .‬ﺩﺭ ﻃﯽ ‪ 150‬ﺳﺎﻝ‪ ،‬ﺍﯾﻦ ﺗﻨﻮﻉ ﻣﻨﺤﺼﺮ ﺑﻪ ﻓﺮﺩ ﺍﺯ ﻃﺮﺡ ﻫﺎﯼ ﺍﺳﻼﻣﯽ ﺑﻪ ﺑﺨﺶ ﻣﻬﻤﯽ ﺍﺯ‬

‫ﻣﺠﻤﻮﻋﻪﺗﺰﺉﯿﻨﯽ ﺍﺳﻼﻣﯽ ﺗﺒﺪﯾﻞ ﺷﺪ‪ .‬ﺭﻭﺵ ﺷﻨﺎﺳﯽ ﻣﺴﺉﻮﻝ ﺍﯾﻦ ﻃﺮﺡ ﻫﺎﯼ ﭘﻨﺞ ﮔﺎﻧﻪ ﺍﺯ ﻣﺠﻤﻮﻋﻪ ﻣﺤﺪﻭﺩﯼ ﺍﺯ ﭼﻨﺪ ﺿﻠﻌﯽ ﻫﺎ‪ ،‬ﺍﺯ‬

‫ﺟﻤﻠﻪﺩﻩ ﺿﻠﻌﯽ ﻭ ﭘﻨﺞ ﺿﻠﻌﯽ‪ ،‬ﺍﺳﺘﻔﺎﺩﻩ ﻣﯽ ﮐﻨﺪ ﮐﻪ ﺑﺎ ﻫﻢ ﺗﺮﮐﯿﺐ ﻣﯽ ﺷﻮﻧﺪ ﺗﺎ ﺧﻄﻮﻁ ﭼﻨﺪ ﺿﻠﻌﯽ ﺭﺍ ﺗﺸﮑﯿﻞ ﺩﻫﻨﺪ ﮐﻪ ﺍﺯ ﺁﻧﻬﺎ ﺍﻟﮕﻮﻫﺎﯼ‬ ‫ﻫﻨﺪﺳﯽﺍﺳﺘﺨﺮﺍﺝ ﻣﯽ ﺷﻮﺩ‪ .‬ﺍﯾﻦ ﺭﻭﺵ ﺑﻪ ﻋﻨﻮﺍﻥﺗﮑﻨﯿﮏ ﭼﻨﺪ ﺿﻠﻌﯽ‪.‬‬

‫ﺷﻮﺍﻫﺪﻗﺎﺑﻞ ﺗﻮﺟﻬﯽ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﮐﻪ ﻧﺸﺎﻥ ﻣﯽ ﺩﻫﺪ ﺍﯾﻦ ﺭﻭﺵ ﺍﻭﻟﯿﻪ ﻃﺮﺍﺣﯽ ﺗﺎﺭﯾﺨﯽ ﺍﺳﺖ ﮐﻪ ﺗﻮﺳﻂ ﻣﺒﺘﮑﺮﺍﻥ ﺍﯾﻦ ﺳﻨﺖ ﺑﻪ ﮐﺎﺭ ﮔﺮﻓﺘﻪ‬

‫ﺷﺪﻩﺍﺳﺖ‪ .‬ﺑﻪ ﺍﯾﻦ ﺗﺮﺗﯿﺐ‪،‬ﺗﮑﻨﯿﮏ ﭼﻨﺪ ﺿﻠﻌﯽﺑﺮﺍﯼ ﻇﻬﻮﺭ ﺍﯾﻦ ﺭﺷﺘﻪ ﻫﻨﺪﺳﯽ ﺑﻪ ﻋﻨﻮﺍﻥ ﯾﮏ ﺗﻮﺭ ﺩ ﻓﻮﺭﺱ ﺯﯾﻨﺘﯽ ﺍﺳﺎﺳﯽ ﺍﺳﺖ‪ .‬ﮐﺎﺭﺑﺮﺩ‬

‫ﺍﺯﺗﮑﻨﯿﮏ ﭼﻨﺪ ﺿﻠﻌﯽﻫﻢ ﺳﯿﺴﺘﻤﺎﺗﯿﮏ ﻭ ﻫﻢ ﻏﯿﺮ ﺳﯿﺴﺘﻤﺎﺗﯿﮏ ﺑﻮﺩ‪ .‬ﭘﻨﺞ ﺳﯿﺴﺘﻢ ﺭﻭﺵ ﺷﻨﺎﺧﺘﯽ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﮐﻪ ﺍﺯ ﻧﻈﺮ ﺗﺎﺭﯾﺨﯽ ﻣﻮﺭﺩ‬

‫ﺍﺳﺘﻔﺎﺩﻩﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺍﻧﺪ‪:‬ﺳﯿﺴﺘﻢ ﭼﻨﺪ ﺿﻠﻌﯽ ﻫﺎﯼ ﻣﻨﻈﻢ‪،‬ﺳﯿﺴﺘﻢ ‪،A 4/8‬ﺳﯿﺴﺘﻢ ‪ ،B 4/8‬ﺳﯿﺴﺘﻢ ‪ ،5/10‬ﻭﺳﺎﻣﺎﻧﻪ ‪ .7/14‬ﺍﺯ ﺍﯾﻦ‬

‫ﻣﻮﺳﺴﻪﺍﺳﻤﯿﺘﺴﻮﻧﯿﺎﻥ‪ ،‬ﺍﯾﺎﻻﺕ ﻣﺘﺤﺪﻩ‬

‫ﯾﮏﺗﺠﻤﯿﻊ ﻭﺍﻗﻌﯽ ﺍﺯ ﺳﺒﮏ ﻫﺎ؟ ﺯﯾﺮ ﺳﻮﺍﻝ‬ ‫ﺑﺮﺩﻥﺍﺻﺎﻟﺖ ﻧﻘﺎﺷﯽ ﻫﺎ ﺩﺭ ﻭﻭﺭﺧﻤﺴﻪﻧﻈﺎﻣﯽ‬ ‫ﻣﺎﻧﻨﺪﺗﻌﺪﺍﺩ ﺑﯽ ﺷﻤﺎﺭ ﻧﺴﺨﻪ ﻫﺎﯼ ﺧﻄﯽ‪ ،‬ﻧﺴﺨﻪ ﺍﯼ ﺍﺯﺧﻤﺴﻪﻧﻈﺎﻣﯽ )ﮔﺎﻟﺮﯼ ﺁﺭﺗﻮﺭ ﺍﻡ‪ .‬ﺳﺎﮐﻠﺮ ‪ -‬ﻣﻮﺳﺴﻪ‬

‫ﺍﺳﻤﯿﺘﺴﻮﻧﯿﺎﻥ‪،‬ﻭﺍﺷﻨﮕﺘﻦ‪ ،‬ﺩﯼ ﺳﯽ‪ (S1986.61 ،‬ﻣﻨﺴﻮﺏ ﺑﻪ ﺍﯾﺮﺍﻥ ﻗﺮﻥ ﭘﺎﻧﺰﺩﻫﻢ ﻭ ﺍﮐﻨﻮﻥ ﻧﺎﻗﺺ ﺑﻪ ﺷﺒﻪ ﻗﺎﺭﻩ‬

‫ﻣﯿﺎﻥ‪،‬ﺳﯿﺴﺘﻢ ‪5/10‬ﺩﺍﺭﺍﯼ ﺑﯿﺸﺘﺮﯾﻦ ﺩﺭﺟﻪ ﺗﻨﻮﻉ ﻃﺮﺍﺣﯽ‪ ،‬ﺍﺯ ﺟﻤﻠﻪ ﺍﻟﮕﻮﻫﺎﯼ ﺑﺴﯿﺎﺭ ﭘﯿﭽﯿﺪﻩ ﺩﻭ ﺳﻄﺤﯽ ﺍﺳﺖ ﮐﻪ ﺩﺭ ﻃﻮﻝ ﻗﺮﻥ ‪ 14‬ﻭ ‪15‬‬

‫ﻫﻨﺪﺭﺳﯿﺪﻩ ﺍﺳﺖ‪ .‬ﻣﺎﻧﻨﺪ ﺑﺴﯿﺎﺭﯼ ﺩﯾﮕﺮ‪ ،‬ﺍﯾﻦ ﮐﺘﺎﺏ ﻧﯿﺰ ﺑﻌﺪﺍ ًﺗﻌﻤﯿﺮ ﻭ ﺍﺻﻼﺡ ﺷﺪ‪ ،‬ﻣﻨﻄﻘﻪ ﻣﺘﻦ ﺑﺮ ﺭﻭﯼ‬

‫ﻣﺎﮊﻭﻝﻫﺎﯼ ﭼﻨﺪ ﺿﻠﻌﯽ ﺍﻭﻟﯿﻪ ﻫﺴﺘﻨﺪﺳﯿﺴﺘﻢ ‪5/10‬ﻭ ﺑﻪ ﻋﻨﻮﺍﻥ ﻋﻮﺍﻣﻞ ﺗﻌﯿﯿﻦ ﮐﻨﻨﺪﻩ ﮐﻠﯿﺪﯼ ﺑﺮﺍﯼ ﺍﯾﺠﺎﺩ ﻣﺠﻤﻮﻋﻪ ﮐﺎﻣﻞ ﻣﺎﮊﻭﻝ ﻫﺎﯼ‬

‫ﻧﯿﺴﺖ‪،‬ﺍﻓﺰﻭﺩﻥ ﺗﺼﻮﯾﺮﯼ ﺑﻪ ‪Vever‬ﺧﻤﺴﻪﺍﺯ ﭘﯿﭽﯿﺪﻩ ﺗﺮﯾﻦ ﺑﺎﺯﺳﺎﺯﯼ ﻫﺎﯼ ﺑﻌﺪﯼ ﻫﺴﺘﻨﺪ‪ .‬ﺩﺭ ﭼﮏ ﻟﯿﺴﺖ‬

‫ﺗﻮﻟﯿﺪﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻭﺍﺿﺢ ﺍﺳﺖ ﮐﻪﺳﯿﺴﺘﻢ ‪5/10‬ﺑﺮﺍﯼ ﺳﻨﺖ ﮐﻠﯽ ﻫﻨﺮ ﻫﻨﺪﺳﯽ ﺍﺳﻼﻣﯽ ﺑﺴﯿﺎﺭ ﻣﻬﻢ ﺍﺳﺖ‪ .‬ﭘﻨﺞ ﺿﻠﻌﯽ ﻭ ﺩﻩ ﺿﻠﻌﯽ‬

‫ﭼﻨﺪﺿﻠﻌﯽ ﺑﺮﺍﯼ ﺍﯾﻦ ﺳﯿﺴﺘﻢ ﻋﻤﻞ ﻣﯽ ﮐﻨﺪ‪ .‬ﺁﻧﭽﻪ ﻣﻬﻢ ﺗﺮ ﺍﺯ ﻫﺮ ﺳﯿﺴﺘﻢ ﭼﻨﺪ ﺿﻠﻌﯽ ﺩﯾﮕﺮﯼ ﺍﺳﺖ ﮐﻪ ﺩﺭ ﻃﻮﻝ ﺗﺎﺭﯾﺦ ﺑﺮﺍﯼ ﺍﯾﺠﺎﺩ‬ ‫ﺍﻟﮕﻮﻫﺎﯼﻫﻨﺪﺳﯽ ﺍﺳﺘﻔﺎﺩﻩ ﻣﯽ ﺷﺪ‪ ،‬ﺑﻪ ﻧﻈﺮ ﻣﯽ ﺭﺳﺪ ﮐﻪ ﻭﯾﮋﮔﯽ ﻫﺎﯼ ﺗﺜﺒﯿﺖ ﮐﻨﻨﺪﻩ ﺩﻩ ﺿﻠﻌﯽ ﻭ ﭘﻨﺞ ﺿﻠﻌﯽ ﺍﺯ ﺭﻭﺵ ﺷﻨﺎﺳﯽ‬

‫ﺭﺉﯿﺲﻭ ﺑﺤﺚ ﮐﻨﻨﺪﻩ‪ :‬ﮐﺎﺭﯾﻦ ﺭﻭﻫﺮﺩﻧﺰ‬

‫ﻭﺁﻫﻨﮕﺴﺎﺯﯼ ﻫﻨﺮ ﻭ ﻣﻌﻤﺎﺭﯼ ﺍﯾﺮﺍﻧﯽ‬

‫ﺍﺩﺍﯼﭼﯿﺰﯼ ﺭﺍ ﺩﺭ ﺁﻭﺭﺩﻥ؟ ﺗﻘﻠﯿﺪ‪ ،‬ﮐﭙﯽ ﮐﺮﺩﻥ‪،‬‬

‫ﺗﻮﺳﻌﻪ ﯾﺎﻓﺘﻪﺍﻟﮕﻮﺳﺎﺯﯼ ﻏﯿﺮﺳﯿﺴﺘﻤﺎﺗﯿﮏ ﮐﻪ ﺑﻪ ﺩﻧﺒﺎﻝ ﺁﻥ ﺍﻟﮕﻮﺑﺮﺩﺍﺭﯼ ﻣﯽ ﺷﺪ‪ ،‬ﺧﺒﺮ ﺩﺍﺩ‪.‬ﺳﯿﺴﺘﻢ ‪ .5/10‬ﺑﻪ ﺍﯾﻦ ﺗﺮﺗﯿﺐ‪ ،‬ﺩﻩ ﺿﻠﻌﯽ ﻭ‬

‫ﭘﻨﺞﺿﻠﻌﯽ ﺍﺣﺘﻤﺎﻻ ًﻧﻘﺶ ﻣﻬﻤﯽ ﺩﺭ ﺗﻮﺳﻌﻪ ﺍﻟﮕﻮﻫﺎﯼ ﻫﻨﺪﺳﯽ ﭘﯿﭽﯿﺪﻩ ﺍﯼ ﺩﺍﺷﺘﻨﺪ ﮐﻪ ﺑﺎ ﺗﺮﮐﯿﺒﺎﺕ ﻣﺨﺘﻠﻒ ﺍﺷﮑﺎﻝ ﺳﺘﺎﺭﻩ ﺩﺭ ﯾﮏ ﻃﺮﺡ‬

‫ﻭﺍﺣﺪ‪،‬ﻣﺎﻧﻨﺪ ﺳﺘﺎﺭﻩ ﻫﺎﯼ ‪ 11 ،10 ،9‬ﻭ ‪ 12‬ﭘﺮ ﻣﺸﺨﺺ ﻣﯽ ﺷﻮﺩ‪ .‬ﭼﻨﯿﻦ ﻧﻘﻮﺵ ﺗﺮﮐﯿﺒﯽ ﺍﺯ ﻭﯾﮋﮔﯽ ﻫﺎﯼ ﺑﺎﺭﺯ ﺍﯾﻦ ﺳﻨﺖ ﺯﯾﻨﺘﯽ ﺍﺳﺖ‪ .‬ﺍﺯ‬

‫ﺣﺎﺷﯿﻪ ﻫﺎﯼﺟﺪﯾﺪ ﻗﺮﺍﺭ ﮔﺮﻓﺖ ﻭ ﺗﺼﺎﻭﯾﺮ ﺑﺴﯿﺎﺭﯼ ﺍﺿﺎﻓﻪ ﺷﺪ‪ ،‬ﺍﺣﺘﻤﺎﻻ ًﺩﺭ ﻫﻨﺪ‪ .‬ﺍﮔﺮ ﭼﻪ ﯾﮏ ﻋﻤﻞ ﻏﯿﺮ ﻣﻌﻤﻮﻝ‬

‫ﻣﺠﻤﻮﻋﻪﻣﻨﺘﺸﺮ ﺷﺪﻩ ﺩﺭ ﺳﺎﻝ ‪ ،1988‬ﮔﻠﻦ ﺩﯼ ﻟﻮﺭﯼ ﻭ ﻣﯿﻠﻮ ﺳﯽ ﺑﯿﭻ ﺑﻪ ﻃﻮﺭ ﻗﺎﻧﻊ ﮐﻨﻨﺪﻩ ﺍﯼ ﺳﺎﺧﺖ ﻧﺴﺨﻪ‬

‫ﺍﺻﻠﯽﺭﺍ ﺑﻪ ﻏﺮﺏ ﺍﯾﺮﺍﻥ ﺩﺭ ﺣﺪﻭﺩ ﺳﺎﻝ ‪ 1470‬ﻧﺴﺒﺖ ﺩﺍﺩﻧﺪ‪ .‬ﺳﺒﮏ ﺩﺭﺑﺎﺭﯼ ﺗﺮﮐﻤﻦ ﻭ ﺳﺒﮏ ﻣﻐﻮﻝ ﺯﯾﺮ ﺍﻣﭙﺮﺍﺗﻮﺭﯼ‪.‬‬ ‫ﺩﺭﻭﺍﻗﻊ‪ ،‬ﯾﮏ ﺑﺮﺭﺳﯽ ﺟﺪﯾﺪﺗﺮ‪ ،‬ﭘﻨﺞ ‪ -‬ﺍﮔﺮ ﻧﻪ ﺑﯿﺸﺘﺮ ‪ -‬ﺣﺎﻟﺖ ﻫﺎﯼ ﺗﺼﻮﯾﺮﯼ ﻣﺨﺘﻠﻒ‪ ،‬ﺍﺯ ﺟﻤﻠﻪ ﺳﺒﮏ ﻫﺎﯼ‬

‫ﻏﯿﺮﻣﻌﻤﻮﻝ»ﺗﺮﮐﻤﺎﻥ ﮔﻮﻧﻪ« ﻭ »ﺗﯿﻤﻮﺭﯼ ﻣﺎﻧﻨﺪ« ﺭﺍ ﺑﺮﻣﯽ ﺷﻤﺮﺩ‪.‬‬

‫ﺁﻧﺠﺎﯾﯽﮐﻪ ﺩﻩ ﺿﻠﻌﯽ ﻭ ﭘﻨﺞ ﺿﻠﻌﯽ ﻣﺴﺒﺐ ﺑﺮﺗﺮﯼ ﺯﯾﺎﺩ ﺍﻟﮕﻮﻫﺎﯼ ﻫﻨﺪﺳﯽ ﭘﻨﺞ ﺿﻠﻌﯽ ﻫﺴﺘﻨﺪ ﮐﻪ ﺩﺭ ﺯﯾﺒﺎﯾﯽ ﺷﻨﺎﺳﯽ ﻓﺮﻫﻨﮓ ﻫﺎﯼ‬

‫ﺍﺳﻼﻣﯽﻧﻘﺶ ﺍﺳﺎﺳﯽ ﺩﺍﺭﻧﺪ ﻭ ﺑﻪ ﻧﻈﺮ ﻣﯽ ﺭﺳﺪ ﮐﻪ ﻭﯾﮋﮔﯽ ﻫﺎﯼ ﺗﺴﻠﯿﺢ ﺩﻩ ﺿﻠﻌﯽ ﻭ ﭘﻨﺞ ﺿﻠﻌﯽ ﻧﻘﺶ ﻣﻬﻤﯽ ﺩﺭ ﮔﺴﺘﺮﺵ ﻓﺮﻫﻨﮓ ﺍﯾﻔﺎ‬ ‫ﮐﺮﺩﻩﺍﺳﺖ‪.‬ﺗﮑﻨﯿﮏ ﭼﻨﺪ ﺿﻠﻌﯽﺩﺭ ﻃﺮﺍﺣﯽ ﻏﯿﺮ ﺳﯿﺴﺘﻤﺎﺗﯿﮏ‪ ،‬ﭘﻨﺞ ﺿﻠﻌﯽ ﻭ ﺩﻩ ﺿﻠﻌﯽ ﺑﺎﯾﺪ ﺑﻪ ﻋﻨﻮﺍﻥ ﻋﻮﺍﻣﻞ ﺍﺳﺎﺳﯽ ﺩﺭ ﺯﯾﺒﺎﯾﯽ ﻭ ﺗﻨﻮﻉ‬

‫ﻫﻨﺮﺍﺳﻼﻣﯽ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻪ ﺷﻮﻧﺪ‪.‬‬

‫ﻫﺪﻑﺍﯾﻦ ﻣﻘﺎﻟﻪ ﺍﺭﺍﺉﻪ ﯾﮏ ﻓﺮﺿﯿﻪ ﺟﺪﯾﺪ ﺑﺮﺍﯼ ﻣﺮﺍﺣﻞ ﻣﺘﻮﺍﻟﯽ ﺩﮔﺮﮔﻮﻧﯽ ﺩﺭ ﻧﺴﺨﻪ ﺧﻄﯽ ﻧﻪ ﺗﻨﻬﺎ ﺍﺯ ﻃﺮﯾﻖ ﺗﺤﻠﯿﻞ‬

‫ﺳﺒﮏ‪،‬ﺑﻠﮑﻪ ﺍﺯ ﻃﺮﯾﻖ ﺑﺮﺭﺳﯽ ﮐﺪﺷﻨﺎﺧﺘﯽ ﺍﺳﺖ‪ .‬ﺩﺭ ﻧﺘﯿﺠﻪ‪ ،‬ﻣﻤﮑﻦ ﺍﺳﺖ ﺑﺘﻮﺍﻥ ﺯﻣﺎﻥ ﺍﺿﺎﻓﺎﺕ ﺗﺼﻮﯾﺮﯼ ﺑﻌﺪﯼ ﺭﺍ‬

‫ﻣﺘﻤﺎﯾﺰﻭ ﻣﺤﺪﻭﺩ ﮐﺮﺩ‪ .‬ﺑﺎ ﺍﯾﻦ ﺣﺎﻝ‪ ،‬ﺟﺎﯼ ﺗﻌﺠﺐ ﺍﺳﺖ ﮐﻪ ﺍﺻﺎﻟﺖ ﻧﻘﺎﺷﯽ ﻫﺎﯼ ﺗﯿﻤﻮﺭﯼ ﻭ ﺗﺮﮐﻤﺎﻥ ﻣﺎﻧﻨﺪ ﻭ ﻓﺮﺍﺗﺮ ﺍﺯ‬ ‫ﺁﻧﻬﺎﺩﺭ ﮐﻞ ﻧﺴﺨﻪ ﺧﻄﯽ ﻫﺮﮔﺰ ﺯﯾﺮ ﺳﺆﺍﻝ ﻧﺮﻓﺖ‪ .‬ﺩﺭ ﻭﺍﻗﻊ‪ ،‬ﯾﺎ ﺍﯾﻦ ﺗﺼﺎﻭﯾﺮ ﮐﭙﯽ ﺩﺭﺳﺘﯽ ﺍﺯ ﻣﺪﻝ ﻫﺎﯼ ﺍﯾﺮﺍﻧﯽ ﻗﺒﻠﯽ‬

‫ﻫﺴﺘﻨﺪﮐﻪ ﻣﻤﮑﻦ ﺍﺳﺖ ﺩﺭ ﻫﻨﺪ ﻗﺮﻥ ﺷﺎﻧﺰﺩﻫﻢ ﯾﺎ ﻫﻔﺪﻫﻢ ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺍﻧﺪ ﯾﺎ ﺑﻪ ﺳﺎﺩﮔﯽ ﺗﻘﻠﺒﯽ ﻫﺴﺘﻨﺪ ﮐﻪ ﺯﻣﺎﻧﯽ‬ ‫ﻗﺒﻞﺍﺯ ﺩﺳﺘﯿﺎﺑﯽ ﻫﻨﺮﯼ ﻭﻭﺭ ﺑﻪ ﻧﺴﺨﻪ ﺧﻄﯽ ﺩﺭ ﭘﺎﯾﺎﻥ ﻗﺮﻥ ﻧﻮﺯﺩﻫﻢ ﺍﺿﺎﻓﻪ ﺷﺪﻩ ﺍﻧﺪ‪.‬‬

‫ﺷﺎﺭﻭﻥﺳﯽ ﺍﺳﻤﯿﺖ ﻭ ﺷﯿﺮﺍﺯ ﻋﻠﯿﻬﺎﯼ ﻣﻮﺳﺴﻪ ﻓﻨﺎﻭﺭﯼ‬ ‫ﻣﺎﺳﺎﭼﻮﺳﺖ‪،‬ﺍﯾﺎﻻﺕ ﻣﺘﺤﺪﻩ‪ ،‬ﻭ ﺁﻏﺎ ﺧﺎﻥ ﺗﺮﺍﺳﺖ ﺑﺮﺍﯼ‬ ‫ﻓﺮﻫﻨﮓ‪،‬ﺳﻮﺉﯿﺲ‬ ‫‪Archnet a Demonstration Workshop‬‬ ‫ﻫﺪﻑﺍﺯ ﺍﯾﻦ ﮐﺎﺭﮔﺎﻩ ﻧﻤﺎﯾﺶ ‪ Archnet‬ﻣﺠﺪﺩﺍ ًﺭﺍﻩ ﺍﻧﺪﺍﺯﯼ ﺷﺪﻩ ﻭ ﻧﺸﺎﻥ ﺩﺍﺩﻥ ﻗﺎﺑﻠﯿﺖ ﻫﺎ‪ ،‬ﺍﺑﺰﺍﺭﻫﺎ ﻭ ﺭﻭﺵ ﻫﺎﯼ ﺟﺪﯾﺪ ﺑﺮﺍﯼ ﺍﺳﺘﻔﺎﺩﻩ‬

‫ﮐﺎﻣﻞﺍﺯ ﺁﻥ ﺑﻪ ﺟﺎﻣﻌﻪ ﮐﺎﺭﺑﺮ ﺍﺳﺖ‪ .‬ﺍﯾﻦ ﮐﺎﺭﮔﺎﻩ ﺍﺯ ﻃﺮﯾﻖ ﻧﻤﺎﯾﺶ ﺑﻼﺩﺭﻧﮓ ﺑﻪ ﺳﻮﺍﻻﺕ ﻭ ﻧﮕﺮﺍﻧﯽ ﻫﺎﯼ ﮐﺎﺭﺑﺮﺍﻥ ﭘﺎﺳﺦ ﺧﻮﺍﻫﺪ ﺩﺍﺩ‪.‬‬

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‫ﺳﺎﯾﻤﻮﻥﺭﺗﯿﮓ‬

‫ﺑﻪﻫﺮ ﻧﺘﯿﺠﻪ ﺍﯼ ﮐﻪ ﻣﯽ ﮔﯿﺮﯾﻢ‪ ،‬ﺑﻪ ﻧﻈﺮ ﻣﯽ ﺭﺳﺪ ﮐﻪ ﺑﺮﺍﯼ ﺣﻮﺯﻩ ﺭﻭ ﺑﻪ ﺭﺷﺪ ﻫﻨﺮﻫﺎﯼ ﺍﺳﻼﻣﯽ ﮐﺘﺎﺏ ﺩﺭ ﺍﻭﺍﯾﻞ ﻗﺮﻥ‬ ‫ﺑﯿﺴﺘﻢﺍﻫﻤﯿﺖ ﺯﯾﺎﺩﯼ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﺩﺭ ﻣﻮﺭﺩ ﺍﻭﻝ‪ ،‬ﻧﻘﺎﺷﯽ ﻫﺎ ﻧﻪ ﺗﻨﻬﺎ ﺍﯾﻦ ﻭﺍﻗﻌﯿﺖ ﺭﺍ ﻧﺸﺎﻥ ﻣﯽ ﺩﻫﻨﺪ ﮐﻪ‬

‫ﻧﻘﺎﺷﺎﻥﺩﺍﻧﺶ ﮐﺎﻣﻠﯽ ﺍﺯ ﺗﺎﺭﯾﺨﭽﻪ ﺳﺒﮏ ﻫﺎ ﺩﺍﺷﺘﻨﺪ‪ ،‬ﺑﻠﮑﻪ ﺗﻮﺍﻧﺎﯾﯽ ﺗﻘﻠﯿﺪ ﻭ ﺑﺎﺯﺗﻮﻟﯿﺪ ﺻﺎﺩﻗﺎﻧﻪ ﺗﺼﺎﻭﯾﺮ ﮔﺬﺷﺘﻪ ﺭﺍ‬

‫ﻧﯿﺰﺩﺍﺷﺘﻨﺪ‪ .‬ﺩﺭ ﻓﺮﺿﯿﻪ ﺩﻭﻡ‪ ،‬ﻧﺴﺨﻪ ﺧﻄﯽ ﺑﺎﯾﺪ ﺑﻪ ﻃﻮﺭ ﻓﺮﺿﯽ ﺩﺭ ﺑﺪﻧﻪ ﺑﺰﺭﮔﯽ ﺍﺯ ﺟﻌﻠﯿﺎﺕ ﮐﻪ ﻋﻤﺪﺗﺎ ًﺑﺮﺍﯼ ﺑﺎﺯﺍﺭ‬

‫ﻫﻨﺮﻏﺮﺏ ﺩﺭ ﺣﺪﻭﺩ ﺳﺎﻝ ‪ 1900‬ﺍﯾﺠﺎﺩ ﺷﺪﻩ ﺍﻧﺪ ﺍﺩﻏﺎﻡ ﺷﻮﺩ‪ .‬ﺍﺯ ﻃﺮﯾﻖ ﺑﺮﺭﺳﯽ ﻣﻮﺍﺯﯼ ﻫﺮ ﺩﻭ ﺍﺣﺘﻤﺎﻝ‪ ،‬ﻣﻦ ﺩﺭ‬

‫ﻧﻬﺎﯾﺖﭘﺎﺭﺍﺩﺍﯾﻢ ﻫﺎﯾﯽ ﺭﺍ ﮐﻪ ﺗﻮﺳﻂ ﻣﺤﻘﻘﺎﻥ ﺩﺭ ﺗﻼﺵ ﺧﻮﺩ ﺗﻮﺳﻌﻪ ﺩﺍﺩﻩ ﻭ ﻣﻮﺭﺩ ﺍﺳﺘﻔﺎﺩﻩ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺍﻧﺪ‪ ،‬ﺯﯾﺮ‬

‫ﺳﻮﺍﻝﻣﯽ ﺑﺮﻡ‪ .‬ﺑﺮﺍﯼ ﺗﺸﺨﯿﺺ ﺍﺻﻞ ﺍﺯ ﺟﻌﻠﯽ‬

‫ﮐﺎﻟﺞﺁﻣﻬﺮﺳﺖ‪ ،‬ﺍﯾﺎﻻﺕ ﻣﺘﺤﺪﻩ‬

‫ﺍﯾﮕﻮﺭﺩﻣﭽﻨﮑﻮ‬ ‫ﻣﻮﺳﺴﻪﻓﻨﺎﻭﺭﯼ ﻣﺎﺳﺎﭼﻮﺳﺖ‪ ،‬ﺍﯾﺎﻻﺕ ﻣﺘﺤﺪﻩ ﺁﻣﺮﯾﮑﺎ‬

‫ﺳﺎﺧﺖﺁﻣﺮﯾﮑﺎ‪:‬‬ ‫ﺩﺭﯾﮏ ﺍﺗﺎﻗﮏ ﺻﻔﻮﯼ ﺩﺭ ﻣﻮﺯﻩ ﻫﻨﺮ ﻓﯿﻼﺩﻟﻔﯿﺎ‬

‫ﺑﻨﺎﻫﺎﯼﺗﺎﺭﯾﺨﯽ ﻣﻌﺘﺒﺮ ﺩﺭ ﺳﻨﺖ ﺟﻌﻠﯽ‪ :‬ﺍﺧﺘﺮﺍﻉ ﻭ‬ ‫ﺁﻣﻮﺯﺵﺍﻭﺳﺘﻮﺱﺩﺭ ﺁﺳﯿﺎﯼ ﻣﺮﮐﺰﯼ ﺷﻮﺭﻭﯼ‬

‫ﯾﯿﻞﺭﺍﯾﺲ‬

‫ﯾﮑﯽﺍﺯ ﺑﺨﺶ ﻫﺎﯼ ﻣﺮﮐﺰﯼ ﮔﺎﻟﺮﯼ ﻫﺎﯼ ﺍﯾﺮﺍﻧﯽ ﻣﻮﺯﻩ ﻫﻨﺮ ﻓﯿﻼﺩﻟﻔﯿﺎ‪ ،‬ﯾﮏ ﺍﺗﺎﻗﮏ ﺗﺰﺉﯿﻦ ﺷﺪﻩ ﺍﺯ ﺍﺻﻔﻬﺎﻥ ﺍﺳﺖ ﮐﻪ ﺍﺯ ﻃﺮﻑ ﻣﻮﺯﻩ ﺗﻮﺳﻂ‬

‫ﺗﻮﻫﻢﺳﻨﺖ ﻫﻨﺮﯼ ﺑﯽ ﻭﻗﻔﻪ ﯾﮏ ﺗﻮﺟﯿﻪ ﺭﺍﯾﺞ ﺑﺮﺍﯼ ﻣﺮﻣﺖ ﻫﺎﯼ ﺑﺴﯿﺎﺭ ﻣﺪﺍﺧﻠﻪ ﺟﻮﯾﺎﻧﻪ ﺑﻨﺎﻫﺎﯼ ﻣﻌﻤﺎﺭﯼ ﺍﺳﺖ‪ ،‬ﭼﻪ ﺩﺭ ﻓﺮﺍﻧﺴﻪ ﻗﺮﻥ‬

‫ﻋﺒﺎﺱﺍﻭﻝ‪ ،‬ﺣﺎﮐﻢ ﺻﻔﻮﯼ ﻧﺴﺒﺖ ﺩﺍﺩﻩ ﻣﯽ ﺷﻮﺩ‪ ،‬ﻣﺪﺕ ﻫﺎﺳﺖ ﮐﻪ ﭘﻨﺠﺮﻩ ﺍﯼ ﺯﯾﻨﺘﯽ ﺑﻪ ﺭﻭﯼ ﺯﻧﺪﮔﯽ ﻧﺨﺒﮕﺎﻥ ﺳﻠﻄﻨﺘﯽ ﺍﯾﺮﺍﻥ ﺩﺭ ﺍﺧﺘﯿﺎﺭ‬

‫ﻫﺠﺪﻫﻢﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺍﺳﺖ ﺑﻪ ﯾﮏ ﺧﺎﻟﻖ ‪ -‬ﭼﻪ ﻣﻌﻤﺎﺭ ﻭ ﭼﻪ ﯾﮏ ﺍﺳﺘﺎﺩ ﺳﻨﮓ ﺗﺮﺍﺷﯽ ﻧﺴﺒﺖ ﺩﻫﯿﻢ‪.‬‬

‫ﺁﺭﺗﻮﺭﺁﭘﻬﺎﻡ ﭘﻮﭖ ﺧﺮﯾﺪﺍﺭﯼ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﯾﻦ ﺍﺗﺎﻕ ﮐﻮﭼﮏ ﺑﺎ ﻧﻘﺶ ﻭ ﻧﮕﺎﺭﻫﺎﯼ ﭘﯿﭽﯿﺪﻩ ﮐﻪ ﺩﺭ ﺑﺮﭼﺴﺐ ﻫﺎﯼ ﺁﻣﻮﺯﺷﯽ ﺑﻪ ﺣﻤﺎﯾﺖ ﺷﺎﻩ‬

‫ﺑﺎﺯﺩﯾﺪﮐﻨﻨﺪﮔﺎﻥﻗﺮﺍﺭ ﺩﺍﺩﻩ ﺍﺳﺖ‪ ،‬ﮐﻪ ﺗﻀﺎﺩ ﻗﺎﺑﻞ ﺗﻮﺟﻬﯽ ﺑﺎ ﺗﺎﻻﺭ ﻣﻌﺒﺪ ﺳﺘﻮﻥ ﺩﺍﺭ ﻗﺮﻥ ﺷﺎﻧﺰﺩﻫﻢ ﺍﺯ ﻣﺪﻭﺭﺍﯾﯽ ﺍﺳﺖ‪ ، .‬ﻫﻨﺪ‪ ،‬ﺩﺭ ﯾﮏ ﮔﺎﻟﺮﯼ‬

‫ﻧﺰﺩﯾﮏﻧﺼﺐ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﻣﺘﻦ ﺩﯾﻮﺍﺭ ﺍﯾﻦ ﻭﺍﻗﻌﯿﺖ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ ﮐﻪ ﺻﻔﺤﺎﺕ ﮔﭽﺒﺮﯼ ‪ cubiculum‬ﺩﺭ ﺍﻭﺍﯾﻞ ﺩﻫﻪ ‪ 1930‬ﺑﻪ‬

‫ﻓﯿﻼﺩﻟﻔﯿﺎﺩﺭ ﺣﺎﻟﺖ ﺑﺴﯿﺎﺭ ﺗﮑﻪ ﺗﮑﻪ ﻭﺍﺭﺩ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺳﻮﺍﺑﻖ ﺑﺎﯾﮕﺎﻧﯽ ﻧﺸﺎﻥ ﻣﯽ ﺩﻫﺪ ﮐﻪ ﻫﯿﭻ ﻗﻄﻌﻪ ﺍﯼ ﺑﯿﺶ ﺍﺯ ﺳﻪ ﺍﯾﻨﭻ ﻃﻮﻝ ﻧﺪﺍﺷﺘﻪ‬ ‫ﺍﺳﺖ‪.‬ﺑﺎﺯﺳﺎﺯﯼ ﺍﯾﻦ ﻗﻄﻌﺎﺕ ﻣﻌﻤﺎﺭﯼ ﺗﻮﺳﻂ ﻫﻨﺮﻣﻨﺪﺍﻥ ﺍﯾﺮﺍﻧﯽ ﺍﻧﺠﺎﻡ ﻧﺸﺪﻩ ﺍﺳﺖ‪.‬‬

‫ﺑﺮﺭﺳﯽ ﻫﺎﯼﺍﺧﯿﺮ ﮐﻮﺑﯿﮑﻮﻟﻮﻡ ﺯﯾﺮ ﻧﻮﺭ ﻓﺮﺍﺑﻨﻔﺶ ﻧﺸﺎﻥ ﻣﯽ ﺩﻫﺪ ﮐﻪ ﺍﯾﻦ ﮐﺎﺭﮔﺮﺍﻥ ‪ WPA‬ﺗﺎ ﺣﺪ ﺯﯾﺎﺩﯼ ﭘﺎﻧﻞ ﻫﺎﯼ ﮔﭻ ﮐﺎﺭﯼ ﻭ ﺗﺰﺉﯿﻨﺎﺕ‬

‫ﺭﻧﮓ ﺷﺪﻩﺁﻥ ﻫﺎ ﺭﺍ ﺑﻪ ﻃﻮﺭ ﮐﺎﻣﻞ ﺳﺎﺧﺘﻪ ﺍﻧﺪ‪ .‬ﺑﻪ ﻋﺒﺎﺭﺕ ﺩﯾﮕﺮ‪ ،‬ﻣﻮﺯﻩ ﻫﻨﺮ ﻓﯿﻼﺩﻟﻔﯿﺎ ﻣﻮﺳﻮﻡ ﺑﻪ "‪ Cubiculum‬ﺻﻔﻮﯼ" ﯾﮏ ﺍﺧﺘﺮﺍﻉ ﻗﺮﻥ‬

‫ﺑﯿﺴﺘﻢﺍﺳﺖ‪ .‬ﺣﺘﯽ ﺩﺭ ﺍﯾﻦ ﺻﻮﺭﺕ‪ ،‬ﺍﯾﻦ ﻣﻘﺎﻟﻪ ﻣﺨﺎﻟﻒ ﺷﻨﺎﺳﺎﯾﯽ ﺍﯾﻦ ﻧﺼﺐ ﺑﻪ ﻋﻨﻮﺍﻥ ﺟﻌﻠﯽ ﯾﺎ ﺟﻌﻠﯽ ﺍﺳﺖ‪ .‬ﺑﻠﮑﻪ ﺑﻪ ﺩﻧﺒﺎﻝ ﺍﯾﻦ ﺍﺳﺖ‬

‫ﮐﻪﺑﺎﺯﺳﺎﺯﯼ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﯾﮏ ﺗﺎﺭﯾﺦ ﻣﺤﻠﯽ ﺍﺯ ﺗﻮﺳﻌﻪ ﺗﮑﻨﻮﻟﻮﮊﯾﮑﯽ ﻭ ﺯﯾﺒﺎﯾﯽ ﺷﻨﺎﺧﺘﯽ ﺩﺭ ﺍﯾﺎﻻﺕ ﻣﺘﺤﺪﻩ ﻗﺮﺍﺭ ﺩﻫﺪ‪ .‬ﺩﺭ ﻭﺍﻗﻊ‪ ،‬ﻫﻤﺎﻧﻄﻮﺭ ﮐﻪ‬

‫ﺗﺤﻘﯿﻘﺎﺕﺍﺧﯿﺮ ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﺍﺳﺖ‪ ،‬ﺻﻨﻌﺘﮕﺮ ﺍﺻﻠﯽ ‪ WPA‬ﮐﻪ ﺑﻪ ﭘﺮﻭﮊﻩ ﻣﻨﺼﻮﺏ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺩﺭ ﺳﺎﺧﺖ ﻗﺒﻠﯽ ﻣﻌﺒﺪ ﺑﻬﺎﺉﯽ ﺑﺴﯿﺎﺭ ﻓﺎﺭﺳﯽ‬

‫ﻧﻮﺯﺩﻫﻢ‪،‬ﭼﻪ ﺩﺭ ﺁﺳﯿﺎﯼ ﻣﺮﮐﺰﯼ ﺷﻮﺭﻭﯼ ﻭ ﭼﻪ ﺩﺭ ﻫﻨﺪ ﻣﻌﺎﺻﺮ‪ .‬ﺍﺯ ﺁﻧﺠﺎ ﮐﻪ ﺍﻏﻠﺐ ﻏﯿﺮﻣﻤﮑﻦ ﺍﺳﺖ ﺳﺎﺧﺘﻤﺎﻧﯽ ﺭﺍ ﮐﻪ ﻗﺒﻞ ﺍﺯ ﻗﺮﻥ‬

‫‪-‬ﺍﯾﺪﻩ ﺍﯼ ﻣﺒﻬﻢ ﺍﺯ ﻧﯿﺮﻭﯼ ﺧﻼﻕ ﻣﻠﯽ‪/‬ﻣﻨﻄﻘﻪ ﺍﯼ‪/‬ﻣﺤﻠﯽ ﺟﺎﯾﮕﺰﯾﻦ ﻧﻮﯾﺴﻨﺪﻩ ﻣﯽ ﺷﻮﺩ‪ .‬ﺍﯾﻦ ﻧﯿﺮﻭ ﮐﻪ ﺩﺭ ﻏﯿﺮ ﺍﯾﻦ ﺻﻮﺭﺕ ﺑﻪ ﻋﻨﻮﺍﻥ ﯾﮏ‬

‫ﺳﻨﺖﻧﺎﻣﯿﺪﻩ ﻣﯽ ﺷﻮﺩ‪ ،‬ﺍﺯ ﻫﺮﮔﻮﻧﻪ ﻣﺤﻠﯽ ﺳﺎﺯﯼ ﺯﻣﺎﻧﯽ ﺍﺟﺘﻨﺎﺏ ﻣﯽ ﮐﻨﺪ‪ .‬ﺑﻠﮑﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﺗﺠﺴﻤﯽ ﺍﺯ ﺭﻭﺡ ﻣﮑﺎﻥ ﻫﻤﺮﺍﻩ ﺑﺎ ﻟﺒﺎﺱ ﻫﺎﯼ‬ ‫ﻇﺎﻫﺮﺍ ًﺳﻨﺘﯽ‪ ،‬ﺳﻔﺎﻝ‪ ،‬ﻣﻨﺒﺖ ﮐﺎﺭﯼ‪ ،‬ﻭ ﻣﯿﺮﺍﺙ ﻧﺎﻣﻠﻤﻮﺱ‪ ،‬ﺍﺯ ﺟﻤﻠﻪ ﺭﻗﺺ‪ ،‬ﺁﻭﺍﺯ‪ ،‬ﺁﺷﭙﺰﯼ‪ ،‬ﻭ ﻏﯿﺮﻩ ﻋﻤﻞ ﻣﯽ ﮐﻨﺪ‪ .‬ﺻﻨﻌﺖ ﻟﺬﺕ‬

‫ﮔﺮﺩﺷﮕﺮﯼ‪،‬ﺻﻨﻌﺖ ﺳﺎﺧﺘﻤﺎﻥ ﺍﻏﻠﺐ ﺑﻪ ﺣﻮﺯﻩ ﻣﻌﻘﻮﻝ ﺣﻔﺎﻇﺖ ﺍﺯ ﻣﯿﺮﺍﺙ ﺍﺭﺗﻘﺎ ﻣﯽ ﯾﺎﺑﺪ‪.‬‬

‫ﻣﺎﻧﻨﺪﺳﺎﯾﺮ ﺻﻨﺎﯾﻊ ﺳﻮﻏﺎﺗﯽ‪ ،‬ﺻﻨﺎﯾﻊ ﺩﺳﺘﯽ ﺗﻮﻟﯿﺪ ﻣﻌﻤﺎﺭﯼ ﻣﺒﺘﻨﯽ ﺑﺮ ﻣﯿﺮﺍﺙ ﻣﯽ ﺗﻮﺍﻧﺪ ﻫﺮ ﺩﻭﺭﻩ ﺗﺎﺭﯾﺨﯽ ﺭﺍ ﻣﻄﺎﺑﻖ ﺑﺎ ﺧﻮﺍﺳﺘﻪ ﻫﺎﯼ‬

‫ﻣﺮﺩﻡ‪،‬ﺑﻮﺭﻭﮐﺮﺍﺳﯽ ﻓﺮﻫﻨﮕﯽ ﯾﺎ ﺻﺮﻓﺎ ًﻣﺪ ﺗﻮﺭﯾﺴﺘﯽ ﺗﻘﻠﯿﺪ ﮐﻨﺪ‪ .‬ﺍﯾﻦ ﺍﻣﺮ ﺍﺯ ﻃﺮﯾﻖ ﺗﻮﺍﻧﺎﯾﯽ ﺍﺳﺘﺎﺩﺍﻥ "ﺳﻨﺘﯽ" ﺑﺮﺍﯼ ﯾﺎﺩﮔﯿﺮﯼ ﺍﺯ ﻣﻄﺎﻟﻌﺎﺕ‬ ‫ﺁﮐﺎﺩﻣﯿﮏﻣﯿﺮﺍﺙ "ﺧﻮﺩ" ﺍﻣﮑﺎﻥ ﭘﺬﯾﺮ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻣﺪﺭﻥ ﺗﺮﯾﻦ ﻓﻨﺎﻭﺭﯼ ﻫﺎﯼ ﺗﻮﻟﯿﺪ ﻫﻨﺮﯼ؛ ﻭ ﺗﻌﺎﻣﻞ ﺳﺎﺯﻧﺪﻩ ﺍﯼ ﺑﺎ ﺩﺳﺘﮕﺎﻩ‬

‫ﺑﻮﺭﻭﮐﺮﺍﺗﯿﮏﻧﺼﺐ ﺷﺪﻩ ﺑﺮﺍﯼ ﺳﺎﺧﺘﻦ )ﯾﺎ ﺑﻪ ﺯﺑﺎﻥ ﺭﺳﻤﯽ‪» ،‬ﺑﺎﺯﯾﺎﺑﯽ«‪» ،‬ﺑﺎﺯﯾﺎﺑﯽ«‪» ،‬ﺑﺎﺯﮔﺮﺩﺍﻧﺪﻥ«‪ ،‬ﻭ ﻏﯿﺮﻩ( ﻣﯿﺮﺍﺙ ﻣﺤﻠﯽ ﻧﺎﺩﯾﺪﻩ ﮔﺮﻓﺘﻪ‬

‫ﺷﺪﻩﺑﺮﺍﯼ ﺍﻫﺪﺍﻑ ﻣﻠﺖ ﺳﺎﺯﯼ‪ ،‬ﺍﺳﺘﻌﻤﺎﺭ ﺯﺩﺍﯾﯽ ﻓﺮﻫﻨﮕﯽ‪ ،‬ﯾﺎ ﻣﺪﺭﻧﯿﺰﺍﺳﯿﻮﻥ ﺍﺟﺒﺎﺭﯼ‪.‬‬

‫ﺳﺎﺯﯼﺷﺪﻩ ﺩﺭ ﻭﯾﻠﻤﺖ‪ ،‬ﺍﯾﻠﯿﻨﻮﯾﺰ ﻧﯿﺰ ﻣﺸﺎﺭﮐﺖ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪ ،‬ﮐﻪ ﺑﺎ ﺭﻭﮐﺶ ﺑﺘﻨﯽ ﺑﺴﯿﺎﺭ ﺁﺭﺍﺳﺘﻪ‪ ،‬ﺭﻓﺘﺎﺭﯼ ﺟﺴﻮﺭﺍﻧﻪ ﺭﺍ ﻧﺸﺎﻥ ﻣﯽ ﺩﺍﺩ‪ .‬ﺍﺯ‬ ‫ﯾﮏﻣﺎﺩﻩ ﻧﻮﺁﻭﺭﺍﻧﻪ ﺩﺭ ﻓﻦ ﺁﻭﺭﯼ ﺍﯾﻦ ﻣﻘﺎﻟﻪ ﻣﯽ ﭘﺮﺳﺪ ﮐﻪ ﭼﮕﻮﻧﻪ ﺍﯾﻦ ﺷﯿﻮﻩ ﻫﺎﯼ ﻣﺪﺭﻥ ﺍﺯ ﺷﯿﻮﻩ ﻫﺎﯼ ﺗﻘﻠﯿﺪ ﻫﻨﺮﯼ ﺍﯾﺮﺍﻧﯿﺎﻥ ﭘﯿﺸﺎﻣﺪﺭﻥ‬

‫ﻓﺎﺻﻠﻪﮔﺮﻓﺘﻪ ﻭ ﺑﺎ ﺁﻧﻬﺎ ﻫﻤﭙﻮﺷﺎﻧﯽ ﺩﺍﺭﻧﺪ‪ .‬ﺑﺎ ﺍﻧﺠﺎﻡ ﺍﯾﻦ ﮐﺎﺭ‪ ،‬ﺑﻪ ﺩﻧﺒﺎﻝ ﭘﯿﭽﯿﺪﻩ ﮐﺮﺩﻥ ﻭ ﺣﺘﯽ ﺑﻪ ﭼﺎﻟﺶ ﮐﺸﯿﺪﻥ ﻣﻔﺎﻫﯿﻢ ﻣﺮﺑﻮﻁ ﺑﻪ ﺟﻌﻞ ﻭ‬

‫ﺍﺻﺎﻟﺖﻫﻨﺮ ﺍﺳﻼﻣﯽ ﺩﺭ ﺣﻮﺯﻩ ﺍﻭﺍﯾﻞ ﻗﺮﻥ ﺑﯿﺴﺘﻢ ﺍﯾﺎﻻﺕ ﻣﺘﺤﺪﻩ ﺍﺳﺖ‪.‬‬

‫ﺍﯾﻦﻣﻘﺎﻟﻪ ﺑﺎ ﺳﺎﺧﺘﺎﺭﺷﮑﻨﯽ ﻣﻔﺎﻫﯿﻢ ﺳﻨﺖ ﻭ ﺍﺻﺎﻟﺖ‪ ،‬ﺑﻪ ﺗﻨﻬﺎ ﻣﻮﺭﺩ ﺁﻣﻮﺯﺵ )ﺑﻪ ﺯﺑﺎﻥ ﺭﺳﻤﯽ‪» ،‬ﺟﺬﺏ«( ﺍﺳﺘﺎﺩﺍﻥ ﻣﺤﻠﯽ ﺑﺮﺍﯼ ﻣﺮﻣﺖ‬

‫ﺑﻨﺎﻫﺎﯼﻣﻌﻤﺎﺭﯼ ﺗﯿﻤﻮﺭﯼ ﺩﺭ ﺁﺳﯿﺎﯼ ﻣﺮﮐﺰﯼ ﺷﻮﺭﻭﯼ ﻭ ﻃﺮﺍﺣﯽ ﺳﺒﮏ ﻣﻌﻤﺎﺭﯼ ﻣﺪﺭﻥ »ﻣﻠﯽ« ﻣﯽ ﭘﺮﺩﺍﺯﺩ‪ .‬ﺩﺭ ﻓﺮﻡ ﻭ ﺩﺭ ﻣﺤﺘﻮﺍ‬

‫ﺳﻮﺳﯿﺎﻟﯿﺴﺘﯽ‪«.‬ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺧﺎﻃﺮﺍﺕ ﻣﺮﻣﺘﮕﺮﺍﻥ ﺣﺮﻓﻪ ﺍﯼ ﻭ ﻣﻮﺭﺧﺎﻥ ﻣﻌﻤﺎﺭﯼ ﻭ ﻫﻤﭽﻨﯿﻦ ﻣﻄﺎﻟﺐ ﮔﺮﺍﻓﯿﮑﯽ ﻭ ﺗﺤﻘﯿﻘﺎﺗﯽ ﺍﺯ‬

‫ﺁﺭﺷﯿﻮﻫﺎﯼﺁﺳﯿﺎﯼ ﻣﯿﺎﻧﻪ ﻭ ﻣﻨﺎﺑﻊ ﮔﺎﻩ ﺑﻪ ﮔﺎﻩ ﻣﺮﺩﻡ ﻧﮕﺎﺭﯼ‪ ،‬ﺍﻟﮕﻮﻫﺎﯼ ﺁﻣﻮﺯﺵ ﻫﺎﯼ ﻣﻮﺭﺩ ﻧﻈﺮ ﻭ ﻧﺎﺧﻮﺍﺳﺘﻪ ﺍﯼ ﺭﺍ ﮐﻪ ﺷﮑﻞ‪ ،usto‬ﺳﺎﺯﻧﺪﻩ‬

‫ﻣﺘﺨﺼﺺﺩﺭ ﺗﮑﺜﯿﺮ ﺗﺎﺭﯾﺨﯽ ﻭ ﻃﺮﺍﺣﯽ ﺯﯾﻮﺭﺁﻻﺕ ﺷﺒﻪ ﺗﺎﺭﯾﺨﯽ ﻭ ﺍﻧﻮﺍﻉ ﺁﺟﺮﮐﺎﺭﯼ‪.‬‬

‫ﻣﻦﻫﻤﭽﻨﯿﻦ ﺑﻪ ﻃﻮﺭ ﺧﺎﺹ ﺑﺮ ﺭﻭﯼ ﺷﯿﻮﻩ ﻫﺎﯼ ﺣﻤﺎﯾﺖ ﺷﺪﻩ ﺍﺯ ﺳﻮﯼ ﺩﻭﻟﺖ ﺑﺮﺍﯼ ﺍﺣﯿﺎﯼ ﺭﻭﺵ ﻫﺎﯼ ﻓﺮﺍﻣﻮﺵ ﺷﺪﻩ ﺗﻮﻟﯿﺪ ﻫﻨﺮﯼ ﺗﻤﺮﮐﺰ‬ ‫ﺧﻮﺍﻫﻢﮐﺮﺩ‪ .‬ﺑﻨﺎﺑﺮﺍﯾﻦ‪ ،‬ﺭﺍﺯ ﮐﺎﺷﯽ ﻫﺎﯼ ﻣﺎﮊﻭﻟﯿﮑﺎ ﻟﻌﺎﺏ ﺩﺍﺭ‪ ،‬ﮐﻪ ﺣﺪﺍﻗﻞ ﯾﮏ ﻗﺮﻥ ﻗﺒﻞ ﺍﺯ ﻓﺘﺢ ﺁﺳﯿﺎﯼ ﻣﺮﮐﺰﯼ ﺗﻮﺳﻂ ﺭﻭﺳﯿﻪ ﮔﻢ ﺷﺪﻩ ﺑﻮﺩ‪،‬‬ ‫ﺑﺮﺍﯼﺍﻫﺪﺍﻑ ﺑﺎﺯﺳﺎﺯﯼ ﻣﻌﻤﺎﺭﯼ ﺗﻮﺳﻂ ﺷﯿﻤﯿﺪﺍﻥ ﻫﺎﯼ ﺣﺮﻓﻪ ﺍﯼ ﮐﻪ ﺑﺮﺍﯼ ﺻﻨﻌﺖ ﺳﺎﺧﺖ ﻭﺳﺎﺯ ﺷﻮﺭﻭﯼ ﮐﺎﺭ ﻣﯽ ﮐﺮﺩﻧﺪ‪ ،‬ﺩﻭﺑﺎﺭﻩ ﺍﺧﺘﺮﺍﻉ‬ ‫ﺷﺪ‪.‬ﺑﺎ ﺍﯾﻦ ﺣﺎﻝ‪ ،‬ﺗﻮﻟﯿﺪ ﻭﺍﻗﻌﯽ ﻣﻮﺯﺍﯾﯿﮏ ﻫﺎﯼ ﮐﺎﺷﯽ ﻧﯿﺰ ﺑﻪ ﺁﻥ ﺳﭙﺮﺩﻩ ﺷﺪ‪ ،ustos‬ﮐﻪ ﺍﯾﻦ ﺻﻨﻌﺖ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﯿﺮﺍﺙ ﺳﻨﺘﯽ ﺧﻮﺩ‬ ‫ﺩﺭﻭﻧﯽﮐﺮﺩﻧﺪ‪ .‬ﺍﯾﻦ ﭘﺪﯾﺪﻩ ‪ -‬ﻣﻦ ﺍﺳﺘﺪﻻﻝ ﺧﻮﺍﻫﻢ ﮐﺮﺩ ‪ -‬ﻧﺸﺎﻥ ﺩﻫﻨﺪﻩ ﺗﻮﻫﻢ ﺫﺍﺗﯽ ﻣﻔﺎﻫﯿﻢ ﺳﻨﺖ ﻭ ﺗﺪﺍﻭﻡ ﻭ ﻫﻤﭽﻨﯿﻦ ﻧﺘﯿﺠﻪ ﻣﺮﻣﺖ‬

‫ﻣﻌﻤﺎﺭﯼﺍﺳﺖ ﮐﻪ ﻋﻼﻭﻩ ﺑﺮ ﺍﯾﺠﺎﺩ ﻭﺍﻫﯽ ﺍﺯ ﺑﻨﺎﻫﺎﯼ ﺗﺎﺭﯾﺨﯽ‪ ،‬ﺷﯿﻮﻩ ﻫﺎﯼ ﺍﺣﺮﺍﺯ ﻫﻮﯾﺖ ﺁﻧﻬﺎ ﺭﺍ ﺑﻪ ﻭﺟﻮﺩ ﻣﯽ ﺁﻭﺭﺩ‪.‬‬

‫ﺑﺎﺍﺷﺎﺭﻩ ﺑﻪ ﺁﯾﯿﻦ ﻫﺎﯼ ﺍﺑﺪﺍﻉ ﺷﺪﻩ ﺑﻪ ﭘﻮﺯﯾﺘﯿﻮﯾﺴﻢ ﻋﻠﻤﯽ ﻣﺪﺭﻧﯿﺘﻪ‪.‬‬

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‫ﮐﺎﻟﺞﺁﻣﻬﺮﺳﺖ‪ ،‬ﺍﯾﺎﻻﺕ ﻣﺘﺤﺪﻩ‬

‫ﺍﯾﮕﻮﺭﺩﻣﭽﻨﮑﻮ‬ ‫ﻣﻮﺳﺴﻪﻓﻨﺎﻭﺭﯼ ﻣﺎﺳﺎﭼﻮﺳﺖ‪ ،‬ﺍﯾﺎﻻﺕ ﻣﺘﺤﺪﻩ ﺁﻣﺮﯾﮑﺎ‬

‫ﺳﺎﺧﺖﺁﻣﺮﯾﮑﺎ‪:‬‬ ‫ﺩﺭﯾﮏ ﺍﺗﺎﻗﮏ ﺻﻔﻮﯼ ﺩﺭ ﻣﻮﺯﻩ ﻫﻨﺮ ﻓﯿﻼﺩﻟﻔﯿﺎ‬

‫ﺑﻨﺎﻫﺎﯼﺗﺎﺭﯾﺨﯽ ﻣﻌﺘﺒﺮ ﺩﺭ ﺳﻨﺖ ﺟﻌﻠﯽ‪ :‬ﺍﺧﺘﺮﺍﻉ ﻭ‬ ‫ﺁﻣﻮﺯﺵﺍﻭﺳﺘﻮﺱﺩﺭ ﺁﺳﯿﺎﯼ ﻣﺮﮐﺰﯼ ﺷﻮﺭﻭﯼ‬

‫ﯾﯿﻞﺭﺍﯾﺲ‬

‫ﯾﮑﯽﺍﺯ ﺑﺨﺶ ﻫﺎﯼ ﻣﺮﮐﺰﯼ ﮔﺎﻟﺮﯼ ﻫﺎﯼ ﺍﯾﺮﺍﻧﯽ ﻣﻮﺯﻩ ﻫﻨﺮ ﻓﯿﻼﺩﻟﻔﯿﺎ‪ ،‬ﯾﮏ ﺍﺗﺎﻗﮏ ﺗﺰﺉﯿﻦ ﺷﺪﻩ ﺍﺯ ﺍﺻﻔﻬﺎﻥ ﺍﺳﺖ ﮐﻪ ﺍﺯ ﻃﺮﻑ ﻣﻮﺯﻩ ﺗﻮﺳﻂ‬

‫ﺗﻮﻫﻢﺳﻨﺖ ﻫﻨﺮﯼ ﺑﯽ ﻭﻗﻔﻪ ﯾﮏ ﺗﻮﺟﯿﻪ ﺭﺍﯾﺞ ﺑﺮﺍﯼ ﻣﺮﻣﺖ ﻫﺎﯼ ﺑﺴﯿﺎﺭ ﻣﺪﺍﺧﻠﻪ ﺟﻮﯾﺎﻧﻪ ﺑﻨﺎﻫﺎﯼ ﻣﻌﻤﺎﺭﯼ ﺍﺳﺖ‪ ،‬ﭼﻪ ﺩﺭ ﻓﺮﺍﻧﺴﻪ ﻗﺮﻥ‬

‫ﻋﺒﺎﺱﺍﻭﻝ‪ ،‬ﺣﺎﮐﻢ ﺻﻔﻮﯼ ﻧﺴﺒﺖ ﺩﺍﺩﻩ ﻣﯽ ﺷﻮﺩ‪ ،‬ﻣﺪﺕ ﻫﺎﺳﺖ ﮐﻪ ﭘﻨﺠﺮﻩ ﺍﯼ ﺯﯾﻨﺘﯽ ﺑﻪ ﺭﻭﯼ ﺯﻧﺪﮔﯽ ﻧﺨﺒﮕﺎﻥ ﺳﻠﻄﻨﺘﯽ ﺍﯾﺮﺍﻥ ﺩﺭ ﺍﺧﺘﯿﺎﺭ‬

‫ﻫﺠﺪﻫﻢﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺍﺳﺖ ﺑﻪ ﯾﮏ ﺧﺎﻟﻖ ‪ -‬ﭼﻪ ﻣﻌﻤﺎﺭ ﻭ ﭼﻪ ﯾﮏ ﺍﺳﺘﺎﺩ ﺳﻨﮓ ﺗﺮﺍﺷﯽ ﻧﺴﺒﺖ ﺩﻫﯿﻢ‪.‬‬

‫ﺁﺭﺗﻮﺭﺁﭘﻬﺎﻡ ﭘﻮﭖ ﺧﺮﯾﺪﺍﺭﯼ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﯾﻦ ﺍﺗﺎﻕ ﮐﻮﭼﮏ ﺑﺎ ﻧﻘﺶ ﻭ ﻧﮕﺎﺭﻫﺎﯼ ﭘﯿﭽﯿﺪﻩ ﮐﻪ ﺩﺭ ﺑﺮﭼﺴﺐ ﻫﺎﯼ ﺁﻣﻮﺯﺷﯽ ﺑﻪ ﺣﻤﺎﯾﺖ ﺷﺎﻩ‬

‫ﺑﺎﺯﺩﯾﺪﮐﻨﻨﺪﮔﺎﻥﻗﺮﺍﺭ ﺩﺍﺩﻩ ﺍﺳﺖ‪ ،‬ﮐﻪ ﺗﻀﺎﺩ ﻗﺎﺑﻞ ﺗﻮﺟﻬﯽ ﺑﺎ ﺗﺎﻻﺭ ﻣﻌﺒﺪ ﺳﺘﻮﻥ ﺩﺍﺭ ﻗﺮﻥ ﺷﺎﻧﺰﺩﻫﻢ ﺍﺯ ﻣﺪﻭﺭﺍﯾﯽ ﺍﺳﺖ‪ ، .‬ﻫﻨﺪ‪ ،‬ﺩﺭ ﯾﮏ ﮔﺎﻟﺮﯼ‬

‫ﻧﺰﺩﯾﮏﻧﺼﺐ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﻣﺘﻦ ﺩﯾﻮﺍﺭ ﺍﯾﻦ ﻭﺍﻗﻌﯿﺖ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ ﮐﻪ ﺻﻔﺤﺎﺕ ﮔﭽﺒﺮﯼ ‪ cubiculum‬ﺩﺭ ﺍﻭﺍﯾﻞ ﺩﻫﻪ ‪ 1930‬ﺑﻪ‬

‫ﻓﯿﻼﺩﻟﻔﯿﺎﺩﺭ ﺣﺎﻟﺖ ﺑﺴﯿﺎﺭ ﺗﮑﻪ ﺗﮑﻪ ﻭﺍﺭﺩ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺳﻮﺍﺑﻖ ﺑﺎﯾﮕﺎﻧﯽ ﻧﺸﺎﻥ ﻣﯽ ﺩﻫﺪ ﮐﻪ ﻫﯿﭻ ﻗﻄﻌﻪ ﺍﯼ ﺑﯿﺶ ﺍﺯ ﺳﻪ ﺍﯾﻨﭻ ﻃﻮﻝ ﻧﺪﺍﺷﺘﻪ‬ ‫ﺍﺳﺖ‪.‬ﺑﺎﺯﺳﺎﺯﯼ ﺍﯾﻦ ﻗﻄﻌﺎﺕ ﻣﻌﻤﺎﺭﯼ ﺗﻮﺳﻂ ﻫﻨﺮﻣﻨﺪﺍﻥ ﺍﯾﺮﺍﻧﯽ ﺍﻧﺠﺎﻡ ﻧﺸﺪﻩ ﺍﺳﺖ‪.‬‬

‫ﺑﺮﺭﺳﯽ ﻫﺎﯼﺍﺧﯿﺮ ﮐﻮﺑﯿﮑﻮﻟﻮﻡ ﺯﯾﺮ ﻧﻮﺭ ﻓﺮﺍﺑﻨﻔﺶ ﻧﺸﺎﻥ ﻣﯽ ﺩﻫﺪ ﮐﻪ ﺍﯾﻦ ﮐﺎﺭﮔﺮﺍﻥ ‪ WPA‬ﺗﺎ ﺣﺪ ﺯﯾﺎﺩﯼ ﭘﺎﻧﻞ ﻫﺎﯼ ﮔﭻ ﮐﺎﺭﯼ ﻭ ﺗﺰﺉﯿﻨﺎﺕ‬

‫ﺭﻧﮓ ﺷﺪﻩﺁﻥ ﻫﺎ ﺭﺍ ﺑﻪ ﻃﻮﺭ ﮐﺎﻣﻞ ﺳﺎﺧﺘﻪ ﺍﻧﺪ‪ .‬ﺑﻪ ﻋﺒﺎﺭﺕ ﺩﯾﮕﺮ‪ ،‬ﻣﻮﺯﻩ ﻫﻨﺮ ﻓﯿﻼﺩﻟﻔﯿﺎ ﻣﻮﺳﻮﻡ ﺑﻪ "‪ Cubiculum‬ﺻﻔﻮﯼ" ﯾﮏ ﺍﺧﺘﺮﺍﻉ ﻗﺮﻥ‬

‫ﺑﯿﺴﺘﻢﺍﺳﺖ‪ .‬ﺣﺘﯽ ﺩﺭ ﺍﯾﻦ ﺻﻮﺭﺕ‪ ،‬ﺍﯾﻦ ﻣﻘﺎﻟﻪ ﻣﺨﺎﻟﻒ ﺷﻨﺎﺳﺎﯾﯽ ﺍﯾﻦ ﻧﺼﺐ ﺑﻪ ﻋﻨﻮﺍﻥ ﺟﻌﻠﯽ ﯾﺎ ﺟﻌﻠﯽ ﺍﺳﺖ‪ .‬ﺑﻠﮑﻪ ﺑﻪ ﺩﻧﺒﺎﻝ ﺍﯾﻦ ﺍﺳﺖ‬

‫ﮐﻪﺑﺎﺯﺳﺎﺯﯼ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﯾﮏ ﺗﺎﺭﯾﺦ ﻣﺤﻠﯽ ﺍﺯ ﺗﻮﺳﻌﻪ ﺗﮑﻨﻮﻟﻮﮊﯾﮑﯽ ﻭ ﺯﯾﺒﺎﯾﯽ ﺷﻨﺎﺧﺘﯽ ﺩﺭ ﺍﯾﺎﻻﺕ ﻣﺘﺤﺪﻩ ﻗﺮﺍﺭ ﺩﻫﺪ‪ .‬ﺩﺭ ﻭﺍﻗﻊ‪ ،‬ﻫﻤﺎﻧﻄﻮﺭ ﮐﻪ‬

‫ﺗﺤﻘﯿﻘﺎﺕﺍﺧﯿﺮ ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﺍﺳﺖ‪ ،‬ﺻﻨﻌﺘﮕﺮ ﺍﺻﻠﯽ ‪ WPA‬ﮐﻪ ﺑﻪ ﭘﺮﻭﮊﻩ ﻣﻨﺼﻮﺏ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺩﺭ ﺳﺎﺧﺖ ﻗﺒﻠﯽ ﻣﻌﺒﺪ ﺑﻬﺎﺉﯽ ﺑﺴﯿﺎﺭ ﻓﺎﺭﺳﯽ‬

‫ﻧﻮﺯﺩﻫﻢ‪،‬ﭼﻪ ﺩﺭ ﺁﺳﯿﺎﯼ ﻣﺮﮐﺰﯼ ﺷﻮﺭﻭﯼ ﻭ ﭼﻪ ﺩﺭ ﻫﻨﺪ ﻣﻌﺎﺻﺮ‪ .‬ﺍﺯ ﺁﻧﺠﺎ ﮐﻪ ﺍﻏﻠﺐ ﻏﯿﺮﻣﻤﮑﻦ ﺍﺳﺖ ﺳﺎﺧﺘﻤﺎﻧﯽ ﺭﺍ ﮐﻪ ﻗﺒﻞ ﺍﺯ ﻗﺮﻥ‬

‫‪-‬ﺍﯾﺪﻩ ﺍﯼ ﻣﺒﻬﻢ ﺍﺯ ﻧﯿﺮﻭﯼ ﺧﻼﻕ ﻣﻠﯽ‪/‬ﻣﻨﻄﻘﻪ ﺍﯼ‪/‬ﻣﺤﻠﯽ ﺟﺎﯾﮕﺰﯾﻦ ﻧﻮﯾﺴﻨﺪﻩ ﻣﯽ ﺷﻮﺩ‪ .‬ﺍﯾﻦ ﻧﯿﺮﻭ ﮐﻪ ﺩﺭ ﻏﯿﺮ ﺍﯾﻦ ﺻﻮﺭﺕ ﺑﻪ ﻋﻨﻮﺍﻥ ﯾﮏ‬

‫ﺳﻨﺖﻧﺎﻣﯿﺪﻩ ﻣﯽ ﺷﻮﺩ‪ ،‬ﺍﺯ ﻫﺮﮔﻮﻧﻪ ﻣﺤﻠﯽ ﺳﺎﺯﯼ ﺯﻣﺎﻧﯽ ﺍﺟﺘﻨﺎﺏ ﻣﯽ ﮐﻨﺪ‪ .‬ﺑﻠﮑﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﺗﺠﺴﻤﯽ ﺍﺯ ﺭﻭﺡ ﻣﮑﺎﻥ ﻫﻤﺮﺍﻩ ﺑﺎ ﻟﺒﺎﺱ ﻫﺎﯼ‬ ‫ﻇﺎﻫﺮﺍ ًﺳﻨﺘﯽ‪ ،‬ﺳﻔﺎﻝ‪ ،‬ﻣﻨﺒﺖ ﮐﺎﺭﯼ‪ ،‬ﻭ ﻣﯿﺮﺍﺙ ﻧﺎﻣﻠﻤﻮﺱ‪ ،‬ﺍﺯ ﺟﻤﻠﻪ ﺭﻗﺺ‪ ،‬ﺁﻭﺍﺯ‪ ،‬ﺁﺷﭙﺰﯼ‪ ،‬ﻭ ﻏﯿﺮﻩ ﻋﻤﻞ ﻣﯽ ﮐﻨﺪ‪ .‬ﺻﻨﻌﺖ ﻟﺬﺕ‬

‫ﮔﺮﺩﺷﮕﺮﯼ‪،‬ﺻﻨﻌﺖ ﺳﺎﺧﺘﻤﺎﻥ ﺍﻏﻠﺐ ﺑﻪ ﺣﻮﺯﻩ ﻣﻌﻘﻮﻝ ﺣﻔﺎﻇﺖ ﺍﺯ ﻣﯿﺮﺍﺙ ﺍﺭﺗﻘﺎ ﻣﯽ ﯾﺎﺑﺪ‪.‬‬

‫ﻣﺎﻧﻨﺪﺳﺎﯾﺮ ﺻﻨﺎﯾﻊ ﺳﻮﻏﺎﺗﯽ‪ ،‬ﺻﻨﺎﯾﻊ ﺩﺳﺘﯽ ﺗﻮﻟﯿﺪ ﻣﻌﻤﺎﺭﯼ ﻣﺒﺘﻨﯽ ﺑﺮ ﻣﯿﺮﺍﺙ ﻣﯽ ﺗﻮﺍﻧﺪ ﻫﺮ ﺩﻭﺭﻩ ﺗﺎﺭﯾﺨﯽ ﺭﺍ ﻣﻄﺎﺑﻖ ﺑﺎ ﺧﻮﺍﺳﺘﻪ ﻫﺎﯼ‬

‫ﻣﺮﺩﻡ‪،‬ﺑﻮﺭﻭﮐﺮﺍﺳﯽ ﻓﺮﻫﻨﮕﯽ ﯾﺎ ﺻﺮﻓﺎ ًﻣﺪ ﺗﻮﺭﯾﺴﺘﯽ ﺗﻘﻠﯿﺪ ﮐﻨﺪ‪ .‬ﺍﯾﻦ ﺍﻣﺮ ﺍﺯ ﻃﺮﯾﻖ ﺗﻮﺍﻧﺎﯾﯽ ﺍﺳﺘﺎﺩﺍﻥ "ﺳﻨﺘﯽ" ﺑﺮﺍﯼ ﯾﺎﺩﮔﯿﺮﯼ ﺍﺯ ﻣﻄﺎﻟﻌﺎﺕ‬ ‫ﺁﮐﺎﺩﻣﯿﮏﻣﯿﺮﺍﺙ "ﺧﻮﺩ" ﺍﻣﮑﺎﻥ ﭘﺬﯾﺮ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻣﺪﺭﻥ ﺗﺮﯾﻦ ﻓﻨﺎﻭﺭﯼ ﻫﺎﯼ ﺗﻮﻟﯿﺪ ﻫﻨﺮﯼ؛ ﻭ ﺗﻌﺎﻣﻞ ﺳﺎﺯﻧﺪﻩ ﺍﯼ ﺑﺎ ﺩﺳﺘﮕﺎﻩ‬

‫ﺑﻮﺭﻭﮐﺮﺍﺗﯿﮏﻧﺼﺐ ﺷﺪﻩ ﺑﺮﺍﯼ ﺳﺎﺧﺘﻦ )ﯾﺎ ﺑﻪ ﺯﺑﺎﻥ ﺭﺳﻤﯽ‪» ،‬ﺑﺎﺯﯾﺎﺑﯽ«‪» ،‬ﺑﺎﺯﯾﺎﺑﯽ«‪» ،‬ﺑﺎﺯﮔﺮﺩﺍﻧﺪﻥ«‪ ،‬ﻭ ﻏﯿﺮﻩ( ﻣﯿﺮﺍﺙ ﻣﺤﻠﯽ ﻧﺎﺩﯾﺪﻩ ﮔﺮﻓﺘﻪ‬

‫ﺷﺪﻩﺑﺮﺍﯼ ﺍﻫﺪﺍﻑ ﻣﻠﺖ ﺳﺎﺯﯼ‪ ،‬ﺍﺳﺘﻌﻤﺎﺭ ﺯﺩﺍﯾﯽ ﻓﺮﻫﻨﮕﯽ‪ ،‬ﯾﺎ ﻣﺪﺭﻧﯿﺰﺍﺳﯿﻮﻥ ﺍﺟﺒﺎﺭﯼ‪.‬‬

‫ﺳﺎﺯﯼﺷﺪﻩ ﺩﺭ ﻭﯾﻠﻤﺖ‪ ،‬ﺍﯾﻠﯿﻨﻮﯾﺰ ﻧﯿﺰ ﻣﺸﺎﺭﮐﺖ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪ ،‬ﮐﻪ ﺑﺎ ﺭﻭﮐﺶ ﺑﺘﻨﯽ ﺑﺴﯿﺎﺭ ﺁﺭﺍﺳﺘﻪ‪ ،‬ﺭﻓﺘﺎﺭﯼ ﺟﺴﻮﺭﺍﻧﻪ ﺭﺍ ﻧﺸﺎﻥ ﻣﯽ ﺩﺍﺩ‪ .‬ﺍﺯ‬ ‫ﯾﮏﻣﺎﺩﻩ ﻧﻮﺁﻭﺭﺍﻧﻪ ﺩﺭ ﻓﻦ ﺁﻭﺭﯼ ﺍﯾﻦ ﻣﻘﺎﻟﻪ ﻣﯽ ﭘﺮﺳﺪ ﮐﻪ ﭼﮕﻮﻧﻪ ﺍﯾﻦ ﺷﯿﻮﻩ ﻫﺎﯼ ﻣﺪﺭﻥ ﺍﺯ ﺷﯿﻮﻩ ﻫﺎﯼ ﺗﻘﻠﯿﺪ ﻫﻨﺮﯼ ﺍﯾﺮﺍﻧﯿﺎﻥ ﭘﯿﺸﺎﻣﺪﺭﻥ‬

‫ﻓﺎﺻﻠﻪﮔﺮﻓﺘﻪ ﻭ ﺑﺎ ﺁﻧﻬﺎ ﻫﻤﭙﻮﺷﺎﻧﯽ ﺩﺍﺭﻧﺪ‪ .‬ﺑﺎ ﺍﻧﺠﺎﻡ ﺍﯾﻦ ﮐﺎﺭ‪ ،‬ﺑﻪ ﺩﻧﺒﺎﻝ ﭘﯿﭽﯿﺪﻩ ﮐﺮﺩﻥ ﻭ ﺣﺘﯽ ﺑﻪ ﭼﺎﻟﺶ ﮐﺸﯿﺪﻥ ﻣﻔﺎﻫﯿﻢ ﻣﺮﺑﻮﻁ ﺑﻪ ﺟﻌﻞ ﻭ‬

‫ﺍﺻﺎﻟﺖﻫﻨﺮ ﺍﺳﻼﻣﯽ ﺩﺭ ﺣﻮﺯﻩ ﺍﻭﺍﯾﻞ ﻗﺮﻥ ﺑﯿﺴﺘﻢ ﺍﯾﺎﻻﺕ ﻣﺘﺤﺪﻩ ﺍﺳﺖ‪.‬‬

‫ﺍﯾﻦﻣﻘﺎﻟﻪ ﺑﺎ ﺳﺎﺧﺘﺎﺭﺷﮑﻨﯽ ﻣﻔﺎﻫﯿﻢ ﺳﻨﺖ ﻭ ﺍﺻﺎﻟﺖ‪ ،‬ﺑﻪ ﺗﻨﻬﺎ ﻣﻮﺭﺩ ﺁﻣﻮﺯﺵ )ﺑﻪ ﺯﺑﺎﻥ ﺭﺳﻤﯽ‪» ،‬ﺟﺬﺏ«( ﺍﺳﺘﺎﺩﺍﻥ ﻣﺤﻠﯽ ﺑﺮﺍﯼ ﻣﺮﻣﺖ‬

‫ﺑﻨﺎﻫﺎﯼﻣﻌﻤﺎﺭﯼ ﺗﯿﻤﻮﺭﯼ ﺩﺭ ﺁﺳﯿﺎﯼ ﻣﺮﮐﺰﯼ ﺷﻮﺭﻭﯼ ﻭ ﻃﺮﺍﺣﯽ ﺳﺒﮏ ﻣﻌﻤﺎﺭﯼ ﻣﺪﺭﻥ »ﻣﻠﯽ« ﻣﯽ ﭘﺮﺩﺍﺯﺩ‪ .‬ﺩﺭ ﻓﺮﻡ ﻭ ﺩﺭ ﻣﺤﺘﻮﺍ‬

‫ﺳﻮﺳﯿﺎﻟﯿﺴﺘﯽ‪«.‬ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺧﺎﻃﺮﺍﺕ ﻣﺮﻣﺘﮕﺮﺍﻥ ﺣﺮﻓﻪ ﺍﯼ ﻭ ﻣﻮﺭﺧﺎﻥ ﻣﻌﻤﺎﺭﯼ ﻭ ﻫﻤﭽﻨﯿﻦ ﻣﻄﺎﻟﺐ ﮔﺮﺍﻓﯿﮑﯽ ﻭ ﺗﺤﻘﯿﻘﺎﺗﯽ ﺍﺯ‬

‫ﺁﺭﺷﯿﻮﻫﺎﯼﺁﺳﯿﺎﯼ ﻣﯿﺎﻧﻪ ﻭ ﻣﻨﺎﺑﻊ ﮔﺎﻩ ﺑﻪ ﮔﺎﻩ ﻣﺮﺩﻡ ﻧﮕﺎﺭﯼ‪ ،‬ﺍﻟﮕﻮﻫﺎﯼ ﺁﻣﻮﺯﺵ ﻫﺎﯼ ﻣﻮﺭﺩ ﻧﻈﺮ ﻭ ﻧﺎﺧﻮﺍﺳﺘﻪ ﺍﯼ ﺭﺍ ﮐﻪ ﺷﮑﻞ‪ ،usto‬ﺳﺎﺯﻧﺪﻩ‬

‫ﻣﺘﺨﺼﺺﺩﺭ ﺗﮑﺜﯿﺮ ﺗﺎﺭﯾﺨﯽ ﻭ ﻃﺮﺍﺣﯽ ﺯﯾﻮﺭﺁﻻﺕ ﺷﺒﻪ ﺗﺎﺭﯾﺨﯽ ﻭ ﺍﻧﻮﺍﻉ ﺁﺟﺮﮐﺎﺭﯼ‪.‬‬

‫ﻣﻦﻫﻤﭽﻨﯿﻦ ﺑﻪ ﻃﻮﺭ ﺧﺎﺹ ﺑﺮ ﺭﻭﯼ ﺷﯿﻮﻩ ﻫﺎﯼ ﺣﻤﺎﯾﺖ ﺷﺪﻩ ﺍﺯ ﺳﻮﯼ ﺩﻭﻟﺖ ﺑﺮﺍﯼ ﺍﺣﯿﺎﯼ ﺭﻭﺵ ﻫﺎﯼ ﻓﺮﺍﻣﻮﺵ ﺷﺪﻩ ﺗﻮﻟﯿﺪ ﻫﻨﺮﯼ ﺗﻤﺮﮐﺰ‬ ‫ﺧﻮﺍﻫﻢﮐﺮﺩ‪ .‬ﺑﻨﺎﺑﺮﺍﯾﻦ‪ ،‬ﺭﺍﺯ ﮐﺎﺷﯽ ﻫﺎﯼ ﻣﺎﮊﻭﻟﯿﮑﺎ ﻟﻌﺎﺏ ﺩﺍﺭ‪ ،‬ﮐﻪ ﺣﺪﺍﻗﻞ ﯾﮏ ﻗﺮﻥ ﻗﺒﻞ ﺍﺯ ﻓﺘﺢ ﺁﺳﯿﺎﯼ ﻣﺮﮐﺰﯼ ﺗﻮﺳﻂ ﺭﻭﺳﯿﻪ ﮔﻢ ﺷﺪﻩ ﺑﻮﺩ‪،‬‬ ‫ﺑﺮﺍﯼﺍﻫﺪﺍﻑ ﺑﺎﺯﺳﺎﺯﯼ ﻣﻌﻤﺎﺭﯼ ﺗﻮﺳﻂ ﺷﯿﻤﯿﺪﺍﻥ ﻫﺎﯼ ﺣﺮﻓﻪ ﺍﯼ ﮐﻪ ﺑﺮﺍﯼ ﺻﻨﻌﺖ ﺳﺎﺧﺖ ﻭﺳﺎﺯ ﺷﻮﺭﻭﯼ ﮐﺎﺭ ﻣﯽ ﮐﺮﺩﻧﺪ‪ ،‬ﺩﻭﺑﺎﺭﻩ ﺍﺧﺘﺮﺍﻉ‬ ‫ﺷﺪ‪.‬ﺑﺎ ﺍﯾﻦ ﺣﺎﻝ‪ ،‬ﺗﻮﻟﯿﺪ ﻭﺍﻗﻌﯽ ﻣﻮﺯﺍﯾﯿﮏ ﻫﺎﯼ ﮐﺎﺷﯽ ﻧﯿﺰ ﺑﻪ ﺁﻥ ﺳﭙﺮﺩﻩ ﺷﺪ‪ ،ustos‬ﮐﻪ ﺍﯾﻦ ﺻﻨﻌﺖ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﯿﺮﺍﺙ ﺳﻨﺘﯽ ﺧﻮﺩ‬ ‫ﺩﺭﻭﻧﯽﮐﺮﺩﻧﺪ‪ .‬ﺍﯾﻦ ﭘﺪﯾﺪﻩ ‪ -‬ﻣﻦ ﺍﺳﺘﺪﻻﻝ ﺧﻮﺍﻫﻢ ﮐﺮﺩ ‪ -‬ﻧﺸﺎﻥ ﺩﻫﻨﺪﻩ ﺗﻮﻫﻢ ﺫﺍﺗﯽ ﻣﻔﺎﻫﯿﻢ ﺳﻨﺖ ﻭ ﺗﺪﺍﻭﻡ ﻭ ﻫﻤﭽﻨﯿﻦ ﻧﺘﯿﺠﻪ ﻣﺮﻣﺖ‬

‫ﻣﻌﻤﺎﺭﯼﺍﺳﺖ ﮐﻪ ﻋﻼﻭﻩ ﺑﺮ ﺍﯾﺠﺎﺩ ﻭﺍﻫﯽ ﺍﺯ ﺑﻨﺎﻫﺎﯼ ﺗﺎﺭﯾﺨﯽ‪ ،‬ﺷﯿﻮﻩ ﻫﺎﯼ ﺍﺣﺮﺍﺯ ﻫﻮﯾﺖ ﺁﻧﻬﺎ ﺭﺍ ﺑﻪ ﻭﺟﻮﺩ ﻣﯽ ﺁﻭﺭﺩ‪.‬‬

‫ﺑﺎﺍﺷﺎﺭﻩ ﺑﻪ ﺁﯾﯿﻦ ﻫﺎﯼ ﺍﺑﺪﺍﻉ ﺷﺪﻩ ﺑﻪ ﭘﻮﺯﯾﺘﯿﻮﯾﺴﻢ ﻋﻠﻤﯽ ﻣﺪﺭﻧﯿﺘﻪ‪.‬‬

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‫ﭘﺎﻧﻞ‪6‬‬

‫ﻧﻮﺣﻪﺍﺑﻮﺧﻄﻮﻩ‬ ‫ﺩﺍﻧﺸﮕﺎﻩﺗﻮﺭﻧﺘﻮ‪ ،‬ﮐﺎﻧﺎﺩﺍ‬

‫ﺳﻨﺖﺗﻌﻠﯿﻢ ﺧﻄﺎﻁ ﻣﻤﻠﻮﮎ‪ :‬ﮐﺎﺭﻧﺎﻣﻪ ﻭ ﺁﺛﺎﺭ ﻋﺒﺪﺍﻟﺮﺣﻤﻦ ﺑﻦ‬ ‫ﺍﻟﺴﺎﯾﻖ‬

‫ﻋﺼﺮﺳﻼﻃﯿﻦ ﻣﻤﺎﻟﯿﮏ ﻣﺼﺮ ﻭ ﺳﻮﺭﯾﻪ ﺑﻪ ﺷﮑﻮﻓﺎﯾﯽ ﺧﻂ ﻭ ﮐﺘﯿﺒﻪ ﻣﻌﺮﻭﻑ ﺍﺳﺖ‪ .‬ﻫﺮ ﺩﻭ ﺭﮊﯾﻢ‪ ،‬ﺑﺤﺮﯼ ﻣﻤﻠﻮﮎ ﻭ‬

‫ﺑﺮﺟﯽﻣﻤﻠﻮﮎ‪ ،‬ﮔﻨﺠﯿﻨﻪ ﻫﺎﯾﯽ ﺍﺯ ﺧﻮﺷﻨﻮﯾﺴﯽ ﻭ ﮐﺘﯿﺒﻪ ﺭﺍ ﺑﺮﺍﯼ ﻣﺎ ﺑﻪ ﯾﺎﺩﮔﺎﺭ ﮔﺬﺍﺷﺘﻨﺪ ﮐﻪ ﺩﺭ ﺧﯿﺎﺑﺎﻥ ﻫﺎﯼ ﻗﺎﻫﺮﻩ ﻭ ﺩﺭ‬

‫ﻣﺠﻤﻮﻋﻪﻫﺎﯼ ﻣﺨﺘﻠﻒ ﻧﺴﺨﻪ ﻫﺎﯼ ﺧﻄﯽ ﺩﺭ ﺳﺮﺍﺳﺮ ﺟﻬﺎﻥ ﺩﯾﺪﻩ ﻣﯽ ﺷﺪ‪ .‬ﺣﻤﺎﯾﺖ ﺍﺯ ﻧﺴﺦ ﺧﻄﯽ ﻓﺎﺧﺮ ﻗﺮﺁﻥ ﺑﺨﺶ‬ ‫ﻣﻬﻤﯽﺍﺯ ﺣﻤﺎﯾﺖ ﻫﻨﺮﯼ ﺣﺎﮐﻤﺎﻥ ﻣﻤﺎﻟﯿﮏ ﺑﻮﺩ ﻭ ﺍﺯ ﺍﯾﻦ ﺭﻭ ﺍﻏﻠﺐ ﺑﻪ ﺧﻮﺷﻨﻮﯾﺴﺎﻥ ﻣﺸﻬﻮﺭ ﺳﭙﺮﺩﻩ ﻣﯽ ﺷﺪ‪ .‬ﯾﮑﯽ ﺍﺯ‬ ‫ﺁﻧﻬﺎﺍﺳﺘﺎﺩ ﻋﺒﺪﺍﻟﺮﺣﻤﻦ ﺑﻦ ﺍﻟﺴﺎﯾﻖ )‪ (845/1441-770/1368‬ﺑﻮﺩ‪ .‬ﺍﯾﻦ ﺧﻮﺷﻨﻮﯾﺲ ﺍﻣﺎ ﻧﻪ ﺗﻨﻬﺎ ﺑﻪ ﻫﻨﺮ ﺧﻮﺩ‬

‫ﭘﺮﺩﺍﺧﺖ‪،‬ﺑﻠﮑﻪ ﺭﺳﺎﻟﻪ ﺍﯼ ﺩﺭ ﺯﻣﯿﻨﻪ ﺧﻮﺷﻨﻮﯾﺴﯽ ﻧﻮﺷﺖ ﻭ ﭘﺎﯾﻪ ﻭ ﺍﺳﺎﺱ ﻣﮑﺘﺐ ﺧﻮﺷﻨﻮﯾﺴﯽ ﺭﺍ ﺑﻨﺎ ﻧﻬﺎﺩ‪ .‬ﺍﺯ ﺍﯾﻦ ﺭﻭ‪،‬‬

‫ﻫﺪﻑﺍﯾﻦ ﻣﻘﺎﻟﻪ ﺍﺭﺍﺉﻪ ﺍﯾﻦ ﺍﺳﺘﺎﺩ ﻭ ﺁﺛﺎﺭ ﺍﻭ ﺑﻪ ﮔﻮﻧﻪ ﺍﯼ ﺍﺳﺖ ﮐﻪ ﺍﻣﮑﺎﻥ ﺑﺎﺯﺳﺎﺯﯼ ﺳﻨﺖ ﯾﺎﺩﮔﯿﺮﯼ ﺍﻭ ﺭﺍ ﻓﺮﺍﻫﻢ ﮐﻨﺪ‪.‬‬

‫ﺭﺉﯿﺲﻭ ﺑﺤﺚ ﮐﻨﻨﺪﻩ‪ :‬ﺷﯿﻼ ﺑﻠﺮ‪ ،‬ﺩﺍﻧﺸﮕﺎﻩ ﻧﻮﺭﻣﺎ ﮊﺍﻥ ﮐﺎﻟﺪﺭﻭﻭﺩ‬

‫ﮐﻠﻤﻪﺁﺭﺍﺳﺘﻪ‬

‫ﭘﻨﺞﺟﻨﺒﻪ ﺍﺻﻠﯽ ﺯﻧﺪﮔﯽ ﻭ ﻋﻤﻞ ﺍﻭ ﭘﺮﺩﺍﺧﺘﻪ ﺧﻮﺍﻫﺪ ﺷﺪ‪:‬‬

‫ﺭﺍﺷﻞﻭﺍﺭﺩ‬ ‫ﻣﺤﻘﻖﻣﺴﺘﻘﻞ‬

‫ﻗﯿﺼﺮﻭ ﻧﺎﭘﻞ ﮔﻠﻮﺏ‬

‫ﺍﻫﻤﯿﺖﺗﺎﺭﯾﺨﯽ ﮐﺮﻩ ﺁﺳﻤﺎﻧﯽ ﻧﺎﭘﻞ ﺑﺎ ﺩﻭ ﮐﺘﯿﺒﻪ ﺩﺭ ﻧﯿﻤﮑﺮﻩ ﺟﻨﻮﺑﯽ ﺁﻥ ﺑﻪ ﺷﺪﺕ ﺍﻓﺰﺍﯾﺶ ﯾﺎﻓﺘﻪ ﺍﺳﺖ‪:‬‬

‫ﺍﻟﺴﺨﺎﻭﯼﺩﺭ ﮐﺘﺎﺏ ﺧﻮﺩ ﻣﺘﻤﺮﮐﺰ ﺧﻮﺍﻫﺪ ﺷﺪﺍﻟﺪﻭﻉ ﺍﻟﻠﻤﯽ ﻓﯽ ﺍﻫﻞ ﺍﻟﻘﺮﻥ ﺍﻟﺘﺎﺳﯿﺲﺍﺯ ﺁﻧﺠﺎﯾﯽ ﮐﻪ‬ ‫ﺳﺨﺎﻭﯼﻧﯿﺰ ﺍﺯ ﺷﺎﮔﺮﺩﺍﻥ ﺍﺑﻦ ﺍﻟﺴﯿﻎ ﺑﻮﺩ‪.‬‬

‫‪.2‬ﺯﻧﺠﯿﺮﻩ ﺍﻧﺘﻘﺎﻝ ﺍﻭ‪.‬‬

‫‪.3‬ﺭﺳﺎﻟﻪ ﺍﻭ ﺩﺭ ﺧﻮﺷﻨﻮﯾﺴﯽ ﮐﻪ ﺩﻭ ﻋﻨﻮﺍﻥ ﺩﺍﺭﺩ‪:‬ﺗﺤﻔﺎﺕ ﺍﻻﻟﺒﺎﺏ ﻓﯽ ﺳﯿﻨﺎﻋﺔ ﺍﻟﺨﻂ ﻭ ﺍﻟﮑﺘﺎﺏﻭﺭﺳﺎﻟﻪ ﻓﯽ‬ ‫ﺍﻟﺨﻂﻭ ﺑﺮﯼ ﺍﻟﻘﻠﻢ‪.‬‬

‫ﺍﻟﻒﺑﺮﺍﯼ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻗﯿﺼﺮ ﺏ‪ .‬ﺍﺑﯽ ﺍﻟﻘﺎﺳﻢ ﺑﻦ‪ .‬ﻣﺼﻔﺮ ﺍﺷﺮﻓﯽ ﺣﻨﻔﯽ ﺩﺭ ﺳﺎﻝ ‪ 622‬ﻫﺠﺮﯼ ﺑﺎ ﺍﻓﺰﺍﯾﺶ ‪ 16‬ﺩﺭﺟﻪ ﻭ ‪ 46‬ﺩﻗﯿﻘﻪ ﺑﺮ‬

‫‪.4‬ﺍﯾﻦ ﺍﻣﺮ ﺑﺎ ﺑﺮﺭﺳﯽ ﻣﯿﺰﺍﻥ ﺑﺎﺯﺗﺎﺏ ﺳﻨﺖ ﻧﻈﺮﯼ ﺍﻭ ﺩﺭ ﻓﯿﻠﻤﻨﺎﻣﻪ ﻫﺎﯾﺶ‪ ،‬ﻫﻤﺎﻧﻄﻮﺭ ﮐﻪ ﺩﺭ ﺍﺛﺮ ﺑﺎﻗﯽ ﻣﺎﻧﺪﻩ ﺍﯼ ﮐﻪ‬

‫ﺏ‪-‬ﺑﺮﺍﯼ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺑﯿﺖ ﺍﻟﻤﺎﻝ ﻣﻮﻻﯼ ﻣﺎ ﺳﻠﻄﺎﻥ ﺍﻟﻤﻠﮏ ﺍﻟﮑﺎﻣﻞ ﺣﮑﯿﻢ ﻋﺎﺩﻝ ﻧﺼﯿﺮﺍﻟﺪﻧﯿﺎ ﻭﺍﻟﺪﯾﻦ ﻣﺤﻤﺪ ﺑﻦ‪ .‬ﺍﺑﻮﺑﮑﺮ ﺏ‪ .‬ﺍﯾﻮﺏ‬

‫‪.5‬ﺑﺮﺭﺳﯽ ﺗﺄﺛﯿﺮ ﺍﻭ ﺑﺎ ﻣﺮﻭﺭﯼ ﺑﺮ ﺩﺍﻧﺶ ﺁﻣﻮﺯﺍﻧﺶ ﮐﻪ ﻫﻤﮕﯽ ﺩﺳﺖ ﻧﻮﺷﺘﻪ ﻫﺎﯼ ﺧﻄﯽ ﺭﺍ ﺩﺭ ﻗﺮﻥ ﭘﺎﻧﺰﺩﻫﻢ‬

‫ﺁﻧﭽﻪﺩﺭ ﺍﻟﻤﺠﺴﺖ ﺍﺳﺖ‪.‬‬ ‫ﺳﺒﺤﺎﻥﭘﯿﺮﻭﺯﻯ ﺍﻭ‪.‬‬

‫ﺍﯾﻦﮐﺮﻩ ﮐﻪ ﺑﻪ ﮐﺘﯿﺒﻪ ﻫﺎﯼ ﻣﻌﺎﺻﺮ ﺗﻌﺒﯿﺮ ﻣﯽ ﺷﻮﺩ‪ ،‬ﯾﮑﯽ ﺑﻪ ﻧﺎﻡ ﺳﺎﺯﻧﺪﻩ ﺳﺎﺯ ﻭ ﺩﯾﮕﺮﯼ ﺑﻪ ﻧﺎﻡ ﮐﺎﺭﻓﺮﻣﺎﯾﺶ‪ ،‬ﺍﯾﻦ ﮐﺮﻩ ﺑﺮﺍﯼ ﺍﻟﮑﺎﻣﻞ‬

‫ﻧﺼﯿﺮﺍﻟﺪﯾﻦﻣﺤﻤﺪ‪ ،‬ﺳﻠﻄﺎﻥ ﺍﯾﻮﺑﯽ ﻣﺼﺮ )ﺡ‪ (615 .‬ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ ،(35- .‬ﺩﺭ ﭘﺎﯾﺘﺨﺖ ﺧﻮﺩ ﻗﺎﻫﺮﻩ ﺩﺭ ﺳﺎﻝ ‪ 622‬ﺗﻮﺳﻂ ﻗﯿﺼﺮ‪،‬‬

‫ﺩﺍﻧﺸﻤﻨﺪﻣﺸﻬﻮﺭﯼ ﮐﻪ ﺍﻟﮑﺎﻣﻞ ﺍﺯ ﺍﻭ ﺧﻮﺍﺳﺖ ﺗﺎ ﺑﻪ ﺳﺆﺍﻻﺕ ﺭﯾﺎﺿﯿﺎﺕ ﻣﻄﺮﺡ ﺷﺪﻩ ﺗﻮﺳﻂ ﻓﺮﺩﺭﯾﮏ ﺩﻭﻡ ﭘﺎﺳﺦ ﺩﻫﺪ‪.‬‬

‫ﺑﺮﺭﺳﯽﺩﻗﯿﻖ ﮐﺘﯿﺒﻪ ﻫﺎ ﻭ ﺗﮑﻨﯿﮏ ﻫﺎﯼ ﺑﻪ ﮐﺎﺭ ﺭﻓﺘﻪ ﺩﺭ ﺳﺎﺧﺖ ﻭ ﺗﺰﺉﯿﻦ ﮐﺮﻩ ﺯﻣﯿﻦ ﻧﺸﺎﻥ ﻣﯽ ﺩﻫﺪ ﮐﻪ ﺣﺪﺍﻗﻞ ﭘﻨﺞ ﻣﺮﺣﻠﻪ ﻣﺨﺘﻠﻒ ﮐﺎﺭ‬ ‫ﺑﺮﺭﻭﯼ ﮐﺮﻩ ﺯﻣﯿﻦ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪ ،‬ﺍﯾﻦ ﺩﻭ ﮐﺘﯿﺒﻪ ﻣﻌﺎﺻﺮ ﻧﯿﺴﺘﻨﺪ ﻭ ﻫﺮ ﺩﻭ ﺗﻐﯿﯿﺮ ﯾﺎﻓﺘﻪ ﺍﻧﺪ‪ ،‬ﻭ ﺍﯾﻦ ﺷﯽء ﺑﺮﻧﺠﯽ ﻧﯿﺴﺖ ﻭ ﻣﻨﺒﺖ‬

‫ﻫﺎﯼﻣﺴﯽ ﺍﺻﻠﯽ ﻧﯿﺴﺘﻨﺪ‪ .‬ﺑﺎ ﺍﯾﻦ ﺣﺎﻝ‪ ،‬ﺍﯾﻦ ﺗﻐﯿﯿﺮﺍﺕ ﺑﻪ ﺟﺎﯼ ﺗﻀﻌﯿﻒ ﺍﻫﻤﯿﺖ ﺗﺎﺭﯾﺨﯽ ﺁﻥ‪ ،‬ﺑﻪ ﻃﻮﺭ ﻗﺎﺑﻞ ﺗﻮﺟﻬﯽ ﺑﻪ ﺍﻃﻼﻋﺎﺗﯽ‬

‫ﻣﯽ ﺍﻓﺰﺍﯾﻨﺪﮐﻪ ﻣﯽ ﺗﻮﺍﻧﻨﺪ ﺩﺭﺑﺎﺭﻩ ﮐﺮﻩ ﺯﻣﯿﻦ‪ ،‬ﻃﺮﺍﺡ ﺁﻥ‪ ،‬ﻭ ﺻﺎﺣﺐ)ﻫﺎﯼ( ﺁﻥ ﻭ ﻧﺤﻮﻩ ﺩﺭﮎ ﺍﺷﯿﺎء ﻋﻠﻤﯽ ‪ -‬ﻭ ﺳﺎﺯﻧﺪﮔﺎﻥ ﺁﻧﻬﺎ ‪ -‬ﺩﺭ ﺟﻬﺎﻥ‬

‫ﻗﺮﻭﻥﻭﺳﻄﯽ ﺍﺭﺍﺉﻪ ﮐﻨﻨﺪ‪.‬‬

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‫‪.1‬ﺷﺮﺡ ﺣﺎﻝ ﺍﻭ‪ ،‬ﻫﻤﺎﻧﻄﻮﺭ ﮐﻪ ﺗﻮﺳﻂ ﭼﻨﺪ ﻣﻨﺒﻊ ﻣﻤﺎﻟﯿﮏ ﻗﺮﻥ ‪ 15‬ﺑﻪ ﻣﺎ ﺩﺍﺩﻩ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﯾﻦ ﺑﺮ ﻣﺪﺧﻞ ﻣﻮﺭﺥ‬

‫ﺍﻭﺍﻣﻀﺎ ﮐﺮﺩﻩ ﺍﺳﺖ‪ ،‬ﺩﻧﺒﺎﻝ ﺧﻮﺍﻫﺪ ﺷﺪ‪.‬‬

‫ﻧﻮﺷﺘﻪﯾﺎ ﺗﺬﻫﯿﺐ ﮐﺮﺩﻩ ﺍﻧﺪ‪ ،‬ﺗﮑﻤﯿﻞ ﺧﻮﺍﻫﺪ ﺷﺪ‪.‬‬

‫ﺍﯾﻦﺑﺮﺭﺳﯽ ﺍﺯ ﺍﺳﺘﺎﺩ ﺑﺰﺭﮒ ﺧﻮﺷﻨﻮﯾﺴﯽ ﻭ ﺳﻨﺖ ﻓﺮﺍﮔﯿﺮﯼ ﺍﻭ ﺑﺮﺍﯼ ﺗﺤﻠﯿﻞ ﺭﺍﺑﻄﻪ ﻧﻈﺮﯾﻪ ﻭ ﻋﻤﻞ ﻭ ﺷﻨﺎﺳﺎﯾﯽ ﺭﻭﯾﮑﺮﺩ‬

‫ﺭﻭﺷﻤﻨﺪﺍﺑﻦ ﺍﻟﺴﯿﻎ ﺍﻧﺠﺎﻡ ﻣﯽ ﺷﻮﺩ‪ .‬ﻣﯿﺰﺍﻥ ﺗﺄﺛﯿﺮ ﺍﺑﻦ ﺍﻟﺴﺎﯾﻖ ﺩﺭ ﺗﻮﺳﻌﻪ ﺑﯿﺸﺘﺮ ﺧﻮﺷﻨﻮﯾﺴﯽ ﻣﺼﺮﯼ ﺑﺮﺭﺳﯽ‬

‫ﺧﻮﺍﻫﺪﺷﺪ‪ .‬ﺍﯾﻦ ﻣﻘﺎﻟﻪ ﻫﻤﭽﻨﯿﻦ ﺑﻪ ﻧﻘﺶ ﺣﻤﺎﯾﺖ ﺳﻠﻄﺎﻥ ﺍﻟﻈﺎﻫﺮ ﺑﺮﻗﻮﻕ ﻭ ﭘﺴﺮﺵ ﺳﻠﻄﺎﻥ ﻓﺮﺝ ﺑﻦ ﺑﺎﺭﻗﻮﻕ ﺩﺭ‬ ‫ﻣﻮﻓﻘﯿﺖﺍﺑﻦ ﺍﻟﺴﺎﯾﻖ ﻣﯽ ﭘﺮﺩﺍﺯﺩ‪ ،‬ﺯﯾﺮﺍ ﻫﺮ ﺩﻭ ﯾﮏ ﻧﺴﺨﻪ ﺧﻄﯽ ﻗﺮﺁﻧﯽ ﺑﻪ ﯾﺎﺩﮔﺎﺭ ﻣﺎﻧﺪﻩ ﮐﻪ ﻫﺮ ﮐﺪﺍﻡ ﺗﻮﺳﻂ‬

‫ﺧﻮﺷﻨﻮﯾﺲﺍﺳﺘﺎﺩ ﻣﺎ ﺍﻣﻀﺎ ﺷﺪﻩ ﺍﺳﺖ‪ . .‬ﭘﺎﺳﺦ ﺑﻪ ﺍﯾﻦ ﺳﺆﺍﻻﺕ ﻣﻨﺠﺮ ﺑﻪ ﺩﺭﮎ ﺑﻬﺘﺮ ﺯﻧﺪﮔﯽ ﻫﻨﺮﯼ ﻭ ﻓﮑﺮﯼ‬

‫ﻣﻤﺎﻟﯿﮏﻣﺼﺮ ﺩﺭ ﺳﺎﻟﻬﺎﯼ ﭘﺎﯾﺎﻧﯽ ﻗﺮﻥ ﭼﻬﺎﺭﺩﻫﻢ ﻭ ﻧﯿﻤﻪ ﺍﻭﻝ ﻗﺮﻥ ﭘﺎﻧﺰﺩﻫﻢ ﻣﯽ ﺷﻮﺩ‪.‬‬

‫ﭘﺎﻧﻞ‪6‬‬

‫ﻧﻮﺣﻪﺍﺑﻮﺧﻄﻮﻩ‬ ‫ﺩﺍﻧﺸﮕﺎﻩﺗﻮﺭﻧﺘﻮ‪ ،‬ﮐﺎﻧﺎﺩﺍ‬

‫ﺳﻨﺖﺗﻌﻠﯿﻢ ﺧﻄﺎﻁ ﻣﻤﻠﻮﮎ‪ :‬ﮐﺎﺭﻧﺎﻣﻪ ﻭ ﺁﺛﺎﺭ ﻋﺒﺪﺍﻟﺮﺣﻤﻦ ﺑﻦ‬ ‫ﺍﻟﺴﺎﯾﻖ‬

‫ﻋﺼﺮﺳﻼﻃﯿﻦ ﻣﻤﺎﻟﯿﮏ ﻣﺼﺮ ﻭ ﺳﻮﺭﯾﻪ ﺑﻪ ﺷﮑﻮﻓﺎﯾﯽ ﺧﻂ ﻭ ﮐﺘﯿﺒﻪ ﻣﻌﺮﻭﻑ ﺍﺳﺖ‪ .‬ﻫﺮ ﺩﻭ ﺭﮊﯾﻢ‪ ،‬ﺑﺤﺮﯼ ﻣﻤﻠﻮﮎ ﻭ‬

‫ﺑﺮﺟﯽﻣﻤﻠﻮﮎ‪ ،‬ﮔﻨﺠﯿﻨﻪ ﻫﺎﯾﯽ ﺍﺯ ﺧﻮﺷﻨﻮﯾﺴﯽ ﻭ ﮐﺘﯿﺒﻪ ﺭﺍ ﺑﺮﺍﯼ ﻣﺎ ﺑﻪ ﯾﺎﺩﮔﺎﺭ ﮔﺬﺍﺷﺘﻨﺪ ﮐﻪ ﺩﺭ ﺧﯿﺎﺑﺎﻥ ﻫﺎﯼ ﻗﺎﻫﺮﻩ ﻭ ﺩﺭ‬

‫ﻣﺠﻤﻮﻋﻪﻫﺎﯼ ﻣﺨﺘﻠﻒ ﻧﺴﺨﻪ ﻫﺎﯼ ﺧﻄﯽ ﺩﺭ ﺳﺮﺍﺳﺮ ﺟﻬﺎﻥ ﺩﯾﺪﻩ ﻣﯽ ﺷﺪ‪ .‬ﺣﻤﺎﯾﺖ ﺍﺯ ﻧﺴﺦ ﺧﻄﯽ ﻓﺎﺧﺮ ﻗﺮﺁﻥ ﺑﺨﺶ‬ ‫ﻣﻬﻤﯽﺍﺯ ﺣﻤﺎﯾﺖ ﻫﻨﺮﯼ ﺣﺎﮐﻤﺎﻥ ﻣﻤﺎﻟﯿﮏ ﺑﻮﺩ ﻭ ﺍﺯ ﺍﯾﻦ ﺭﻭ ﺍﻏﻠﺐ ﺑﻪ ﺧﻮﺷﻨﻮﯾﺴﺎﻥ ﻣﺸﻬﻮﺭ ﺳﭙﺮﺩﻩ ﻣﯽ ﺷﺪ‪ .‬ﯾﮑﯽ ﺍﺯ‬ ‫ﺁﻧﻬﺎﺍﺳﺘﺎﺩ ﻋﺒﺪﺍﻟﺮﺣﻤﻦ ﺑﻦ ﺍﻟﺴﺎﯾﻖ )‪ (845/1441-770/1368‬ﺑﻮﺩ‪ .‬ﺍﯾﻦ ﺧﻮﺷﻨﻮﯾﺲ ﺍﻣﺎ ﻧﻪ ﺗﻨﻬﺎ ﺑﻪ ﻫﻨﺮ ﺧﻮﺩ‬

‫ﭘﺮﺩﺍﺧﺖ‪،‬ﺑﻠﮑﻪ ﺭﺳﺎﻟﻪ ﺍﯼ ﺩﺭ ﺯﻣﯿﻨﻪ ﺧﻮﺷﻨﻮﯾﺴﯽ ﻧﻮﺷﺖ ﻭ ﭘﺎﯾﻪ ﻭ ﺍﺳﺎﺱ ﻣﮑﺘﺐ ﺧﻮﺷﻨﻮﯾﺴﯽ ﺭﺍ ﺑﻨﺎ ﻧﻬﺎﺩ‪ .‬ﺍﺯ ﺍﯾﻦ ﺭﻭ‪،‬‬

‫ﻫﺪﻑﺍﯾﻦ ﻣﻘﺎﻟﻪ ﺍﺭﺍﺉﻪ ﺍﯾﻦ ﺍﺳﺘﺎﺩ ﻭ ﺁﺛﺎﺭ ﺍﻭ ﺑﻪ ﮔﻮﻧﻪ ﺍﯼ ﺍﺳﺖ ﮐﻪ ﺍﻣﮑﺎﻥ ﺑﺎﺯﺳﺎﺯﯼ ﺳﻨﺖ ﯾﺎﺩﮔﯿﺮﯼ ﺍﻭ ﺭﺍ ﻓﺮﺍﻫﻢ ﮐﻨﺪ‪.‬‬

‫ﺭﺉﯿﺲﻭ ﺑﺤﺚ ﮐﻨﻨﺪﻩ‪ :‬ﺷﯿﻼ ﺑﻠﺮ‪ ،‬ﺩﺍﻧﺸﮕﺎﻩ ﻧﻮﺭﻣﺎ ﮊﺍﻥ ﮐﺎﻟﺪﺭﻭﻭﺩ‬

‫ﮐﻠﻤﻪﺁﺭﺍﺳﺘﻪ‬

‫ﭘﻨﺞﺟﻨﺒﻪ ﺍﺻﻠﯽ ﺯﻧﺪﮔﯽ ﻭ ﻋﻤﻞ ﺍﻭ ﭘﺮﺩﺍﺧﺘﻪ ﺧﻮﺍﻫﺪ ﺷﺪ‪:‬‬

‫ﺭﺍﺷﻞﻭﺍﺭﺩ‬ ‫ﻣﺤﻘﻖﻣﺴﺘﻘﻞ‬

‫ﻗﯿﺼﺮﻭ ﻧﺎﭘﻞ ﮔﻠﻮﺏ‬

‫ﺍﻫﻤﯿﺖﺗﺎﺭﯾﺨﯽ ﮐﺮﻩ ﺁﺳﻤﺎﻧﯽ ﻧﺎﭘﻞ ﺑﺎ ﺩﻭ ﮐﺘﯿﺒﻪ ﺩﺭ ﻧﯿﻤﮑﺮﻩ ﺟﻨﻮﺑﯽ ﺁﻥ ﺑﻪ ﺷﺪﺕ ﺍﻓﺰﺍﯾﺶ ﯾﺎﻓﺘﻪ ﺍﺳﺖ‪:‬‬

‫ﺍﻟﺴﺨﺎﻭﯼﺩﺭ ﮐﺘﺎﺏ ﺧﻮﺩ ﻣﺘﻤﺮﮐﺰ ﺧﻮﺍﻫﺪ ﺷﺪﺍﻟﺪﻭﻉ ﺍﻟﻠﻤﯽ ﻓﯽ ﺍﻫﻞ ﺍﻟﻘﺮﻥ ﺍﻟﺘﺎﺳﯿﺲﺍﺯ ﺁﻧﺠﺎﯾﯽ ﮐﻪ‬ ‫ﺳﺨﺎﻭﯼﻧﯿﺰ ﺍﺯ ﺷﺎﮔﺮﺩﺍﻥ ﺍﺑﻦ ﺍﻟﺴﯿﻎ ﺑﻮﺩ‪.‬‬

‫‪.2‬ﺯﻧﺠﯿﺮﻩ ﺍﻧﺘﻘﺎﻝ ﺍﻭ‪.‬‬

‫‪.3‬ﺭﺳﺎﻟﻪ ﺍﻭ ﺩﺭ ﺧﻮﺷﻨﻮﯾﺴﯽ ﮐﻪ ﺩﻭ ﻋﻨﻮﺍﻥ ﺩﺍﺭﺩ‪:‬ﺗﺤﻔﺎﺕ ﺍﻻﻟﺒﺎﺏ ﻓﯽ ﺳﯿﻨﺎﻋﺔ ﺍﻟﺨﻂ ﻭ ﺍﻟﮑﺘﺎﺏﻭﺭﺳﺎﻟﻪ ﻓﯽ‬ ‫ﺍﻟﺨﻂﻭ ﺑﺮﯼ ﺍﻟﻘﻠﻢ‪.‬‬

‫ﺍﻟﻒﺑﺮﺍﯼ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻗﯿﺼﺮ ﺏ‪ .‬ﺍﺑﯽ ﺍﻟﻘﺎﺳﻢ ﺑﻦ‪ .‬ﻣﺼﻔﺮ ﺍﺷﺮﻓﯽ ﺣﻨﻔﯽ ﺩﺭ ﺳﺎﻝ ‪ 622‬ﻫﺠﺮﯼ ﺑﺎ ﺍﻓﺰﺍﯾﺶ ‪ 16‬ﺩﺭﺟﻪ ﻭ ‪ 46‬ﺩﻗﯿﻘﻪ ﺑﺮ‬

‫‪.4‬ﺍﯾﻦ ﺍﻣﺮ ﺑﺎ ﺑﺮﺭﺳﯽ ﻣﯿﺰﺍﻥ ﺑﺎﺯﺗﺎﺏ ﺳﻨﺖ ﻧﻈﺮﯼ ﺍﻭ ﺩﺭ ﻓﯿﻠﻤﻨﺎﻣﻪ ﻫﺎﯾﺶ‪ ،‬ﻫﻤﺎﻧﻄﻮﺭ ﮐﻪ ﺩﺭ ﺍﺛﺮ ﺑﺎﻗﯽ ﻣﺎﻧﺪﻩ ﺍﯼ ﮐﻪ‬

‫ﺏ‪-‬ﺑﺮﺍﯼ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺑﯿﺖ ﺍﻟﻤﺎﻝ ﻣﻮﻻﯼ ﻣﺎ ﺳﻠﻄﺎﻥ ﺍﻟﻤﻠﮏ ﺍﻟﮑﺎﻣﻞ ﺣﮑﯿﻢ ﻋﺎﺩﻝ ﻧﺼﯿﺮﺍﻟﺪﻧﯿﺎ ﻭﺍﻟﺪﯾﻦ ﻣﺤﻤﺪ ﺑﻦ‪ .‬ﺍﺑﻮﺑﮑﺮ ﺏ‪ .‬ﺍﯾﻮﺏ‬

‫‪.5‬ﺑﺮﺭﺳﯽ ﺗﺄﺛﯿﺮ ﺍﻭ ﺑﺎ ﻣﺮﻭﺭﯼ ﺑﺮ ﺩﺍﻧﺶ ﺁﻣﻮﺯﺍﻧﺶ ﮐﻪ ﻫﻤﮕﯽ ﺩﺳﺖ ﻧﻮﺷﺘﻪ ﻫﺎﯼ ﺧﻄﯽ ﺭﺍ ﺩﺭ ﻗﺮﻥ ﭘﺎﻧﺰﺩﻫﻢ‬

‫ﺁﻧﭽﻪﺩﺭ ﺍﻟﻤﺠﺴﺖ ﺍﺳﺖ‪.‬‬ ‫ﺳﺒﺤﺎﻥﭘﯿﺮﻭﺯﻯ ﺍﻭ‪.‬‬

‫ﺍﯾﻦﮐﺮﻩ ﮐﻪ ﺑﻪ ﮐﺘﯿﺒﻪ ﻫﺎﯼ ﻣﻌﺎﺻﺮ ﺗﻌﺒﯿﺮ ﻣﯽ ﺷﻮﺩ‪ ،‬ﯾﮑﯽ ﺑﻪ ﻧﺎﻡ ﺳﺎﺯﻧﺪﻩ ﺳﺎﺯ ﻭ ﺩﯾﮕﺮﯼ ﺑﻪ ﻧﺎﻡ ﮐﺎﺭﻓﺮﻣﺎﯾﺶ‪ ،‬ﺍﯾﻦ ﮐﺮﻩ ﺑﺮﺍﯼ ﺍﻟﮑﺎﻣﻞ‬

‫ﻧﺼﯿﺮﺍﻟﺪﯾﻦﻣﺤﻤﺪ‪ ،‬ﺳﻠﻄﺎﻥ ﺍﯾﻮﺑﯽ ﻣﺼﺮ )ﺡ‪ (615 .‬ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ ،(35- .‬ﺩﺭ ﭘﺎﯾﺘﺨﺖ ﺧﻮﺩ ﻗﺎﻫﺮﻩ ﺩﺭ ﺳﺎﻝ ‪ 622‬ﺗﻮﺳﻂ ﻗﯿﺼﺮ‪،‬‬

‫ﺩﺍﻧﺸﻤﻨﺪﻣﺸﻬﻮﺭﯼ ﮐﻪ ﺍﻟﮑﺎﻣﻞ ﺍﺯ ﺍﻭ ﺧﻮﺍﺳﺖ ﺗﺎ ﺑﻪ ﺳﺆﺍﻻﺕ ﺭﯾﺎﺿﯿﺎﺕ ﻣﻄﺮﺡ ﺷﺪﻩ ﺗﻮﺳﻂ ﻓﺮﺩﺭﯾﮏ ﺩﻭﻡ ﭘﺎﺳﺦ ﺩﻫﺪ‪.‬‬

‫ﺑﺮﺭﺳﯽﺩﻗﯿﻖ ﮐﺘﯿﺒﻪ ﻫﺎ ﻭ ﺗﮑﻨﯿﮏ ﻫﺎﯼ ﺑﻪ ﮐﺎﺭ ﺭﻓﺘﻪ ﺩﺭ ﺳﺎﺧﺖ ﻭ ﺗﺰﺉﯿﻦ ﮐﺮﻩ ﺯﻣﯿﻦ ﻧﺸﺎﻥ ﻣﯽ ﺩﻫﺪ ﮐﻪ ﺣﺪﺍﻗﻞ ﭘﻨﺞ ﻣﺮﺣﻠﻪ ﻣﺨﺘﻠﻒ ﮐﺎﺭ‬ ‫ﺑﺮﺭﻭﯼ ﮐﺮﻩ ﺯﻣﯿﻦ ﻭﺟﻮﺩ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪ ،‬ﺍﯾﻦ ﺩﻭ ﮐﺘﯿﺒﻪ ﻣﻌﺎﺻﺮ ﻧﯿﺴﺘﻨﺪ ﻭ ﻫﺮ ﺩﻭ ﺗﻐﯿﯿﺮ ﯾﺎﻓﺘﻪ ﺍﻧﺪ‪ ،‬ﻭ ﺍﯾﻦ ﺷﯽء ﺑﺮﻧﺠﯽ ﻧﯿﺴﺖ ﻭ ﻣﻨﺒﺖ‬

‫ﻫﺎﯼﻣﺴﯽ ﺍﺻﻠﯽ ﻧﯿﺴﺘﻨﺪ‪ .‬ﺑﺎ ﺍﯾﻦ ﺣﺎﻝ‪ ،‬ﺍﯾﻦ ﺗﻐﯿﯿﺮﺍﺕ ﺑﻪ ﺟﺎﯼ ﺗﻀﻌﯿﻒ ﺍﻫﻤﯿﺖ ﺗﺎﺭﯾﺨﯽ ﺁﻥ‪ ،‬ﺑﻪ ﻃﻮﺭ ﻗﺎﺑﻞ ﺗﻮﺟﻬﯽ ﺑﻪ ﺍﻃﻼﻋﺎﺗﯽ‬

‫ﻣﯽ ﺍﻓﺰﺍﯾﻨﺪﮐﻪ ﻣﯽ ﺗﻮﺍﻧﻨﺪ ﺩﺭﺑﺎﺭﻩ ﮐﺮﻩ ﺯﻣﯿﻦ‪ ،‬ﻃﺮﺍﺡ ﺁﻥ‪ ،‬ﻭ ﺻﺎﺣﺐ)ﻫﺎﯼ( ﺁﻥ ﻭ ﻧﺤﻮﻩ ﺩﺭﮎ ﺍﺷﯿﺎء ﻋﻠﻤﯽ ‪ -‬ﻭ ﺳﺎﺯﻧﺪﮔﺎﻥ ﺁﻧﻬﺎ ‪ -‬ﺩﺭ ﺟﻬﺎﻥ‬

‫ﻗﺮﻭﻥﻭﺳﻄﯽ ﺍﺭﺍﺉﻪ ﮐﻨﻨﺪ‪.‬‬

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‫‪.1‬ﺷﺮﺡ ﺣﺎﻝ ﺍﻭ‪ ،‬ﻫﻤﺎﻧﻄﻮﺭ ﮐﻪ ﺗﻮﺳﻂ ﭼﻨﺪ ﻣﻨﺒﻊ ﻣﻤﺎﻟﯿﮏ ﻗﺮﻥ ‪ 15‬ﺑﻪ ﻣﺎ ﺩﺍﺩﻩ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﯾﻦ ﺑﺮ ﻣﺪﺧﻞ ﻣﻮﺭﺥ‬

‫ﺍﻭﺍﻣﻀﺎ ﮐﺮﺩﻩ ﺍﺳﺖ‪ ،‬ﺩﻧﺒﺎﻝ ﺧﻮﺍﻫﺪ ﺷﺪ‪.‬‬

‫ﻧﻮﺷﺘﻪﯾﺎ ﺗﺬﻫﯿﺐ ﮐﺮﺩﻩ ﺍﻧﺪ‪ ،‬ﺗﮑﻤﯿﻞ ﺧﻮﺍﻫﺪ ﺷﺪ‪.‬‬

‫ﺍﯾﻦﺑﺮﺭﺳﯽ ﺍﺯ ﺍﺳﺘﺎﺩ ﺑﺰﺭﮒ ﺧﻮﺷﻨﻮﯾﺴﯽ ﻭ ﺳﻨﺖ ﻓﺮﺍﮔﯿﺮﯼ ﺍﻭ ﺑﺮﺍﯼ ﺗﺤﻠﯿﻞ ﺭﺍﺑﻄﻪ ﻧﻈﺮﯾﻪ ﻭ ﻋﻤﻞ ﻭ ﺷﻨﺎﺳﺎﯾﯽ ﺭﻭﯾﮑﺮﺩ‬

‫ﺭﻭﺷﻤﻨﺪﺍﺑﻦ ﺍﻟﺴﯿﻎ ﺍﻧﺠﺎﻡ ﻣﯽ ﺷﻮﺩ‪ .‬ﻣﯿﺰﺍﻥ ﺗﺄﺛﯿﺮ ﺍﺑﻦ ﺍﻟﺴﺎﯾﻖ ﺩﺭ ﺗﻮﺳﻌﻪ ﺑﯿﺸﺘﺮ ﺧﻮﺷﻨﻮﯾﺴﯽ ﻣﺼﺮﯼ ﺑﺮﺭﺳﯽ‬

‫ﺧﻮﺍﻫﺪﺷﺪ‪ .‬ﺍﯾﻦ ﻣﻘﺎﻟﻪ ﻫﻤﭽﻨﯿﻦ ﺑﻪ ﻧﻘﺶ ﺣﻤﺎﯾﺖ ﺳﻠﻄﺎﻥ ﺍﻟﻈﺎﻫﺮ ﺑﺮﻗﻮﻕ ﻭ ﭘﺴﺮﺵ ﺳﻠﻄﺎﻥ ﻓﺮﺝ ﺑﻦ ﺑﺎﺭﻗﻮﻕ ﺩﺭ‬ ‫ﻣﻮﻓﻘﯿﺖﺍﺑﻦ ﺍﻟﺴﺎﯾﻖ ﻣﯽ ﭘﺮﺩﺍﺯﺩ‪ ،‬ﺯﯾﺮﺍ ﻫﺮ ﺩﻭ ﯾﮏ ﻧﺴﺨﻪ ﺧﻄﯽ ﻗﺮﺁﻧﯽ ﺑﻪ ﯾﺎﺩﮔﺎﺭ ﻣﺎﻧﺪﻩ ﮐﻪ ﻫﺮ ﮐﺪﺍﻡ ﺗﻮﺳﻂ‬

‫ﺧﻮﺷﻨﻮﯾﺲﺍﺳﺘﺎﺩ ﻣﺎ ﺍﻣﻀﺎ ﺷﺪﻩ ﺍﺳﺖ‪ . .‬ﭘﺎﺳﺦ ﺑﻪ ﺍﯾﻦ ﺳﺆﺍﻻﺕ ﻣﻨﺠﺮ ﺑﻪ ﺩﺭﮎ ﺑﻬﺘﺮ ﺯﻧﺪﮔﯽ ﻫﻨﺮﯼ ﻭ ﻓﮑﺮﯼ‬

‫ﻣﻤﺎﻟﯿﮏﻣﺼﺮ ﺩﺭ ﺳﺎﻟﻬﺎﯼ ﭘﺎﯾﺎﻧﯽ ﻗﺮﻥ ﭼﻬﺎﺭﺩﻫﻢ ﻭ ﻧﯿﻤﻪ ﺍﻭﻝ ﻗﺮﻥ ﭘﺎﻧﺰﺩﻫﻢ ﻣﯽ ﺷﻮﺩ‪.‬‬

‫ﻧﻮﺭﺍﻥﺑﻦ ﺍﺯﻭﻧﺎ‬

‫ﺍﺗﺮﯾﺶ ‪Institut für Kunstgeschichte،‬‬

‫ﺗﻨﺎﺳﺐﻭ ﺭﯾﺘﻢ‪:‬‬

‫ﮔﻔﺘﻤﺎﻥﻫﺎﯼ ﻫﻤﮕﺮﺍ ﺩﺭﺑﺎﺭﻩ ﺧﻮﺷﻨﻮﯾﺴﯽ ﻭ ﻣﻮﺳﯿﻘﯽ ﺩﺭ ﺍﺳﻼﻡ ﻗﺮﻭﻥ ﻭﺳﻄﯽ‬

‫ﺟﻬﺎﻥﺍﺳﻼﻡ ﺻﺪﻫﺎ ﻣﺘﻦ ﺗﻮﻟﯿﺪ ﮐﺮﺩ ﮐﻪ ﻣﯽ ﺗﻮﺍﻧﺪ ﺑﺮﺍﯼ ﺷﻨﺎﺧﺖ ﺑﻬﺘﺮ ﻣﺤﺼﻮﻻﺕ ﺑﺼﺮﯼ ﻭ ﻫﻨﺮﯼ ﺁﻥ ﻣﻔﯿﺪ ﺑﺎﺷﺪ‪ .‬ﻧﯿﺎﺯ ﺑﻪ ﺑﺮﺭﺳﯽ ﺩﻗﯿﻖ‬

‫ﺍﯾﻦﻣﻨﺎﺑﻊ ﺍﺯ ﺩﻫﻪ ‪) 1940‬ﻣﺜﻼ ًﺁﻗﺎ ﺍﻭﻏﻠﻮ( ﻣﻮﺭﺩ ﺗﺎﮐﯿﺪ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺑﺎ ﺍﯾﻦ ﺣﺎﻝ‪ ،‬ﻭﺿﻌﯿﺖ ﺁﻧﻬﺎ ﻭ ﺩﻗﯿﻖ ﺗﺮﯾﻦ ﺭﻭﺵ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺁﻧﻬﺎ‬

‫ﻫﻨﻮﺯﻣﺸﮑﻞ ﺳﺎﺯ ﺍﺳﺖ‪ .‬ﺑﺪﯾﻬﯽ ﺍﺳﺖ ﮐﻪ ﯾﮏ ﭘﺎﺳﺦ ﻭﺍﺣﺪ ﺑﺮﺍﯼ ﺍﯾﻦ ﺳﻮﺍﻻﺕ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪.‬‬

‫ﺍﮔﺮﻣﻤﮑﻦ ﺍﺳﺖ ﺑﺮﺧﯽ ﺍﺯ ﻣﺘﻮﻥ ﻣﻘﺪﻡ ﺑﺮ ﺁﺛﺎﺭ ﻫﻨﺮﯼ ﺑﻮﺩﻩ ﺑﺎﺷﻨﺪ ‪ -‬ﺑﺮﺍﯼ ﻣﺜﺎﻝ‪ ،‬ﺍﺣﺘﻤﺎﻻ ًﺩﺭ ﻣﻮﺭﺩ ﻣﺘﻮﻥ ﻋﻠﻤﯽ ﮐﻪ ﻧﻘﺎﺷﯽ ﻫﺎﯼ ﮔﻮﯾﺎ ﺭﺍ‬

‫ﺍﯾﺠﺎﺩﮐﺮﺩﻩ ﺍﻧﺪ ‪ -‬ﺍﯾﻦ ﯾﮏ ﻗﺎﻋﺪﻩ ﺑﻪ ﻧﻈﺮ ﻧﻤﯽ ﺭﺳﺪ ﯾﺎ ﺣﺪﺍﻗﻞ ﻫﻤﯿﺸﻪ ﺁﺳﺎﻥ ﻧﯿﺴﺖ ﮐﻪ ﺗﻌﯿﯿﻦ ﮐﻨﯿﻢ ﺁﯾﺎ ﯾﮏ ﻣﺘﻦ ﺗﺄﺛﯿﺮ ﮔﺬﺍﺷﺘﻪ ﺍﺳﺖ‬ ‫ﯾﺎﺧﯿﺮ‪ .‬ﯾﮏ ﻋﻤﻞ ﻫﻨﺮﯼ ﯾﺎ ﺑﺮﻋﮑﺲ‪ ،‬ﺗﺉﻮﺭﯼ ﻫﻨﺮ‪ ،‬ﺍﯾﺪﻩ ﻫﺎﯼ ﺍﺯ ﭘﯿﺶ ﻣﻮﺟﻮﺩ ﯾﺎ ﻫﻤﺰﻣﺎﻥ ﺭﺍ ﺑﺮﺍﯼ ﺍﻫﺪﺍﻓﯽ ﺧﺎﺹ ﺗﺨﺼﯿﺺ ﻣﯽ ﺩﻫﺪ‪.‬‬ ‫ﺍﯾﻦﺳﻮﺍﻝ ﺑﻪ ﻭﯾﮋﻩ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺁﻧﭽﻪ ﻋﻤﻮﻣﺎ ًﺍﺩﺑﯿﺎﺕ "ﻓﻨﯽ" ﻧﺎﻣﯿﺪﻩ ﻣﯽ ﺷﻮﺩ ﻣﻄﺮﺡ ﻣﯽ ﺷﻮﺩ‬

‫ﻓﺎﻃﻤﻪﻣﻨﺘﻈﺮﯼ ﻭ ﺁﺭﺵ ﺷﯿﺮﯾﻦ ﺑﺎﺏ‬ ‫ﺩﺍﻧﺸﮕﺎﻩﮐﺎﻟﯿﻔﺮﻧﯿﺎ‪ ،‬ﺑﺮﮐﻠﯽ‪ ،‬ﻣﺮﮐﺰ ﻫﻨﺮ ﺿﯿﺎ‪ ،‬ﺍﯾﺎﻻﺕ ﻣﺘﺤﺪﻩ‬ ‫ﮐﺘﺎﺏﻣﻘﺪﺱ ﯾﺎ ﺁﻣﻮﺯﺵ ﻫﻨﺮﯼ؟‬

‫ﺑﺮﺭﺳﯽﻗﺮﺁﻥ ﭼﺎﭖ ﺳﻨﮕﯽ ﻓﺨﺮ ﺍﺷﺮﺍﻑ ﻭ ﺭﺳﺎﻟﻪ‬ ‫ﺭﺳﺎﻟﻪﺍﻟﺨﻂ ﺁﻥ‬

‫ﻧﺴﺨﻪ ﻫﺎﯼﺧﻄﯽ ﻭ ﮐﺘﺎﺏ ﻫﺎﯼ ﻗﺮﺁﻧﯽ ﮐﻪ ﺑﻪ ﻃﻮﺭ ﮔﺴﺘﺮﺩﻩ ﺩﺭ ﻓﺮﻫﻨﮓ ﻫﺎﯼ ﺍﺳﻼﻣﯽ ﺗﻮﻟﯿﺪ ﺷﺪﻩ ﺍﻧﺪ‪ ،‬ﻧﻘﺶ ﻫﺎﯼ ﻣﺨﺘﻠﻔﯽ ﺩﺍﺭﻧﺪ‪ ،‬ﺍﺯ‬

‫ﺣﻔﻆﮐﻼﻡ ﺧﺪﺍ ﮔﺮﻓﺘﻪ ﺗﺎ ﺯﯾﻨﺖ ﺑﺨﺸﯿﺪﻥ ﺑﻪ ﺁﻥ ﺑﺎ ﺑﻬﺘﺮﯾﻦ ﺻﻨﺎﯾﻊ ﺩﺳﺘﯽ ﺍﻧﺴﺎﻥ‪ .‬ﺷﯽء ‪ 38005‬ﮐﻪ ﺩﺭ ﮐﺘﺎﺑﺨﺎﻧﻪ ﺁﺳﺘﺎﻥ ﻗﺪﺱ ﺭﺿﻮﯼ ﺩﺭ‬

‫ﻣﺸﻬﺪﻧﮕﻬﺪﺍﺭﯼ ﻣﯽ ﺷﻮﺩ‪ ،‬ﺍﻣﺎ ﮐﺎﺭﮐﺮﺩ ﺩﯾﮕﺮﯼ ﺩﺍﺭﺩ ﮐﻪ ﺗﺎﮐﻨﻮﻥ ﻧﺎﺩﯾﺪﻩ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﯾﻌﻨﯽ ﺍﻧﺘﻘﺎﻝ ﺩﺍﻧﺶ ﺧﻮﺷﻨﻮﯾﺴﯽ‪ .‬ﺍﯾﻦ ﻗﺮﺁﻥ ﮐﻪ‬

‫ﺗﻮﺳﻂﻓﺨﺮﺍﻻﺷﺮﺍﻑ ﺻﻔﻮﯼ ﺩﺭ ﺳﺎﻝ ‪ 1904‬ﭼﺎﭖ ﺳﻨﮕﯽ ﺷﺪﻩ ﻭ ﺑﺎ ﻣﻬﺮ ﻣﻈﻔﺮﺍﻟﺪﯾﻦ ﺷﺎﻩ‪ ،‬ﭘﻨﺠﻤﯿﻦ ﺷﺎﻩ ﻗﺎﺟﺎﺭ‪ ،‬ﻣﻤﻬﻮﺭ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﺩﺭ‬

‫ﺁﻏﺎﺯﺷﺎﻣﻞ ﺭﺳﺎﻟﻪ ﺍﯼ ﻫﻔﺖ ﺻﻔﺤﻪ ﺍﯼ ﺩﺭ ﺯﻣﯿﻨﻪ ﺧﻮﺷﻨﻮﯾﺴﯽ ﺑﺎ ﻋﻨﻮﺍﻥ »ﺭﺳﺎﻟﻪ ﺍﯾﺤﯿﯽ ﺧﻂ« ﺍﺳﺖ‪» .‬ﺭﺳﺎﻟﻪ ﺍﺣﯿﺎﯼ ﺧﻮﺷﻨﻮﯾﺴﯽ«(‪.‬‬

‫ﻫﻢﺷﯿﻮﻩ ﻧﮕﺎﺭﺵ ﮐﺘﺎﺏ ﻣﻘﺪﺱ ﻭ ﻫﻢ ﻃﺮﺍﺣﯽ ﻏﯿﺮﻣﻌﻤﻮﻝ ﮐﺘﺎﺏ ﮐﻪ ﺗﺮﮐﯿﺐ ﮐﺘﺎﺏ ﻣﻘﺪﺱ ﺑﺎ ﺭﺳﺎﻟﻪ ﺧﻮﺷﻨﻮﯾﺴﯽ ﺍﺳﺖ‪ ،‬ﻭﯾﮋﮔﯽ ﻫﺎﯼ‬

‫ﺑﺴﯿﺎﺭﯼﺭﺍ ﻧﺸﺎﻥ ﻣﯽ ﺩﻫﺪ‪ .‬ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺍﯾﻦ ﻭﯾﮋﮔﯽ ﻫﺎ‪،‬‬

‫‪-‬ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺜﺎﻝ‪ ،‬ﺩﺭ ﻣﻮﺭﺩ ﺧﻮﺷﻨﻮﯾﺴﯽ ‪ -‬ﮐﻪ ﺑﺪﯾﻬﯽ ﺍﺳﺖ ﻗﺒﻞ ﺍﺯ ﺧﻮﺩ ﻫﻨﺮﻫﺎ ﻧﺒﻮﺩ‪ ،‬ﺑﻠﮑﻪ ﺑﻪ ﺩﻧﺒﺎﻝ ﺁﻥ ﺑﻮﺩ‪ .‬ﺍﺩﺑﯿﺎﺕ »ﻓﻨﯽ«‬

‫ﺧﻮﺷﻨﻮﯾﺴﯽﻏﺎﻟﺒﺎ ًﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺭﻭﺵ ﻫﺎ ﻭ ﻧﻈﺮﯾﻪ ﻫﺎﯾﯽ ﮐﻪ ﺍﺯ ﺳﺎﯾﺮ ﺣﻮﺯﻩ ﻫﺎﯼ ﺩﺍﻧﺶ‪ ،‬ﺍﺯ ﻋﻠﻮﻡ ﺣﺪﯾﺚ )ﺍﺻﺎﻟﺖ ﻭ ﭘﺎﺭﺍﺩﺍﯾﻢ ﺍﻧﺘﻘﺎﻝ(‬

‫ﮔﺮﻓﺘﻪﺗﺎ ﺭﯾﺎﺿﯿﺎﺕ )ﻣﺜﻼ ًﻧﻈﺮﯾﻪ ﻧﺴﺒﺖ ﻫﺎ( ﻭﺍﻡ ﮔﺮﻓﺘﻪ ﻭ ﺍﻗﺘﺒﺎﺱ ﺷﺪﻩ ﺍﻧﺪ‪ ،‬ﺍﻏﻠﺐ ﺳﺎﺩﻩ ﺷﺪﻩ‪ ،‬ﺑﺮﺟﺴﺘﻪ ﻣﯽ ﺷﻮﻧﺪ‪ .‬ﺩﺭ ﺍﯾﻦ ﺭﺍﺳﺘﺎ‪،‬‬

‫ﺷﻨﺎﺳﺎﯾﯽﻫﺪﻑ ﻣﺘﻮﻥ »ﻓﻨﯽ« ﻧﯿﺰ ﺩﺷﻮﺍﺭ ﺍﺳﺖ‪ .‬ﺁﯾﺎ ﺁﻧﻬﺎ‪ ،‬ﺑﻪ ﻃﻮﺭ ﺩﻗﯿﻖ‪" ،‬ﻓﻨﯽ" ﻫﺴﺘﻨﺪ؟‪vade mecums‬ﯾﺎ ﮔﻔﺘﻤﺎﻥ ﻫﺎﯼ ﻟﻔﺎﻇﯽ‬

‫ﺑﯿﺸﺘﺮﯼﺩﺭ ﺯﻣﯿﻨﻪ ﺗﻮﺟﯿﻪ ﯾﺎ ﻣﺸﺮﻭﻋﯿﺖ ﺑﺨﺸﯿﺪﻥ ﯾﺎ »ﺍﺷﺮﺍﻑ ﺑﺨﺸﯿﺪﻥ« ﺑﻪ ﺻﻨﺎﯾﻊ ﺩﺳﺘﯽﻋﻠﻮﻡ?‬

‫ﺍﯾﻦﻣﻘﺎﻟﻪ ﭘﯿﺸﻨﻬﺎﺩ ﻣﯽ ﮐﻨﺪ ﮐﻪ ﺑﻪ ﻣﻮﺿﻮﻉ ﺗﺨﺼﯿﺺ ﺍﺷﮑﺎﻝ ﺍﺯ ﭘﯿﺶ ﻣﻮﺟﻮﺩ ﺩﺍﻧﺶ ﻭ ﻓﺮﻫﻨﮓ ﻫﺎﯼ ﯾﺎﺩﮔﯿﺮﯼ ﺍﺯ ﻃﺮﯾﻖ ﻣﻘﺎﯾﺴﻪ ﺑﯿﻦ‬

‫ﻧﺤﻮﻩﺑﺮﺧﻮﺭﺩ ﺑﺮﺧﯽ ﻧﻈﺮﯾﻪ ﻫﺎﯼ ﺭﯾﺎﺿﯽ ﺑﺎ ﺩﻭ ﺷﮑﻞ ﻫﻨﺮﯼ ﮐﻪ ﻇﺎﻫﺮﺍ ًﺍﺷﺘﺮﺍﮎ ﺯﯾﺎﺩﯼ ﻧﺪﺍﺭﻧﺪ‪ ،‬ﭘﺮﺩﺍﺧﺘﻪ ﺷﻮﺩ‪ :‬ﻫﻨﺮ ﺗﺠﺴﻤﯽ )ﺧﻮﺷﻨﻮﯾﺴﯽ( ﻭ‬

‫ﻏﯿﺮﺗﺼﻮﯾﺮﯼ )ﻣﻮﺳﯿﻘﯽ(‪ .‬ﺧﻮﺷﻨﻮﯾﺴﯽ ﻭ ﻣﻮﺳﯿﻘﯽ ﺑﺮﺧﯽ ﺍﺯ ﻧﺨﺴﺘﯿﻦ ﻭ ﻫﻤﭽﻨﯿﻦ ﻏﻨﯽ ﺗﺮﯾﻦ ﺍﺩﺑﯿﺎﺕ »ﻓﻨﯽ« ﺍﺳﻼﻡ ﺭﺍ ﺑﻪ ﻭﺟﻮﺩ ﺁﻭﺭﺩ‪ .‬ﺍﯾﻦ‬ ‫ﻣﺘﻮﻥﺑﺎ ﻣﻔﺎﻫﯿﻢ ﻣﺘﻤﺎﯾﺰ ﻫﺮ ﭼﻨﺪ ﻣﺮﺗﺒﻂ ﺳﺮﻭﮐﺎﺭ ﺩﺍﺭﻧﺪ‪ :‬ﺗﻨﺎﺳﺐ ﺍﺯ ﯾﮏ ﺳﻮ ﻭ ﺭﯾﺘﻢ ﺍﺯ ﺳﻮﯼ ﺩﯾﮕﺮ‪ .‬ﻫﻤﺎﻧﻄﻮﺭ ﮐﻪ ﭼﻨﺪﯾﻦ ﺧﻮﺷﻨﻮﯾﺲ‬

‫ﺑﺮﺟﺴﺘﻪﻧﯿﺰ ﻣﻮﺳﯿﻘﯿﺪﺍﻧﺎﻥ ﻣﺸﻬﻮﺭﯼ ﺑﻮﺩﻧﺪ‪ ،‬ﺑﺮﺧﯽ ﺍﺯ ﻣﺘﻮﻥ ﻧﻈﺮﯼ ﺩﺭ ﻣﻮﺭﺩ ﺧﻮﺷﻨﻮﯾﺴﯽ ﻭ ﻣﻮﺳﯿﻘﯽ ﺑﻪ ﻃﺮﺯ ﺷﮕﻔﺖ ﺍﻧﮕﯿﺰﯼ ﺩﺭ ﻓﺮﻣﻮﻝ‬

‫ﻓﺨﺮﺍﻻﺷﺮﺍﻑ ﻧﺴﺨﻪ ﺧﻄﯽ ﻗﺮﺁﻥ ﺭﺍ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺧﻂ ﮐﻮﻓﯽ ﻭ ﻧﺴﺦ ﻧﺴﺨﻪ ﺑﺮﺩﺍﺭﯼ ﮐﺮﺩ‪ .‬ﭼﻨﺪ ﺳﻮﺭﻩ ﺍﻭﻝ ﺑﻪ ﺯﺑﺎﻥ ﮐﻮﻓﯽ ﻭ ﺑﻘﯿﻪ ﺑﯿﺸﺘﺮ‬

‫ﺑﻪﻧﺴﺦ ﺍﺳﺖ ﻭ ﻓﻘﻂ ﭼﻨﺪ ﺁﯾﻪ ﺑﻪ ﻃﻮﺭ ﺗﺼﺎﺩﻓﯽ ﺑﻪ ﺯﺑﺎﻥ ﮐﻮﻓﯽ ﺑﺮﺟﺴﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺗﺮﮐﯿﺐ ﻧﺎﺩﺭ‪ ،‬ﺍﮔﺮ ﻧﮕﻮﯾﯿﻢ ﻣﻨﺤﺼﺮﺑﻪ ﻓﺮﺩ‪ ،‬ﺍﯾﻦ ﺩﻭ‬ ‫ﺳﺒﮏﺩﺭ ﻣﺘﻦ ﺍﺻﻠﯽ ﯾﮏ ﮐﺘﺎﺏ ﻭﺍﺣﺪ ﺭﺍ ﻣﯽ ﺗﻮﺍﻥ ﻧﺎﺷﯽ ﺍﺯ ﺗﻤﺎﯾﻞ ﺧﻮﺷﻨﻮﯾﺲ ﺑﻪ ﺍﺭﺍﺉﻪ ﺭﺍﻫﻨﻤﺎﯼ ﻧﺴﺨﯽ ﺧﻮﺍﻧﺎ ﺑﺮﺍﯼ ﺧﻮﺍﻧﺪﻥ ﺳﺒﮏ‬

‫ﮐﻮﻓﯽﺑﻪ ﺧﻮﺍﻧﻨﺪﻩ ﻧﺴﺒﺖ ﺩﺍﺩ‪ ،‬ﮐﻪ ﺑﻪ ﮔﻔﺘﻪ ﮐﺎﺗﺐ‪ .‬ﻣﻘﺪﻣﻪ‪ ،‬ﻗﺒﻼ ً"‪ 900‬ﺳﺎﻝ ﻓﺮﺍﻣﻮﺵ ﺷﺪﻩ ﺑﻮﺩ‪ ".‬ﻋﻼﻭﻩ ﺑﺮ ﺍﯾﻦ‪ ،‬ﺑﻪ ﻧﻈﺮ ﻣﯽ ﺭﺳﺪ ﮐﻪ ﮐﻮﻓﯽ‬ ‫ﺑﺴﯿﺎﺭﺗﻠﻄﯿﻒ ﺷﺪﻩ ﺑﻪ ﮐﺎﺭ ﺭﻓﺘﻪ ﺩﺭ ﺍﯾﻦ ﻧﺴﺨﻪ ﺧﻄﯽ ﺩﺭ ﻫﯿﭻ ﺩﺳﺘﻪ ﺑﻨﺪﯼ ﺧﺎﺻﯽ ﺍﺯ ﺳﺒﮏ ﻫﺎﯼ ﮐﻮﻓﯽ ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩ ﻗﺮﺍﺭ ﻧﻤﯽ ﮔﯿﺮﺩ‪.‬‬

‫ﺑﻠﮑﻪﺍﺯ ﺗﺮﮐﯿﺒﯽ ﺍﺯ ﺳﺒﮏ ﻫﺎ ﺍﺳﺘﻔﺎﺩﻩ ﻣﯽ ﮐﻨﺪ‪ .‬ﺍﯾﻦ ﺭﺳﺎﻟﻪ ﺧﻮﺷﻨﻮﯾﺴﯽ ﺩﺳﺘﻮﺭﺍﻟﻌﻤﻞ ﻣﺘﻨﯽ ﻭ ﻣﺼﻮﺭ ﻣﻔﺼﻠﯽ ﺭﺍ ﺑﺮﺍﯼ ﻧﻮﺷﺘﻦ ﻫﺮ ﺣﺮﻑ ﺑﻪ‬ ‫ﺍﺷﮑﺎﻝﻣﺨﺘﻠﻒ ﺁﻥ ﺍﺭﺍﺉﻪ ﻣﯽ ﺩﻫﺪ ‪ -‬ﻗﺎﻟﺒﯽ ﮐﻪ ﺩﺭ ﺩﯾﮕﺮ ﺭﺳﺎﻟﻪ ﻫﺎﯼ ﺧﻮﺷﻨﻮﯾﺴﯽ ﯾﺎﻓﺖ ﻧﻤﯽ ﺷﻮﺩ‪ .‬ﺭﺳﺎﻟﻪ ﻫﺎﯼ ﺧﻮﺷﻨﻮﯾﺴﯽ ﻓﺎﺭﺳﯽ‬

‫ﻣﻮﺟﻮﺩﮐﻪ ﺍﮐﺜﺮ ﺁﻧﻬﺎ ﺑﻪ ﺍﯾﻦ ﻣﻮﺿﻮﻉ ﻣﯽ ﭘﺮﺩﺍﺯﻧﺪﻧﺴﺘﻌﻠﯿﻖ‪ ،‬ﺑﯿﺸﺘﺮ ﺷﺎﻣﻞ ﺍﺷﻌﺎﺭ ﺍﺳﺖ ﻭ ﺍﺻﻮﻝ ﮐﻠﯽ ﺧﻮﺷﻨﻮﯾﺴﯽ ﺭﺍ ﺑﯿﺎﻥ ﻣﯽ ﮐﻨﺪ‪ .‬ﺍﯾﻦ‬

‫ﺭﺳﺎﻟﻪﻫﺎ ﻏﺎﻟﺒﺎ ًﺣﺮﻭﻑ ﺭﺍ ﺣﺬﻑ ﻣﯽ ﮐﻨﻨﺪ ﯾﺎ ﺗﺼﺎﻭﯾﺮ ﺑﺴﯿﺎﺭ ﮐﻤﯽ ﺍﺯ ﺁﻧﻬﺎ ﺩﺍﺭﻧﺪ‪.‬‬

‫ﺑﻨﺪﯼﺁﻧﻬﺎ ﻫﻤﮕﺮﺍﯾﯽ ﺩﺍﺭﻧﺪ‪ .‬ﺍﯾﻦ ﻫﻤﮕﺮﺍﯾﯽ ﺑﻪ ﺧﻮﺩﯼ ﺧﻮﺩ ﺟﺎﻟﺐ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﻫﻤﭽﻨﯿﻦ ﺑﻪ ﺍﯾﻦ ﺩﻟﯿﻞ ﮐﻪ ﺑﻪ ﺩﺭﮎ ﺩﻗﯿﻖ ﺗﺮ ﻧﻈﺮﯾﻪ ﻫﺎﯼ‬ ‫ﺧﻮﺷﻨﻮﯾﺴﯽﮐﻤﮏ ﻣﯽ ﮐﻨﺪ‪.‬‬

‫ﻣﻬﻢ ﺗﺮﺍﺯ ﻭﯾﮋﮔﯽ ﻫﺎﯼ ﺳﺒﮑﯽ ﻧﺴﺨﻪ ﺧﻄﯽ ﺍﯾﻦ ﺍﺳﺖ ﮐﻪ ﻓﺨﺮ ﺍﺷﺮﺍﻑ ﺭﺳﺎﻟﻪ ﺧﻂ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﻣﺘﻦ ﻗﺮﺁﻥ ﭘﯿﻮﺳﺖ ﮐﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻭ ﺑﻪ ﺍﯾﻦ‬

‫ﻭﺳﯿﻠﻪﺩﺍﻧﺶ ﻋﻤﻞ ﺧﻮﺷﻨﻮﯾﺴﯽ ﺭﺍ ﻣﻨﺘﻘﻞ ﮐﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺑﻪ ﻃﻮﺭ ﺳﻨﺘﯽ‪ ،‬ﺍﺳﺘﺎﺩﺍﻥ ﺧﻮﺷﻨﻮﯾﺴﯽ ﺷﺎﮔﺮﺩﺍﻥ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺩﻭ ﺻﻮﺭﺕ ﺁﻣﻮﺯﺵ‬ ‫ﻣﯽ ﺩﺍﺩﻧﺪ‪:‬ﻧﺨﺴﺖ‪ ،‬ﺍﺯ ﻃﺮﯾﻖ ﺑﯿﺎﻥ ﺩﺭ ﺭﺳﺎﻟﻪ ﺍﯼ ﺭﺷﺘﻪ ﻫﺎﯼ ﻋﻤﻮﻣﯽ ﻭ ﻓﻨﻮﻥ ﻧﻈﺮﯼ ﺧﻮﺷﻨﻮﯾﺴﯽ‪ .‬ﻭ ﺩﻭﻡ ﺍﺯ ﻃﺮﯾﻖ ﺍﺭﺍﺉﻪ ﻣﺜﺎﻝ ﻫﺎ ﻭ‬

‫ﻣﺪﻝﻫﺎﯼ ﮐﺎﺭﺑﺮﺩﯼ ﻣﺨﺘﻠﻒ‪ .‬ﺑﺎ ﺍﯾﻦ ﺣﺎﻝ‪ ،‬ﮐﺎﺭ ﻓﺨﺮ ﺍﺷﺮﺍﻑ‪ ،‬ﻫﻢ ﺩﺍﻧﺶ ﻧﻈﺮﯼ ﻭ ﻫﻢ ﮐﺎﺭﺑﺮﺩ ﻋﻤﻠﯽ ﺁﻥ ﺭﺍ ﺩﺭ ﮐﺘﺎﺑﺖ ﻗﺮﺁﻥ ﺍﺩﻏﺎﻡ ﻣﯽ ﮐﻨﺪ‪.‬‬ ‫ﺍﯾﻦﻭﯾﮋﮔﯽ ﺍﺯ ﯾﮏ ﺳﻮ ﺍﻣﮑﺎﻥ ﻣﻨﺤﺼﺮ ﺑﻪ ﻓﺮﺩﯼ ﺭﺍ ﺑﺮﺍﯼ ﺑﺮﺭﺳﯽ ﻣﯿﺰﺍﻥ ﺑﻪ ﮐﺎﺭﮔﯿﺮﯼ ﻧﻈﺮﯾﻪ ﺩﺭ ﻋﻤﻞ ﺍﺭﺍﺉﻪ ﻣﯽ ﺩﻫﺪ ﻭ ﺍﺯ ﺳﻮﯼ ﺩﯾﮕﺮ‬

‫ﻧﺸﺎﻥﻣﯽ ﺩﻫﺪ ﮐﻪ ﭼﮕﻮﻧﻪ ﻓﺨﺮﺍﻻﺷﺮﺍﻑ ﺑﺎ ﻗﺮﺍﺭ ﺩﺍﺩﻥ ﺁﻥ ﭘﺲ ﺍﺯ ﻣﺘﻦ ﺍﻟﻬﯽ‪ ،‬ﺟﺎﯾﮕﺎﻩ ﺭﺳﺎﻟﻪ ﺭﺍ ﺍﺭﺗﻘﺎ ﺩﺍﺩﻩ ﺍﺳﺖ‪.‬‬

‫ﺍﯾﻦﻣﻘﺎﻟﻪ ﺷﯽء ‪ 38005‬ﺭﺍ ﺑﻪ ﭘﮋﻭﻫﺶ ﻏﺮﺏ ﻣﻌﺮﻓﯽ ﻣﯽ ﮐﻨﺪ‪ ،‬ﻭﯾﮋﮔﯽ ﻫﺎﯼ ﺁﻥ ﺭﺍ ﺩﺭ ﺭﺍﺑﻄﻪ ﺑﺎ ﺩﯾﮕﺮ ﺭﺳﺎﻟﻪ ﻫﺎﯼ ﻓﺎﺭﺳﯽ ﺩﺭ ﺯﻣﯿﻨﻪ‬

‫ﺧﻮﺷﻨﻮﯾﺴﯽﻣﻮﺭﺩ ﺑﺤﺚ ﻗﺮﺍﺭ ﻣﯽ ﺩﻫﺪ ﻭ ﺑﻪ ﺩﺭﮎ ﻣﺎ ﺍﺯ ﺍﻧﺘﻘﺎﻝ ﺩﺍﻧﺶ ﺧﻮﺷﻨﻮﯾﺴﯽ ﮐﻤﮏ ﻣﯽ ﮐﻨﺪ‪ .‬ﻫﻤﭽﻨﯿﻦ ﺑﻪ ﭼﮕﻮﻧﮕﯽ ﺩﺭﮎ ﺳﺒﮏ‬

‫ﮐﻮﻓﯽﺩﺭ ﺯﻣﯿﻨﻪ ﻫﺎﯼ ﻫﻨﺮﯼ‪ ،‬ﻓﺮﻫﻨﮕﯽ ﻭ ﺳﯿﺎﺳﯽ ﺍﯾﺮﺍﻥ ﻗﺎﺟﺎﺭ ﻣﯽ ﭘﺮﺩﺍﺯﺩ‪.‬‬

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‫ﻧﻮﺭﺍﻥﺑﻦ ﺍﺯﻭﻧﺎ‬

‫ﺍﺗﺮﯾﺶ ‪Institut für Kunstgeschichte،‬‬

‫ﺗﻨﺎﺳﺐﻭ ﺭﯾﺘﻢ‪:‬‬

‫ﮔﻔﺘﻤﺎﻥﻫﺎﯼ ﻫﻤﮕﺮﺍ ﺩﺭﺑﺎﺭﻩ ﺧﻮﺷﻨﻮﯾﺴﯽ ﻭ ﻣﻮﺳﯿﻘﯽ ﺩﺭ ﺍﺳﻼﻡ ﻗﺮﻭﻥ ﻭﺳﻄﯽ‬

‫ﺟﻬﺎﻥﺍﺳﻼﻡ ﺻﺪﻫﺎ ﻣﺘﻦ ﺗﻮﻟﯿﺪ ﮐﺮﺩ ﮐﻪ ﻣﯽ ﺗﻮﺍﻧﺪ ﺑﺮﺍﯼ ﺷﻨﺎﺧﺖ ﺑﻬﺘﺮ ﻣﺤﺼﻮﻻﺕ ﺑﺼﺮﯼ ﻭ ﻫﻨﺮﯼ ﺁﻥ ﻣﻔﯿﺪ ﺑﺎﺷﺪ‪ .‬ﻧﯿﺎﺯ ﺑﻪ ﺑﺮﺭﺳﯽ ﺩﻗﯿﻖ‬

‫ﺍﯾﻦﻣﻨﺎﺑﻊ ﺍﺯ ﺩﻫﻪ ‪) 1940‬ﻣﺜﻼ ًﺁﻗﺎ ﺍﻭﻏﻠﻮ( ﻣﻮﺭﺩ ﺗﺎﮐﯿﺪ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺑﺎ ﺍﯾﻦ ﺣﺎﻝ‪ ،‬ﻭﺿﻌﯿﺖ ﺁﻧﻬﺎ ﻭ ﺩﻗﯿﻖ ﺗﺮﯾﻦ ﺭﻭﺵ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺁﻧﻬﺎ‬

‫ﻫﻨﻮﺯﻣﺸﮑﻞ ﺳﺎﺯ ﺍﺳﺖ‪ .‬ﺑﺪﯾﻬﯽ ﺍﺳﺖ ﮐﻪ ﯾﮏ ﭘﺎﺳﺦ ﻭﺍﺣﺪ ﺑﺮﺍﯼ ﺍﯾﻦ ﺳﻮﺍﻻﺕ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ‪.‬‬

‫ﺍﮔﺮﻣﻤﮑﻦ ﺍﺳﺖ ﺑﺮﺧﯽ ﺍﺯ ﻣﺘﻮﻥ ﻣﻘﺪﻡ ﺑﺮ ﺁﺛﺎﺭ ﻫﻨﺮﯼ ﺑﻮﺩﻩ ﺑﺎﺷﻨﺪ ‪ -‬ﺑﺮﺍﯼ ﻣﺜﺎﻝ‪ ،‬ﺍﺣﺘﻤﺎﻻ ًﺩﺭ ﻣﻮﺭﺩ ﻣﺘﻮﻥ ﻋﻠﻤﯽ ﮐﻪ ﻧﻘﺎﺷﯽ ﻫﺎﯼ ﮔﻮﯾﺎ ﺭﺍ‬

‫ﺍﯾﺠﺎﺩﮐﺮﺩﻩ ﺍﻧﺪ ‪ -‬ﺍﯾﻦ ﯾﮏ ﻗﺎﻋﺪﻩ ﺑﻪ ﻧﻈﺮ ﻧﻤﯽ ﺭﺳﺪ ﯾﺎ ﺣﺪﺍﻗﻞ ﻫﻤﯿﺸﻪ ﺁﺳﺎﻥ ﻧﯿﺴﺖ ﮐﻪ ﺗﻌﯿﯿﻦ ﮐﻨﯿﻢ ﺁﯾﺎ ﯾﮏ ﻣﺘﻦ ﺗﺄﺛﯿﺮ ﮔﺬﺍﺷﺘﻪ ﺍﺳﺖ‬ ‫ﯾﺎﺧﯿﺮ‪ .‬ﯾﮏ ﻋﻤﻞ ﻫﻨﺮﯼ ﯾﺎ ﺑﺮﻋﮑﺲ‪ ،‬ﺗﺉﻮﺭﯼ ﻫﻨﺮ‪ ،‬ﺍﯾﺪﻩ ﻫﺎﯼ ﺍﺯ ﭘﯿﺶ ﻣﻮﺟﻮﺩ ﯾﺎ ﻫﻤﺰﻣﺎﻥ ﺭﺍ ﺑﺮﺍﯼ ﺍﻫﺪﺍﻓﯽ ﺧﺎﺹ ﺗﺨﺼﯿﺺ ﻣﯽ ﺩﻫﺪ‪.‬‬ ‫ﺍﯾﻦﺳﻮﺍﻝ ﺑﻪ ﻭﯾﮋﻩ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺁﻧﭽﻪ ﻋﻤﻮﻣﺎ ًﺍﺩﺑﯿﺎﺕ "ﻓﻨﯽ" ﻧﺎﻣﯿﺪﻩ ﻣﯽ ﺷﻮﺩ ﻣﻄﺮﺡ ﻣﯽ ﺷﻮﺩ‬

‫ﻓﺎﻃﻤﻪﻣﻨﺘﻈﺮﯼ ﻭ ﺁﺭﺵ ﺷﯿﺮﯾﻦ ﺑﺎﺏ‬ ‫ﺩﺍﻧﺸﮕﺎﻩﮐﺎﻟﯿﻔﺮﻧﯿﺎ‪ ،‬ﺑﺮﮐﻠﯽ‪ ،‬ﻣﺮﮐﺰ ﻫﻨﺮ ﺿﯿﺎ‪ ،‬ﺍﯾﺎﻻﺕ ﻣﺘﺤﺪﻩ‬ ‫ﮐﺘﺎﺏﻣﻘﺪﺱ ﯾﺎ ﺁﻣﻮﺯﺵ ﻫﻨﺮﯼ؟‬

‫ﺑﺮﺭﺳﯽﻗﺮﺁﻥ ﭼﺎﭖ ﺳﻨﮕﯽ ﻓﺨﺮ ﺍﺷﺮﺍﻑ ﻭ ﺭﺳﺎﻟﻪ‬ ‫ﺭﺳﺎﻟﻪﺍﻟﺨﻂ ﺁﻥ‬

‫ﻧﺴﺨﻪ ﻫﺎﯼﺧﻄﯽ ﻭ ﮐﺘﺎﺏ ﻫﺎﯼ ﻗﺮﺁﻧﯽ ﮐﻪ ﺑﻪ ﻃﻮﺭ ﮔﺴﺘﺮﺩﻩ ﺩﺭ ﻓﺮﻫﻨﮓ ﻫﺎﯼ ﺍﺳﻼﻣﯽ ﺗﻮﻟﯿﺪ ﺷﺪﻩ ﺍﻧﺪ‪ ،‬ﻧﻘﺶ ﻫﺎﯼ ﻣﺨﺘﻠﻔﯽ ﺩﺍﺭﻧﺪ‪ ،‬ﺍﺯ‬

‫ﺣﻔﻆﮐﻼﻡ ﺧﺪﺍ ﮔﺮﻓﺘﻪ ﺗﺎ ﺯﯾﻨﺖ ﺑﺨﺸﯿﺪﻥ ﺑﻪ ﺁﻥ ﺑﺎ ﺑﻬﺘﺮﯾﻦ ﺻﻨﺎﯾﻊ ﺩﺳﺘﯽ ﺍﻧﺴﺎﻥ‪ .‬ﺷﯽء ‪ 38005‬ﮐﻪ ﺩﺭ ﮐﺘﺎﺑﺨﺎﻧﻪ ﺁﺳﺘﺎﻥ ﻗﺪﺱ ﺭﺿﻮﯼ ﺩﺭ‬

‫ﻣﺸﻬﺪﻧﮕﻬﺪﺍﺭﯼ ﻣﯽ ﺷﻮﺩ‪ ،‬ﺍﻣﺎ ﮐﺎﺭﮐﺮﺩ ﺩﯾﮕﺮﯼ ﺩﺍﺭﺩ ﮐﻪ ﺗﺎﮐﻨﻮﻥ ﻧﺎﺩﯾﺪﻩ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﯾﻌﻨﯽ ﺍﻧﺘﻘﺎﻝ ﺩﺍﻧﺶ ﺧﻮﺷﻨﻮﯾﺴﯽ‪ .‬ﺍﯾﻦ ﻗﺮﺁﻥ ﮐﻪ‬

‫ﺗﻮﺳﻂﻓﺨﺮﺍﻻﺷﺮﺍﻑ ﺻﻔﻮﯼ ﺩﺭ ﺳﺎﻝ ‪ 1904‬ﭼﺎﭖ ﺳﻨﮕﯽ ﺷﺪﻩ ﻭ ﺑﺎ ﻣﻬﺮ ﻣﻈﻔﺮﺍﻟﺪﯾﻦ ﺷﺎﻩ‪ ،‬ﭘﻨﺠﻤﯿﻦ ﺷﺎﻩ ﻗﺎﺟﺎﺭ‪ ،‬ﻣﻤﻬﻮﺭ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﺩﺭ‬

‫ﺁﻏﺎﺯﺷﺎﻣﻞ ﺭﺳﺎﻟﻪ ﺍﯼ ﻫﻔﺖ ﺻﻔﺤﻪ ﺍﯼ ﺩﺭ ﺯﻣﯿﻨﻪ ﺧﻮﺷﻨﻮﯾﺴﯽ ﺑﺎ ﻋﻨﻮﺍﻥ »ﺭﺳﺎﻟﻪ ﺍﯾﺤﯿﯽ ﺧﻂ« ﺍﺳﺖ‪» .‬ﺭﺳﺎﻟﻪ ﺍﺣﯿﺎﯼ ﺧﻮﺷﻨﻮﯾﺴﯽ«(‪.‬‬

‫ﻫﻢﺷﯿﻮﻩ ﻧﮕﺎﺭﺵ ﮐﺘﺎﺏ ﻣﻘﺪﺱ ﻭ ﻫﻢ ﻃﺮﺍﺣﯽ ﻏﯿﺮﻣﻌﻤﻮﻝ ﮐﺘﺎﺏ ﮐﻪ ﺗﺮﮐﯿﺐ ﮐﺘﺎﺏ ﻣﻘﺪﺱ ﺑﺎ ﺭﺳﺎﻟﻪ ﺧﻮﺷﻨﻮﯾﺴﯽ ﺍﺳﺖ‪ ،‬ﻭﯾﮋﮔﯽ ﻫﺎﯼ‬

‫ﺑﺴﯿﺎﺭﯼﺭﺍ ﻧﺸﺎﻥ ﻣﯽ ﺩﻫﺪ‪ .‬ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺍﯾﻦ ﻭﯾﮋﮔﯽ ﻫﺎ‪،‬‬

‫‪-‬ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺜﺎﻝ‪ ،‬ﺩﺭ ﻣﻮﺭﺩ ﺧﻮﺷﻨﻮﯾﺴﯽ ‪ -‬ﮐﻪ ﺑﺪﯾﻬﯽ ﺍﺳﺖ ﻗﺒﻞ ﺍﺯ ﺧﻮﺩ ﻫﻨﺮﻫﺎ ﻧﺒﻮﺩ‪ ،‬ﺑﻠﮑﻪ ﺑﻪ ﺩﻧﺒﺎﻝ ﺁﻥ ﺑﻮﺩ‪ .‬ﺍﺩﺑﯿﺎﺕ »ﻓﻨﯽ«‬

‫ﺧﻮﺷﻨﻮﯾﺴﯽﻏﺎﻟﺒﺎ ًﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺭﻭﺵ ﻫﺎ ﻭ ﻧﻈﺮﯾﻪ ﻫﺎﯾﯽ ﮐﻪ ﺍﺯ ﺳﺎﯾﺮ ﺣﻮﺯﻩ ﻫﺎﯼ ﺩﺍﻧﺶ‪ ،‬ﺍﺯ ﻋﻠﻮﻡ ﺣﺪﯾﺚ )ﺍﺻﺎﻟﺖ ﻭ ﭘﺎﺭﺍﺩﺍﯾﻢ ﺍﻧﺘﻘﺎﻝ(‬

‫ﮔﺮﻓﺘﻪﺗﺎ ﺭﯾﺎﺿﯿﺎﺕ )ﻣﺜﻼ ًﻧﻈﺮﯾﻪ ﻧﺴﺒﺖ ﻫﺎ( ﻭﺍﻡ ﮔﺮﻓﺘﻪ ﻭ ﺍﻗﺘﺒﺎﺱ ﺷﺪﻩ ﺍﻧﺪ‪ ،‬ﺍﻏﻠﺐ ﺳﺎﺩﻩ ﺷﺪﻩ‪ ،‬ﺑﺮﺟﺴﺘﻪ ﻣﯽ ﺷﻮﻧﺪ‪ .‬ﺩﺭ ﺍﯾﻦ ﺭﺍﺳﺘﺎ‪،‬‬

‫ﺷﻨﺎﺳﺎﯾﯽﻫﺪﻑ ﻣﺘﻮﻥ »ﻓﻨﯽ« ﻧﯿﺰ ﺩﺷﻮﺍﺭ ﺍﺳﺖ‪ .‬ﺁﯾﺎ ﺁﻧﻬﺎ‪ ،‬ﺑﻪ ﻃﻮﺭ ﺩﻗﯿﻖ‪" ،‬ﻓﻨﯽ" ﻫﺴﺘﻨﺪ؟‪vade mecums‬ﯾﺎ ﮔﻔﺘﻤﺎﻥ ﻫﺎﯼ ﻟﻔﺎﻇﯽ‬

‫ﺑﯿﺸﺘﺮﯼﺩﺭ ﺯﻣﯿﻨﻪ ﺗﻮﺟﯿﻪ ﯾﺎ ﻣﺸﺮﻭﻋﯿﺖ ﺑﺨﺸﯿﺪﻥ ﯾﺎ »ﺍﺷﺮﺍﻑ ﺑﺨﺸﯿﺪﻥ« ﺑﻪ ﺻﻨﺎﯾﻊ ﺩﺳﺘﯽﻋﻠﻮﻡ?‬

‫ﺍﯾﻦﻣﻘﺎﻟﻪ ﭘﯿﺸﻨﻬﺎﺩ ﻣﯽ ﮐﻨﺪ ﮐﻪ ﺑﻪ ﻣﻮﺿﻮﻉ ﺗﺨﺼﯿﺺ ﺍﺷﮑﺎﻝ ﺍﺯ ﭘﯿﺶ ﻣﻮﺟﻮﺩ ﺩﺍﻧﺶ ﻭ ﻓﺮﻫﻨﮓ ﻫﺎﯼ ﯾﺎﺩﮔﯿﺮﯼ ﺍﺯ ﻃﺮﯾﻖ ﻣﻘﺎﯾﺴﻪ ﺑﯿﻦ‬

‫ﻧﺤﻮﻩﺑﺮﺧﻮﺭﺩ ﺑﺮﺧﯽ ﻧﻈﺮﯾﻪ ﻫﺎﯼ ﺭﯾﺎﺿﯽ ﺑﺎ ﺩﻭ ﺷﮑﻞ ﻫﻨﺮﯼ ﮐﻪ ﻇﺎﻫﺮﺍ ًﺍﺷﺘﺮﺍﮎ ﺯﯾﺎﺩﯼ ﻧﺪﺍﺭﻧﺪ‪ ،‬ﭘﺮﺩﺍﺧﺘﻪ ﺷﻮﺩ‪ :‬ﻫﻨﺮ ﺗﺠﺴﻤﯽ )ﺧﻮﺷﻨﻮﯾﺴﯽ( ﻭ‬

‫ﻏﯿﺮﺗﺼﻮﯾﺮﯼ )ﻣﻮﺳﯿﻘﯽ(‪ .‬ﺧﻮﺷﻨﻮﯾﺴﯽ ﻭ ﻣﻮﺳﯿﻘﯽ ﺑﺮﺧﯽ ﺍﺯ ﻧﺨﺴﺘﯿﻦ ﻭ ﻫﻤﭽﻨﯿﻦ ﻏﻨﯽ ﺗﺮﯾﻦ ﺍﺩﺑﯿﺎﺕ »ﻓﻨﯽ« ﺍﺳﻼﻡ ﺭﺍ ﺑﻪ ﻭﺟﻮﺩ ﺁﻭﺭﺩ‪ .‬ﺍﯾﻦ‬ ‫ﻣﺘﻮﻥﺑﺎ ﻣﻔﺎﻫﯿﻢ ﻣﺘﻤﺎﯾﺰ ﻫﺮ ﭼﻨﺪ ﻣﺮﺗﺒﻂ ﺳﺮﻭﮐﺎﺭ ﺩﺍﺭﻧﺪ‪ :‬ﺗﻨﺎﺳﺐ ﺍﺯ ﯾﮏ ﺳﻮ ﻭ ﺭﯾﺘﻢ ﺍﺯ ﺳﻮﯼ ﺩﯾﮕﺮ‪ .‬ﻫﻤﺎﻧﻄﻮﺭ ﮐﻪ ﭼﻨﺪﯾﻦ ﺧﻮﺷﻨﻮﯾﺲ‬

‫ﺑﺮﺟﺴﺘﻪﻧﯿﺰ ﻣﻮﺳﯿﻘﯿﺪﺍﻧﺎﻥ ﻣﺸﻬﻮﺭﯼ ﺑﻮﺩﻧﺪ‪ ،‬ﺑﺮﺧﯽ ﺍﺯ ﻣﺘﻮﻥ ﻧﻈﺮﯼ ﺩﺭ ﻣﻮﺭﺩ ﺧﻮﺷﻨﻮﯾﺴﯽ ﻭ ﻣﻮﺳﯿﻘﯽ ﺑﻪ ﻃﺮﺯ ﺷﮕﻔﺖ ﺍﻧﮕﯿﺰﯼ ﺩﺭ ﻓﺮﻣﻮﻝ‬

‫ﻓﺨﺮﺍﻻﺷﺮﺍﻑ ﻧﺴﺨﻪ ﺧﻄﯽ ﻗﺮﺁﻥ ﺭﺍ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺧﻂ ﮐﻮﻓﯽ ﻭ ﻧﺴﺦ ﻧﺴﺨﻪ ﺑﺮﺩﺍﺭﯼ ﮐﺮﺩ‪ .‬ﭼﻨﺪ ﺳﻮﺭﻩ ﺍﻭﻝ ﺑﻪ ﺯﺑﺎﻥ ﮐﻮﻓﯽ ﻭ ﺑﻘﯿﻪ ﺑﯿﺸﺘﺮ‬

‫ﺑﻪﻧﺴﺦ ﺍﺳﺖ ﻭ ﻓﻘﻂ ﭼﻨﺪ ﺁﯾﻪ ﺑﻪ ﻃﻮﺭ ﺗﺼﺎﺩﻓﯽ ﺑﻪ ﺯﺑﺎﻥ ﮐﻮﻓﯽ ﺑﺮﺟﺴﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺗﺮﮐﯿﺐ ﻧﺎﺩﺭ‪ ،‬ﺍﮔﺮ ﻧﮕﻮﯾﯿﻢ ﻣﻨﺤﺼﺮﺑﻪ ﻓﺮﺩ‪ ،‬ﺍﯾﻦ ﺩﻭ‬ ‫ﺳﺒﮏﺩﺭ ﻣﺘﻦ ﺍﺻﻠﯽ ﯾﮏ ﮐﺘﺎﺏ ﻭﺍﺣﺪ ﺭﺍ ﻣﯽ ﺗﻮﺍﻥ ﻧﺎﺷﯽ ﺍﺯ ﺗﻤﺎﯾﻞ ﺧﻮﺷﻨﻮﯾﺲ ﺑﻪ ﺍﺭﺍﺉﻪ ﺭﺍﻫﻨﻤﺎﯼ ﻧﺴﺨﯽ ﺧﻮﺍﻧﺎ ﺑﺮﺍﯼ ﺧﻮﺍﻧﺪﻥ ﺳﺒﮏ‬

‫ﮐﻮﻓﯽﺑﻪ ﺧﻮﺍﻧﻨﺪﻩ ﻧﺴﺒﺖ ﺩﺍﺩ‪ ،‬ﮐﻪ ﺑﻪ ﮔﻔﺘﻪ ﮐﺎﺗﺐ‪ .‬ﻣﻘﺪﻣﻪ‪ ،‬ﻗﺒﻼ ً"‪ 900‬ﺳﺎﻝ ﻓﺮﺍﻣﻮﺵ ﺷﺪﻩ ﺑﻮﺩ‪ ".‬ﻋﻼﻭﻩ ﺑﺮ ﺍﯾﻦ‪ ،‬ﺑﻪ ﻧﻈﺮ ﻣﯽ ﺭﺳﺪ ﮐﻪ ﮐﻮﻓﯽ‬ ‫ﺑﺴﯿﺎﺭﺗﻠﻄﯿﻒ ﺷﺪﻩ ﺑﻪ ﮐﺎﺭ ﺭﻓﺘﻪ ﺩﺭ ﺍﯾﻦ ﻧﺴﺨﻪ ﺧﻄﯽ ﺩﺭ ﻫﯿﭻ ﺩﺳﺘﻪ ﺑﻨﺪﯼ ﺧﺎﺻﯽ ﺍﺯ ﺳﺒﮏ ﻫﺎﯼ ﮐﻮﻓﯽ ﺷﻨﺎﺧﺘﻪ ﺷﺪﻩ ﻗﺮﺍﺭ ﻧﻤﯽ ﮔﯿﺮﺩ‪.‬‬

‫ﺑﻠﮑﻪﺍﺯ ﺗﺮﮐﯿﺒﯽ ﺍﺯ ﺳﺒﮏ ﻫﺎ ﺍﺳﺘﻔﺎﺩﻩ ﻣﯽ ﮐﻨﺪ‪ .‬ﺍﯾﻦ ﺭﺳﺎﻟﻪ ﺧﻮﺷﻨﻮﯾﺴﯽ ﺩﺳﺘﻮﺭﺍﻟﻌﻤﻞ ﻣﺘﻨﯽ ﻭ ﻣﺼﻮﺭ ﻣﻔﺼﻠﯽ ﺭﺍ ﺑﺮﺍﯼ ﻧﻮﺷﺘﻦ ﻫﺮ ﺣﺮﻑ ﺑﻪ‬ ‫ﺍﺷﮑﺎﻝﻣﺨﺘﻠﻒ ﺁﻥ ﺍﺭﺍﺉﻪ ﻣﯽ ﺩﻫﺪ ‪ -‬ﻗﺎﻟﺒﯽ ﮐﻪ ﺩﺭ ﺩﯾﮕﺮ ﺭﺳﺎﻟﻪ ﻫﺎﯼ ﺧﻮﺷﻨﻮﯾﺴﯽ ﯾﺎﻓﺖ ﻧﻤﯽ ﺷﻮﺩ‪ .‬ﺭﺳﺎﻟﻪ ﻫﺎﯼ ﺧﻮﺷﻨﻮﯾﺴﯽ ﻓﺎﺭﺳﯽ‬

‫ﻣﻮﺟﻮﺩﮐﻪ ﺍﮐﺜﺮ ﺁﻧﻬﺎ ﺑﻪ ﺍﯾﻦ ﻣﻮﺿﻮﻉ ﻣﯽ ﭘﺮﺩﺍﺯﻧﺪﻧﺴﺘﻌﻠﯿﻖ‪ ،‬ﺑﯿﺸﺘﺮ ﺷﺎﻣﻞ ﺍﺷﻌﺎﺭ ﺍﺳﺖ ﻭ ﺍﺻﻮﻝ ﮐﻠﯽ ﺧﻮﺷﻨﻮﯾﺴﯽ ﺭﺍ ﺑﯿﺎﻥ ﻣﯽ ﮐﻨﺪ‪ .‬ﺍﯾﻦ‬

‫ﺭﺳﺎﻟﻪﻫﺎ ﻏﺎﻟﺒﺎ ًﺣﺮﻭﻑ ﺭﺍ ﺣﺬﻑ ﻣﯽ ﮐﻨﻨﺪ ﯾﺎ ﺗﺼﺎﻭﯾﺮ ﺑﺴﯿﺎﺭ ﮐﻤﯽ ﺍﺯ ﺁﻧﻬﺎ ﺩﺍﺭﻧﺪ‪.‬‬

‫ﺑﻨﺪﯼﺁﻧﻬﺎ ﻫﻤﮕﺮﺍﯾﯽ ﺩﺍﺭﻧﺪ‪ .‬ﺍﯾﻦ ﻫﻤﮕﺮﺍﯾﯽ ﺑﻪ ﺧﻮﺩﯼ ﺧﻮﺩ ﺟﺎﻟﺐ ﺍﺳﺖ‪ ،‬ﺍﻣﺎ ﻫﻤﭽﻨﯿﻦ ﺑﻪ ﺍﯾﻦ ﺩﻟﯿﻞ ﮐﻪ ﺑﻪ ﺩﺭﮎ ﺩﻗﯿﻖ ﺗﺮ ﻧﻈﺮﯾﻪ ﻫﺎﯼ‬ ‫ﺧﻮﺷﻨﻮﯾﺴﯽﮐﻤﮏ ﻣﯽ ﮐﻨﺪ‪.‬‬

‫ﻣﻬﻢ ﺗﺮﺍﺯ ﻭﯾﮋﮔﯽ ﻫﺎﯼ ﺳﺒﮑﯽ ﻧﺴﺨﻪ ﺧﻄﯽ ﺍﯾﻦ ﺍﺳﺖ ﮐﻪ ﻓﺨﺮ ﺍﺷﺮﺍﻑ ﺭﺳﺎﻟﻪ ﺧﻂ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﻣﺘﻦ ﻗﺮﺁﻥ ﭘﯿﻮﺳﺖ ﮐﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﻭ ﺑﻪ ﺍﯾﻦ‬

‫ﻭﺳﯿﻠﻪﺩﺍﻧﺶ ﻋﻤﻞ ﺧﻮﺷﻨﻮﯾﺴﯽ ﺭﺍ ﻣﻨﺘﻘﻞ ﮐﺮﺩﻩ ﺍﺳﺖ‪ .‬ﺑﻪ ﻃﻮﺭ ﺳﻨﺘﯽ‪ ،‬ﺍﺳﺘﺎﺩﺍﻥ ﺧﻮﺷﻨﻮﯾﺴﯽ ﺷﺎﮔﺮﺩﺍﻥ ﺧﻮﺩ ﺭﺍ ﺑﻪ ﺩﻭ ﺻﻮﺭﺕ ﺁﻣﻮﺯﺵ‬ ‫ﻣﯽ ﺩﺍﺩﻧﺪ‪:‬ﻧﺨﺴﺖ‪ ،‬ﺍﺯ ﻃﺮﯾﻖ ﺑﯿﺎﻥ ﺩﺭ ﺭﺳﺎﻟﻪ ﺍﯼ ﺭﺷﺘﻪ ﻫﺎﯼ ﻋﻤﻮﻣﯽ ﻭ ﻓﻨﻮﻥ ﻧﻈﺮﯼ ﺧﻮﺷﻨﻮﯾﺴﯽ‪ .‬ﻭ ﺩﻭﻡ ﺍﺯ ﻃﺮﯾﻖ ﺍﺭﺍﺉﻪ ﻣﺜﺎﻝ ﻫﺎ ﻭ‬

‫ﻣﺪﻝﻫﺎﯼ ﮐﺎﺭﺑﺮﺩﯼ ﻣﺨﺘﻠﻒ‪ .‬ﺑﺎ ﺍﯾﻦ ﺣﺎﻝ‪ ،‬ﮐﺎﺭ ﻓﺨﺮ ﺍﺷﺮﺍﻑ‪ ،‬ﻫﻢ ﺩﺍﻧﺶ ﻧﻈﺮﯼ ﻭ ﻫﻢ ﮐﺎﺭﺑﺮﺩ ﻋﻤﻠﯽ ﺁﻥ ﺭﺍ ﺩﺭ ﮐﺘﺎﺑﺖ ﻗﺮﺁﻥ ﺍﺩﻏﺎﻡ ﻣﯽ ﮐﻨﺪ‪.‬‬ ‫ﺍﯾﻦﻭﯾﮋﮔﯽ ﺍﺯ ﯾﮏ ﺳﻮ ﺍﻣﮑﺎﻥ ﻣﻨﺤﺼﺮ ﺑﻪ ﻓﺮﺩﯼ ﺭﺍ ﺑﺮﺍﯼ ﺑﺮﺭﺳﯽ ﻣﯿﺰﺍﻥ ﺑﻪ ﮐﺎﺭﮔﯿﺮﯼ ﻧﻈﺮﯾﻪ ﺩﺭ ﻋﻤﻞ ﺍﺭﺍﺉﻪ ﻣﯽ ﺩﻫﺪ ﻭ ﺍﺯ ﺳﻮﯼ ﺩﯾﮕﺮ‬

‫ﻧﺸﺎﻥﻣﯽ ﺩﻫﺪ ﮐﻪ ﭼﮕﻮﻧﻪ ﻓﺨﺮﺍﻻﺷﺮﺍﻑ ﺑﺎ ﻗﺮﺍﺭ ﺩﺍﺩﻥ ﺁﻥ ﭘﺲ ﺍﺯ ﻣﺘﻦ ﺍﻟﻬﯽ‪ ،‬ﺟﺎﯾﮕﺎﻩ ﺭﺳﺎﻟﻪ ﺭﺍ ﺍﺭﺗﻘﺎ ﺩﺍﺩﻩ ﺍﺳﺖ‪.‬‬

‫ﺍﯾﻦﻣﻘﺎﻟﻪ ﺷﯽء ‪ 38005‬ﺭﺍ ﺑﻪ ﭘﮋﻭﻫﺶ ﻏﺮﺏ ﻣﻌﺮﻓﯽ ﻣﯽ ﮐﻨﺪ‪ ،‬ﻭﯾﮋﮔﯽ ﻫﺎﯼ ﺁﻥ ﺭﺍ ﺩﺭ ﺭﺍﺑﻄﻪ ﺑﺎ ﺩﯾﮕﺮ ﺭﺳﺎﻟﻪ ﻫﺎﯼ ﻓﺎﺭﺳﯽ ﺩﺭ ﺯﻣﯿﻨﻪ‬

‫ﺧﻮﺷﻨﻮﯾﺴﯽﻣﻮﺭﺩ ﺑﺤﺚ ﻗﺮﺍﺭ ﻣﯽ ﺩﻫﺪ ﻭ ﺑﻪ ﺩﺭﮎ ﻣﺎ ﺍﺯ ﺍﻧﺘﻘﺎﻝ ﺩﺍﻧﺶ ﺧﻮﺷﻨﻮﯾﺴﯽ ﮐﻤﮏ ﻣﯽ ﮐﻨﺪ‪ .‬ﻫﻤﭽﻨﯿﻦ ﺑﻪ ﭼﮕﻮﻧﮕﯽ ﺩﺭﮎ ﺳﺒﮏ‬

‫ﮐﻮﻓﯽﺩﺭ ﺯﻣﯿﻨﻪ ﻫﺎﯼ ﻫﻨﺮﯼ‪ ،‬ﻓﺮﻫﻨﮕﯽ ﻭ ﺳﯿﺎﺳﯽ ﺍﯾﺮﺍﻥ ﻗﺎﺟﺎﺭ ﻣﯽ ﭘﺮﺩﺍﺯﺩ‪.‬‬

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‫ﭘﺎﻧﻞ‪7‬‬

‫ﺁﯾﺸﯿﻦﯾﻮﻟﺘﺎﺭ‪-‬ﯾﯿﻠﺪﯾﺮﯾﻢ‬

‫ﻣﻮﺯﻩﻫﺎﯼ ﻫﻨﺮ ﻫﺎﺭﻭﺍﺭﺩ‪ ،‬ﺍﯾﺎﻻﺕ ﻣﺘﺤﺪﻩ‬

‫ﭘﺮﺳﺶﺍﺯ ﻫﻨﺮﻣﻨﺪﺍﻥ ﺧﻮﺏ ﮐﺘﺎﺏ ﺩﺭ ﺩﺭﺑﺎﺭ ﻋﺜﻤﺎﻧﯽ‬ ‫ﺗﻮﻟﯿﺪﻧﺴﺨﻪ ﻫﺎﯼ ﺧﻄﯽ ﻣﺼﻮﺭ ﺩﺭ ﺩﺭﺑﺎﺭ ﻋﺜﻤﺎﻧﯽ ﺩﺭ ﺩﻫﻪ ﻫﺎﯼ ﺍﺧﯿﺮ ﻣﻮﺭﺩ ﺗﻮﺟﻪ ﺗﻌﺪﺍﺩﯼ ﺍﺯ ﻣﻄﺎﻟﻌﺎﺕ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﺳﺘﻮﺩﯾﻮﻫﺎﯼ ﺩﺭﺑﺎﺭﯼ ﮐﻪ ﺍﯾﻦ ﺩﺳﺖ ﻧﻮﺷﺘﻪ ﻫﺎ ﺩﺭ ﺁﻧﺠﺎ‬ ‫ﻣﻔﻬﻮﻡ ﺳﺎﺯﯼﻭ ﺗﻮﻟﯿﺪ ﺷﺪﻩ ﺍﻧﺪ‪ ،‬ﺑﻪ ﻭﯾﮋﻩ ﺍﺯ ﻧﻈﺮ ﺑﺎﺯﺩﻩ ﻫﻨﺮﯼ‪ ،‬ﺣﻤﺎﯾﺖ ﻭ ﺗﻘﺴﯿﻢ ﮐﺎﺭ ﻣﻮﺭﺩ ﺗﺠﺰﯾﻪ ﻭ ﺗﺤﻠﯿﻞ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺍﻧﺪ‪ .‬ﻫﻤﺎﻧﻄﻮﺭ ﮐﻪ ﭼﻨﺪﯾﻦ ﻣﺤﻘﻖ ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﺍﻧﺪ‪،‬‬

‫ﺑﺴﯿﺎﺭﯼﺍﺯ ﺗﻮﺍﺭﯾﺦ ﻣﺼﻮﺭ ﺍﺯ ﻧﯿﻤﻪ ﺩﻭﻡ ﻗﺮﻥ ﺷﺎﻧﺰﺩﻫﻢ ﺭﺍ ﻣﯽ ﺗﻮﺍﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﻭﺝ ﻧﻬﺎﯾﯽ ﺍﯾﻦ ﺍﺳﺘﻮﺩﯾﻮﻫﺎﯼ ﺩﺭﺑﺎﺭ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺖ‪ .‬ﺑﺨﺶ ﺍﻭﻟﯿﻪ ﻗﺮﻥ ﺷﺎﻧﺰﺩﻫﻢ ﮐﻤﺘﺮ ﺷﻨﺎﺧﺘﻪ‬ ‫ﺷﺪﻩﺍﺳﺖ ﻭ ﺷﺎﯾﺪ ﺍﺯ ﻧﻈﺮ ﺳﺎﺯﻣﺎﻧﺪﻫﯽ ﺍﺳﺘﻮﺩﯾﻮﻫﺎﯼ ﺩﺭﺑﺎﺭ ﻣﺘﻐﯿﺮﺗﺮ ﺑﺎﺷﺪ‪ .‬ﺩﺭ ﺣﺪﻭﺩ ﺭﺑﻊ ﺍﻭﻝ ﻗﺮﻥ ﺷﺎﻧﺰﺩﻫﻢ ﻣﯽ ﺗﻮﺍﻧﯿﻢ ﻣﺴﺘﻨﺪ ﮐﻨﯿﻢ ﮐﻪ ﺩﺭ ﻣﻮﺍﺭﺩ ﻣﻌﺪﻭﺩﯼ ﯾﮏ ﻫﻨﺮﻣﻨﺪ‬

‫ﺭﻭﯼﭼﻨﺪﯾﻦ ﺑﺨﺶ ﺍﺯ ﯾﮏ ﻧﺴﺨﻪ ﺧﻄﯽ ﻣﺼﻮﺭ ﮐﺎﺭ ﮐﺮﺩﻩ ﺍﺳﺖ‪ ،‬ﻣﺎﻧﻨﺪ ﮐﭙﯽ ﮐﺮﺩﻥ ﻣﺘﻦ‪ ،‬ﺗﺬﻫﯿﺐ‪ ،‬ﺗﺼﻮﯾﺮﺳﺎﺯﯼ ﻭ‪/‬ﯾﺎ ﺻﺤﺎﻓﯽ ﺁﻥ‪ .‬ﻭﻗﻮﻉ ﻧﺴﺒﺘﺎ ًﻣﮑﺮﺭ ﺍﯾﻦ ﭘﺪﯾﺪﻩ ﺩﺭ ﺍﯾﻦ ﺩﻭﺭﻩ‬

‫ﺍﻣﯽﻻﻧﺪﻭ‬ ‫ﻣﻮﺯﻩﻫﻨﺮ ﻭﺍﻟﺘﺮﺯ‪ ،‬ﺍﯾﺎﻻﺕ ﻣﺘﺤﺪﻩ‬

‫ﻧﮕﺮﺵﺻﻔﻮﯾﺎﻥ ﺑﻪ ﺗﺼﺎﻭﯾﺮ ﻣﻘﺪﺱ ﺩﺭ‬ ‫ﺍﺳﻨﺎﺩﻣﮑﺘﻮﺏ ﻭ ﺑﺼﺮﯼ‬

‫ﻧﻘﺎﺷﯽﺧﻄﯽ ﺍﻭﺍﺧﺮ ﻗﺮﻥ ﻫﻔﺪﻫﻢﺗﻘﺪﯾﻢ ﺭﺉﯿﺲ ﺍﯾﺮﺝﮐﻪ ﻣﻮﺿﻮﻉ ﺍﯾﻦ ﮔﻔﺘﺎﺭ ﺍﺳﺖ‪ ،‬ﻟﺤﻈﻪ ﺍﯼ ﻣﺤﻮﺭﯼ ﺭﺍ ﺑﺎ ﻗﺪﺭﺕ‬

‫ﺗﻐﯿﯿﺮﻣﯽ ﺩﻫﺪ ﺷﺎﻫﻨﺎﻣﻪ)ﮐﺘﺎﺏ ﭘﺎﺩﺷﺎﻫﺎﻥ(‪ .‬ﺩﺭﺳﺖ ﻫﻤﺎﻧﻄﻮﺭ ﮐﻪ ﺷﺎﻋﺮﺍﻥ ﻭ ﻧﻮﺍﺯﻧﺪﮔﺎﻥ ﻗﺮﻥ ﻫﺎ ﭘﺲ ﺍﺯ ﺍﺗﻤﺎﻡ ﺁﻥ ﺩﺭ‬

‫ﺍﻭﺍﯾﻞﻗﺮﻥ ﯾﺎﺯﺩﻫﻢ ﺑﻪ ﺳﺮﺍﻍ ﺷﺎﻫﮑﺎﺭ ﺣﻤﺎﺳﯽ ﻓﺮﺩﻭﺳﯽ ﺭﻓﺘﻨﺪ ﺗﺎ ﺗﺮﺍﻧﻪ ﻫﺎ ﻭ ﺭﻭﺍﯾﺎﺕ ﺭﺍ ﺑﻪ ﺍﻣﺎﻧﺖ ﺑﮕﯿﺮﻧﺪ ﻭ ﭘﯿﮑﺮﺑﻨﺪﯼ‬ ‫ﻣﺠﺪﺩﮐﻨﻨﺪ‪ ،‬ﻫﻨﺮﻣﻨﺪﺍﻥ ﺍﺟﺮﺍﻫﺎﯼ ﺟﺎﯾﮕﺰﯾﻨﯽ ﺑﺮﺍﯼﺷﺎﻫﻨﺎﻣﻪ‪ .‬ﺩﺭ ﺍﯾﻨﺠﺎ ﻣﺎ ﯾﮏ ﺻﺤﻨﻪ ﺑﻪ ﺗﺎﺯﮔﯽ ﺗﺠﺴﻢ ﺷﺪﻩ ﺩﺭ ﺳﻨﺖ‬

‫ﻣﺴﺘﻠﺰﻡﺗﺤﻠﯿﻞ ﺩﻗﯿﻖ ﺗﺮﯼ ﺍﺳﺖ‪ .‬ﺁﯾﺎ ﺍﯾﻦ ﺑﻪ ﺩﻟﯿﻞ ﻋﺪﻡ ﺗﻘﺴﯿﻢ ﮐﺎﺭ ﺩﺭ ﺍﺳﺘﻮﺩﯾﻮﻫﺎﯼ ﺩﺭﺑﺎﺭ ﻋﺜﻤﺎﻧﯽ ﺩﺭ ﺁﻥ ﺯﻣﺎﻥ ﺑﻮﺩ‪ ،‬ﯾﺎ ﺍﯾﻦ ﻭﺳﯿﻠﻪ ﺍﯼ ﺑﻮﺩ ﺑﺮﺍﯼ ﺍﯾﻦ ﮐﻪ ﻫﻨﺮﻣﻨﺪ ﺑﻪ ﺭﺳﻤﯿﺖ‬

‫ﺩﺍﺭﯾﻢ ﺷﺎﻫﻨﺎﻣﻪﺗﺼﻮﯾﺮﯼ ﮐﻪ ﺗﻤﺮﮐﺰ ﺁﻥ ﺑﺮ ﮔﺮﺩﻥ ﺯﺩﻥ ﻭﺣﺸﺘﻨﺎﮎ ﻭ ﺗﻘﺪﯾﻢ ﺗﺸﺮﯾﻔﺎﺗﯽ ﺳﺮ ﺍﯾﺮﺝ‪ ،‬ﺷﻬﯿﺪ ﺑﺰﺭﮔﻮﺍﺭ ﺳﻨﺖ‬

‫ﺑﻮﺩ؟ﻋﺜﻤﺎﻧﯽ ﻫﺎ ﺩﺭ ﺍﯾﻦ ﺯﻣﯿﻨﻪ ﺑﺎ ﺍﺳﻼﻑ ﻭ ﻣﻌﺎﺻﺮﺍﻥ ﺧﻮﺩ ﭼﮕﻮﻧﻪ ﻣﻘﺎﯾﺴﻪ ﻣﯽ ﮐﻨﻨﺪ؟ ﺑﯿﻨﺶ ﺍﯾﻦ ﭘﺮﺳﺶ ﻫﺎ ﺍﺯ ﻃﺮﯾﻖ ﺗﺠﺰﯾﻪ ﻭ ﺗﺤﻠﯿﻞ ﭘﻨﺞ ﻧﺴﺨﻪ ﺧﻄﯽ ﻋﺜﻤﺎﻧﯽ ﺍﺯ ﻣﺠﻤﻮﻋﻪ‬

‫ﺯﻣﺎﻥﺍﺟﺮﺍﯼ ﻧﻘﺎﺷﯽ ﺩﺭ ﻗﻠﻤﺮﻭ ﺻﻔﻮﯾﻪ ﺭﻭﺍﺝ ﺩﺍﺷﺖ‪ .‬ﺍﯾﻦ ﻣﻔﺎﻫﯿﻢ ﺑﺎ ﺑﺎﺯﻧﻤﺎﯾﯽ ﻫﺎﯼ ﻣﺴﯿﺤﯽ ﻭ ﺷﯿﻌﯽ ﺷﻬﺎﺩﺕ‬

‫ﺷﻨﺎﺧﺘﻪﺷﻮﺩ ﻭ ﺍﺣﺘﻤﺎﻻ ًﭘﺎﺩﺍﺷﯽ ﺍﺯ ﺣﺎﻣﯽ ﺧﻮﺩ ﺩﺭﯾﺎﻓﺖ ﮐﻨﺪ؟ ﺗﺎ ﭼﻪ ﺣﺪ ﺍﯾﻦ ﻧﺸﺎﻥ ﺩﻫﻨﺪﻩ ﺣﻤﺎﯾﺘﯽ ﺍﺳﺖ ﮐﻪ ﺑﺮﺍﯼ ﭼﻨﯿﻦ ﻫﻨﺮﻣﻨﺪﺍﻧﯽ ﺑﺎ ﺗﺠﺮﺑﻪ ﻭ ﺩﺍﻧﺶ ﺁﻧﻬﺎ ﺍﺭﺯﺵ ﻗﺎﺉﻞ‬ ‫ﻫﺎﯾﯽﺩﺭ ﻧﯿﻮﯾﻮﺭﮎ‪ ،‬ﺍﺳﺘﺎﻧﺒﻮﻝ ﻭ ﻣﻮﻧﯿﺦ ﺟﺴﺘﺠﻮ ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﻗﻠﻤﺮﻭ ﻋﺜﻤﺎﻧﯽ ﻭ ﺍﯾﺮﺍﻥ ﺑﺮﺍﯼ ﺭﻭﺷﻦ ﺷﺪﻥ ﺍﯾﻦ ﻣﻮﺿﻮﻋﺎﺕ ﻣﻘﺎﯾﺴﻪ ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﯾﺎ ﺍﯾﻦ ﻭﺳﯿﻠﻪ ﺍﯼ ﺑﻮﺩ ﺑﺮﺍﯼ‬ ‫ﻫﻨﺮﻣﻨﺪﺗﺎ ﺑﻪ ﺭﺳﻤﯿﺖ ﺷﻨﺎﺧﺘﻪ ﺷﻮﺩ ﻭ ﺍﺣﺘﻤﺎﻻ ًﭘﺎﺩﺍﺷﯽ ﺍﺯ ﻃﺮﻑ ﺣﺎﻣﯽ ﺧﻮﺩ ﺩﺭﯾﺎﻓﺖ ﮐﻨﺪ؟ ﺗﺎ ﭼﻪ ﺣﺪ ﺍﯾﻦ ﻧﺸﺎﻥ ﺩﻫﻨﺪﻩ ﺣﻤﺎﯾﺘﯽ ﺍﺳﺖ ﮐﻪ ﺑﺮﺍﯼ ﭼﻨﯿﻦ ﻫﻨﺮﻣﻨﺪﺍﻧﯽ ﺑﺎ ﺗﺠﺮﺑﻪ ﻭ‬

‫ﺍﯾﺮﺍﻧﯽﺍﺳﺖ‪ .‬ﻣﻦ ﺁﻥ ﺭﺍ ﭘﯿﺸﻨﻬﺎﺩ ﺧﻮﺍﻫﻢ ﮐﺮﺩﺗﻘﺪﯾﻢ ﺭﺉﯿﺲ ﺍﯾﺮﺝﺍﺷﺎﺭﻩ ﺑﻪ ﻣﻔﺎﻫﯿﻢ ﻓﺪﺍﮐﺎﺭﯼ ﻭ ﺍﻗﺘﺪﺍﺭ ﺍﺳﺖ ﮐﻪ ﺩﺭ‬ ‫ﺁﻣﯿﺨﺘﻪﺷﺪ‪.‬‬

‫ﺭﺉﯿﺲﻭ ﺑﺤﺚ ﮐﻨﻨﺪﻩ‪ :‬ﭘﺮﺳﯿﺲ ﺑﺮﻟﮑﻤﭗ‬

‫ﺗﻌﺒﯿﻪﻭ ﺍﺷﺎﻋﻪ ﺩﺍﻧﺶ ﺩﺭ ﻫﻨﺮ ﮐﺘﺎﺏ‬

‫ﺩﺍﻧﺶﺁﻧﻬﺎ ﺍﺭﺯﺵ ﻗﺎﺉﻞ ﺑﻮﺩ؟ ﻋﺜﻤﺎﻧﯽ ﻫﺎ ﺩﺭ ﺍﯾﻦ ﺯﻣﯿﻨﻪ ﺑﺎ ﺍﺳﻼﻑ ﻭ ﻣﻌﺎﺻﺮﺍﻥ ﺧﻮﺩ ﭼﮕﻮﻧﻪ ﻣﻘﺎﯾﺴﻪ ﻣﯽ ﮐﻨﻨﺪ؟ ﺑﯿﻨﺶ ﺍﯾﻦ ﭘﺮﺳﺶ ﻫﺎ ﺍﺯ ﻃﺮﯾﻖ ﺗﺠﺰﯾﻪ ﻭ ﺗﺤﻠﯿﻞ ﭘﻨﺞ ﻧﺴﺨﻪ‬ ‫ﺧﻄﯽﻋﺜﻤﺎﻧﯽ ﺍﺯ ﻣﺠﻤﻮﻋﻪ ﻫﺎﯾﯽ ﺩﺭ ﻧﯿﻮﯾﻮﺭﮎ‪ ،‬ﺍﺳﺘﺎﻧﺒﻮﻝ ﻭ ﻣﻮﻧﯿﺦ ﺟﺴﺘﺠﻮ ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﻗﻠﻤﺮﻭ ﻋﺜﻤﺎﻧﯽ ﻭ ﺍﯾﺮﺍﻥ ﺑﺮﺍﯼ ﺭﻭﺷﻦ ﺷﺪﻥ ﺍﯾﻦ ﻣﻮﺿﻮﻋﺎﺕ ﻣﻘﺎﯾﺴﻪ ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﯾﺎ‬ ‫ﺍﯾﻦﻭﺳﯿﻠﻪ ﺍﯼ ﺑﻮﺩ ﺑﺮﺍﯼ ﻫﻨﺮﻣﻨﺪ ﺗﺎ ﺑﻪ ﺭﺳﻤﯿﺖ ﺷﻨﺎﺧﺘﻪ ﺷﻮﺩ ﻭ ﺍﺣﺘﻤﺎﻻ ًﭘﺎﺩﺍﺷﯽ ﺍﺯ ﻃﺮﻑ ﺣﺎﻣﯽ ﺧﻮﺩ ﺩﺭﯾﺎﻓﺖ ﮐﻨﺪ؟ ﺗﺎ ﭼﻪ ﺣﺪ ﺍﯾﻦ ﻧﺸﺎﻥ ﺩﻫﻨﺪﻩ ﺣﻤﺎﯾﺘﯽ ﺍﺳﺖ ﮐﻪ ﺑﺮﺍﯼ‬ ‫ﭼﻨﯿﻦﻫﻨﺮﻣﻨﺪﺍﻧﯽ ﺑﺎ ﺗﺠﺮﺑﻪ ﻭ ﺩﺍﻧﺶ ﺁﻧﻬﺎ ﺍﺭﺯﺵ ﻗﺎﺉﻞ ﺑﻮﺩ؟ ﻋﺜﻤﺎﻧﯽ ﻫﺎ ﺩﺭ ﺍﯾﻦ ﺯﻣﯿﻨﻪ ﺑﺎ ﺍﺳﻼﻑ ﻭ ﻣﻌﺎﺻﺮﺍﻥ ﺧﻮﺩ ﭼﮕﻮﻧﻪ ﻣﻘﺎﯾﺴﻪ ﻣﯽ ﮐﻨﻨﺪ؟ ﺑﯿﻨﺶ ﺍﯾﻦ ﭘﺮﺳﺶ ﻫﺎ ﺍﺯ ﻃﺮﯾﻖ‬ ‫ﺗﺠﺰﯾﻪﻭ ﺗﺤﻠﯿﻞ ﭘﻨﺞ ﻧﺴﺨﻪ ﺧﻄﯽ ﻋﺜﻤﺎﻧﯽ ﺍﺯ ﻣﺠﻤﻮﻋﻪ ﻫﺎﯾﯽ ﺩﺭ ﻧﯿﻮﯾﻮﺭﮎ‪ ،‬ﺍﺳﺘﺎﻧﺒﻮﻝ ﻭ ﻣﻮﻧﯿﺦ ﺟﺴﺘﺠﻮ ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﻗﻠﻤﺮﻭ ﻋﺜﻤﺎﻧﯽ ﻭ ﺍﯾﺮﺍﻥ ﺑﺮﺍﯼ ﺭﻭﺷﻦ ﺷﺪﻥ ﺍﯾﻦ‬ ‫ﻣﻮﺿﻮﻋﺎﺕﻣﻘﺎﯾﺴﻪ ﺧﻮﺍﻫﺪ ﺷﺪ‪.‬‬

‫ﺍﺻﻠﯿﻬﺎﻥﺍﺭﮐﻤﻦ‬ ‫ﺩﺍﻧﺸﮕﺎﻩﻓﻨﯽ ﺍﺳﺘﺎﻧﺒﻮﻝ ﺗﺮﮐﯿﻪ‬

‫ﻧﻮﺷﺘﻪﻫﺎﯼ ﺑﯿﻮﮔﺮﺍﻓﯽ ﻣﺼﻮﺭ ﺑﻪ ﻋﻨﻮﺍﻥ‬ ‫ﯾﺎﺩﺑﻮﺩﺁﻣﻮﺯﺷﯽ ﻭ ﺗﺼﻮﯾﺮﯼ‬

‫ﺩﺭﺟﻬﺎﻥ ﺍﺳﻼﻡ‪ ،‬ﻣﺘﻮﻥ ﺯﻧﺪﮔﯽ ﻧﺎﻣﻪ ﺍﯼ ﺯﯾﺎﺩﯼ ﺩﺭﺑﺎﺭﻩ ﺷﺎﻋﺮﺍﻥ‪ ،‬ﺻﻮﻓﯿﺎﻥ‪ ،‬ﻫﻨﺮﻣﻨﺪﺍﻥ ﻭ ﺩﻭﻟﺘﻤﺮﺩﺍﻥ ﻧﻮﺷﺘﻪ ﺷﺪﻩ‬

‫ﺍﺳﺖﮐﻪ ﺍﻃﻼﻋﺎﺕ ﺍﺭﺯﺷﻤﻨﺪﯼ ﺩﺭﺑﺎﺭﻩ ﺯﻧﺪﮔﯽ‪ ،‬ﺩﺳﺘﺎﻭﺭﺩﻫﺎ‪ ،‬ﺳﺨﻨﺎﻥ‪ ،‬ﻧﻤﻮﻧﻪ ﻫﺎﯾﯽ ﺍﺯ ﺁﺛﺎﺭﺷﺎﻥ ‪ -‬ﻭ ﻣﻌﺠﺰﺍﺕ ﺁﻧﻬﺎ ﺩﺭ‬ ‫ﻣﻮﺭﺩﺻﻮﻓﯿﺎﻥ ﺍﺭﺍﺉﻪ ﻣﯽ ﺩﻫﺪ‪ .‬ﺍﯾﻦ ﻣﺘﻮﻥ ﻧﺎﻣﯿﺪﻩ ﺷﺪﺗﺬﮐﯿﺮﺍﺍﮔﺮ ﺑﯿﻮﮔﺮﺍﻓﯽ ﺟﻤﻊ ﺁﻭﺭﯼ ﺷﺪﻩ ﺑﻮﺩﻧﺪ ﻭ‬

‫‪manakibnama‬ﺍﮔﺮ ﭘﯿﺸﮕﻮﯾﯽ ﻫﺎﯼ ﺻﻮﻓﯿﺎﻥ ﺭﺍ ﺷﺎﻣﻞ ﻣﯽ ﺷﺪ‪ .‬ﺩﺭ ﻣﯿﺎﻥ ﺍﯾﻦ ﻣﺘﻮﻥ ﺑﯽ ﺷﻤﺎﺭ‪ ،‬ﺗﻨﻬﺎ ﺗﻌﺪﺍﺩ ﮐﻤﯽ‬

‫ﺑﻪﺗﺼﻮﯾﺮ ﮐﺸﯿﺪﻩ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬

‫ﺍﯾﻦﺗﺬﮐﺮﻩ ﻫﺎﻭ‪manakibnamas‬ﺍﺑﺰﺍﺭﯼ ﺑﺮﺍﯼ ﯾﺎﺩﮔﯿﺮﯼ ﻭ ﺍﻧﺘﻘﺎﻝ ﺩﺍﻧﺶ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻪ ﻣﯽ ﺷﻮﻧﺪ ‪ -‬ﻭ ﻫﻨﻮﺯ ﻫﻢ‬

‫ﻫﺴﺘﻨﺪ‪،‬ﺯﯾﺮﺍ ﺍﻃﻼﻋﺎﺕ ﺗﺎﺭﯾﺨﯽ ﻭ ﺣﺮﻓﻪ ﺍﯼ ﺍﻓﺮﺍﺩ ﺑﺮﺟﺴﺘﻪ ﺭﺍ ﺩﺭ ﺑﺮ ﻣﯽ ﮔﯿﺮﻧﺪ‪ .‬ﺍﮔﺮ ﭼﻪﺗﺬﮐﯿﺮﺍ ﮊﺍﻧﺮ ﺍﺯ ﺍﻭﺍﯾﻞ ﺩﻭﺭﻩ‬

‫ﺍﺳﻼﻣﯽﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺳﻨﺖ ﺟﻤﻊ ﺁﻭﺭﯼ ﺍﻃﻼﻋﺎﺕ ﺩﺭ ﻣﻮﺭﺩ ﺍﻭﻟﯿﻦ ﺷﺨﺼﯿﺖ ﻫﺎﯼ ﺍﺳﻼﻣﯽ ﺭﺍﯾﺞ ﺑﻮﺩﻩ ﺍﺳﺖ‪ ،‬ﻗﺮﻥ‬

‫ﺷﺎﻧﺰﺩﻫﻢﺷﺎﻫﺪ ﺍﻓﺰﺍﯾﺶ ﺗﻌﺪﺍﺩ ﺁﺛﺎﺭ ﻧﻮﯾﺴﻨﺪﮔﺎﻥ ﻣﺨﺘﻠﻒ‪ ،‬ﭼﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﮐﺘﺎﺏ ﺟﺪﺍﮔﺎﻧﻪ ﻭ ﭼﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﺿﻤﯿﻤﻪ ﻭ ﯾﺎ‬

‫ﮐﻤﮏﺑﻪ ﺁﺛﺎﺭ ﻣﻮﺟﻮﺩ ﺑﻮﺩ‪ .‬ﻣﺘﻦ ﻫﺎ ﺍﯾﻦ ﺭﻭﻧﺪ ﺍﻓﺰﺍﯾﺸﯽ ﻣﻤﮑﻦ ﺍﺳﺖ ﺩﺭ ﺗﺼﻮﯾﺮ ﻧﯿﺰ ﻣﺸﺎﻫﺪﻩ ﺷﻮﺩﺗﺬﮐﺮﻩ ﻫﺎﻭ‬

‫‪manakibnamas‬ﺗﻘﺮﯾﺒﺎ ًﺩﺭ ﻫﻤﺎﻥ ﺯﻣﺎﻥ ﺩﺭ ﺳﺮﺯﻣﯿﻦ ﻫﺎﯼ ﺻﻔﻮﯼ ﻭ ﻋﺜﻤﺎﻧﯽ ﺗﻮﻟﯿﺪ ﻣﯽ ﺷﺪ‪.‬‬

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‫ﺁﯾﺸﯿﻦﯾﻮﻟﺘﺎﺭ‪-‬ﯾﯿﻠﺪﯾﺮﯾﻢ‬

‫ﻣﻮﺯﻩﻫﺎﯼ ﻫﻨﺮ ﻫﺎﺭﻭﺍﺭﺩ‪ ،‬ﺍﯾﺎﻻﺕ ﻣﺘﺤﺪﻩ‬

‫ﭘﺮﺳﺶﺍﺯ ﻫﻨﺮﻣﻨﺪﺍﻥ ﺧﻮﺏ ﮐﺘﺎﺏ ﺩﺭ ﺩﺭﺑﺎﺭ ﻋﺜﻤﺎﻧﯽ‬ ‫ﺗﻮﻟﯿﺪﻧﺴﺨﻪ ﻫﺎﯼ ﺧﻄﯽ ﻣﺼﻮﺭ ﺩﺭ ﺩﺭﺑﺎﺭ ﻋﺜﻤﺎﻧﯽ ﺩﺭ ﺩﻫﻪ ﻫﺎﯼ ﺍﺧﯿﺮ ﻣﻮﺭﺩ ﺗﻮﺟﻪ ﺗﻌﺪﺍﺩﯼ ﺍﺯ ﻣﻄﺎﻟﻌﺎﺕ ﺑﻮﺩﻩ ﺍﺳﺖ‪ .‬ﺍﺳﺘﻮﺩﯾﻮﻫﺎﯼ ﺩﺭﺑﺎﺭﯼ ﮐﻪ ﺍﯾﻦ ﺩﺳﺖ ﻧﻮﺷﺘﻪ ﻫﺎ ﺩﺭ ﺁﻧﺠﺎ‬ ‫ﻣﻔﻬﻮﻡ ﺳﺎﺯﯼﻭ ﺗﻮﻟﯿﺪ ﺷﺪﻩ ﺍﻧﺪ‪ ،‬ﺑﻪ ﻭﯾﮋﻩ ﺍﺯ ﻧﻈﺮ ﺑﺎﺯﺩﻩ ﻫﻨﺮﯼ‪ ،‬ﺣﻤﺎﯾﺖ ﻭ ﺗﻘﺴﯿﻢ ﮐﺎﺭ ﻣﻮﺭﺩ ﺗﺠﺰﯾﻪ ﻭ ﺗﺤﻠﯿﻞ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺍﻧﺪ‪ .‬ﻫﻤﺎﻧﻄﻮﺭ ﮐﻪ ﭼﻨﺪﯾﻦ ﻣﺤﻘﻖ ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﺍﻧﺪ‪،‬‬

‫ﺑﺴﯿﺎﺭﯼﺍﺯ ﺗﻮﺍﺭﯾﺦ ﻣﺼﻮﺭ ﺍﺯ ﻧﯿﻤﻪ ﺩﻭﻡ ﻗﺮﻥ ﺷﺎﻧﺰﺩﻫﻢ ﺭﺍ ﻣﯽ ﺗﻮﺍﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﻭﺝ ﻧﻬﺎﯾﯽ ﺍﯾﻦ ﺍﺳﺘﻮﺩﯾﻮﻫﺎﯼ ﺩﺭﺑﺎﺭ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺖ‪ .‬ﺑﺨﺶ ﺍﻭﻟﯿﻪ ﻗﺮﻥ ﺷﺎﻧﺰﺩﻫﻢ ﮐﻤﺘﺮ ﺷﻨﺎﺧﺘﻪ‬ ‫ﺷﺪﻩﺍﺳﺖ ﻭ ﺷﺎﯾﺪ ﺍﺯ ﻧﻈﺮ ﺳﺎﺯﻣﺎﻧﺪﻫﯽ ﺍﺳﺘﻮﺩﯾﻮﻫﺎﯼ ﺩﺭﺑﺎﺭ ﻣﺘﻐﯿﺮﺗﺮ ﺑﺎﺷﺪ‪ .‬ﺩﺭ ﺣﺪﻭﺩ ﺭﺑﻊ ﺍﻭﻝ ﻗﺮﻥ ﺷﺎﻧﺰﺩﻫﻢ ﻣﯽ ﺗﻮﺍﻧﯿﻢ ﻣﺴﺘﻨﺪ ﮐﻨﯿﻢ ﮐﻪ ﺩﺭ ﻣﻮﺍﺭﺩ ﻣﻌﺪﻭﺩﯼ ﯾﮏ ﻫﻨﺮﻣﻨﺪ‬

‫ﺭﻭﯼﭼﻨﺪﯾﻦ ﺑﺨﺶ ﺍﺯ ﯾﮏ ﻧﺴﺨﻪ ﺧﻄﯽ ﻣﺼﻮﺭ ﮐﺎﺭ ﮐﺮﺩﻩ ﺍﺳﺖ‪ ،‬ﻣﺎﻧﻨﺪ ﮐﭙﯽ ﮐﺮﺩﻥ ﻣﺘﻦ‪ ،‬ﺗﺬﻫﯿﺐ‪ ،‬ﺗﺼﻮﯾﺮﺳﺎﺯﯼ ﻭ‪/‬ﯾﺎ ﺻﺤﺎﻓﯽ ﺁﻥ‪ .‬ﻭﻗﻮﻉ ﻧﺴﺒﺘﺎ ًﻣﮑﺮﺭ ﺍﯾﻦ ﭘﺪﯾﺪﻩ ﺩﺭ ﺍﯾﻦ ﺩﻭﺭﻩ‬

‫ﺍﻣﯽﻻﻧﺪﻭ‬ ‫ﻣﻮﺯﻩﻫﻨﺮ ﻭﺍﻟﺘﺮﺯ‪ ،‬ﺍﯾﺎﻻﺕ ﻣﺘﺤﺪﻩ‬

‫ﻧﮕﺮﺵﺻﻔﻮﯾﺎﻥ ﺑﻪ ﺗﺼﺎﻭﯾﺮ ﻣﻘﺪﺱ ﺩﺭ‬ ‫ﺍﺳﻨﺎﺩﻣﮑﺘﻮﺏ ﻭ ﺑﺼﺮﯼ‬

‫ﻧﻘﺎﺷﯽﺧﻄﯽ ﺍﻭﺍﺧﺮ ﻗﺮﻥ ﻫﻔﺪﻫﻢﺗﻘﺪﯾﻢ ﺭﺉﯿﺲ ﺍﯾﺮﺝﮐﻪ ﻣﻮﺿﻮﻉ ﺍﯾﻦ ﮔﻔﺘﺎﺭ ﺍﺳﺖ‪ ،‬ﻟﺤﻈﻪ ﺍﯼ ﻣﺤﻮﺭﯼ ﺭﺍ ﺑﺎ ﻗﺪﺭﺕ‬

‫ﺗﻐﯿﯿﺮﻣﯽ ﺩﻫﺪ ﺷﺎﻫﻨﺎﻣﻪ)ﮐﺘﺎﺏ ﭘﺎﺩﺷﺎﻫﺎﻥ(‪ .‬ﺩﺭﺳﺖ ﻫﻤﺎﻧﻄﻮﺭ ﮐﻪ ﺷﺎﻋﺮﺍﻥ ﻭ ﻧﻮﺍﺯﻧﺪﮔﺎﻥ ﻗﺮﻥ ﻫﺎ ﭘﺲ ﺍﺯ ﺍﺗﻤﺎﻡ ﺁﻥ ﺩﺭ‬

‫ﺍﻭﺍﯾﻞﻗﺮﻥ ﯾﺎﺯﺩﻫﻢ ﺑﻪ ﺳﺮﺍﻍ ﺷﺎﻫﮑﺎﺭ ﺣﻤﺎﺳﯽ ﻓﺮﺩﻭﺳﯽ ﺭﻓﺘﻨﺪ ﺗﺎ ﺗﺮﺍﻧﻪ ﻫﺎ ﻭ ﺭﻭﺍﯾﺎﺕ ﺭﺍ ﺑﻪ ﺍﻣﺎﻧﺖ ﺑﮕﯿﺮﻧﺪ ﻭ ﭘﯿﮑﺮﺑﻨﺪﯼ‬ ‫ﻣﺠﺪﺩﮐﻨﻨﺪ‪ ،‬ﻫﻨﺮﻣﻨﺪﺍﻥ ﺍﺟﺮﺍﻫﺎﯼ ﺟﺎﯾﮕﺰﯾﻨﯽ ﺑﺮﺍﯼﺷﺎﻫﻨﺎﻣﻪ‪ .‬ﺩﺭ ﺍﯾﻨﺠﺎ ﻣﺎ ﯾﮏ ﺻﺤﻨﻪ ﺑﻪ ﺗﺎﺯﮔﯽ ﺗﺠﺴﻢ ﺷﺪﻩ ﺩﺭ ﺳﻨﺖ‬

‫ﻣﺴﺘﻠﺰﻡﺗﺤﻠﯿﻞ ﺩﻗﯿﻖ ﺗﺮﯼ ﺍﺳﺖ‪ .‬ﺁﯾﺎ ﺍﯾﻦ ﺑﻪ ﺩﻟﯿﻞ ﻋﺪﻡ ﺗﻘﺴﯿﻢ ﮐﺎﺭ ﺩﺭ ﺍﺳﺘﻮﺩﯾﻮﻫﺎﯼ ﺩﺭﺑﺎﺭ ﻋﺜﻤﺎﻧﯽ ﺩﺭ ﺁﻥ ﺯﻣﺎﻥ ﺑﻮﺩ‪ ،‬ﯾﺎ ﺍﯾﻦ ﻭﺳﯿﻠﻪ ﺍﯼ ﺑﻮﺩ ﺑﺮﺍﯼ ﺍﯾﻦ ﮐﻪ ﻫﻨﺮﻣﻨﺪ ﺑﻪ ﺭﺳﻤﯿﺖ‬

‫ﺩﺍﺭﯾﻢ ﺷﺎﻫﻨﺎﻣﻪﺗﺼﻮﯾﺮﯼ ﮐﻪ ﺗﻤﺮﮐﺰ ﺁﻥ ﺑﺮ ﮔﺮﺩﻥ ﺯﺩﻥ ﻭﺣﺸﺘﻨﺎﮎ ﻭ ﺗﻘﺪﯾﻢ ﺗﺸﺮﯾﻔﺎﺗﯽ ﺳﺮ ﺍﯾﺮﺝ‪ ،‬ﺷﻬﯿﺪ ﺑﺰﺭﮔﻮﺍﺭ ﺳﻨﺖ‬

‫ﺑﻮﺩ؟ﻋﺜﻤﺎﻧﯽ ﻫﺎ ﺩﺭ ﺍﯾﻦ ﺯﻣﯿﻨﻪ ﺑﺎ ﺍﺳﻼﻑ ﻭ ﻣﻌﺎﺻﺮﺍﻥ ﺧﻮﺩ ﭼﮕﻮﻧﻪ ﻣﻘﺎﯾﺴﻪ ﻣﯽ ﮐﻨﻨﺪ؟ ﺑﯿﻨﺶ ﺍﯾﻦ ﭘﺮﺳﺶ ﻫﺎ ﺍﺯ ﻃﺮﯾﻖ ﺗﺠﺰﯾﻪ ﻭ ﺗﺤﻠﯿﻞ ﭘﻨﺞ ﻧﺴﺨﻪ ﺧﻄﯽ ﻋﺜﻤﺎﻧﯽ ﺍﺯ ﻣﺠﻤﻮﻋﻪ‬

‫ﺯﻣﺎﻥﺍﺟﺮﺍﯼ ﻧﻘﺎﺷﯽ ﺩﺭ ﻗﻠﻤﺮﻭ ﺻﻔﻮﯾﻪ ﺭﻭﺍﺝ ﺩﺍﺷﺖ‪ .‬ﺍﯾﻦ ﻣﻔﺎﻫﯿﻢ ﺑﺎ ﺑﺎﺯﻧﻤﺎﯾﯽ ﻫﺎﯼ ﻣﺴﯿﺤﯽ ﻭ ﺷﯿﻌﯽ ﺷﻬﺎﺩﺕ‬

‫ﺷﻨﺎﺧﺘﻪﺷﻮﺩ ﻭ ﺍﺣﺘﻤﺎﻻ ًﭘﺎﺩﺍﺷﯽ ﺍﺯ ﺣﺎﻣﯽ ﺧﻮﺩ ﺩﺭﯾﺎﻓﺖ ﮐﻨﺪ؟ ﺗﺎ ﭼﻪ ﺣﺪ ﺍﯾﻦ ﻧﺸﺎﻥ ﺩﻫﻨﺪﻩ ﺣﻤﺎﯾﺘﯽ ﺍﺳﺖ ﮐﻪ ﺑﺮﺍﯼ ﭼﻨﯿﻦ ﻫﻨﺮﻣﻨﺪﺍﻧﯽ ﺑﺎ ﺗﺠﺮﺑﻪ ﻭ ﺩﺍﻧﺶ ﺁﻧﻬﺎ ﺍﺭﺯﺵ ﻗﺎﺉﻞ‬ ‫ﻫﺎﯾﯽﺩﺭ ﻧﯿﻮﯾﻮﺭﮎ‪ ،‬ﺍﺳﺘﺎﻧﺒﻮﻝ ﻭ ﻣﻮﻧﯿﺦ ﺟﺴﺘﺠﻮ ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﻗﻠﻤﺮﻭ ﻋﺜﻤﺎﻧﯽ ﻭ ﺍﯾﺮﺍﻥ ﺑﺮﺍﯼ ﺭﻭﺷﻦ ﺷﺪﻥ ﺍﯾﻦ ﻣﻮﺿﻮﻋﺎﺕ ﻣﻘﺎﯾﺴﻪ ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﯾﺎ ﺍﯾﻦ ﻭﺳﯿﻠﻪ ﺍﯼ ﺑﻮﺩ ﺑﺮﺍﯼ‬ ‫ﻫﻨﺮﻣﻨﺪﺗﺎ ﺑﻪ ﺭﺳﻤﯿﺖ ﺷﻨﺎﺧﺘﻪ ﺷﻮﺩ ﻭ ﺍﺣﺘﻤﺎﻻ ًﭘﺎﺩﺍﺷﯽ ﺍﺯ ﻃﺮﻑ ﺣﺎﻣﯽ ﺧﻮﺩ ﺩﺭﯾﺎﻓﺖ ﮐﻨﺪ؟ ﺗﺎ ﭼﻪ ﺣﺪ ﺍﯾﻦ ﻧﺸﺎﻥ ﺩﻫﻨﺪﻩ ﺣﻤﺎﯾﺘﯽ ﺍﺳﺖ ﮐﻪ ﺑﺮﺍﯼ ﭼﻨﯿﻦ ﻫﻨﺮﻣﻨﺪﺍﻧﯽ ﺑﺎ ﺗﺠﺮﺑﻪ ﻭ‬

‫ﺍﯾﺮﺍﻧﯽﺍﺳﺖ‪ .‬ﻣﻦ ﺁﻥ ﺭﺍ ﭘﯿﺸﻨﻬﺎﺩ ﺧﻮﺍﻫﻢ ﮐﺮﺩﺗﻘﺪﯾﻢ ﺭﺉﯿﺲ ﺍﯾﺮﺝﺍﺷﺎﺭﻩ ﺑﻪ ﻣﻔﺎﻫﯿﻢ ﻓﺪﺍﮐﺎﺭﯼ ﻭ ﺍﻗﺘﺪﺍﺭ ﺍﺳﺖ ﮐﻪ ﺩﺭ‬ ‫ﺁﻣﯿﺨﺘﻪﺷﺪ‪.‬‬

‫ﺭﺉﯿﺲﻭ ﺑﺤﺚ ﮐﻨﻨﺪﻩ‪ :‬ﭘﺮﺳﯿﺲ ﺑﺮﻟﮑﻤﭗ‬

‫ﺗﻌﺒﯿﻪﻭ ﺍﺷﺎﻋﻪ ﺩﺍﻧﺶ ﺩﺭ ﻫﻨﺮ ﮐﺘﺎﺏ‬

‫ﺩﺍﻧﺶﺁﻧﻬﺎ ﺍﺭﺯﺵ ﻗﺎﺉﻞ ﺑﻮﺩ؟ ﻋﺜﻤﺎﻧﯽ ﻫﺎ ﺩﺭ ﺍﯾﻦ ﺯﻣﯿﻨﻪ ﺑﺎ ﺍﺳﻼﻑ ﻭ ﻣﻌﺎﺻﺮﺍﻥ ﺧﻮﺩ ﭼﮕﻮﻧﻪ ﻣﻘﺎﯾﺴﻪ ﻣﯽ ﮐﻨﻨﺪ؟ ﺑﯿﻨﺶ ﺍﯾﻦ ﭘﺮﺳﺶ ﻫﺎ ﺍﺯ ﻃﺮﯾﻖ ﺗﺠﺰﯾﻪ ﻭ ﺗﺤﻠﯿﻞ ﭘﻨﺞ ﻧﺴﺨﻪ‬ ‫ﺧﻄﯽﻋﺜﻤﺎﻧﯽ ﺍﺯ ﻣﺠﻤﻮﻋﻪ ﻫﺎﯾﯽ ﺩﺭ ﻧﯿﻮﯾﻮﺭﮎ‪ ،‬ﺍﺳﺘﺎﻧﺒﻮﻝ ﻭ ﻣﻮﻧﯿﺦ ﺟﺴﺘﺠﻮ ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﻗﻠﻤﺮﻭ ﻋﺜﻤﺎﻧﯽ ﻭ ﺍﯾﺮﺍﻥ ﺑﺮﺍﯼ ﺭﻭﺷﻦ ﺷﺪﻥ ﺍﯾﻦ ﻣﻮﺿﻮﻋﺎﺕ ﻣﻘﺎﯾﺴﻪ ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﯾﺎ‬ ‫ﺍﯾﻦﻭﺳﯿﻠﻪ ﺍﯼ ﺑﻮﺩ ﺑﺮﺍﯼ ﻫﻨﺮﻣﻨﺪ ﺗﺎ ﺑﻪ ﺭﺳﻤﯿﺖ ﺷﻨﺎﺧﺘﻪ ﺷﻮﺩ ﻭ ﺍﺣﺘﻤﺎﻻ ًﭘﺎﺩﺍﺷﯽ ﺍﺯ ﻃﺮﻑ ﺣﺎﻣﯽ ﺧﻮﺩ ﺩﺭﯾﺎﻓﺖ ﮐﻨﺪ؟ ﺗﺎ ﭼﻪ ﺣﺪ ﺍﯾﻦ ﻧﺸﺎﻥ ﺩﻫﻨﺪﻩ ﺣﻤﺎﯾﺘﯽ ﺍﺳﺖ ﮐﻪ ﺑﺮﺍﯼ‬ ‫ﭼﻨﯿﻦﻫﻨﺮﻣﻨﺪﺍﻧﯽ ﺑﺎ ﺗﺠﺮﺑﻪ ﻭ ﺩﺍﻧﺶ ﺁﻧﻬﺎ ﺍﺭﺯﺵ ﻗﺎﺉﻞ ﺑﻮﺩ؟ ﻋﺜﻤﺎﻧﯽ ﻫﺎ ﺩﺭ ﺍﯾﻦ ﺯﻣﯿﻨﻪ ﺑﺎ ﺍﺳﻼﻑ ﻭ ﻣﻌﺎﺻﺮﺍﻥ ﺧﻮﺩ ﭼﮕﻮﻧﻪ ﻣﻘﺎﯾﺴﻪ ﻣﯽ ﮐﻨﻨﺪ؟ ﺑﯿﻨﺶ ﺍﯾﻦ ﭘﺮﺳﺶ ﻫﺎ ﺍﺯ ﻃﺮﯾﻖ‬ ‫ﺗﺠﺰﯾﻪﻭ ﺗﺤﻠﯿﻞ ﭘﻨﺞ ﻧﺴﺨﻪ ﺧﻄﯽ ﻋﺜﻤﺎﻧﯽ ﺍﺯ ﻣﺠﻤﻮﻋﻪ ﻫﺎﯾﯽ ﺩﺭ ﻧﯿﻮﯾﻮﺭﮎ‪ ،‬ﺍﺳﺘﺎﻧﺒﻮﻝ ﻭ ﻣﻮﻧﯿﺦ ﺟﺴﺘﺠﻮ ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﻗﻠﻤﺮﻭ ﻋﺜﻤﺎﻧﯽ ﻭ ﺍﯾﺮﺍﻥ ﺑﺮﺍﯼ ﺭﻭﺷﻦ ﺷﺪﻥ ﺍﯾﻦ‬ ‫ﻣﻮﺿﻮﻋﺎﺕﻣﻘﺎﯾﺴﻪ ﺧﻮﺍﻫﺪ ﺷﺪ‪.‬‬

‫ﺍﺻﻠﯿﻬﺎﻥﺍﺭﮐﻤﻦ‬ ‫ﺩﺍﻧﺸﮕﺎﻩﻓﻨﯽ ﺍﺳﺘﺎﻧﺒﻮﻝ ﺗﺮﮐﯿﻪ‬

‫ﻧﻮﺷﺘﻪﻫﺎﯼ ﺑﯿﻮﮔﺮﺍﻓﯽ ﻣﺼﻮﺭ ﺑﻪ ﻋﻨﻮﺍﻥ‬ ‫ﯾﺎﺩﺑﻮﺩﺁﻣﻮﺯﺷﯽ ﻭ ﺗﺼﻮﯾﺮﯼ‬

‫ﺩﺭﺟﻬﺎﻥ ﺍﺳﻼﻡ‪ ،‬ﻣﺘﻮﻥ ﺯﻧﺪﮔﯽ ﻧﺎﻣﻪ ﺍﯼ ﺯﯾﺎﺩﯼ ﺩﺭﺑﺎﺭﻩ ﺷﺎﻋﺮﺍﻥ‪ ،‬ﺻﻮﻓﯿﺎﻥ‪ ،‬ﻫﻨﺮﻣﻨﺪﺍﻥ ﻭ ﺩﻭﻟﺘﻤﺮﺩﺍﻥ ﻧﻮﺷﺘﻪ ﺷﺪﻩ‬

‫ﺍﺳﺖﮐﻪ ﺍﻃﻼﻋﺎﺕ ﺍﺭﺯﺷﻤﻨﺪﯼ ﺩﺭﺑﺎﺭﻩ ﺯﻧﺪﮔﯽ‪ ،‬ﺩﺳﺘﺎﻭﺭﺩﻫﺎ‪ ،‬ﺳﺨﻨﺎﻥ‪ ،‬ﻧﻤﻮﻧﻪ ﻫﺎﯾﯽ ﺍﺯ ﺁﺛﺎﺭﺷﺎﻥ ‪ -‬ﻭ ﻣﻌﺠﺰﺍﺕ ﺁﻧﻬﺎ ﺩﺭ‬ ‫ﻣﻮﺭﺩﺻﻮﻓﯿﺎﻥ ﺍﺭﺍﺉﻪ ﻣﯽ ﺩﻫﺪ‪ .‬ﺍﯾﻦ ﻣﺘﻮﻥ ﻧﺎﻣﯿﺪﻩ ﺷﺪﺗﺬﮐﯿﺮﺍﺍﮔﺮ ﺑﯿﻮﮔﺮﺍﻓﯽ ﺟﻤﻊ ﺁﻭﺭﯼ ﺷﺪﻩ ﺑﻮﺩﻧﺪ ﻭ‬

‫‪manakibnama‬ﺍﮔﺮ ﭘﯿﺸﮕﻮﯾﯽ ﻫﺎﯼ ﺻﻮﻓﯿﺎﻥ ﺭﺍ ﺷﺎﻣﻞ ﻣﯽ ﺷﺪ‪ .‬ﺩﺭ ﻣﯿﺎﻥ ﺍﯾﻦ ﻣﺘﻮﻥ ﺑﯽ ﺷﻤﺎﺭ‪ ،‬ﺗﻨﻬﺎ ﺗﻌﺪﺍﺩ ﮐﻤﯽ‬

‫ﺑﻪﺗﺼﻮﯾﺮ ﮐﺸﯿﺪﻩ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬

‫ﺍﯾﻦﺗﺬﮐﺮﻩ ﻫﺎﻭ‪manakibnamas‬ﺍﺑﺰﺍﺭﯼ ﺑﺮﺍﯼ ﯾﺎﺩﮔﯿﺮﯼ ﻭ ﺍﻧﺘﻘﺎﻝ ﺩﺍﻧﺶ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻪ ﻣﯽ ﺷﻮﻧﺪ ‪ -‬ﻭ ﻫﻨﻮﺯ ﻫﻢ‬

‫ﻫﺴﺘﻨﺪ‪،‬ﺯﯾﺮﺍ ﺍﻃﻼﻋﺎﺕ ﺗﺎﺭﯾﺨﯽ ﻭ ﺣﺮﻓﻪ ﺍﯼ ﺍﻓﺮﺍﺩ ﺑﺮﺟﺴﺘﻪ ﺭﺍ ﺩﺭ ﺑﺮ ﻣﯽ ﮔﯿﺮﻧﺪ‪ .‬ﺍﮔﺮ ﭼﻪﺗﺬﮐﯿﺮﺍ ﮊﺍﻧﺮ ﺍﺯ ﺍﻭﺍﯾﻞ ﺩﻭﺭﻩ‬

‫ﺍﺳﻼﻣﯽﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺳﻨﺖ ﺟﻤﻊ ﺁﻭﺭﯼ ﺍﻃﻼﻋﺎﺕ ﺩﺭ ﻣﻮﺭﺩ ﺍﻭﻟﯿﻦ ﺷﺨﺼﯿﺖ ﻫﺎﯼ ﺍﺳﻼﻣﯽ ﺭﺍﯾﺞ ﺑﻮﺩﻩ ﺍﺳﺖ‪ ،‬ﻗﺮﻥ‬

‫ﺷﺎﻧﺰﺩﻫﻢﺷﺎﻫﺪ ﺍﻓﺰﺍﯾﺶ ﺗﻌﺪﺍﺩ ﺁﺛﺎﺭ ﻧﻮﯾﺴﻨﺪﮔﺎﻥ ﻣﺨﺘﻠﻒ‪ ،‬ﭼﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﮐﺘﺎﺏ ﺟﺪﺍﮔﺎﻧﻪ ﻭ ﭼﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﺿﻤﯿﻤﻪ ﻭ ﯾﺎ‬

‫ﮐﻤﮏﺑﻪ ﺁﺛﺎﺭ ﻣﻮﺟﻮﺩ ﺑﻮﺩ‪ .‬ﻣﺘﻦ ﻫﺎ ﺍﯾﻦ ﺭﻭﻧﺪ ﺍﻓﺰﺍﯾﺸﯽ ﻣﻤﮑﻦ ﺍﺳﺖ ﺩﺭ ﺗﺼﻮﯾﺮ ﻧﯿﺰ ﻣﺸﺎﻫﺪﻩ ﺷﻮﺩﺗﺬﮐﺮﻩ ﻫﺎﻭ‬

‫‪manakibnamas‬ﺗﻘﺮﯾﺒﺎ ًﺩﺭ ﻫﻤﺎﻥ ﺯﻣﺎﻥ ﺩﺭ ﺳﺮﺯﻣﯿﻦ ﻫﺎﯼ ﺻﻔﻮﯼ ﻭ ﻋﺜﻤﺎﻧﯽ ﺗﻮﻟﯿﺪ ﻣﯽ ﺷﺪ‪.‬‬

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‫ﺍﯾﻦﻣﻘﺎﻟﻪ ﺩﺭ ﺍﺑﺘﺪﺍ ﺑﺮ ﺁﻥ ﺍﺳﺖ ﺗﺎ ﻣﺮﻭﺭﯼ ﮐﻮﺗﺎﻩ ﺑﺮ ﻧﻮﺷﺘﻪ ﻫﺎﯼ ﺯﻧﺪﮔﯽ ﻧﺎﻣﻪ ﺍﯼ ﻭ ﺍﺭﺯﺵ ﺁﻥ ﻫﺎ ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﺑﺰﺍﺭ ﺁﻣﻮﺯﺷﯽ ﻭ ﺁﻣﻮﺯﻧﺪﻩ ﺍﺭﺍﺉﻪ‬

‫ﺩﻫﺪ‪.‬ﺳﭙﺲ ﺩﺭ ﻣﻮﺭﺩ ﺁﺛﺎﺭ ﻣﺼﻮﺭ ﺯﻧﺪﮔﯿﻨﺎﻣﻪ ﺩﺭ ﻫﻨﺮ ﻣﺮﺍﮐﺰ ﺗﻮﻟﯿﺪ ﻧﺴﺦ ﺧﻄﯽ ﻗﺮﻥ ﺷﺎﻧﺰﺩﻫﻢ ﺻﻔﻮﯼ ﻭ ﻋﺜﻤﺎﻧﯽ ﺑﺤﺚ ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﺩﻭ ﺍﺛﺮ‬

‫ﻣﻬﻢﺑﻪ ﻋﻨﻮﺍﻥ ﻣﻄﺎﻟﻌﺎﺕ ﻣﻮﺭﺩﯼ ﺩﺭ ﭼﺎﺭﭼﻮﺏ ﻣﻘﺎﻟﻪ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻪ ﺧﻮﺍﻫﺪ ﺷﺪ‪:‬ﻣﺸﺎﻋﯿﺮ ﺍﻟﺸﻌﺮﺍء‪ ،‬ﺳﻮﻣﯿﻦ ﻋﺜﻤﺎﻧﯽﺗﺬﮐﯿﺮﺍﻧﻮﺷﺘﻪ ﺷﺎﻋﺮ‪،‬‬

‫ﻧﻮﯾﺴﻨﺪﻩﻭ ﻗﺎﺿﯽ ﺁﺷﯿﮏ ﭼﻠﺒﯽ )ﻣﺘﻮﻓﯽ ‪ ،(72-1571‬ﮐﻪ ﻧﺴﺨﻪ ﺍﯼ ﻣﻨﺤﺼﺮ ﺑﻪ ﻓﺮﺩ ﻣﺼﻮﺭ ﺩﺭ ﮐﺘﺎﺑﺨﺎﻧﻪ ﻣﻠﯿﺖ‪ ،‬ﺍﺳﺘﺎﻧﺒﻮﻝ )ﻋﻠﯽ ﺍﻣﯿﺮﯼ‬ ‫ﺗﺎﺭﯾﺦ‪ (772‬ﺩﺍﺭﺩ‪ .‬ﻭ ﺻﻔﻮﺕ ﺍﻟﺼﻔﺎﺗﻮﺳﻂ ﺍﺑﻦ ﺑﺰﺍﺯ )ﻣﺘﻮﻓﯽ ‪ ،(92-1391‬ﺍﻟﻒ‪manakibnama‬ﺍﺯ ﺷﯿﺦ ﺻﻔﯽ ﺍﻟﺪﯾﻦ ﺍﺭﺩﺑﯿﻠﯽ )ﻣﺘﻮﻓﯽ‬ ‫‪ (1334‬ﮐﻪ ﯾﮏ ﻧﺴﺨﻪ ﻣﺼﻮﺭ ﻣﻨﺤﺼﺮﺑﻔﺮﺩ ﻧﯿﺰ ﺩﺭ ﻣﺠﻤﻮﻋﻪ ﺩﺍﺉﻤﯽ ﻣﻮﺯﻩ ﺁﻗﺎﺧﺎﻥ ﺗﻮﺭﻧﺘﻮ )‪ (AKM264‬ﺩﺍﺭﺩ‪ .‬ﺍﯾﻦ ﺩﻭ ﺍﺛﺮ ﻣﺘﻌﻠﻖ ﺑﻪ ﯾﮏ‬

‫ﮊﺍﻧﺮﻫﺴﺘﻨﺪ‪ ،‬ﺍﻣﺎ ﺳﻨﺖ ﻫﺎﯼ ﺑﺼﺮﯼ ﻣﺘﻔﺎﻭﺗﯽ ﺭﺍ ﻣﻨﻌﮑﺲ ﻣﯽ ﮐﻨﻨﺪ ﮐﻪ ﺩﺭ ﺁﻥ ﻣﺎ ﺭﺍ ﻗﺎﺩﺭ ﻣﯽ ﺳﺎﺯﺩ ﺗﺎ ﺑﻪ ﺍﺷﮑﺎﻝ ﺑﺼﺮﯼ ﯾﺎﺩﮔﯿﺮﯼ ﻭ ﺍﻧﺘﻘﺎﻝ‬

‫ﺍﻃﻼﻋﺎﺕﻓﮑﺮ ﮐﻨﯿﻢ‪.‬‬

‫ﺍﺳﺘﻔﺎﻥﮐﺎﻣﻮﻻ‬ ‫ﺩﺍﻧﺸﮕﺎﻩﭘﺮﯾﻨﺴﺘﻮﻥ‪ ،‬ﺍﯾﺎﻻﺕ ﻣﺘﺤﺪﻩ‬

‫»ﺑﺎﺗﻤﺎﻡ ﺗﻔﺼﯿﻞ«‪ :‬ﺭﺷﯿﺪ ﺍﻟﺪﯾﻦ ﻭ ﻧﻤﺎﯾﺶ ﻋﻠﻢ‬

‫ﺍﯾﻦﺟﺎﻣﻊ ﺍﻟﺘﻮﺍﺭﯾﺦﺭﺷﯿﺪﺍﻟﺪﯾﻦ ﻁ‪.‬ﺍﺑﯿﺐ )ﻣﺘﻮﻓﯽ ‪ (1318‬ﻫﻢ ﺑﻪ ﺩﻟﯿﻞ ﺍﺭﺯﺷﯽ ﮐﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﻨﺒﻊ ﺗﺎﺭﯾﺨﯽ ﺩﺍﺭﺩ ﻭ ﻫﻢ ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﻭﻟﯿﻦ‬

‫ﭘﺮﻭﮊﻩﺑﺰﺭﮒ ﺩﺭ ﺑﺎﺯﺗﻮﻟﯿﺪ ﺁﺗﻠﯿﻪ ﺍﯼ ﯾﮏ ﮐﺘﺎﺏ ﻣﺼﻮﺭ ﺗﻮﺟﻪ ﻗﺎﺑﻞ ﺗﻮﺟﻬﯽ ﺭﺍ ﺑﻪ ﺧﻮﺩ ﺟﻠﺐ ﮐﺮﺩﻩ ﺍﺳﺖ‪ .‬ﻣﺎ ﺍﺯ ﺭﻭﻧﻮﺷﺖ ﺧﻮﺩﻧﻮﯾﺲ ﺑﺎﻗﯽ‬

‫ﻣﺎﻧﺪﻩﺍﺯ ﺁﻥ ﻣﯽ ﺩﺍﻧﯿﻢﻭﻗﻒ ﻧﻤﺎﺑﺮﺍﯼ ﺭﺷﯿﺪﺍﻟﺪﯾﻦﺭﺏ ﺭﺷﯿﺪﯼﮐﻪﺟﺎﻣﻊ ﺍﻟﺘﻮﺍﺭﯾﺦﯾﮑﯽ ﺍﺯ ﭼﻨﺪﯾﻦ ﺍﺛﺮﯼ ﺑﻮﺩ ﮐﻪ ﻗﺮﺍﺭ ﺑﻮﺩ ﺳﺎﻻﻧﻪ »ﺑﺎ ﺗﻤﺎﻡ‬

‫ﺟﺰﺉﯿﺎﺕ‪،‬ﺩﺭﺳﺖ ﻣﺎﻧﻨﺪ ﻧﺴﺨﻪ ﻫﺎﯼ ﺍﺻﻠﯽ« ﺗﻮﺳﻂ ﮐﺎﺗﺒﺎﻥ ﺗﺤﺖ ﺣﻤﺎﯾﺖ ﺍﯾﻦ ﻣﺠﻤﻮﻋﻪ ﺧﯿﺮﯾﻪ ﺗﮑﺜﯿﺮ ﺷﻮﺩ‪ .‬ﮐﺎﻣﻼ ًﻣﺸﺨﺺ ﻧﯿﺴﺖ‬

‫ﻭﻗﻒﻧﻤﺎﺑﺎ ﺍﯾﻦ ﺣﺎﻝ‪ ،‬ﺁﯾﺎ ﺟﺎﻣﻊ ﺍﻟﺘﻮﺍﺭﯾﺦﺩﺭ ﺍﺑﺘﺪﺍ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺑﻮﺩ ﮐﻪ ﺷﺎﻣﻞ ﺗﺼﺎﻭﯾﺮ ﺑﺎﺷﺪ‪ ،‬ﺍﻣﺎ ﻧﺴﺨﻪ ﻫﺎﯼ ﺍﻭﻟﯿﻪ ﺛﺎﺑﺖ ﻣﯽ ﮐﻨﻨﺪ‬ ‫ﮐﻪﺗﻨﻬﺎ ﺩﺭ ﻣﯿﺎﻥ ﺁﺛﺎﺭﯼ ﮐﻪ ﺭﺷﯿﺪﺍﻟﺪﯾﻦ ﺑﺮﺍﯼ ﺗﮑﺜﯿﺮ ﻣﺸﺨﺺ ﮐﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﺑﻪ ﺷﺪﺕ ﺗﺼﻮﯾﺮﺳﺎﺯﯼ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬

‫ﺁﻧﺎﺳﺘﺎﺯﯾﺎﺑﻮﭼﮑﺎﺭﻭﺍ ﺩﺍﻧﺸﮕﺎﻩ ﮐﻠﻤﺒﯿﺎ‪،‬‬ ‫ﺍﯾﺎﻻﺕﻣﺘﺤﺪﻩ‬

‫ﺑﯿﻦﺷﺎﻫﺰﺍﺩﻩ ﺗﯿﻤﻮﺭﯼ ﻭ ﺍﻣﭙﺮﺍﺗﻮﺭ ﻣﻐﻮﻝ‪ :‬ﻣﯿﺮﺍﺙ‬ ‫ﺩﺭﺍﻧﺘﻘﺎﻝ‬

‫ﺩﺭﺣﺎﻟﯽ ﮐﻪ ﺑﻪ ﻃﻮﺭ ﮔﺴﺘﺮﺩﻩ ﭘﺬﯾﺮﻓﺘﻪ ﺷﺪﻩ ﺍﺳﺖ ﮐﻪ ﻣﻐﻮﻝ ﻫﺎ ﺧﻮﺩ ﺭﺍ ﺍﻋﻀﺎﯼ ﺳﻠﺴﻠﻪ ﺗﯿﻤﻮﺭﯼ ﻣﯽ ﺩﺍﻧﺴﺘﻨﺪ‪ ،‬ﻣﮑﺎﻧﯿﺴﻢ ﻫﺎﯼ ﻭﺍﻗﻌﯽ ﮐﻪ‬ ‫ﻓﺮﻫﻨﮓﺗﯿﻤﻮﺭﯼ ﺗﻮﺳﻂ ﺁﻥ ﺗﺪﺍﻭﻡ ﯾﺎﻓﺖ ﻭ ﺩﺭ ﺩﺭﺑﺎﺭ ﻣﻐﻮﻝ ﺗﻐﯿﯿﺮ ﺷﮑﻞ ﺩﺍﺩ ﻫﻨﻮﺯ ﻣﻮﺭﺩ ﻣﻄﺎﻟﻌﻪ ﻗﺮﺍﺭ ﻧﮕﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺍﯾﻦ ﻣﻘﺎﻟﻪ ﺑﻪ ﺑﺮﺭﺳﯽ‬

‫ﺍﻧﺘﻘﺎﻝﻣﯿﺮﺍﺙ ﻓﺮﻫﻨﮕﯽ ﺗﯿﻤﻮﺭﯼ ﺩﺭ ﻣﺮﺍﺣﻞ ﺷﮑﻞ ﮔﯿﺮﯼ ﺗﻮﻟﯿﺪ ﻫﻨﺮﯼ ﻭ ﻫﻮﯾﺖ ﺍﻣﭙﺮﺍﺗﻮﺭﯼ ﺍﻣﭙﺮﺍﺗﻮﺭﯼ ﺍﻭﻟﯿﻪ ﻣﻐﻮﻝ ﻣﯽ ﭘﺮﺩﺍﺯﺩ‪ .‬ﺑﺤﺚ‬

‫ﭘﯿﺮﺍﻣﻮﻥﺑﺎﺑﺮ ﺑﻪ ﻋﻨﻮﺍﻥ ﯾﮏ ﺷﺨﺼﯿﺖ ﺍﻧﺘﻘﺎﻟﯽ ﺑﺎ ﻧﻘﺶ ﭘﯿﻮﻧﺪ ﺩﻫﻨﺪﻩ ﺑﯿﻦ ﺍﻓﻮﻝ ﺗﯿﻤﻮﺭﯼ ﻭ ﻋﺮﻭﺝ ﻓﺮﻫﻨﮓ ﻫﺎﯼ ﺩﺭﺑﺎﺭ ﻣﻐﻮﻝ ﺷﮑﻞ ﻣﯽ‬

‫ﮔﯿﺮﺩ‪.‬ﺑﺎﺑﺮ ﺑﻪ ﻋﻨﻮﺍﻥ ﯾﮏ ﺷﺎﻫﺰﺍﺩﻩ ﮐﻮﭼﮏ ﺗﯿﻤﻮﺭﯼ ﮐﻪ ﺑﻪ ﻓﺮﻫﻨﮓ ﻋﺎﻟﯽ ﭘﺎﺭﺳﯽ ﻣﺴﻠﻂ ﺑﻮﺩ ﻭ ﻫﻤﺰﻣﺎﻥ ﯾﮏ ﻓﺎﺗﺢ ﮐﺎﻭﺷﮕﺮ ﮐﻪ ﺍﻣﭙﺮﺍﺗﻮﺭﯼ‬

‫ﺍﯾﻦﻣﻘﺎﻟﻪ ﺭﺍﺑﻄﻪ ﺑﯿﻦ ﻧﻤﻮﻧﻪ ﻭ ﻧﺴﺨﻪ ﺭﺍ ﺩﺭ ﺳﻨﺖ ﻧﺴﺨﻪ ﻫﺎﯼ ﺧﻄﯽ ﺍﻭﻟﯿﻪ ﺑﺮﺭﺳﯽ ﻣﯽ ﮐﻨﺪﺟﺎﻣﻊ ﺍﻟﺘﻮﺍﺭﯾﺦ‪ ،‬ﺑﺎ ﺗﻮﺟﻪ ﻭﯾﮋﻩ ﺑﻪ ﭼﻨﺪﯾﻦ ﻧﺴﺨﻪ‬

‫ﺧﻄﯽﺍﻭﻟﯿﻪ ﮐﻪ ﻣﻮﺭﺩ ﻣﻄﺎﻟﻌﻪ ﻗﺮﺍﺭ ﻧﮕﺮﻓﺘﻪ ﺍﻧﺪ‪ .‬ﺍﺯ ﺟﻤﻠﻪ ﺁﻧﻬﺎ ﻣﯽ ﺗﻮﺍﻥ ﺑﻪ ﺧﺎﻧﻢ ﻣﺠﻠﺲ ﺗﻬﺮﺍﻥ ﺍﺷﺎﺭﻩ ﮐﺮﺩ‪ ،2294 .‬ﻧﺴﺨﻪ ﺍﯼ ﻇﺎﻫﺮﺍ ًﺍﻭﻟﯿﻪ‬ ‫ﮐﻪﺣﺎﻭﯼ ﺗﺼﺎﻭﯾﺮ ﻧﯿﺴﺖ‪ ،‬ﺍﻣﺎ ﺟﺰﺉﯿﺎﺕ ﮔﺮﺍﻓﯿﮑﯽ ﺧﺎﺻﯽ ﺭﺍ ﮐﻪ ﺩﺭ ﻧﺴﺨﻪ ﻫﺎﯼ ﺩﯾﮕﺮ ﯾﺎﻓﺖ ﻧﻤﯽ ﺷﻮﺩ‪ ،‬ﺣﻔﻆ ﻣﯽ ﮐﻨﺪ‪ ،‬ﻭ ﻧﺴﺨﻪ ﺧﻄﯽ‬

‫ﺭﺍﻣﭙﻮﺭ‪،‬ﮐﻪ ﺩﺭ ﺍﻭﺍﯾﻞ ﺩﻭﺭﻩ ﻣﻐﻮﻝ ﺑﻪ ﺷﺪﺕ ﻧﻘﺎﺷﯽ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺍﻣﺎ ﻧﮑﺎﺗﯽ ﺩﺭﺑﺎﺭﻩ ﺑﺮﻧﺎﻣﻪ ﺗﺼﻮﯾﺮﯼ ﺍﺻﻠﯽ ﺍﺛﺮ ﺣﻔﻆ ﻣﯽ ﮐﻨﺪ‪ .‬ﺑﺎ ﻣﻘﺎﯾﺴﻪ‬

‫ﻭﯾﮋﮔﯽﻫﺎﯼ ﺍﯾﻦ ﻭ ﺩﯾﮕﺮ ﺷﺎﻫﺪﺍﻥ ﺍﻭﻟﯿﻪ ﺑﺎ ﻣﺘﻦ‪ ،‬ﺗﺼﺎﻭﯾﺮ ﻭ ﻧﻤﺎﯾﺶ ﺑﺼﺮﯼﺟﺎﻣﻊ ﺍﻟﺘﻮﺍﺭﯾﺦ‪ ،‬ﺍﯾﻦ ﻣﻘﺎﻟﻪ ﺑﻪ ﺩﻧﺒﺎﻝ ﭘﺎﺳﺨﮕﻮﯾﯽ ﺑﻪ ﺩﻭ ﺳﻮﺍﻝ‬ ‫ﺍﺳﺖ‪.‬ﻧﺨﺴﺖ ﻣﺎﻫﯿﺖ ﺩﺭﮎ ﺭﺷﯿﺪﺍﻟﺪﯾﻦ ﺍﺯ ﺁﺛﺎﺭ ﺧﻮﺩ ﻭ ﻧﻘﺶﺟﺎﻣﻊ ﺍﻟﺘﻮﺍﺭﯾﺦﺩﺭ ﺁﺛﺎﺭ ﺟﻤﻊ ﺁﻭﺭﯼ ﺷﺪﻩ ﺍﻭ ﺩﻭﻡ‪ ،‬ﺭﻭﻧﺪﯼ ﺍﺳﺖ ﮐﻪ ﻃﯽ ﺁﻥ‬

‫ﺗﺎﺭﯾﺦﺍﻭ ﺑﻪ ﯾﮏ ﻣﺘﻦ ﺑﺴﯿﺎﺭ ﻣﺼﻮﺭ ﺗﺒﺪﯾﻞ ﺷﺪ ﻭ ﺁﻧﭽﻪ ﺍﯾﻦ ﺍﻣﺮ ﺩﺭ ﻣﻮﺭﺩ ﺗﻮﺳﻌﻪ ﺗﻮﻟﯿﺪ ﮐﺘﺎﺏ ﺁﺗﻠﯿﻪ ﺍﯼ ﺩﺭ ﺍﻭﺍﺧﺮ ﺍﯾﻠﺨﺎﻧﺎﻥ ﺁﺷﮑﺎﺭ ﻣﯽ ﮐﻨﺪ‪.‬‬

‫ﺍﯾﻦﻣﻄﺎﻟﻌﻪ ﺑﻪ ﺩﻧﺒﺎﻝ ﭘﺮ ﮐﺮﺩﻥ ﺷﮑﺎﻑ ﺑﯿﻦ ﻣﻄﺎﻟﻌﺎﺕ ﺁﺛﺎﺭ ﺭﺷﯿﺪﺍﻟﺪﯾﻦ ﺍﺳﺖ ﮐﻪ ﺑﺮ ﻣﺘﻦ ﮐﺘﺎﺏ ﺗﻤﺮﮐﺰ ﺩﺍﺭﺩ‪.‬ﺟﺎﻣﻊ ﺍﻟﺘﻮﺍﺭﯾﺦﻭ ﺁﻧﻬﺎﯾﯽ ﮐﻪ ﺑﺮ‬ ‫ﺗﺼﺎﻭﯾﺮﺁﻥ ﺗﻤﺮﮐﺰ ﺩﺍﺭﻧﺪ‪ ،‬ﻫﻢ ﺑﺎ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻦ ﺍﯾﻦ ﻋﻨﺎﺻﺮ ﮐﺘﺎﺏ ﺩﺭ ﮐﻨﺎﺭ ﯾﮑﺪﯾﮕﺮ ﻭ ﻫﻢ ﺑﺎ ﻗﺮﺍﺭ ﺩﺍﺩﻥ ﺁﻧﻬﺎ ﺩﺭ ﻣﺘﻦ ﺩﯾﮕﺮ ﺩﺳﺘﺎﻭﺭﺩﻫﺎﯼ‬

‫ﻋﻠﻤﯽﮔﺴﺘﺮﺩﻩ ﻧﻮﯾﺴﻨﺪﻩ‪.‬‬

‫ﺟﺪﯾﺪﯼﺭﺍ ﺩﺭ ﺳﺮﺯﻣﯿﻨﯽ ﺑﯿﮕﺎﻧﻪ ﭘﺎﯾﻪ ﮔﺬﺍﺭﯼ ﮐﺮﺩ‪ ،‬ﻣﻮﻗﻌﯿﺖ ﻣﻨﺤﺼﺮ ﺑﻪ ﻓﺮﺩﯼ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﻋﺎﻣﻠﯽ ﺷﮑﻞ ﺩﻫﻨﺪﻩ ﺩﺭ ﺑﺮﻫﻪ ﺍﯼ ﺗﺎﺭﯾﺨﯽ ﺑﻪ‬ ‫ﺩﺳﺖﺁﻭﺭﺩ ﮐﻪ ﺩﺭ ﻣﻮﺭﺩ ﺗﻌﺎﺩﻝ ﺗﺪﺍﻭﻡ ﻭ ﺗﻐﯿﯿﺮ ﻣﺬﺍﮐﺮﻩ ﻣﯽ ﮐﺮﺩ‪.‬ﺑﺎﺑﺮﻧﻤﺎ‪ ،‬ﻧﮕﺎﻫﯽ ﺍﺟﻤﺎﻟﯽ ﺑﻪ ﺑﺴﺘﺮﻫﺎﯼ ﺷﺨﺼﯽ‪ ،‬ﻓﺮﻫﻨﮕﯽ ﻭ ﻟﺠﺴﺘﯿﮑﯽ‬

‫ﺯﯾﺮﺑﻨﺎﯼﻣﺎﻧﺪﮔﺎﺭﯼ ﻣﯿﺮﺍﺙ ﺗﯿﻤﻮﺭﯼ ﺩﺭ ﺩﺭﺑﺎﺭ ﻣﻐﻮﻝ ﺍﺭﺍﺉﻪ ﻣﯽ ﺩﻫﺪ‪ .‬ﺑﻪ ﻭﯾﮋﻩ‪ ،‬ﺑﻪ ﺗﻼﻗﯽ ﺧﻮﺩﺑﺎﺯﻧﻤﺎﯾﯽ ﻫﺎﯼ ﺍﺩﺑﯽ ﻭ ﺑﺎﺯﻧﻤﺎﯾﯽ ﻫﺎﯼ ﺗﺼﻮﯾﺮﯼ‬ ‫ﭘﺲﺍﺯ ﻣﺮﮒ ﺑﺎﺑﺮ ﺩﺭ ﭼﻨﺪ ﺩﻭﺭﻩ ﺍﮐﺒﺮﯼ ﻣﯽ ﭘﺮﺩﺍﺯﻡ‪.‬ﺑﺎﺑﺮﻧﻤﺎﻧﺴﺨﻪ ﻫﺎﯼ ﺧﻄﯽ‪ .‬ﺍﺯ ﻃﺮﯾﻖ ﺗﺠﺰﯾﻪ ﻭ ﺗﺤﻠﯿﻞ ﺷﻮﺍﻫﺪ ﻣﺘﻨﯽ ﻭ ﺑﺼﺮﯼ‪ ،‬ﺍﺳﺘﺪﻻﻝ‬ ‫ﻣﯽ ﮐﻨﻢﮐﻪ ﺑﺎﺑﺮ ﻧﻘﺸﯽ ﮐﻠﯿﺪﯼ ﺩﺭ ﺍﻧﺘﻘﺎﻝ ﻋﻨﺎﺻﺮ ﻓﺮﻫﻨﮓ ﺗﯿﻤﻮﺭﯼ ﺍﯾﻔﺎ ﮐﺮﺩ ﮐﻪ ﺑﻌﺪﺍ ًﺗﺒﺪﯾﻞ ﺷﺪ‪ ،‬ﯾﮑﭙﺎﺭﭼﻪ ﺷﺪ ﻭ ﻫﻮﯾﺖ ﺍﻣﭙﺮﺍﺗﻮﺭﯼ ﻭ‬

‫ﺯﯾﺒﺎﯾﯽ ﺷﻨﺎﺧﺘﯽﻣﻐﻮﻝ ﺭﺍ ﺗﺸﮑﯿﻞ ﺩﺍﺩ‪.‬‬

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‫ﺩﺭﻧﻈﺮ ﮔﺮﻓﺘﻦ ﭼﻨﯿﻦ ﺩﯾﺪﮔﺎﻩ ﮔﺴﺘﺮﺩﻩ ﺍﯼ ﺍﺯ ﺁﺛﺎﺭ ﺭﺷﯿﺪﺍﻟﺪﯾﻦ ﻣﻤﮑﻦ ﺍﺳﺖ ﺑﻪ ﻣﺎ ﺩﺭ ﺩﺭﮎ ﺑﻬﺘﺮ ﭼﮕﻮﻧﮕﯽ ﺍﻧﺘﻘﺎﻝ ﺍﻃﻼﻋﺎﺕ ﻋﻠﻤﯽ ﻣﺎﻧﻨﺪ‬

‫ﺗﺎﺭﯾﺦ)ﺍﺯ ﺟﻤﻠﻪ ﻧﺴﺐ ﺷﻨﺎﺳﯽ(‪ ،‬ﭘﺰﺷﮑﯽ ﻭ ﺍﻟﻬﯿﺎﺕ ﺑﻪ ﻣﺨﺎﻃﺒﺎﻥ ﻣﺨﺘﻠﻒ ﺩﺭ ﺩﻭﺭﻩ ﻣﻐﻮﻝ ﮐﻤﮏ ﮐﻨﺪ‪.‬‬

‫ﺍﯾﻦﻣﻘﺎﻟﻪ ﺩﺭ ﺍﺑﺘﺪﺍ ﺑﺮ ﺁﻥ ﺍﺳﺖ ﺗﺎ ﻣﺮﻭﺭﯼ ﮐﻮﺗﺎﻩ ﺑﺮ ﻧﻮﺷﺘﻪ ﻫﺎﯼ ﺯﻧﺪﮔﯽ ﻧﺎﻣﻪ ﺍﯼ ﻭ ﺍﺭﺯﺵ ﺁﻥ ﻫﺎ ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﺑﺰﺍﺭ ﺁﻣﻮﺯﺷﯽ ﻭ ﺁﻣﻮﺯﻧﺪﻩ ﺍﺭﺍﺉﻪ‬

‫ﺩﻫﺪ‪.‬ﺳﭙﺲ ﺩﺭ ﻣﻮﺭﺩ ﺁﺛﺎﺭ ﻣﺼﻮﺭ ﺯﻧﺪﮔﯿﻨﺎﻣﻪ ﺩﺭ ﻫﻨﺮ ﻣﺮﺍﮐﺰ ﺗﻮﻟﯿﺪ ﻧﺴﺦ ﺧﻄﯽ ﻗﺮﻥ ﺷﺎﻧﺰﺩﻫﻢ ﺻﻔﻮﯼ ﻭ ﻋﺜﻤﺎﻧﯽ ﺑﺤﺚ ﺧﻮﺍﻫﺪ ﺷﺪ‪ .‬ﺩﻭ ﺍﺛﺮ‬

‫ﻣﻬﻢﺑﻪ ﻋﻨﻮﺍﻥ ﻣﻄﺎﻟﻌﺎﺕ ﻣﻮﺭﺩﯼ ﺩﺭ ﭼﺎﺭﭼﻮﺏ ﻣﻘﺎﻟﻪ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻪ ﺧﻮﺍﻫﺪ ﺷﺪ‪:‬ﻣﺸﺎﻋﯿﺮ ﺍﻟﺸﻌﺮﺍء‪ ،‬ﺳﻮﻣﯿﻦ ﻋﺜﻤﺎﻧﯽﺗﺬﮐﯿﺮﺍﻧﻮﺷﺘﻪ ﺷﺎﻋﺮ‪،‬‬

‫ﻧﻮﯾﺴﻨﺪﻩﻭ ﻗﺎﺿﯽ ﺁﺷﯿﮏ ﭼﻠﺒﯽ )ﻣﺘﻮﻓﯽ ‪ ،(72-1571‬ﮐﻪ ﻧﺴﺨﻪ ﺍﯼ ﻣﻨﺤﺼﺮ ﺑﻪ ﻓﺮﺩ ﻣﺼﻮﺭ ﺩﺭ ﮐﺘﺎﺑﺨﺎﻧﻪ ﻣﻠﯿﺖ‪ ،‬ﺍﺳﺘﺎﻧﺒﻮﻝ )ﻋﻠﯽ ﺍﻣﯿﺮﯼ‬ ‫ﺗﺎﺭﯾﺦ‪ (772‬ﺩﺍﺭﺩ‪ .‬ﻭ ﺻﻔﻮﺕ ﺍﻟﺼﻔﺎﺗﻮﺳﻂ ﺍﺑﻦ ﺑﺰﺍﺯ )ﻣﺘﻮﻓﯽ ‪ ،(92-1391‬ﺍﻟﻒ‪manakibnama‬ﺍﺯ ﺷﯿﺦ ﺻﻔﯽ ﺍﻟﺪﯾﻦ ﺍﺭﺩﺑﯿﻠﯽ )ﻣﺘﻮﻓﯽ‬ ‫‪ (1334‬ﮐﻪ ﯾﮏ ﻧﺴﺨﻪ ﻣﺼﻮﺭ ﻣﻨﺤﺼﺮﺑﻔﺮﺩ ﻧﯿﺰ ﺩﺭ ﻣﺠﻤﻮﻋﻪ ﺩﺍﺉﻤﯽ ﻣﻮﺯﻩ ﺁﻗﺎﺧﺎﻥ ﺗﻮﺭﻧﺘﻮ )‪ (AKM264‬ﺩﺍﺭﺩ‪ .‬ﺍﯾﻦ ﺩﻭ ﺍﺛﺮ ﻣﺘﻌﻠﻖ ﺑﻪ ﯾﮏ‬

‫ﮊﺍﻧﺮﻫﺴﺘﻨﺪ‪ ،‬ﺍﻣﺎ ﺳﻨﺖ ﻫﺎﯼ ﺑﺼﺮﯼ ﻣﺘﻔﺎﻭﺗﯽ ﺭﺍ ﻣﻨﻌﮑﺲ ﻣﯽ ﮐﻨﻨﺪ ﮐﻪ ﺩﺭ ﺁﻥ ﻣﺎ ﺭﺍ ﻗﺎﺩﺭ ﻣﯽ ﺳﺎﺯﺩ ﺗﺎ ﺑﻪ ﺍﺷﮑﺎﻝ ﺑﺼﺮﯼ ﯾﺎﺩﮔﯿﺮﯼ ﻭ ﺍﻧﺘﻘﺎﻝ‬

‫ﺍﻃﻼﻋﺎﺕﻓﮑﺮ ﮐﻨﯿﻢ‪.‬‬

‫ﺍﺳﺘﻔﺎﻥﮐﺎﻣﻮﻻ‬ ‫ﺩﺍﻧﺸﮕﺎﻩﭘﺮﯾﻨﺴﺘﻮﻥ‪ ،‬ﺍﯾﺎﻻﺕ ﻣﺘﺤﺪﻩ‬

‫»ﺑﺎﺗﻤﺎﻡ ﺗﻔﺼﯿﻞ«‪ :‬ﺭﺷﯿﺪ ﺍﻟﺪﯾﻦ ﻭ ﻧﻤﺎﯾﺶ ﻋﻠﻢ‬

‫ﺍﯾﻦﺟﺎﻣﻊ ﺍﻟﺘﻮﺍﺭﯾﺦﺭﺷﯿﺪﺍﻟﺪﯾﻦ ﻁ‪.‬ﺍﺑﯿﺐ )ﻣﺘﻮﻓﯽ ‪ (1318‬ﻫﻢ ﺑﻪ ﺩﻟﯿﻞ ﺍﺭﺯﺷﯽ ﮐﻪ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﻨﺒﻊ ﺗﺎﺭﯾﺨﯽ ﺩﺍﺭﺩ ﻭ ﻫﻢ ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﻭﻟﯿﻦ‬

‫ﭘﺮﻭﮊﻩﺑﺰﺭﮒ ﺩﺭ ﺑﺎﺯﺗﻮﻟﯿﺪ ﺁﺗﻠﯿﻪ ﺍﯼ ﯾﮏ ﮐﺘﺎﺏ ﻣﺼﻮﺭ ﺗﻮﺟﻪ ﻗﺎﺑﻞ ﺗﻮﺟﻬﯽ ﺭﺍ ﺑﻪ ﺧﻮﺩ ﺟﻠﺐ ﮐﺮﺩﻩ ﺍﺳﺖ‪ .‬ﻣﺎ ﺍﺯ ﺭﻭﻧﻮﺷﺖ ﺧﻮﺩﻧﻮﯾﺲ ﺑﺎﻗﯽ‬

‫ﻣﺎﻧﺪﻩﺍﺯ ﺁﻥ ﻣﯽ ﺩﺍﻧﯿﻢﻭﻗﻒ ﻧﻤﺎﺑﺮﺍﯼ ﺭﺷﯿﺪﺍﻟﺪﯾﻦﺭﺏ ﺭﺷﯿﺪﯼﮐﻪﺟﺎﻣﻊ ﺍﻟﺘﻮﺍﺭﯾﺦﯾﮑﯽ ﺍﺯ ﭼﻨﺪﯾﻦ ﺍﺛﺮﯼ ﺑﻮﺩ ﮐﻪ ﻗﺮﺍﺭ ﺑﻮﺩ ﺳﺎﻻﻧﻪ »ﺑﺎ ﺗﻤﺎﻡ‬

‫ﺟﺰﺉﯿﺎﺕ‪،‬ﺩﺭﺳﺖ ﻣﺎﻧﻨﺪ ﻧﺴﺨﻪ ﻫﺎﯼ ﺍﺻﻠﯽ« ﺗﻮﺳﻂ ﮐﺎﺗﺒﺎﻥ ﺗﺤﺖ ﺣﻤﺎﯾﺖ ﺍﯾﻦ ﻣﺠﻤﻮﻋﻪ ﺧﯿﺮﯾﻪ ﺗﮑﺜﯿﺮ ﺷﻮﺩ‪ .‬ﮐﺎﻣﻼ ًﻣﺸﺨﺺ ﻧﯿﺴﺖ‬

‫ﻭﻗﻒﻧﻤﺎﺑﺎ ﺍﯾﻦ ﺣﺎﻝ‪ ،‬ﺁﯾﺎ ﺟﺎﻣﻊ ﺍﻟﺘﻮﺍﺭﯾﺦﺩﺭ ﺍﺑﺘﺪﺍ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺑﻮﺩ ﮐﻪ ﺷﺎﻣﻞ ﺗﺼﺎﻭﯾﺮ ﺑﺎﺷﺪ‪ ،‬ﺍﻣﺎ ﻧﺴﺨﻪ ﻫﺎﯼ ﺍﻭﻟﯿﻪ ﺛﺎﺑﺖ ﻣﯽ ﮐﻨﻨﺪ‬ ‫ﮐﻪﺗﻨﻬﺎ ﺩﺭ ﻣﯿﺎﻥ ﺁﺛﺎﺭﯼ ﮐﻪ ﺭﺷﯿﺪﺍﻟﺪﯾﻦ ﺑﺮﺍﯼ ﺗﮑﺜﯿﺮ ﻣﺸﺨﺺ ﮐﺮﺩﻩ ﺑﻮﺩ‪ ،‬ﺑﻪ ﺷﺪﺕ ﺗﺼﻮﯾﺮﺳﺎﺯﯼ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬

‫ﺁﻧﺎﺳﺘﺎﺯﯾﺎﺑﻮﭼﮑﺎﺭﻭﺍ ﺩﺍﻧﺸﮕﺎﻩ ﮐﻠﻤﺒﯿﺎ‪،‬‬ ‫ﺍﯾﺎﻻﺕﻣﺘﺤﺪﻩ‬

‫ﺑﯿﻦﺷﺎﻫﺰﺍﺩﻩ ﺗﯿﻤﻮﺭﯼ ﻭ ﺍﻣﭙﺮﺍﺗﻮﺭ ﻣﻐﻮﻝ‪ :‬ﻣﯿﺮﺍﺙ‬ ‫ﺩﺭﺍﻧﺘﻘﺎﻝ‬

‫ﺩﺭﺣﺎﻟﯽ ﮐﻪ ﺑﻪ ﻃﻮﺭ ﮔﺴﺘﺮﺩﻩ ﭘﺬﯾﺮﻓﺘﻪ ﺷﺪﻩ ﺍﺳﺖ ﮐﻪ ﻣﻐﻮﻝ ﻫﺎ ﺧﻮﺩ ﺭﺍ ﺍﻋﻀﺎﯼ ﺳﻠﺴﻠﻪ ﺗﯿﻤﻮﺭﯼ ﻣﯽ ﺩﺍﻧﺴﺘﻨﺪ‪ ،‬ﻣﮑﺎﻧﯿﺴﻢ ﻫﺎﯼ ﻭﺍﻗﻌﯽ ﮐﻪ‬ ‫ﻓﺮﻫﻨﮓﺗﯿﻤﻮﺭﯼ ﺗﻮﺳﻂ ﺁﻥ ﺗﺪﺍﻭﻡ ﯾﺎﻓﺖ ﻭ ﺩﺭ ﺩﺭﺑﺎﺭ ﻣﻐﻮﻝ ﺗﻐﯿﯿﺮ ﺷﮑﻞ ﺩﺍﺩ ﻫﻨﻮﺯ ﻣﻮﺭﺩ ﻣﻄﺎﻟﻌﻪ ﻗﺮﺍﺭ ﻧﮕﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺍﯾﻦ ﻣﻘﺎﻟﻪ ﺑﻪ ﺑﺮﺭﺳﯽ‬

‫ﺍﻧﺘﻘﺎﻝﻣﯿﺮﺍﺙ ﻓﺮﻫﻨﮕﯽ ﺗﯿﻤﻮﺭﯼ ﺩﺭ ﻣﺮﺍﺣﻞ ﺷﮑﻞ ﮔﯿﺮﯼ ﺗﻮﻟﯿﺪ ﻫﻨﺮﯼ ﻭ ﻫﻮﯾﺖ ﺍﻣﭙﺮﺍﺗﻮﺭﯼ ﺍﻣﭙﺮﺍﺗﻮﺭﯼ ﺍﻭﻟﯿﻪ ﻣﻐﻮﻝ ﻣﯽ ﭘﺮﺩﺍﺯﺩ‪ .‬ﺑﺤﺚ‬

‫ﭘﯿﺮﺍﻣﻮﻥﺑﺎﺑﺮ ﺑﻪ ﻋﻨﻮﺍﻥ ﯾﮏ ﺷﺨﺼﯿﺖ ﺍﻧﺘﻘﺎﻟﯽ ﺑﺎ ﻧﻘﺶ ﭘﯿﻮﻧﺪ ﺩﻫﻨﺪﻩ ﺑﯿﻦ ﺍﻓﻮﻝ ﺗﯿﻤﻮﺭﯼ ﻭ ﻋﺮﻭﺝ ﻓﺮﻫﻨﮓ ﻫﺎﯼ ﺩﺭﺑﺎﺭ ﻣﻐﻮﻝ ﺷﮑﻞ ﻣﯽ‬

‫ﮔﯿﺮﺩ‪.‬ﺑﺎﺑﺮ ﺑﻪ ﻋﻨﻮﺍﻥ ﯾﮏ ﺷﺎﻫﺰﺍﺩﻩ ﮐﻮﭼﮏ ﺗﯿﻤﻮﺭﯼ ﮐﻪ ﺑﻪ ﻓﺮﻫﻨﮓ ﻋﺎﻟﯽ ﭘﺎﺭﺳﯽ ﻣﺴﻠﻂ ﺑﻮﺩ ﻭ ﻫﻤﺰﻣﺎﻥ ﯾﮏ ﻓﺎﺗﺢ ﮐﺎﻭﺷﮕﺮ ﮐﻪ ﺍﻣﭙﺮﺍﺗﻮﺭﯼ‬

‫ﺍﯾﻦﻣﻘﺎﻟﻪ ﺭﺍﺑﻄﻪ ﺑﯿﻦ ﻧﻤﻮﻧﻪ ﻭ ﻧﺴﺨﻪ ﺭﺍ ﺩﺭ ﺳﻨﺖ ﻧﺴﺨﻪ ﻫﺎﯼ ﺧﻄﯽ ﺍﻭﻟﯿﻪ ﺑﺮﺭﺳﯽ ﻣﯽ ﮐﻨﺪﺟﺎﻣﻊ ﺍﻟﺘﻮﺍﺭﯾﺦ‪ ،‬ﺑﺎ ﺗﻮﺟﻪ ﻭﯾﮋﻩ ﺑﻪ ﭼﻨﺪﯾﻦ ﻧﺴﺨﻪ‬

‫ﺧﻄﯽﺍﻭﻟﯿﻪ ﮐﻪ ﻣﻮﺭﺩ ﻣﻄﺎﻟﻌﻪ ﻗﺮﺍﺭ ﻧﮕﺮﻓﺘﻪ ﺍﻧﺪ‪ .‬ﺍﺯ ﺟﻤﻠﻪ ﺁﻧﻬﺎ ﻣﯽ ﺗﻮﺍﻥ ﺑﻪ ﺧﺎﻧﻢ ﻣﺠﻠﺲ ﺗﻬﺮﺍﻥ ﺍﺷﺎﺭﻩ ﮐﺮﺩ‪ ،2294 .‬ﻧﺴﺨﻪ ﺍﯼ ﻇﺎﻫﺮﺍ ًﺍﻭﻟﯿﻪ‬ ‫ﮐﻪﺣﺎﻭﯼ ﺗﺼﺎﻭﯾﺮ ﻧﯿﺴﺖ‪ ،‬ﺍﻣﺎ ﺟﺰﺉﯿﺎﺕ ﮔﺮﺍﻓﯿﮑﯽ ﺧﺎﺻﯽ ﺭﺍ ﮐﻪ ﺩﺭ ﻧﺴﺨﻪ ﻫﺎﯼ ﺩﯾﮕﺮ ﯾﺎﻓﺖ ﻧﻤﯽ ﺷﻮﺩ‪ ،‬ﺣﻔﻆ ﻣﯽ ﮐﻨﺪ‪ ،‬ﻭ ﻧﺴﺨﻪ ﺧﻄﯽ‬

‫ﺭﺍﻣﭙﻮﺭ‪،‬ﮐﻪ ﺩﺭ ﺍﻭﺍﯾﻞ ﺩﻭﺭﻩ ﻣﻐﻮﻝ ﺑﻪ ﺷﺪﺕ ﻧﻘﺎﺷﯽ ﺷﺪﻩ ﺑﻮﺩ‪ ،‬ﺍﻣﺎ ﻧﮑﺎﺗﯽ ﺩﺭﺑﺎﺭﻩ ﺑﺮﻧﺎﻣﻪ ﺗﺼﻮﯾﺮﯼ ﺍﺻﻠﯽ ﺍﺛﺮ ﺣﻔﻆ ﻣﯽ ﮐﻨﺪ‪ .‬ﺑﺎ ﻣﻘﺎﯾﺴﻪ‬

‫ﻭﯾﮋﮔﯽﻫﺎﯼ ﺍﯾﻦ ﻭ ﺩﯾﮕﺮ ﺷﺎﻫﺪﺍﻥ ﺍﻭﻟﯿﻪ ﺑﺎ ﻣﺘﻦ‪ ،‬ﺗﺼﺎﻭﯾﺮ ﻭ ﻧﻤﺎﯾﺶ ﺑﺼﺮﯼﺟﺎﻣﻊ ﺍﻟﺘﻮﺍﺭﯾﺦ‪ ،‬ﺍﯾﻦ ﻣﻘﺎﻟﻪ ﺑﻪ ﺩﻧﺒﺎﻝ ﭘﺎﺳﺨﮕﻮﯾﯽ ﺑﻪ ﺩﻭ ﺳﻮﺍﻝ‬ ‫ﺍﺳﺖ‪.‬ﻧﺨﺴﺖ ﻣﺎﻫﯿﺖ ﺩﺭﮎ ﺭﺷﯿﺪﺍﻟﺪﯾﻦ ﺍﺯ ﺁﺛﺎﺭ ﺧﻮﺩ ﻭ ﻧﻘﺶﺟﺎﻣﻊ ﺍﻟﺘﻮﺍﺭﯾﺦﺩﺭ ﺁﺛﺎﺭ ﺟﻤﻊ ﺁﻭﺭﯼ ﺷﺪﻩ ﺍﻭ ﺩﻭﻡ‪ ،‬ﺭﻭﻧﺪﯼ ﺍﺳﺖ ﮐﻪ ﻃﯽ ﺁﻥ‬

‫ﺗﺎﺭﯾﺦﺍﻭ ﺑﻪ ﯾﮏ ﻣﺘﻦ ﺑﺴﯿﺎﺭ ﻣﺼﻮﺭ ﺗﺒﺪﯾﻞ ﺷﺪ ﻭ ﺁﻧﭽﻪ ﺍﯾﻦ ﺍﻣﺮ ﺩﺭ ﻣﻮﺭﺩ ﺗﻮﺳﻌﻪ ﺗﻮﻟﯿﺪ ﮐﺘﺎﺏ ﺁﺗﻠﯿﻪ ﺍﯼ ﺩﺭ ﺍﻭﺍﺧﺮ ﺍﯾﻠﺨﺎﻧﺎﻥ ﺁﺷﮑﺎﺭ ﻣﯽ ﮐﻨﺪ‪.‬‬

‫ﺍﯾﻦﻣﻄﺎﻟﻌﻪ ﺑﻪ ﺩﻧﺒﺎﻝ ﭘﺮ ﮐﺮﺩﻥ ﺷﮑﺎﻑ ﺑﯿﻦ ﻣﻄﺎﻟﻌﺎﺕ ﺁﺛﺎﺭ ﺭﺷﯿﺪﺍﻟﺪﯾﻦ ﺍﺳﺖ ﮐﻪ ﺑﺮ ﻣﺘﻦ ﮐﺘﺎﺏ ﺗﻤﺮﮐﺰ ﺩﺍﺭﺩ‪.‬ﺟﺎﻣﻊ ﺍﻟﺘﻮﺍﺭﯾﺦﻭ ﺁﻧﻬﺎﯾﯽ ﮐﻪ ﺑﺮ‬ ‫ﺗﺼﺎﻭﯾﺮﺁﻥ ﺗﻤﺮﮐﺰ ﺩﺍﺭﻧﺪ‪ ،‬ﻫﻢ ﺑﺎ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻦ ﺍﯾﻦ ﻋﻨﺎﺻﺮ ﮐﺘﺎﺏ ﺩﺭ ﮐﻨﺎﺭ ﯾﮑﺪﯾﮕﺮ ﻭ ﻫﻢ ﺑﺎ ﻗﺮﺍﺭ ﺩﺍﺩﻥ ﺁﻧﻬﺎ ﺩﺭ ﻣﺘﻦ ﺩﯾﮕﺮ ﺩﺳﺘﺎﻭﺭﺩﻫﺎﯼ‬

‫ﻋﻠﻤﯽﮔﺴﺘﺮﺩﻩ ﻧﻮﯾﺴﻨﺪﻩ‪.‬‬

‫ﺟﺪﯾﺪﯼﺭﺍ ﺩﺭ ﺳﺮﺯﻣﯿﻨﯽ ﺑﯿﮕﺎﻧﻪ ﭘﺎﯾﻪ ﮔﺬﺍﺭﯼ ﮐﺮﺩ‪ ،‬ﻣﻮﻗﻌﯿﺖ ﻣﻨﺤﺼﺮ ﺑﻪ ﻓﺮﺩﯼ ﺭﺍ ﺑﻪ ﻋﻨﻮﺍﻥ ﻋﺎﻣﻠﯽ ﺷﮑﻞ ﺩﻫﻨﺪﻩ ﺩﺭ ﺑﺮﻫﻪ ﺍﯼ ﺗﺎﺭﯾﺨﯽ ﺑﻪ‬ ‫ﺩﺳﺖﺁﻭﺭﺩ ﮐﻪ ﺩﺭ ﻣﻮﺭﺩ ﺗﻌﺎﺩﻝ ﺗﺪﺍﻭﻡ ﻭ ﺗﻐﯿﯿﺮ ﻣﺬﺍﮐﺮﻩ ﻣﯽ ﮐﺮﺩ‪.‬ﺑﺎﺑﺮﻧﻤﺎ‪ ،‬ﻧﮕﺎﻫﯽ ﺍﺟﻤﺎﻟﯽ ﺑﻪ ﺑﺴﺘﺮﻫﺎﯼ ﺷﺨﺼﯽ‪ ،‬ﻓﺮﻫﻨﮕﯽ ﻭ ﻟﺠﺴﺘﯿﮑﯽ‬

‫ﺯﯾﺮﺑﻨﺎﯼﻣﺎﻧﺪﮔﺎﺭﯼ ﻣﯿﺮﺍﺙ ﺗﯿﻤﻮﺭﯼ ﺩﺭ ﺩﺭﺑﺎﺭ ﻣﻐﻮﻝ ﺍﺭﺍﺉﻪ ﻣﯽ ﺩﻫﺪ‪ .‬ﺑﻪ ﻭﯾﮋﻩ‪ ،‬ﺑﻪ ﺗﻼﻗﯽ ﺧﻮﺩﺑﺎﺯﻧﻤﺎﯾﯽ ﻫﺎﯼ ﺍﺩﺑﯽ ﻭ ﺑﺎﺯﻧﻤﺎﯾﯽ ﻫﺎﯼ ﺗﺼﻮﯾﺮﯼ‬ ‫ﭘﺲﺍﺯ ﻣﺮﮒ ﺑﺎﺑﺮ ﺩﺭ ﭼﻨﺪ ﺩﻭﺭﻩ ﺍﮐﺒﺮﯼ ﻣﯽ ﭘﺮﺩﺍﺯﻡ‪.‬ﺑﺎﺑﺮﻧﻤﺎﻧﺴﺨﻪ ﻫﺎﯼ ﺧﻄﯽ‪ .‬ﺍﺯ ﻃﺮﯾﻖ ﺗﺠﺰﯾﻪ ﻭ ﺗﺤﻠﯿﻞ ﺷﻮﺍﻫﺪ ﻣﺘﻨﯽ ﻭ ﺑﺼﺮﯼ‪ ،‬ﺍﺳﺘﺪﻻﻝ‬ ‫ﻣﯽ ﮐﻨﻢﮐﻪ ﺑﺎﺑﺮ ﻧﻘﺸﯽ ﮐﻠﯿﺪﯼ ﺩﺭ ﺍﻧﺘﻘﺎﻝ ﻋﻨﺎﺻﺮ ﻓﺮﻫﻨﮓ ﺗﯿﻤﻮﺭﯼ ﺍﯾﻔﺎ ﮐﺮﺩ ﮐﻪ ﺑﻌﺪﺍ ًﺗﺒﺪﯾﻞ ﺷﺪ‪ ،‬ﯾﮑﭙﺎﺭﭼﻪ ﺷﺪ ﻭ ﻫﻮﯾﺖ ﺍﻣﭙﺮﺍﺗﻮﺭﯼ ﻭ‬

‫ﺯﯾﺒﺎﯾﯽ ﺷﻨﺎﺧﺘﯽﻣﻐﻮﻝ ﺭﺍ ﺗﺸﮑﯿﻞ ﺩﺍﺩ‪.‬‬

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‫ﺩﺭﻧﻈﺮ ﮔﺮﻓﺘﻦ ﭼﻨﯿﻦ ﺩﯾﺪﮔﺎﻩ ﮔﺴﺘﺮﺩﻩ ﺍﯼ ﺍﺯ ﺁﺛﺎﺭ ﺭﺷﯿﺪﺍﻟﺪﯾﻦ ﻣﻤﮑﻦ ﺍﺳﺖ ﺑﻪ ﻣﺎ ﺩﺭ ﺩﺭﮎ ﺑﻬﺘﺮ ﭼﮕﻮﻧﮕﯽ ﺍﻧﺘﻘﺎﻝ ﺍﻃﻼﻋﺎﺕ ﻋﻠﻤﯽ ﻣﺎﻧﻨﺪ‬

‫ﺗﺎﺭﯾﺦ)ﺍﺯ ﺟﻤﻠﻪ ﻧﺴﺐ ﺷﻨﺎﺳﯽ(‪ ،‬ﭘﺰﺷﮑﯽ ﻭ ﺍﻟﻬﯿﺎﺕ ﺑﻪ ﻣﺨﺎﻃﺒﺎﻥ ﻣﺨﺘﻠﻒ ﺩﺭ ﺩﻭﺭﻩ ﻣﻐﻮﻝ ﮐﻤﮏ ﮐﻨﺪ‪.‬‬

‫ﮐﺸﻒﻣﺠﺪﺩ ﻧﻘﺎﺷﯽ ﺯﯾﺮ ﻟﻌﺎﺏ ﺩﺭ ﺍﻭﺍﺧﺮ ﺍﯾﺮﺍﻥ ﻗﺎﺟﺎﺭ‪ :‬ﺍﺳﺘﺎﺩ‬ ‫ﺳﻔﺎﻟﮕﺮﻋﻠﯽ ﻣﺤﻤﺪ ﺍﺻﻔﻬﺎﻧﯽ‬

‫ﻧﻘﺎﺷﯽﺯﯾﺮ ﻟﻌﺎﺏ ﺗﮑﻨﯿﮑﯽ ﺗﺰﯾﯿﻨﯽ ﺍﺳﺖ ﮐﻪ ﺩﺭ ﺭﺑﻊ ﭘﺎﯾﺎﻧﯽ ﻗﺮﻥ ﻧﻮﺯﺩﻫﻢ ﺗﻮﺳﻂ ﺳﻔﺎﻟﮕﺮﺍﻥ ﺩﺭ ﺍﯾﺮﺍﻥ ﺑﻪ ﺑﻠﻮﻍ ﺭﺳﯿﺪ‬

‫ﭘﺎﻧﻞ‪8‬‬

‫ﻓﺮﯾﺪﺭﯾﮏﻭﯾﮕﺖ‬ ‫ﻣﻮﺯﻩ ﻫﺎﯼﻣﻠﯽ ﺍﺳﮑﺎﺗﻠﻨﺪ‪ ،‬ﺑﺮﯾﺘﺎﻧﯿﺎ‬

‫ﺍﺻﻞﺩﺭ ﺭﻭﺳﺘﺎﯾﯽ ﻣﺮﺍﮐﺶ ﻣﺮﺑﻮﻁ ﺑﻪ ﺩﺳﺘﻪ ﺑﻨﺪﯼ ﺍﺳﺖ ﮐﻪ ﺑﻪ‬

‫ﻭﭘﺲ ﺍﺯ ﻣﺪﺗﯽ ﮐﻪ ﺩﯾﮕﺮ ﻣﻮﺭﺩ ﺍﺳﺘﻔﺎﺩﻩ ﻗﺮﺍﺭ ﻧﮕﺮﻓﺖ ﻭ ﺩﺍﻧﺶ ﺁﻥ ﺍﺯ ﺑﯿﻦ ﺭﻓﺖ‪ .‬ﺑﺮﺧﻼﻑ ﺗﮑﻨﯿﮏ ﻏﺎﻟﺐﻫﻔﺖ ﺯﻧﮓ‬

‫ﻋﻨﻮﺍﻥﺍﻓﺮﺍﺩ ﺩﺍﺭﺍﯼ ﺟﺎﯾﮕﺎﻩ ﺑﺎﻻ ﻭ ﺑﺎﻓﺖ ﻣﺤﻠﯽ ﺁﻧﻬﺎ ﻭ ﻫﻤﭽﻨﯿﻦ ﺩﺭ‬

‫ﺩﺭﺟﻪ ﺍﯼﺍﺯ ﻇﺮﺍﻓﺖ‪ ،‬ﺟﺰﺉﯿﺎﺕ ﻭ ﺩﺭﺟﻪ ﺑﻨﺪﯼ ﺭﻧﮓ ﺩﺳﺖ ﯾﺎﺑﻨﺪ ﮐﻪ ﺑﺎ ﺗﺼﺎﻭﯾﺮ ﺑﺎﺯﻧﻤﺎﯾﯽ ﺩﺭ ﺭﺳﺎﻧﻪ ﻫﺎﯼ ﺩﯾﮕﺮ ﻗﺎﺑﻞ‬

‫ﺻﺮﻓﺎ ًﺑﻪ ﺍﯾﻦ ﺩﻟﯿﻞ ﮐﻪ ﺑﺎﻓﻨﺪﮔﯽ ﻓﻀﺎﯾﯽ ﻣﻘﺪﺱ‪ ،‬ﯾﮏ ﻓﻌﺎﻟﯿﺖ‬

‫ﺯﺩﻧﻘﺎﺷﯽ ﺯﯾﺮ ﻟﻌﺎﺏ‪ ،‬ﮐﻪ ﺑﻪ ﻣﻌﻨﺎﯼ ﻭﺍﻗﻌﯽ ﮐﻠﻤﻪ »ﻫﻔﺖ ﺭﻧﮓ« ﺍﺳﺖ‪ ،‬ﺻﻨﻌﺘﮕﺮﺍﻥ ﺭﺍ ﻗﺎﺩﺭ ﻣﯽ ﺳﺎﺯﺩ ﺗﺎ ﺑﻪ‬

‫ﻣﺠﻤﻮﻋﻪﺑﯿﻦ ﺍﻟﻤﻠﻠﯽ ﻣﺠﻤﻮﻋﻪ ﺍﯼ ﺍﺯ ﻫﻨﺮ ﺍﺳﻼﻣﯽ ﺗﻠﻘﯽ ﻣﯽ ﺷﻮﺩ‪ ،‬ﻧﻪ‬

‫ﻣﻘﺎﯾﺴﻪﺍﺳﺖ‪ .‬ﺍﯾﻦ ﺑﻪ ﺁﻧﻬﺎ ﺍﺟﺎﺯﻩ ﻣﯽ ﺩﺍﺩ ﺗﺎ ﺭﭘﺮﺗﻮﺍﺭ ﺑﺼﺮﯼ ﻣﻮﺭﺩ ﺍﺳﺘﻔﺎﺩﻩ ﺩﺭ ﻧﻘﺎﺷﯽ ﻣﯿﻨﯿﺎﺗﻮﺭﯼ‪ ،‬ﻋﮑﺎﺳﯽ ﯾﺎ‬

‫ﻣﻌﻨﻮﯼﺭﺍ ﺍﯾﺠﺎﺩ ﻣﯽ ﮐﻨﺪ‪.‬‬

‫ﻟﯿﺘﻮﮔﺮﺍﻓﯽﺭﺍ ﺑﻪ ﮐﺎﺷﯽ ﻫﺎ ﺑﺮﺍﯼ ﻧﻤﺎﯾﺶ ﺩﺍﺉﻤﯽ ﺩﺭ ﯾﮏ ﻓﻀﺎﯼ ﻋﻤﻮﻣﯽ ﻭ ﺧﺼﻮﺻﯽ ﻣﻨﺘﻘﻞ ﮐﻨﻨﺪ‪.‬‬

‫ﮐﻪﻫﺪﻓﺸﺎﻥ ﺍﺭﺗﺒﺎﻁ ﺑﺎ ﺍﻟﻬﯽ ﺍﺳﺖ‪.‬‬

‫ﺍﯾﻦﻣﻘﺎﻟﻪ ﺑﺎ ﺍﺷﺎﺭﻩ ﮐﻮﺗﺎﻩ ﺑﻪ ﺩﻭ ﻣﻘﻮﻟﻪ ‪ -‬ﻫﻨﺮ ﻭ ﺍﺳﻼﻣﯽ ‪ -‬ﺩﺭ ﺭﻭﺳﺘﺎﻫﺎﯼ ﻣﺮﺍﮐﺶ‪ ،‬ﻣﮑﺎﻧﯿﺴﻢ ﻫﺎﯾﯽ ﺭﺍ ﺩﺭ ﻓﺮﺁﯾﻨﺪ ﺑﺎﻓﻨﺪﮔﯽ ﻣﺮﺗﺒﻂ ﺑﺎ‬

‫ﻣﻮﺿﻮﻉﻣﯽ ﭘﺮﺩﺍﺯﺩ ﮐﻪ ﭼﮕﻮﻧﻪ ﺳﻔﺎﻝ ﮔﺮﺍﻥ ﺑﺮﺍﯼ ﺑﺎﺯﯾﺎﺑﯽ ﻣﻬﺎﺭﺕ ﻓﻨﯽ ﻻﺯﻡ‪ ،‬ﮐﺎﺷﯽ ﻫﺎﯼ ﻧﻘﺎﺷﯽ ﺷﺪﻩ ﺑﺎ ﻟﻌﺎﺏ‬

‫ﺑﺮﺁﻭﺭﺩﻩﮐﻨﻨﺪ‪ .‬ﺍﻃﻼﻋﺎﺕ ﺛﺒﺖ ﺷﺪﻩ ﺩﺭ ﻣﻮﺭﺩ ﻓﺮﺁﯾﻨﺪﻫﺎﯼ ﻓﻨﯽ ﺗﻮﺳﻂ ﺻﻨﻌﺘﮕﺮﺍﻥ ﺑﻮﻣﯽ ﺑﺮﺍﯼ ﺳﻔﺎﻝ ﺍﯾﺮﺍﻧﯽ ﻧﺎﺩﺭ‬ ‫ﺍﺳﺖ‪.‬ﺑﺎ ﺍﯾﻦ ﺣﺎﻝ‪ ،‬ﺑﺮﺍﯼ ﻗﺮﻥ ﻧﻮﺯﺩﻫﻢ‪ ،‬ﻣﺎ ﺧﻮﺵ ﺷﺎﻧﺲ ﻫﺴﺘﯿﻢ ﮐﻪ ﯾﮏ ﺍﺳﺘﺎﺩ ﺳﻔﺎﻟﮕﺮ ﺑﻪ ﻧﺎﻡ »ﻋﻠﯽ ﻣﺤﻤﺪ‬

‫ﺍﺻﻔﻬﺎﻧﯽ«ﺩﺍﺭﯾﻢ ﮐﻪ ﺁﺛﺎﺭﺵ ﻓﻮﻕ ﺍﻟﻌﺎﺩﻩ ﻣﺴﺘﻨﺪ ﺍﺳﺖ‪ .‬ﺑﺮ ﺍﺳﺎﺱ ﺗﻮﺿﯿﺤﺎﺗﯽ ﮐﻪ ﺩﺭ ﻣﻮﺭﺩ ﺳﺎﺧﺖ ﮐﺎﺷﯽ ﻫﺎﯼ‬

‫ﺩﺍﺭﺩ‪ -‬ﺑﯿﻦ ﻓﻀﯿﻠﺖ ﻓﻨﯽ ﻭ ﻓﻀﯿﻠﺖ ﺍﻧﺴﺎﻧﯽ‪ .‬ﻭ )‪ (3‬ﭘﺎﺭﺍﺩﺍﯾﻢ "ﺭﺍﺯﺩﺍﺭﯼ ﺑﻪ ﻋﻨﻮﺍﻥ ﺯﯾﻨﺖ" ﺭﺍ ﻣﻌﺮﻓﯽ ﻣﯽ ﮐﻨﺪ ﺗﺎ ﺗﻮﺿﯿﺢ ﺩﻫﺪ ﮐﻪ‬

‫ﭼﮕﻮﻧﻪﺩﺭ ﻃﻮﻝ ﻓﺮﺁﯾﻨﺪ ﯾﺎﺩﮔﯿﺮﯼ‪،‬‬

‫ﺭﻧﮓ ﺁﻣﯿﺰﯼﺯﯾﺮ ﻟﻌﺎﺏ ﺩﺍﺷﺖ ﻭ ﻧﺘﺎﯾﺞ ﺗﺤﻠﯿﻠﯽ ﺍﺯ ﻧﻤﻮﻧﻪ ﻫﺎﯼ ﻣﻮﺍﺩ ﺑﺪﻧﻪ‪ ،‬ﺭﻧﮕﺪﺍﻧﻪ ﻫﺎ ﻭ ﻟﻌﺎﺏ ﻫﺎﯾﯽ ﮐﻪ ﺑﺮﺍﯼ ﺗﺸﺮﯾﺢ‬

‫ﺭﺳﺎﻟﻪﻭ ﻫﻤﭽﻨﯿﻦ ﮐﺎﺷﯽ ﻫﺎﯼ ﺗﻤﺎﻡ ﺷﺪﻩ ﺍﺵ ﺍﺭﺍﺉﻪ ﮐﺮﺩ‪ ،‬ﺍﯾﻦ ﻣﻘﺎﻟﻪ ﺑﻪ ﺑﺮﺭﺳﯽ ﻧﻘﺶ ﻭﯼ ﺩﺭ ﺗﻮﺳﻌﻪ ﺗﮑﻨﯿﮏ‬

‫ﺗﺰﺉﯿﻨﯽﻧﻘﺎﺷﯽ ﺯﯾﺮ ﻟﻌﺎﺏ ﻣﯽ ﭘﺮﺩﺍﺯﺩ‪ .‬ﻫﻤﭽﻨﯿﻦ ﺑﻪ ﻗﺪﺭﺩﺍﻧﯽ ﺍﺯ ﺍﯾﻦ ﺳﻔﺎﻟﮕﺮﺍﻥ ﺑﻪ ﺧﺎﻃﺮ ﺩﺳﺘﺎﻭﺭﺩﻫﺎﯾﺸﺎﻥ ﺩﺭ ﺳﻨﺘﯽ‬ ‫ﮐﻪﺍﯾﺮﺍﻥ ﺑﻪ ﺁﻥ ﻣﺸﻬﻮﺭ ﺑﻮﺩ‪ ،‬ﻣﯽ ﭘﺮﺩﺍﺯﺩ‪.‬‬

‫ﺩﺭﻃﻮﻝ ﺩﻭﺭﻩ ﮐﺎﺭﺁﻣﻮﺯﯼ‪ ،‬ﺻﺮﻑ ﻧﻈﺮ ﺍﺯ ﻭﯾﮋﮔﯽ ﻏﯿﺮﺭﺳﻤﯽ ﺁﻥ ﯾﺎ ﭘﯿﻮﻧﺪﻫﺎﯾﯽ ﮐﻪ ﻣﻤﮑﻦ ﺍﺳﺖ ﻣﻌﻠﻢ ﻭ ﺷﺎﮔﺮﺩ ﺭﺍ ﺑﻪ ﻫﻢ ﭘﯿﻮﻧﺪ ﺩﻫﺪ‪،‬‬

‫ﺭﺍﺑﻄﻪﺧﺎﺻﯽ ﺑﯿﻦ ﺁﻧﻬﺎ ﺷﮑﻞ ﻣﯽ ﮔﯿﺮﺩ ‪ -‬ﺭﺍﺑﻄﻪ ﺍﯼ ﮐﻪ ﻣﯽ ﺗﻮﺍﻧﺪ ﺳﺎﻝ ﻫﺎ ﻃﻮﻝ ﺑﮑﺸﺪ ﻭ ﻣﻤﮑﻦ ﺍﺳﺖ ﭘﺲ ﺍﺯ ﺗﺒﺪﯾﻞ ﺷﺎﮔﺮﺩ ﺑﻪ ﯾﮏ‬

‫ﺑﺎﻓﻨﺪﻩﺑﺎ ﺗﺠﺮﺑﻪ ﺍﺩﺍﻣﻪ ﯾﺎﺑﺪ‪ .‬ﺍﯾﻦ ﺭﺍﺑﻄﻪ ﻧﻪ ﺗﻨﻬﺎ ﻣﺒﺘﻨﯽ ﺑﺮ ﮐﺴﺐ ﺩﺍﻧﺶ ﻓﻨﯽ ﺍﺳﺖ‪ ،‬ﺑﻠﮑﻪ ﺷﺎﮔﺮﺩ ﺑﻪ ﺍﺳﺘﺎﺩ ﺑﺎﻓﻨﺪﻩ ﺧﻮﺩ ﻧﮕﺎﻩ ﻣﯽ ﮐﻨﺪ ﻭ‬ ‫ﺗﻤﺎﻡﺍﻋﻤﺎﻝ ﻭ ﺣﺮﮐﺎﺕ ﻓﻨﯽ ﺍﻭ ﺭﺍ ﻣﺸﺎﻫﺪﻩ ﻭ ﺗﮑﺮﺍﺭ ﻣﯽ ﮐﻨﺪ‪.‬‬

‫ﻣﯿﺮﯾﺎﻡﻋﻠﯽ ﺩﯼ ﺍﻭﻧﺰﺍﮔﺎ‬ ‫ﻣﺤﻘﻖﻣﺴﺘﻘﻞ‬

‫ﺭﺍﺯﺩﺍﺭﯼﺑﻪ ﻋﻨﻮﺍﻥ ﺯﯾﻨﺖ‪:‬‬ ‫ﺍﻧﺘﻘﺎﻝﺩﺍﻧﺶ ﺩﺭ ﻃﻮﻝ ﻓﺮﺁﯾﻨﺪ ﺑﺎﻓﻨﺪﮔﯽ ﺩﺭ ﺭﻭﺳﺘﺎﯾﯽ‬ ‫ﻣﺮﺍﮐﺶ‬

‫ﻣﻤﮑﻦﺍﺳﺖ ﺩﯾﺪﻥ ﻣﻘﺎﻟﻪ ﺍﯼ ﺩﺭ ﻣﻮﺭﺩ ﺑﺎﻓﺖ ﺭﻭﺳﺘﺎﯾﯽ ﻣﺮﺍﮐﺶ ﮐﻪ ﺩﺭ ﭘﺎﻧﻞ ﻫﻨﺮ ﺍﺳﻼﻣﯽ ﮔﻨﺠﺎﻧﺪﻩ ﺷﺪﻩ‬

‫‪-‬ﺑﻠﮑﻪ ﺷﺎﻣﻞ ﺍﻧﺘﻘﺎﻝ ﺍﺭﺯﺵ ﻫﺎ ﻭ ﺍﻋﻤﺎﻝ ﺍﺟﺘﻤﺎﻋﯽ‪ ،‬ﺍﺧﻼﻗﯽ ﻭ ﻣﻌﻨﻮﯼ ﻧﯿﺰ ﻣﯽ ﺷﻮﺩ‪ .‬ﻫﻤﺎﻧﻄﻮﺭ ﮐﻪ ﺧﻮﺍﻫﯿﻢ ﺩﯾﺪ‪ ،‬ﺍﺳﺘﺎﺩ ﺑﺎﻓﻨﺪﻩ ﻧﺸﺎﻥ‬

‫ﺩﻫﻨﺪﻩﯾﮏ ﺍﻟﮕﻮ ﺍﺳﺖ‪ :‬ﺁﮔﺎﻩ‪ ،‬ﺷﺮﺍﻓﺘﻤﻨﺪ‪ ،‬ﺑﺎﻫﻮﺵ‪ ،‬ﺧﻼﻕ‪ ،‬ﻗﺪﺭﺗﻤﻨﺪ‪ .‬ﺩﺭ ﺣﺎﻟﯽ ﮐﻪ ﺭﺍﺑﻄﻪ ﺍﺳﺘﺎﺩ ﻭ ﺷﺎﮔﺮﺩ ﺑﻪ ﻃﻮﺭ ﮔﺴﺘﺮﺩﻩ ﺗﻮﺳﻂ‬

‫ﺣﻤﻮﺩﯼ)‪ (1997‬ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﻟﮕﻮﯼ ﺟﺎﻣﻌﻪ ﻣﺮﺍﮐﺶ ﻣﻮﺭﺩ ﺑﺤﺚ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ ،‬ﻫﺮﮔﺰ ﺩﺭ ﭼﺎﺭﭼﻮﺏ ﺍﻋﻤﺎﻝ ﺯﻧﺎﻥ ﺩﺭ ﻣﺮﺍﮐﺶ ﻣﻮﺭﺩ‬

‫ﺑﺤﺚﻗﺮﺍﺭ ﻧﮕﺮﻓﺘﻪ ﺍﺳﺖ‪.‬‬

‫ﺩﺭﻧﻬﺎﯾﺖ‪ ،‬ﺍﺯ ﺁﻧﺠﺎﯾﯽ ﮐﻪ ﺁﯾﯿﻦ ﻫﺎ ﻭ ﺷﯿﻮﻩ ﻫﺎﯼ ﺑﺎﻓﺘﻨﯽ ﺷﺮﺡ ﺩﺍﺩﻩ ﺷﺪﻩ ﺩﺭ ﻣﻘﺎﻟﻪ ﻣﻦ ﺑﺮﺍﯼ ﻗﺮﻥ ﻫﺎ ﺗﻘﺮﯾﺒﺎ ًﺑﺪﻭﻥ ﺗﻐﯿﯿﺮ ﺑﺎﻗﯽ‬

‫ﻣﺎﻧﺪﻩ ﺍﻧﺪ‪،‬ﻣﻦ ﺍﻃﻤﯿﻨﺎﻥ ﺩﺍﺭﻡ ﮐﻪ ﻣﯽ ﺗﻮﺍﻧﯿﻢ ﺍﺯ ﯾﺎﺩﮔﯿﺮﯼ ﺩﺭ ﻣﻮﺭﺩ ﺍﺟﺮﺍﻫﺎﯼ ﻣﻌﺎﺻﺮ ﺑﻬﺮﻩ ﺑﺒﺮﯾﻢ ﮐﻪ ﺑﻪ ﻣﺎ ﺩﺭﮎ ﺗﻘﺮﯾﺒﯽ ﺍﺯ ﺍﻫﻤﯿﺖ‬ ‫ﺑﺎﻓﺘﻦﻭ ﺍﻧﺘﻘﺎﻝ ﺩﺍﻧﺶ ﺑﯿﻦ ﺑﺎﻓﻨﺪﮔﺎﻥ ﺩﺭ ﮔﺬﺷﺘﻪ ﺭﺍ ﻣﯽ ﺩﻫﺪ‪ .‬ﺑﺎﺭ‪.‬‬

‫ﻣﻮﺯﻩ‪Staatliche Museen zu Berlin‬‬

‫ﻓﯿﮕﻮﺭﺍﺗﯿﻮﺭﺍ ﺁﺯﻣﺎﯾﺶ ﮐﺮﺩﻧﺪ ﻭ ﻫﻤﭽﻨﯿﻦ ﭼﮕﻮﻧﻪ ﺁﻥ ﺭﺍ ﺑﯿﺸﺘﺮ ﺗﻮﺳﻌﻪ ﺩﺍﺩﻧﺪ ﺗﺎ ﻧﯿﺎﺯ ﺯﻣﺎﻥ ﺑﺮﺍﯼ ﻧﻤﺎﯾﺶ ﺩﻗﯿﻖ ﺭﺍ‬

‫ﺑﻪﭼﻨﺪﯾﻦ ﻋﺎﻣﻞ ﻣﺮﺗﺒﻂ ﺍﺳﺖ‪ :‬ﺑﺎﻓﻨﺪﮔﺎﻥ ﻣﻌﺘﻘﺪﻧﺪ ﮐﻪ ﺑﯿﻦ ﮐﯿﻔﯿﺖ ﻓﻨﯽ ﻣﻨﺴﻮﺟﺎﺕ ﻭ ﮐﯿﻔﯿﺖ ﺍﻧﺴﺎﻧﯽ ﺑﺎﻓﻨﺪﻩ ﻫﻤﺒﺴﺘﮕﯽ ﻭﺟﻮﺩ‬

‫ﺭﺉﯿﺲﻭ ﺳﺨﻨﺮﺍﻥ‪ :‬ﺍﺳﺘﻔﺎﻥ ﻭﺑﺮ‪ ،‬ﻣﻮﺯﻩ ﻓﻮﺭ ﺍﺳﻼﻣﯿﻪ ﮐﻮﻧﺴﺖ ﺍﻡ ﭘﺮﮔﺎﻣﻮﻥ‬

‫ﻣﻮﻓﻘﯿﺖﯾﮏ ﻣﺤﺼﻮﻝ ﺑﻪ ﺁﮔﺎﻫﯽ ﺍﺯ ﮐﯿﻔﯿﺖ ﻣﻮﺍﺩ ﺍﻭﻟﯿﻪ ﻭ ﻓﺮﺁﯾﻨﺪ ﺳﺎﺧﺖ ﺑﺴﺘﮕﯽ ﺩﺍﺭﺩ‪ .‬ﺍﯾﻦ ﻣﻘﺎﻟﻪ ﺑﻪ ﺑﺮﺭﺳﯽ ﺍﯾﻦ‬

‫ﻓﻨﯽﻭ ﻏﯿﺮ ﻓﻨﯽ‪ ،‬ﮐﻼﻣﯽ ﻭ ﻏﯿﺮﮐﻼﻣﯽ( ﺍﺯ ﺍﺳﺘﺎﺩ ﺑﺎﻓﻨﺪﻩ ﺑﻪ ﺷﺎﮔﺮﺩ ﺭﺍ ﻣﺴﺘﻨﺪ ﻣﯽ ﮐﻨﺪ‪ (2) .‬ﺗﻮﺿﯿﺢ ﻣﯽ ﺩﻫﺪ ﮐﻪ ﭼﮕﻮﻧﻪ ﺍﻧﺘﺨﺎﺏ ﻧﻘﻮﺵ‬

‫ﺁﻧﭽﻪﻫﻨﺮﻣﻨﺪﺍﻥ ﻭ ﺻﻨﻌﺘﮕﺮﺍﻥ ﻣﯽ ﺩﺍﻧﺴﺘﻨﺪ‬

‫ﺍﻧﺘﻘﺎﻝﺩﺍﻧﺶ ﻣﻌﺮﻓﯽ ﻣﯽ ﮐﻨﺪ‪ .‬ﺍﯾﻦ ﮔﺰﺍﺭﺵ ﺷﺨﺼﯽ ﺍﺯ ﮐﺎﺭ ﻣﯿﺪﺍﻧﯽ ﺩﻭ ﺳﺎﻟﻪ ﻣﻦ ﺩﺭ ﻣﯿﺎﻥ ﺑﺎﻓﻨﺪﮔﺎﻧﯽ ﺍﺳﺖ ﮐﻪ ﻣﺸﺎﻫﺪﺍﺕ‬

‫ﻣﺸﺎﺭﮐﺘﯽﻭ ﺷﺎﮔﺮﺩﯼ ﻣﻦ ﺩﺭ ﺭﺷﺘﻪ ﺑﺎﻓﻨﺪﮔﯽ ﺩﺭ ﮐﻮﻩ ﻫﺎﯼ ﺍﻃﻠﺲ ﻣﯿﺎﻧﻪ ﺭﺍ ﺍﻧﺠﺎﻡ ﻣﯽ ﺩﻫﻨﺪ‪ .‬ﻗﻮﻡ ﻧﮕﺎﺭﯼ ﻣﻦ )‪ (1‬ﻧﺤﻮﻩ ﺍﻧﺘﻘﺎﻝ ﺩﺍﻧﺶ )‬

‫ﺍﺳﺖﺷﮕﻔﺖ ﺍﻧﮕﯿﺰ ﺑﻪ ﻧﻈﺮ ﺑﺮﺳﺪ‪ ،‬ﺯﯾﺮﺍ ﺍﻏﻠﺐ ﺍﯾﻦ ﮐﺎﺭ ﺑﺎﻓﻨﺪﮔﯽ ﺑﻪ ﻋﻨﻮﺍﻥ ﯾﮏ ﻓﻌﺎﻟﯿﺖ ﺧﺎﻧﮕﯽ ﺧﻮﺷﺎﯾﻨﺪ‬ ‫ﺗﻠﻘﯽﻣﯽ ﺷﻮﺩ ﮐﻪ ﺯﻧﺎﻥ ﺩﺭ ﺍﻭﻗﺎﺕ ﻓﺮﺍﻏﺖ ﺧﻮﺩ ﺍﻧﺠﺎﻡ ﻣﯽ ﺩﻫﻨﺪ‪ ،‬ﻭ ﻣﻨﺴﻮﺟﺎﺕ ﺭﻭﺳﺘﺎﯾﯽ ﺷﻤﺎﻝ ﺁﻓﺮﯾﻘﺎ‬ ‫ﺗﻤﺎﯾﻞﺩﺍﺭﻧﺪ‪ .‬ﻣﺼﻨﻮﻋﺎﺕ ﺗﺰﺉﯿﻨﯽ ﺟﺰﺉﯽ ﯾﺎ ﺳﻮﻏﺎﺗﯽ ﻫﺎﯼ ﺗﻮﺭﯾﺴﺘﯽ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻪ ﻣﯽ ﺷﻮﺩ‪.‬‬

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‫ﮐﺸﻒﻣﺠﺪﺩ ﻧﻘﺎﺷﯽ ﺯﯾﺮ ﻟﻌﺎﺏ ﺩﺭ ﺍﻭﺍﺧﺮ ﺍﯾﺮﺍﻥ ﻗﺎﺟﺎﺭ‪ :‬ﺍﺳﺘﺎﺩ‬ ‫ﺳﻔﺎﻟﮕﺮﻋﻠﯽ ﻣﺤﻤﺪ ﺍﺻﻔﻬﺎﻧﯽ‬

‫ﻧﻘﺎﺷﯽﺯﯾﺮ ﻟﻌﺎﺏ ﺗﮑﻨﯿﮑﯽ ﺗﺰﯾﯿﻨﯽ ﺍﺳﺖ ﮐﻪ ﺩﺭ ﺭﺑﻊ ﭘﺎﯾﺎﻧﯽ ﻗﺮﻥ ﻧﻮﺯﺩﻫﻢ ﺗﻮﺳﻂ ﺳﻔﺎﻟﮕﺮﺍﻥ ﺩﺭ ﺍﯾﺮﺍﻥ ﺑﻪ ﺑﻠﻮﻍ ﺭﺳﯿﺪ‬

‫ﭘﺎﻧﻞ‪8‬‬

‫ﻓﺮﯾﺪﺭﯾﮏﻭﯾﮕﺖ‬ ‫ﻣﻮﺯﻩ ﻫﺎﯼﻣﻠﯽ ﺍﺳﮑﺎﺗﻠﻨﺪ‪ ،‬ﺑﺮﯾﺘﺎﻧﯿﺎ‬

‫ﺍﺻﻞﺩﺭ ﺭﻭﺳﺘﺎﯾﯽ ﻣﺮﺍﮐﺶ ﻣﺮﺑﻮﻁ ﺑﻪ ﺩﺳﺘﻪ ﺑﻨﺪﯼ ﺍﺳﺖ ﮐﻪ ﺑﻪ‬

‫ﻭﭘﺲ ﺍﺯ ﻣﺪﺗﯽ ﮐﻪ ﺩﯾﮕﺮ ﻣﻮﺭﺩ ﺍﺳﺘﻔﺎﺩﻩ ﻗﺮﺍﺭ ﻧﮕﺮﻓﺖ ﻭ ﺩﺍﻧﺶ ﺁﻥ ﺍﺯ ﺑﯿﻦ ﺭﻓﺖ‪ .‬ﺑﺮﺧﻼﻑ ﺗﮑﻨﯿﮏ ﻏﺎﻟﺐﻫﻔﺖ ﺯﻧﮓ‬

‫ﻋﻨﻮﺍﻥﺍﻓﺮﺍﺩ ﺩﺍﺭﺍﯼ ﺟﺎﯾﮕﺎﻩ ﺑﺎﻻ ﻭ ﺑﺎﻓﺖ ﻣﺤﻠﯽ ﺁﻧﻬﺎ ﻭ ﻫﻤﭽﻨﯿﻦ ﺩﺭ‬

‫ﺩﺭﺟﻪ ﺍﯼﺍﺯ ﻇﺮﺍﻓﺖ‪ ،‬ﺟﺰﺉﯿﺎﺕ ﻭ ﺩﺭﺟﻪ ﺑﻨﺪﯼ ﺭﻧﮓ ﺩﺳﺖ ﯾﺎﺑﻨﺪ ﮐﻪ ﺑﺎ ﺗﺼﺎﻭﯾﺮ ﺑﺎﺯﻧﻤﺎﯾﯽ ﺩﺭ ﺭﺳﺎﻧﻪ ﻫﺎﯼ ﺩﯾﮕﺮ ﻗﺎﺑﻞ‬

‫ﺻﺮﻓﺎ ًﺑﻪ ﺍﯾﻦ ﺩﻟﯿﻞ ﮐﻪ ﺑﺎﻓﻨﺪﮔﯽ ﻓﻀﺎﯾﯽ ﻣﻘﺪﺱ‪ ،‬ﯾﮏ ﻓﻌﺎﻟﯿﺖ‬

‫ﺯﺩﻧﻘﺎﺷﯽ ﺯﯾﺮ ﻟﻌﺎﺏ‪ ،‬ﮐﻪ ﺑﻪ ﻣﻌﻨﺎﯼ ﻭﺍﻗﻌﯽ ﮐﻠﻤﻪ »ﻫﻔﺖ ﺭﻧﮓ« ﺍﺳﺖ‪ ،‬ﺻﻨﻌﺘﮕﺮﺍﻥ ﺭﺍ ﻗﺎﺩﺭ ﻣﯽ ﺳﺎﺯﺩ ﺗﺎ ﺑﻪ‬

‫ﻣﺠﻤﻮﻋﻪﺑﯿﻦ ﺍﻟﻤﻠﻠﯽ ﻣﺠﻤﻮﻋﻪ ﺍﯼ ﺍﺯ ﻫﻨﺮ ﺍﺳﻼﻣﯽ ﺗﻠﻘﯽ ﻣﯽ ﺷﻮﺩ‪ ،‬ﻧﻪ‬

‫ﻣﻘﺎﯾﺴﻪﺍﺳﺖ‪ .‬ﺍﯾﻦ ﺑﻪ ﺁﻧﻬﺎ ﺍﺟﺎﺯﻩ ﻣﯽ ﺩﺍﺩ ﺗﺎ ﺭﭘﺮﺗﻮﺍﺭ ﺑﺼﺮﯼ ﻣﻮﺭﺩ ﺍﺳﺘﻔﺎﺩﻩ ﺩﺭ ﻧﻘﺎﺷﯽ ﻣﯿﻨﯿﺎﺗﻮﺭﯼ‪ ،‬ﻋﮑﺎﺳﯽ ﯾﺎ‬

‫ﻣﻌﻨﻮﯼﺭﺍ ﺍﯾﺠﺎﺩ ﻣﯽ ﮐﻨﺪ‪.‬‬

‫ﻟﯿﺘﻮﮔﺮﺍﻓﯽﺭﺍ ﺑﻪ ﮐﺎﺷﯽ ﻫﺎ ﺑﺮﺍﯼ ﻧﻤﺎﯾﺶ ﺩﺍﺉﻤﯽ ﺩﺭ ﯾﮏ ﻓﻀﺎﯼ ﻋﻤﻮﻣﯽ ﻭ ﺧﺼﻮﺻﯽ ﻣﻨﺘﻘﻞ ﮐﻨﻨﺪ‪.‬‬

‫ﮐﻪﻫﺪﻓﺸﺎﻥ ﺍﺭﺗﺒﺎﻁ ﺑﺎ ﺍﻟﻬﯽ ﺍﺳﺖ‪.‬‬

‫ﺍﯾﻦﻣﻘﺎﻟﻪ ﺑﺎ ﺍﺷﺎﺭﻩ ﮐﻮﺗﺎﻩ ﺑﻪ ﺩﻭ ﻣﻘﻮﻟﻪ ‪ -‬ﻫﻨﺮ ﻭ ﺍﺳﻼﻣﯽ ‪ -‬ﺩﺭ ﺭﻭﺳﺘﺎﻫﺎﯼ ﻣﺮﺍﮐﺶ‪ ،‬ﻣﮑﺎﻧﯿﺴﻢ ﻫﺎﯾﯽ ﺭﺍ ﺩﺭ ﻓﺮﺁﯾﻨﺪ ﺑﺎﻓﻨﺪﮔﯽ ﻣﺮﺗﺒﻂ ﺑﺎ‬

‫ﻣﻮﺿﻮﻉﻣﯽ ﭘﺮﺩﺍﺯﺩ ﮐﻪ ﭼﮕﻮﻧﻪ ﺳﻔﺎﻝ ﮔﺮﺍﻥ ﺑﺮﺍﯼ ﺑﺎﺯﯾﺎﺑﯽ ﻣﻬﺎﺭﺕ ﻓﻨﯽ ﻻﺯﻡ‪ ،‬ﮐﺎﺷﯽ ﻫﺎﯼ ﻧﻘﺎﺷﯽ ﺷﺪﻩ ﺑﺎ ﻟﻌﺎﺏ‬

‫ﺑﺮﺁﻭﺭﺩﻩﮐﻨﻨﺪ‪ .‬ﺍﻃﻼﻋﺎﺕ ﺛﺒﺖ ﺷﺪﻩ ﺩﺭ ﻣﻮﺭﺩ ﻓﺮﺁﯾﻨﺪﻫﺎﯼ ﻓﻨﯽ ﺗﻮﺳﻂ ﺻﻨﻌﺘﮕﺮﺍﻥ ﺑﻮﻣﯽ ﺑﺮﺍﯼ ﺳﻔﺎﻝ ﺍﯾﺮﺍﻧﯽ ﻧﺎﺩﺭ‬ ‫ﺍﺳﺖ‪.‬ﺑﺎ ﺍﯾﻦ ﺣﺎﻝ‪ ،‬ﺑﺮﺍﯼ ﻗﺮﻥ ﻧﻮﺯﺩﻫﻢ‪ ،‬ﻣﺎ ﺧﻮﺵ ﺷﺎﻧﺲ ﻫﺴﺘﯿﻢ ﮐﻪ ﯾﮏ ﺍﺳﺘﺎﺩ ﺳﻔﺎﻟﮕﺮ ﺑﻪ ﻧﺎﻡ »ﻋﻠﯽ ﻣﺤﻤﺪ‬

‫ﺍﺻﻔﻬﺎﻧﯽ«ﺩﺍﺭﯾﻢ ﮐﻪ ﺁﺛﺎﺭﺵ ﻓﻮﻕ ﺍﻟﻌﺎﺩﻩ ﻣﺴﺘﻨﺪ ﺍﺳﺖ‪ .‬ﺑﺮ ﺍﺳﺎﺱ ﺗﻮﺿﯿﺤﺎﺗﯽ ﮐﻪ ﺩﺭ ﻣﻮﺭﺩ ﺳﺎﺧﺖ ﮐﺎﺷﯽ ﻫﺎﯼ‬

‫ﺩﺍﺭﺩ‪ -‬ﺑﯿﻦ ﻓﻀﯿﻠﺖ ﻓﻨﯽ ﻭ ﻓﻀﯿﻠﺖ ﺍﻧﺴﺎﻧﯽ‪ .‬ﻭ )‪ (3‬ﭘﺎﺭﺍﺩﺍﯾﻢ "ﺭﺍﺯﺩﺍﺭﯼ ﺑﻪ ﻋﻨﻮﺍﻥ ﺯﯾﻨﺖ" ﺭﺍ ﻣﻌﺮﻓﯽ ﻣﯽ ﮐﻨﺪ ﺗﺎ ﺗﻮﺿﯿﺢ ﺩﻫﺪ ﮐﻪ‬

‫ﭼﮕﻮﻧﻪﺩﺭ ﻃﻮﻝ ﻓﺮﺁﯾﻨﺪ ﯾﺎﺩﮔﯿﺮﯼ‪،‬‬

‫ﺭﻧﮓ ﺁﻣﯿﺰﯼﺯﯾﺮ ﻟﻌﺎﺏ ﺩﺍﺷﺖ ﻭ ﻧﺘﺎﯾﺞ ﺗﺤﻠﯿﻠﯽ ﺍﺯ ﻧﻤﻮﻧﻪ ﻫﺎﯼ ﻣﻮﺍﺩ ﺑﺪﻧﻪ‪ ،‬ﺭﻧﮕﺪﺍﻧﻪ ﻫﺎ ﻭ ﻟﻌﺎﺏ ﻫﺎﯾﯽ ﮐﻪ ﺑﺮﺍﯼ ﺗﺸﺮﯾﺢ‬

‫ﺭﺳﺎﻟﻪﻭ ﻫﻤﭽﻨﯿﻦ ﮐﺎﺷﯽ ﻫﺎﯼ ﺗﻤﺎﻡ ﺷﺪﻩ ﺍﺵ ﺍﺭﺍﺉﻪ ﮐﺮﺩ‪ ،‬ﺍﯾﻦ ﻣﻘﺎﻟﻪ ﺑﻪ ﺑﺮﺭﺳﯽ ﻧﻘﺶ ﻭﯼ ﺩﺭ ﺗﻮﺳﻌﻪ ﺗﮑﻨﯿﮏ‬

‫ﺗﺰﺉﯿﻨﯽﻧﻘﺎﺷﯽ ﺯﯾﺮ ﻟﻌﺎﺏ ﻣﯽ ﭘﺮﺩﺍﺯﺩ‪ .‬ﻫﻤﭽﻨﯿﻦ ﺑﻪ ﻗﺪﺭﺩﺍﻧﯽ ﺍﺯ ﺍﯾﻦ ﺳﻔﺎﻟﮕﺮﺍﻥ ﺑﻪ ﺧﺎﻃﺮ ﺩﺳﺘﺎﻭﺭﺩﻫﺎﯾﺸﺎﻥ ﺩﺭ ﺳﻨﺘﯽ‬ ‫ﮐﻪﺍﯾﺮﺍﻥ ﺑﻪ ﺁﻥ ﻣﺸﻬﻮﺭ ﺑﻮﺩ‪ ،‬ﻣﯽ ﭘﺮﺩﺍﺯﺩ‪.‬‬

‫ﺩﺭﻃﻮﻝ ﺩﻭﺭﻩ ﮐﺎﺭﺁﻣﻮﺯﯼ‪ ،‬ﺻﺮﻑ ﻧﻈﺮ ﺍﺯ ﻭﯾﮋﮔﯽ ﻏﯿﺮﺭﺳﻤﯽ ﺁﻥ ﯾﺎ ﭘﯿﻮﻧﺪﻫﺎﯾﯽ ﮐﻪ ﻣﻤﮑﻦ ﺍﺳﺖ ﻣﻌﻠﻢ ﻭ ﺷﺎﮔﺮﺩ ﺭﺍ ﺑﻪ ﻫﻢ ﭘﯿﻮﻧﺪ ﺩﻫﺪ‪،‬‬

‫ﺭﺍﺑﻄﻪﺧﺎﺻﯽ ﺑﯿﻦ ﺁﻧﻬﺎ ﺷﮑﻞ ﻣﯽ ﮔﯿﺮﺩ ‪ -‬ﺭﺍﺑﻄﻪ ﺍﯼ ﮐﻪ ﻣﯽ ﺗﻮﺍﻧﺪ ﺳﺎﻝ ﻫﺎ ﻃﻮﻝ ﺑﮑﺸﺪ ﻭ ﻣﻤﮑﻦ ﺍﺳﺖ ﭘﺲ ﺍﺯ ﺗﺒﺪﯾﻞ ﺷﺎﮔﺮﺩ ﺑﻪ ﯾﮏ‬

‫ﺑﺎﻓﻨﺪﻩﺑﺎ ﺗﺠﺮﺑﻪ ﺍﺩﺍﻣﻪ ﯾﺎﺑﺪ‪ .‬ﺍﯾﻦ ﺭﺍﺑﻄﻪ ﻧﻪ ﺗﻨﻬﺎ ﻣﺒﺘﻨﯽ ﺑﺮ ﮐﺴﺐ ﺩﺍﻧﺶ ﻓﻨﯽ ﺍﺳﺖ‪ ،‬ﺑﻠﮑﻪ ﺷﺎﮔﺮﺩ ﺑﻪ ﺍﺳﺘﺎﺩ ﺑﺎﻓﻨﺪﻩ ﺧﻮﺩ ﻧﮕﺎﻩ ﻣﯽ ﮐﻨﺪ ﻭ‬ ‫ﺗﻤﺎﻡﺍﻋﻤﺎﻝ ﻭ ﺣﺮﮐﺎﺕ ﻓﻨﯽ ﺍﻭ ﺭﺍ ﻣﺸﺎﻫﺪﻩ ﻭ ﺗﮑﺮﺍﺭ ﻣﯽ ﮐﻨﺪ‪.‬‬

‫ﻣﯿﺮﯾﺎﻡﻋﻠﯽ ﺩﯼ ﺍﻭﻧﺰﺍﮔﺎ‬ ‫ﻣﺤﻘﻖﻣﺴﺘﻘﻞ‬

‫ﺭﺍﺯﺩﺍﺭﯼﺑﻪ ﻋﻨﻮﺍﻥ ﺯﯾﻨﺖ‪:‬‬ ‫ﺍﻧﺘﻘﺎﻝﺩﺍﻧﺶ ﺩﺭ ﻃﻮﻝ ﻓﺮﺁﯾﻨﺪ ﺑﺎﻓﻨﺪﮔﯽ ﺩﺭ ﺭﻭﺳﺘﺎﯾﯽ‬ ‫ﻣﺮﺍﮐﺶ‬

‫ﻣﻤﮑﻦﺍﺳﺖ ﺩﯾﺪﻥ ﻣﻘﺎﻟﻪ ﺍﯼ ﺩﺭ ﻣﻮﺭﺩ ﺑﺎﻓﺖ ﺭﻭﺳﺘﺎﯾﯽ ﻣﺮﺍﮐﺶ ﮐﻪ ﺩﺭ ﭘﺎﻧﻞ ﻫﻨﺮ ﺍﺳﻼﻣﯽ ﮔﻨﺠﺎﻧﺪﻩ ﺷﺪﻩ‬

‫‪-‬ﺑﻠﮑﻪ ﺷﺎﻣﻞ ﺍﻧﺘﻘﺎﻝ ﺍﺭﺯﺵ ﻫﺎ ﻭ ﺍﻋﻤﺎﻝ ﺍﺟﺘﻤﺎﻋﯽ‪ ،‬ﺍﺧﻼﻗﯽ ﻭ ﻣﻌﻨﻮﯼ ﻧﯿﺰ ﻣﯽ ﺷﻮﺩ‪ .‬ﻫﻤﺎﻧﻄﻮﺭ ﮐﻪ ﺧﻮﺍﻫﯿﻢ ﺩﯾﺪ‪ ،‬ﺍﺳﺘﺎﺩ ﺑﺎﻓﻨﺪﻩ ﻧﺸﺎﻥ‬

‫ﺩﻫﻨﺪﻩﯾﮏ ﺍﻟﮕﻮ ﺍﺳﺖ‪ :‬ﺁﮔﺎﻩ‪ ،‬ﺷﺮﺍﻓﺘﻤﻨﺪ‪ ،‬ﺑﺎﻫﻮﺵ‪ ،‬ﺧﻼﻕ‪ ،‬ﻗﺪﺭﺗﻤﻨﺪ‪ .‬ﺩﺭ ﺣﺎﻟﯽ ﮐﻪ ﺭﺍﺑﻄﻪ ﺍﺳﺘﺎﺩ ﻭ ﺷﺎﮔﺮﺩ ﺑﻪ ﻃﻮﺭ ﮔﺴﺘﺮﺩﻩ ﺗﻮﺳﻂ‬

‫ﺣﻤﻮﺩﯼ)‪ (1997‬ﺑﻪ ﻋﻨﻮﺍﻥ ﺍﻟﮕﻮﯼ ﺟﺎﻣﻌﻪ ﻣﺮﺍﮐﺶ ﻣﻮﺭﺩ ﺑﺤﺚ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ ،‬ﻫﺮﮔﺰ ﺩﺭ ﭼﺎﺭﭼﻮﺏ ﺍﻋﻤﺎﻝ ﺯﻧﺎﻥ ﺩﺭ ﻣﺮﺍﮐﺶ ﻣﻮﺭﺩ‬

‫ﺑﺤﺚﻗﺮﺍﺭ ﻧﮕﺮﻓﺘﻪ ﺍﺳﺖ‪.‬‬

‫ﺩﺭﻧﻬﺎﯾﺖ‪ ،‬ﺍﺯ ﺁﻧﺠﺎﯾﯽ ﮐﻪ ﺁﯾﯿﻦ ﻫﺎ ﻭ ﺷﯿﻮﻩ ﻫﺎﯼ ﺑﺎﻓﺘﻨﯽ ﺷﺮﺡ ﺩﺍﺩﻩ ﺷﺪﻩ ﺩﺭ ﻣﻘﺎﻟﻪ ﻣﻦ ﺑﺮﺍﯼ ﻗﺮﻥ ﻫﺎ ﺗﻘﺮﯾﺒﺎ ًﺑﺪﻭﻥ ﺗﻐﯿﯿﺮ ﺑﺎﻗﯽ‬

‫ﻣﺎﻧﺪﻩ ﺍﻧﺪ‪،‬ﻣﻦ ﺍﻃﻤﯿﻨﺎﻥ ﺩﺍﺭﻡ ﮐﻪ ﻣﯽ ﺗﻮﺍﻧﯿﻢ ﺍﺯ ﯾﺎﺩﮔﯿﺮﯼ ﺩﺭ ﻣﻮﺭﺩ ﺍﺟﺮﺍﻫﺎﯼ ﻣﻌﺎﺻﺮ ﺑﻬﺮﻩ ﺑﺒﺮﯾﻢ ﮐﻪ ﺑﻪ ﻣﺎ ﺩﺭﮎ ﺗﻘﺮﯾﺒﯽ ﺍﺯ ﺍﻫﻤﯿﺖ‬ ‫ﺑﺎﻓﺘﻦﻭ ﺍﻧﺘﻘﺎﻝ ﺩﺍﻧﺶ ﺑﯿﻦ ﺑﺎﻓﻨﺪﮔﺎﻥ ﺩﺭ ﮔﺬﺷﺘﻪ ﺭﺍ ﻣﯽ ﺩﻫﺪ‪ .‬ﺑﺎﺭ‪.‬‬

‫ﻣﻮﺯﻩ‪Staatliche Museen zu Berlin‬‬

‫ﻓﯿﮕﻮﺭﺍﺗﯿﻮﺭﺍ ﺁﺯﻣﺎﯾﺶ ﮐﺮﺩﻧﺪ ﻭ ﻫﻤﭽﻨﯿﻦ ﭼﮕﻮﻧﻪ ﺁﻥ ﺭﺍ ﺑﯿﺸﺘﺮ ﺗﻮﺳﻌﻪ ﺩﺍﺩﻧﺪ ﺗﺎ ﻧﯿﺎﺯ ﺯﻣﺎﻥ ﺑﺮﺍﯼ ﻧﻤﺎﯾﺶ ﺩﻗﯿﻖ ﺭﺍ‬

‫ﺑﻪﭼﻨﺪﯾﻦ ﻋﺎﻣﻞ ﻣﺮﺗﺒﻂ ﺍﺳﺖ‪ :‬ﺑﺎﻓﻨﺪﮔﺎﻥ ﻣﻌﺘﻘﺪﻧﺪ ﮐﻪ ﺑﯿﻦ ﮐﯿﻔﯿﺖ ﻓﻨﯽ ﻣﻨﺴﻮﺟﺎﺕ ﻭ ﮐﯿﻔﯿﺖ ﺍﻧﺴﺎﻧﯽ ﺑﺎﻓﻨﺪﻩ ﻫﻤﺒﺴﺘﮕﯽ ﻭﺟﻮﺩ‬

‫ﺭﺉﯿﺲﻭ ﺳﺨﻨﺮﺍﻥ‪ :‬ﺍﺳﺘﻔﺎﻥ ﻭﺑﺮ‪ ،‬ﻣﻮﺯﻩ ﻓﻮﺭ ﺍﺳﻼﻣﯿﻪ ﮐﻮﻧﺴﺖ ﺍﻡ ﭘﺮﮔﺎﻣﻮﻥ‬

‫ﻣﻮﻓﻘﯿﺖﯾﮏ ﻣﺤﺼﻮﻝ ﺑﻪ ﺁﮔﺎﻫﯽ ﺍﺯ ﮐﯿﻔﯿﺖ ﻣﻮﺍﺩ ﺍﻭﻟﯿﻪ ﻭ ﻓﺮﺁﯾﻨﺪ ﺳﺎﺧﺖ ﺑﺴﺘﮕﯽ ﺩﺍﺭﺩ‪ .‬ﺍﯾﻦ ﻣﻘﺎﻟﻪ ﺑﻪ ﺑﺮﺭﺳﯽ ﺍﯾﻦ‬

‫ﻓﻨﯽﻭ ﻏﯿﺮ ﻓﻨﯽ‪ ،‬ﮐﻼﻣﯽ ﻭ ﻏﯿﺮﮐﻼﻣﯽ( ﺍﺯ ﺍﺳﺘﺎﺩ ﺑﺎﻓﻨﺪﻩ ﺑﻪ ﺷﺎﮔﺮﺩ ﺭﺍ ﻣﺴﺘﻨﺪ ﻣﯽ ﮐﻨﺪ‪ (2) .‬ﺗﻮﺿﯿﺢ ﻣﯽ ﺩﻫﺪ ﮐﻪ ﭼﮕﻮﻧﻪ ﺍﻧﺘﺨﺎﺏ ﻧﻘﻮﺵ‬

‫ﺁﻧﭽﻪﻫﻨﺮﻣﻨﺪﺍﻥ ﻭ ﺻﻨﻌﺘﮕﺮﺍﻥ ﻣﯽ ﺩﺍﻧﺴﺘﻨﺪ‬

‫ﺍﻧﺘﻘﺎﻝﺩﺍﻧﺶ ﻣﻌﺮﻓﯽ ﻣﯽ ﮐﻨﺪ‪ .‬ﺍﯾﻦ ﮔﺰﺍﺭﺵ ﺷﺨﺼﯽ ﺍﺯ ﮐﺎﺭ ﻣﯿﺪﺍﻧﯽ ﺩﻭ ﺳﺎﻟﻪ ﻣﻦ ﺩﺭ ﻣﯿﺎﻥ ﺑﺎﻓﻨﺪﮔﺎﻧﯽ ﺍﺳﺖ ﮐﻪ ﻣﺸﺎﻫﺪﺍﺕ‬

‫ﻣﺸﺎﺭﮐﺘﯽﻭ ﺷﺎﮔﺮﺩﯼ ﻣﻦ ﺩﺭ ﺭﺷﺘﻪ ﺑﺎﻓﻨﺪﮔﯽ ﺩﺭ ﮐﻮﻩ ﻫﺎﯼ ﺍﻃﻠﺲ ﻣﯿﺎﻧﻪ ﺭﺍ ﺍﻧﺠﺎﻡ ﻣﯽ ﺩﻫﻨﺪ‪ .‬ﻗﻮﻡ ﻧﮕﺎﺭﯼ ﻣﻦ )‪ (1‬ﻧﺤﻮﻩ ﺍﻧﺘﻘﺎﻝ ﺩﺍﻧﺶ )‬

‫ﺍﺳﺖﺷﮕﻔﺖ ﺍﻧﮕﯿﺰ ﺑﻪ ﻧﻈﺮ ﺑﺮﺳﺪ‪ ،‬ﺯﯾﺮﺍ ﺍﻏﻠﺐ ﺍﯾﻦ ﮐﺎﺭ ﺑﺎﻓﻨﺪﮔﯽ ﺑﻪ ﻋﻨﻮﺍﻥ ﯾﮏ ﻓﻌﺎﻟﯿﺖ ﺧﺎﻧﮕﯽ ﺧﻮﺷﺎﯾﻨﺪ‬ ‫ﺗﻠﻘﯽﻣﯽ ﺷﻮﺩ ﮐﻪ ﺯﻧﺎﻥ ﺩﺭ ﺍﻭﻗﺎﺕ ﻓﺮﺍﻏﺖ ﺧﻮﺩ ﺍﻧﺠﺎﻡ ﻣﯽ ﺩﻫﻨﺪ‪ ،‬ﻭ ﻣﻨﺴﻮﺟﺎﺕ ﺭﻭﺳﺘﺎﯾﯽ ﺷﻤﺎﻝ ﺁﻓﺮﯾﻘﺎ‬ ‫ﺗﻤﺎﯾﻞﺩﺍﺭﻧﺪ‪ .‬ﻣﺼﻨﻮﻋﺎﺕ ﺗﺰﺉﯿﻨﯽ ﺟﺰﺉﯽ ﯾﺎ ﺳﻮﻏﺎﺗﯽ ﻫﺎﯼ ﺗﻮﺭﯾﺴﺘﯽ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻪ ﻣﯽ ﺷﻮﺩ‪.‬‬

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‫ﻣﺎﺭﮐﻮﺱﻣﯿﻠﻮﺭﺍﯾﺖ‬

‫ﺍﯾﻦﮐﺮﯾﺴﺘﺎﻝ ﺳﻨﮕﯽ ﺍﺯ ﻃﺮﯾﻖ ﺑﺎﺯﺭﮔﺎﻧﺎﻥ ﺍﯾﺮﺍﻧﯽ ﮐﻪ ﺑﺎ ﻗﺎﯾﻖ ﻫﺎ ﻭ ﻣﻠﻮﺍﻧﺎﻥ ﻋﻤﺎﻧﯽ ﺳﻔﺮ ﻣﯽ ﮐﺮﺩﻧﺪ ﺑﻪ ﭘﺎﯾﺘﺨﺖ ﻫﺎﯼ ﺑﻐﺪﺍﺩ ﻭ ﻗﺎﻫﺮﻩ‬

‫ﺩﺍﻧﺸﮕﺎﻩﻭﯾﮑﺘﻮﺭﯾﺎ‪ ،‬ﮐﺎﻧﺎﺩﺍ‬

‫ﺭﺳﯿﺪ‪.‬ﺁﻧﻬﺎ ﻣﺎﻩ ﻫﺎ ﺑﻪ ﺷﺮﻕ ﺁﻓﺮﯾﻘﺎ ﺳﻔﺮ ﮐﺮﺩﻧﺪ ﻭ ﺩﺭ ﺑﺴﯿﺎﺭﯼ ﺍﺯ ﺑﻨﺎﺩﺭ ﺳﻮﺍﺣﯿﻠﯽ ﻣﺎﻧﻨﺪ ﻣﻮﻣﺒﺎﺳﺎ‪ ،‬ﺯﻧﮕﺒﺎﺭ ﻭ ﮐﯿﻠﻮﺍ ﻣﺴﺘﻘﺮ ﺷﺪﻧﺪ‪.‬‬

‫ﺧﻮﺩﯼﻫﺎ ﻭ ﺧﻮﺩﯼ ﻫﺎ ﺩﺭ ﺍﻧﺘﻘﺎﻝ ﺩﺍﻧﺶ‪ :‬ﻣﻮﺭﺩﯼ ﺍﺯ ﺷﯿﻮﻩ ﻫﺎﯼ‬ ‫ﺳﻨﺘﯽﺻﻨﺎﯾﻊ ﺩﺳﺘﯽ ﺩﺭ ﺳﻮﺭﯾﻪ ﺑﺰﺭﮒ‬

‫ﺣﺮﮐﺖﮐﺮﺩﻧﺪ‪ .‬ﭘﺲ ﺍﺯ ﻭﺭﻭﺩ ﺑﻪ ﺟﺰﯾﺮﻩ ﻣﺎﯾﻮﺕ‪ ،‬ﺑﺎﺯﺭﮔﺎﻧﺎﻥ ﺳﺮﺍﻣﯿﮏ ﻭ ﺳﺎﯾﺮ ﺍﻗﻼﻡ ﺭﺍ ﺑﺎ ﮐﺮﯾﺴﺘﺎﻝ ﺳﻨﮕﯽ ﮔﺮﺍﻧﺒﻬﺎ ﻣﺒﺎﺩﻟﻪ ﮐﺮﺩﻧﺪ‪ ،‬ﮐﻪ ﺗﻨﻬﺎ‬

‫ﺑﺎﺯﺩﯾﺪﮐﻨﻨﺪﮔﺎﻥﺍﺭﻭﭘﺎﯾﯽ ﻗﺮﻭﻥ ﻭﺳﻄﺎﯾﯽ ﺍﺯ ﺳﻮﺭﯾﻪ ﺑﺰﺭﮒ ﺑﻪ ﺍﯾﻦ ﻭﺍﻗﻌﯿﺖ ﺍﺷﺎﺭﻩ ﻣﯽ ﮐﻨﻨﺪ ﮐﻪ ﺗﺨﺼﺺ ﻫﺎﯼ ﺻﻨﺎﯾﻊ ﺩﺳﺘﯽ ﺷﻬﺮﯼ ﺍﻏﻠﺐ‬

‫ﺍﺯﻧﺴﻞ ﻫﺎﯼ ﯾﮏ ﺧﺎﻧﻮﺍﺩﻩ ﻣﻨﺘﻘﻞ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻫﻤﭽﻨﯿﻦ ﺍﺩﻋﺎﻫﺎﯾﯽ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﮐﻪ ﺍﻋﻤﺎﻝ ﻣﺤﺪﻭﺩ ﮐﻨﻨﺪﻩ ﺍﺻﻨﺎﻑ ﺍﺳﻼﻣﯽ ﺑﻪ ﺍﯾﻦ ﻣﻌﻨﯽ‬

‫ﺍﺳﺖﮐﻪ ﭘﺴﺮﺍﻥ ﺭﺍﻫﯽ ﺟﺰ ﭘﯿﺮﻭﯼ ﺍﺯ ﭘﺪﺭﺍﻥ ﺧﻮﺩ ﻧﺪﺍﺭﻧﺪ‪ .‬ﻣﺸﺎﻫﺪﺍﺕ ﻗﻮﻡ ﻧﮕﺎﺭﯼ ﺟﺪﯾﺪﺗﺮ ﺍﻧﺘﻘﺎﻝ ﻣﺎﺩﺭﺯﺍﺩﯼ ﺩﺍﻧﺶ ﺩﺭ ﺑﺮﺧﯽ ﺍﺯ ﻓﻌﺎﻟﯿﺖ‬

‫ﻫﺎﯼﺻﻨﺎﯾﻊ ﺩﺳﺘﯽ‪ ،‬ﺑﻪ ﻭﯾﮋﻩ ﺩﺭ ﺯﻣﯿﻨﻪ ﻫﺎﯼ ﺭﻭﺳﺘﺎﯾﯽ ﺭﺍ ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﺍﺳﺖ‪ .‬ﺳﺎﺧﺘﺎﺭﻫﺎﯼ ﮐﺎﺭﮔﺎﻩ ﺍﻧﺘﻘﺎﻝ ﺩﺍﺩﻩ ﻫﺎﯼ ﻓﻨﯽ ﻣﻬﻢ ﺭﺍ ﺍﺯ ﺍﺳﺘﺎﺩﺍﻥ‬

‫ﺑﻪﮐﺎﺭﺁﻣﻮﺯﺍﻥ ﻭ ﮐﺎﺭﺁﻣﻮﺯﺍﻥ ﺗﺴﻬﯿﻞ ﻣﯽ ﮐﺮﺩ‪ .‬ﺍﯾﻦ ﺑﻪ ﺍﺷﺘﺮﺍﮎ ﮔﺬﺍﺭﯼ ﺩﺍﻧﺶ ﺩﺭ ﻃﻮﻝ ﺯﻣﺎﻥ ﻣﻤﮑﻦ ﺍﺳﺖ ﺑﻪ ﺻﻮﺭﺕ ﺷﻔﺎﻫﯽ ﯾﺎ ﺍﺯ ﻃﺮﯾﻖ‬ ‫ﻧﻤﻮﺩﺍﺭﻫﺎ)ﻣﺎﻧﻨﺪ ﮐﺘﺎﺏ ﻫﺎﯼ ﺍﻟﮕﻮ( ﺑﻪ ﺩﺳﺖ ﺁﯾﺪ‪ .‬ﺍﻧﺘﻘﺎﻝ ﻣﺘﻦ ﺍﺣﺘﻤﺎﻻ ًﺑﺴﯿﺎﺭ ﮐﻤﺘﺮ ﺭﺍﯾﺞ ﺑﻮﺩ‪ ،‬ﺍﮔﺮﭼﻪ ﺻﻨﻌﺘﮕﺮﺍﻥ ﺭﺳﺎﻟﻪ ﻫﺎﯾﯽ ﻧﻮﺷﺘﻨﺪ ﻭ‬

‫ﺗﻌﺪﺍﺩﮐﻤﯽ ﺍﺯ ﺁﻧﻬﺎ ﺍﻣﺮﻭﺯﻩ ﺑﺎﻗﯽ ﻣﺎﻧﺪﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﻣﻘﺎﺑﻞ‪ ،‬ﻣﻨﺎﺑﻊ ﻣﺘﻨﯽ ﺍﺻﻠﯽ ﻣﺎ ﺩﺭ ﻣﻮﺭﺩ ﺻﻨﺎﯾﻊ ﺩﺳﺘﯽ ﺗﻮﺳﻂ ﮐﺴﺎﻧﯽ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‬ ‫ﮐﻪﺗﺠﺮﺑﻪ ﺍﻧﺪﮐﯽ ﯾﺎ ﺑﺪﻭﻥ ﺗﺠﺮﺑﻪ ﺩﺭ ﺷﯿﻮﻩ ﻫﺎﯼ ﺗﻮﻟﯿﺪﯼ ﮐﻪ ﺁﻧﻬﺎ ﺗﻮﺻﯿﻒ ﮐﺮﺩﻩ ﺍﻧﺪ‪ :‬ﻋﻠﻤﺎﯼ ﻣﺬﻫﺒﯽ‪ ،‬ﺑﺎﺯﺭﺳﺎﻥ ﺑﺎﺯﺍﺭ‪ ،‬ﻭ ﻣﺴﺎﻓﺮﺍﻥ‪ .‬ﺍﯾﻦ ﻣﻘﺎﻟﻪ‬

‫ﺳﭙﺲﺑﺮﺍﯼ ﺑﺪﺳﺖ ﺁﻭﺭﺩﻥ ﻃﻼ ﺑﻪ ﺳﻤﺖ ﺟﻨﻮﺏ ﺑﻪ ﺳﻤﺖ ﺳﻮﺍﺣﻞ ﻣﻮﺯﺍﻣﺒﯿﮏ ﯾﺎ ﺑﻪ ﺳﻤﺖ ﺟﻨﻮﺏ ﺷﺮﻗﯽ ﺑﺮﺍﯼ ﺭﺳﯿﺪﻥ ﺑﻪ ﮐﻮﻣﻮﺭ‬ ‫ﺑﻬﺘﺮﯾﻦﻗﻄﻌﺎﺕ ﺁﻥ ﺑﺎﻗﯽ ﻣﺎﻧﺪﻩ ﺑﻮﺩ‪.‬‬

‫ﺑﯿﻦﻗﺮﻥ ‪ 11‬ﻭ ‪ ،12‬ﮐﺮﯾﺴﺘﺎﻝ ﺳﻨﮕﯽ ﺩﺭ ﻋﺪﻥ‪ ،‬ﯾﻤﻦ ﺗﺨﻠﯿﻪ ﺷﺪ‪ .‬ﺁﺭﺷﯿﻮ ﺑﺎﺯﺭﮔﺎﻧﺎﻥ ﯾﻬﻮﺩﯼ ﻭ ﻣﺴﺎﻓﺮﺍﻥ ﺍﯾﺮﺍﻧﯽ ﺑﻪ ﻣﺎ ﻣﯽ ﮔﻮﯾﺪ ﮐﻪ‬

‫ﻣﺤﺼﻮﻻﺕﭘﺲ ﺍﺯ ﺣﻤﻞ ﻭ ﻧﻘﻞ ﻭ ﺍﺭﺳﺎﻝ ﺑﻪ ﺑﻨﺎﺩﺭ ﻣﺼﺮﯼ ﻋﺬﺍﺏ ﻭ ﻗﺼﯿﺮ ﺩﺭ ﺩﺭﯾﺎﯼ ﺳﺮﺥ ﺍﺭﺳﺎﻝ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺳﭙﺲ ﺍﯾﻦ ﮐﺎﻻﻫﺎﯼ‬

‫ﺍﺭﺯﺷﻤﻨﺪﺑﻪ ﺩﺭﻩ ﻧﯿﻞ ﺑﺎﺭﮔﯿﺮﯼ ﺷﺪ ﻭ ﺗﻮﺳﻂ ﻓﻠﻮﮐﺎ ﺑﻪ ﻗﺎﻫﺮﻩ ﻭ ﺍﺳﮑﻨﺪﺭﯾﻪ ﻣﻨﺘﻘﻞ ﺷﺪ‪ ،‬ﺟﺎﯾﯽ ﮐﻪ ﮐﺮﯾﺴﺘﺎﻝ ﺳﻨﮓ ﺗﻮﺳﻂ ﺻﻨﻌﺘﮕﺮﺍﻥ ﻣﺎﻫﺮ‬

‫ﺷﮑﻞﮔﺮﻓﺖ‪.‬‬

‫ﻣﻘﺎﻟﻪﻣﻦ ﭘﯿﭽﯿﺪﮔﯽ ﺗﺠﺎﺭﺕ ﺑﯿﻦ ﺍﻟﻤﻠﻠﯽ ﺩﺭ ﺍﻗﯿﺎﻧﻮﺱ ﻫﻨﺪ ﺭﺍ ﺩﺭ ﺍﻭﺍﯾﻞ ﻗﺮﻭﻥ ﻭﺳﻄﯽ ﻧﺸﺎﻥ ﻣﯽ ﺩﻫﺪ ‪» -‬ﺟﻬﺎﻧﯽ ﺳﺎﺯﯼ ﻗﺒﻞ ﺍﺯ ﺯﻣﺎﻥ‬ ‫ﺧﻮﺩ«‪.‬‬

‫ﺑﻪﺑﺮﺭﺳﯽ ﭘﯿﺎﻣﺪﻫﺎﯼ ﺗﮑﯿﻪ ﺑﺮ ﺷﻮﺍﻫﺪ »ﺑﯿﮕﺎﻧﮕﺎﻥ« ﺩﺭ ﺑﺎﺯﺳﺎﺯﯼ ﺷﯿﻮﻩ ﻫﺎﯼ ﺻﻨﺎﯾﻊ ﺩﺳﺘﯽ ﭘﯿﺸﺎﻣﺪﺭﻥ ﻣﯽ ﭘﺮﺩﺍﺯﺩ‪ .‬ﺑﺨﺶ ﭘﺎﯾﺎﻧﯽ ﺭﺍﻩ ﻫﺎﯾﯽ‬

‫ﺭﺍﭘﯿﺸﻨﻬﺎﺩ ﻣﯽ ﮐﻨﺪ ﮐﻪ ﺍﺯ ﻃﺮﯾﻖ ﺁﻧﻬﺎ ﻣﯽ ﺗﻮﺍﻧﯿﻢ ﺍﯾﻦ ﺩﺍﺩﻩ ﻫﺎ ﺭﺍ ﺑﺎ ﯾﺎﻓﺘﻪ ﻫﺎﯼ ﺑﺎﺳﺘﺎﻥ ﺷﻨﺎﺳﯽ‪ ،‬ﺗﺤﻠﯿﻞ ﻋﻠﻤﯽ ﻭ ﻗﻮﻡ ﻧﮕﺎﺭﯼ ﺗﻄﺒﯿﻖ ﺩﻫﯿﻢ‪.‬‬

‫ﺍﺳﺘﻔﺎﻥﭘﺮﺍﺩﯾﻨﺰ‬ ‫ﻣﻮﺳﺴﻪﻣﻄﺎﻟﻌﺎﺕ ﺗﻤﺪﻥ ﻫﺎﯼ ﻣﺴﻠﻤﺎﻥ‪ ،‬ﺩﺍﻧﺸﮕﺎﻩ ﺁﻗﺎﺧﺎﻥ‪ ،‬ﭘﺎﮐﺴﺘﺎﻥ‬

‫ﮐﺮﯾﺴﺘﺎﻝﺳﻨﮕﯽ ﺯﻧﺞ‪ :‬ﺍﺯ ﻣﺎﺩﺍﮔﺎﺳﮑﺎﺭ ﺗﺎ ﻗﺎﻫﺮﻩ ﻓﺎﻃﻤﯽ‬

‫ﺣﻔﺎﺭﯼﺑﺎﺳﺘﺎﻥ ﺷﻨﺎﺳﯽ ﺩﺭ ﻣﺎﯾﻮﺕ‪ ،‬ﺟﺰﯾﺮﻩ ﺍﯼ ﮐﻮﭼﮏ ﺍﺯ ﻣﺠﻤﻊ ﺍﻟﺠﺰﺍﯾﺮ ﮐﻮﻣﻮﺭ ﺩﺭ ﻏﺮﺏ ﺍﻗﯿﺎﻧﻮﺱ ﻫﻨﺪ‪ ،‬ﻣﻘﺎﺩﯾﺮ ﺯﯾﺎﺩﯼ ﺗﮑﻪ ﻫﺎﯼ ﮐﺮﯾﺴﺘﺎﻝ‬ ‫ﺳﻨﮕﯽﺭﺍ ﺑﻪ ﺷﮑﻞ ﺗﺮﺍﺷﻪ ﻫﺎ ﻭ ﺗﮑﻪ ﻫﺎﯾﯽ ﺑﺎ ﺍﻧﺪﺍﺯﻩ ﻫﺎﯼ ﻣﺨﺘﻠﻒ ﮐﺸﻒ ﮐﺮﺩ‪ .‬ﺍﯾﻦ ﺳﺎﯾﺖ ﮐﻪ ﺩﻣﺒﻨﯽ ﻧﺎﻡ ﺩﺍﺭﺩ‪ ،‬ﯾﮑﯽ ﺍﺯ ﺑﺰﺭﮔﺘﺮﯾﻦ ﻭ ﻏﻨﯽ‬

‫ﺗﺮﯾﻦﻣﮑﺎﻥ ﻫﺎﯼ ﺑﺎﺳﺘﺎﻥ ﺷﻨﺎﺳﯽ ﺩﺭ ﺗﻤﺎﻡ ﺷﺮﻕ ﺁﻓﺮﯾﻘﺎ ﺍﺳﺖ‪ .‬ﺍﻭﺝ ﺁﻥ ﺩﺭ ﻗﺮﻭﻥ ‪ 9‬ﺗﺎ ‪ 12‬ﺩﻭﺭﻩ ﺗﺠﺎﺭﺕ ﻓﺸﺮﺩﻩ ﺍﺑﺘﺪﺍ ﺑﺎ ﻋﺒﺎﺳﯿﺎﻥ ﺩﺭ ﺧﻠﯿﺞ‬ ‫ﻓﺎﺭﺱﻭ ﺳﭙﺲ ﺑﺎ ﺧﻼﻓﺖ ﻓﺎﻃﻤﯽ ﺩﺭ ﻣﺼﺮ ﺑﻮﺩ‪ .‬ﺩﻣﺒﻨﯽ ﻣﻮﺍﺩ ﺑﺎﺳﺘﺎﻥ ﺷﻨﺎﺳﯽ ﺑﺎ ﺛﺮﻭﺗﯽ ﺑﯽ ﺳﺎﺑﻘﻪ ﺑﺮﺍﯼ ﺁﻥ ﺯﻣﺎﻥ ﺭﺍ ﺑﺎ ﻣﻘﺪﺍﺭ ﺯﯾﺎﺩﯼ‬

‫ﺳﺮﺍﻣﯿﮏﭼﯿﻨﯽ ﻭ ﺍﯾﺮﺍﻧﯽ ﻭ ﻫﻤﭽﻨﯿﻦ ﻇﺮﻭﻑ ﺷﯿﺸﻪ ﺍﯼ ﺍﺯ ﺳﺮﺍﺳﺮ ﺟﻬﺎﻥ ﺍﺳﻼﻡ ﺗﺤﻮﯾﻞ ﺩﺍﺩ‪ .‬ﺍﯾﻦ ﺍﻧﺒﺎﺷﺖ ﺛﺮﻭﺕ ﺗﺼﺎﺩﻓﯽ ﻧﺒﻮﺩ ﻭ ﺳﺎﻟﻬﺎ‬ ‫ﺑﺎﺳﺘﺎﻥﺷﻨﺎﺳﺎﻥ ﺑﻪ ﺩﻧﺒﺎﻝ ﻣﻨﺒﻊ ﺛﺮﻭﺕ ﺍﯾﻦ ﻣﺤﻮﻃﻪ ﺑﻮﺩﻧﺪ‪.‬‬

‫ﺍﯾﻦﮐﺸﻒ ﻣﺎ ﺭﺍ ﺑﻪ ﺍﯾﻦ ﻧﺘﯿﺠﻪ ﻣﯽ ﺭﺳﺎﻧﺪ ﮐﻪ ﻣﯽ ﺗﻮﺍﻥ ﺍﺯ ﻣﻨﺎﺑﻊ ﻣﮑﺘﻮﺏ ﻋﺮﺑﯽ ﺩﺭ ﻣﻮﺭﺩ ﺗﺠﺎﺭﺕ ﺩﺭ ﺍﻗﯿﺎﻧﻮﺱ ﻫﻨﺪ ﺩﺭ ﺩﻭﺭﻩ ﻗﺮﻭﻥ ﻭﺳﻄﯽ‬

‫ﺩﻗﯿﻖﺗﺮ ﺑﻮﺩ ﻭ ﻣﺴﯿﺮ ﺩﻗﯿﻖ ﺗﺠﺎﺭﺕ ﺑﯿﻦ ﺍﻟﻤﻠﻠﯽ ﺭﺍ ﻣﺸﺨﺺ ﮐﺮﺩ‪ .‬ﻣﻨﺎﺑﻊ ﻋﺮﺑﯽ ﻭ ﻓﺎﺭﺳﯽ ﺩﺭ ﻣﻮﺭﺩ ﺗﺠﺎﺭﺕ ﺩﺭ ﺍﻗﯿﺎﻧﻮﺱ ﻫﻨﺪ ﺩﺭ ﺩﻭﺭﻩ‬

‫ﻗﺮﻭﻥﻭﺳﻄﯽ ﺍﺯ ﮐﺮﯾﺴﺘﺎﻝ ﺳﻨﮕﯽ ﺍﺯ ﺟﺰﺍﯾﺮ ﺯﻧﺞ ﺩﺭ ﺷﺮﻕ ﺁﻓﺮﯾﻘﺎ ﯾﺎﺩ ﻣﯽ ﮐﻨﻨﺪ‪ .‬ﺍﯾﻦ ﻣﺎﺩﻩ ﻣﻌﺪﻧﯽ ﺑﻪ ﺻﻮﺭﺕ ﭘﯿﺶ ﻧﻮﯾﺲ ﺍﺯ ﻣﺎﺩﺍﮔﺎﺳﮑﺎﺭ ﺑﻪ‬

‫ﻣﺎﯾﻮﺕﻭﺍﺭﺩ ﺷﺪ‪ ،‬ﺳﭙﺲ ﺍﻧﺪﺍﺯﻩ ﺁﻥ ﺗﻐﯿﯿﺮ ﯾﺎﻓﺖ ﻭ ﺑﻪ ﺧﺎﻭﺭﻣﯿﺎﻧﻪ ‪ -‬ﻋﻤﺪﺗﺎ ًﺑﻪ ﺍﯾﺮﺍﻥ ﻭ ﻣﺼﺮ ‪ -‬ﺻﺎﺩﺭ ﺷﺪ‪.‬‬

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‫ﻣﺎﺭﮐﻮﺱﻣﯿﻠﻮﺭﺍﯾﺖ‬

‫ﺍﯾﻦﮐﺮﯾﺴﺘﺎﻝ ﺳﻨﮕﯽ ﺍﺯ ﻃﺮﯾﻖ ﺑﺎﺯﺭﮔﺎﻧﺎﻥ ﺍﯾﺮﺍﻧﯽ ﮐﻪ ﺑﺎ ﻗﺎﯾﻖ ﻫﺎ ﻭ ﻣﻠﻮﺍﻧﺎﻥ ﻋﻤﺎﻧﯽ ﺳﻔﺮ ﻣﯽ ﮐﺮﺩﻧﺪ ﺑﻪ ﭘﺎﯾﺘﺨﺖ ﻫﺎﯼ ﺑﻐﺪﺍﺩ ﻭ ﻗﺎﻫﺮﻩ‬

‫ﺩﺍﻧﺸﮕﺎﻩﻭﯾﮑﺘﻮﺭﯾﺎ‪ ،‬ﮐﺎﻧﺎﺩﺍ‬

‫ﺭﺳﯿﺪ‪.‬ﺁﻧﻬﺎ ﻣﺎﻩ ﻫﺎ ﺑﻪ ﺷﺮﻕ ﺁﻓﺮﯾﻘﺎ ﺳﻔﺮ ﮐﺮﺩﻧﺪ ﻭ ﺩﺭ ﺑﺴﯿﺎﺭﯼ ﺍﺯ ﺑﻨﺎﺩﺭ ﺳﻮﺍﺣﯿﻠﯽ ﻣﺎﻧﻨﺪ ﻣﻮﻣﺒﺎﺳﺎ‪ ،‬ﺯﻧﮕﺒﺎﺭ ﻭ ﮐﯿﻠﻮﺍ ﻣﺴﺘﻘﺮ ﺷﺪﻧﺪ‪.‬‬

‫ﺧﻮﺩﯼﻫﺎ ﻭ ﺧﻮﺩﯼ ﻫﺎ ﺩﺭ ﺍﻧﺘﻘﺎﻝ ﺩﺍﻧﺶ‪ :‬ﻣﻮﺭﺩﯼ ﺍﺯ ﺷﯿﻮﻩ ﻫﺎﯼ‬ ‫ﺳﻨﺘﯽﺻﻨﺎﯾﻊ ﺩﺳﺘﯽ ﺩﺭ ﺳﻮﺭﯾﻪ ﺑﺰﺭﮒ‬

‫ﺣﺮﮐﺖﮐﺮﺩﻧﺪ‪ .‬ﭘﺲ ﺍﺯ ﻭﺭﻭﺩ ﺑﻪ ﺟﺰﯾﺮﻩ ﻣﺎﯾﻮﺕ‪ ،‬ﺑﺎﺯﺭﮔﺎﻧﺎﻥ ﺳﺮﺍﻣﯿﮏ ﻭ ﺳﺎﯾﺮ ﺍﻗﻼﻡ ﺭﺍ ﺑﺎ ﮐﺮﯾﺴﺘﺎﻝ ﺳﻨﮕﯽ ﮔﺮﺍﻧﺒﻬﺎ ﻣﺒﺎﺩﻟﻪ ﮐﺮﺩﻧﺪ‪ ،‬ﮐﻪ ﺗﻨﻬﺎ‬

‫ﺑﺎﺯﺩﯾﺪﮐﻨﻨﺪﮔﺎﻥﺍﺭﻭﭘﺎﯾﯽ ﻗﺮﻭﻥ ﻭﺳﻄﺎﯾﯽ ﺍﺯ ﺳﻮﺭﯾﻪ ﺑﺰﺭﮒ ﺑﻪ ﺍﯾﻦ ﻭﺍﻗﻌﯿﺖ ﺍﺷﺎﺭﻩ ﻣﯽ ﮐﻨﻨﺪ ﮐﻪ ﺗﺨﺼﺺ ﻫﺎﯼ ﺻﻨﺎﯾﻊ ﺩﺳﺘﯽ ﺷﻬﺮﯼ ﺍﻏﻠﺐ‬

‫ﺍﺯﻧﺴﻞ ﻫﺎﯼ ﯾﮏ ﺧﺎﻧﻮﺍﺩﻩ ﻣﻨﺘﻘﻞ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻫﻤﭽﻨﯿﻦ ﺍﺩﻋﺎﻫﺎﯾﯽ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﮐﻪ ﺍﻋﻤﺎﻝ ﻣﺤﺪﻭﺩ ﮐﻨﻨﺪﻩ ﺍﺻﻨﺎﻑ ﺍﺳﻼﻣﯽ ﺑﻪ ﺍﯾﻦ ﻣﻌﻨﯽ‬

‫ﺍﺳﺖﮐﻪ ﭘﺴﺮﺍﻥ ﺭﺍﻫﯽ ﺟﺰ ﭘﯿﺮﻭﯼ ﺍﺯ ﭘﺪﺭﺍﻥ ﺧﻮﺩ ﻧﺪﺍﺭﻧﺪ‪ .‬ﻣﺸﺎﻫﺪﺍﺕ ﻗﻮﻡ ﻧﮕﺎﺭﯼ ﺟﺪﯾﺪﺗﺮ ﺍﻧﺘﻘﺎﻝ ﻣﺎﺩﺭﺯﺍﺩﯼ ﺩﺍﻧﺶ ﺩﺭ ﺑﺮﺧﯽ ﺍﺯ ﻓﻌﺎﻟﯿﺖ‬

‫ﻫﺎﯼﺻﻨﺎﯾﻊ ﺩﺳﺘﯽ‪ ،‬ﺑﻪ ﻭﯾﮋﻩ ﺩﺭ ﺯﻣﯿﻨﻪ ﻫﺎﯼ ﺭﻭﺳﺘﺎﯾﯽ ﺭﺍ ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﺍﺳﺖ‪ .‬ﺳﺎﺧﺘﺎﺭﻫﺎﯼ ﮐﺎﺭﮔﺎﻩ ﺍﻧﺘﻘﺎﻝ ﺩﺍﺩﻩ ﻫﺎﯼ ﻓﻨﯽ ﻣﻬﻢ ﺭﺍ ﺍﺯ ﺍﺳﺘﺎﺩﺍﻥ‬

‫ﺑﻪﮐﺎﺭﺁﻣﻮﺯﺍﻥ ﻭ ﮐﺎﺭﺁﻣﻮﺯﺍﻥ ﺗﺴﻬﯿﻞ ﻣﯽ ﮐﺮﺩ‪ .‬ﺍﯾﻦ ﺑﻪ ﺍﺷﺘﺮﺍﮎ ﮔﺬﺍﺭﯼ ﺩﺍﻧﺶ ﺩﺭ ﻃﻮﻝ ﺯﻣﺎﻥ ﻣﻤﮑﻦ ﺍﺳﺖ ﺑﻪ ﺻﻮﺭﺕ ﺷﻔﺎﻫﯽ ﯾﺎ ﺍﺯ ﻃﺮﯾﻖ‬ ‫ﻧﻤﻮﺩﺍﺭﻫﺎ)ﻣﺎﻧﻨﺪ ﮐﺘﺎﺏ ﻫﺎﯼ ﺍﻟﮕﻮ( ﺑﻪ ﺩﺳﺖ ﺁﯾﺪ‪ .‬ﺍﻧﺘﻘﺎﻝ ﻣﺘﻦ ﺍﺣﺘﻤﺎﻻ ًﺑﺴﯿﺎﺭ ﮐﻤﺘﺮ ﺭﺍﯾﺞ ﺑﻮﺩ‪ ،‬ﺍﮔﺮﭼﻪ ﺻﻨﻌﺘﮕﺮﺍﻥ ﺭﺳﺎﻟﻪ ﻫﺎﯾﯽ ﻧﻮﺷﺘﻨﺪ ﻭ‬

‫ﺗﻌﺪﺍﺩﮐﻤﯽ ﺍﺯ ﺁﻧﻬﺎ ﺍﻣﺮﻭﺯﻩ ﺑﺎﻗﯽ ﻣﺎﻧﺪﻩ ﺍﺳﺖ‪ .‬ﺩﺭ ﻣﻘﺎﺑﻞ‪ ،‬ﻣﻨﺎﺑﻊ ﻣﺘﻨﯽ ﺍﺻﻠﯽ ﻣﺎ ﺩﺭ ﻣﻮﺭﺩ ﺻﻨﺎﯾﻊ ﺩﺳﺘﯽ ﺗﻮﺳﻂ ﮐﺴﺎﻧﯽ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‬ ‫ﮐﻪﺗﺠﺮﺑﻪ ﺍﻧﺪﮐﯽ ﯾﺎ ﺑﺪﻭﻥ ﺗﺠﺮﺑﻪ ﺩﺭ ﺷﯿﻮﻩ ﻫﺎﯼ ﺗﻮﻟﯿﺪﯼ ﮐﻪ ﺁﻧﻬﺎ ﺗﻮﺻﯿﻒ ﮐﺮﺩﻩ ﺍﻧﺪ‪ :‬ﻋﻠﻤﺎﯼ ﻣﺬﻫﺒﯽ‪ ،‬ﺑﺎﺯﺭﺳﺎﻥ ﺑﺎﺯﺍﺭ‪ ،‬ﻭ ﻣﺴﺎﻓﺮﺍﻥ‪ .‬ﺍﯾﻦ ﻣﻘﺎﻟﻪ‬

‫ﺳﭙﺲﺑﺮﺍﯼ ﺑﺪﺳﺖ ﺁﻭﺭﺩﻥ ﻃﻼ ﺑﻪ ﺳﻤﺖ ﺟﻨﻮﺏ ﺑﻪ ﺳﻤﺖ ﺳﻮﺍﺣﻞ ﻣﻮﺯﺍﻣﺒﯿﮏ ﯾﺎ ﺑﻪ ﺳﻤﺖ ﺟﻨﻮﺏ ﺷﺮﻗﯽ ﺑﺮﺍﯼ ﺭﺳﯿﺪﻥ ﺑﻪ ﮐﻮﻣﻮﺭ‬ ‫ﺑﻬﺘﺮﯾﻦﻗﻄﻌﺎﺕ ﺁﻥ ﺑﺎﻗﯽ ﻣﺎﻧﺪﻩ ﺑﻮﺩ‪.‬‬

‫ﺑﯿﻦﻗﺮﻥ ‪ 11‬ﻭ ‪ ،12‬ﮐﺮﯾﺴﺘﺎﻝ ﺳﻨﮕﯽ ﺩﺭ ﻋﺪﻥ‪ ،‬ﯾﻤﻦ ﺗﺨﻠﯿﻪ ﺷﺪ‪ .‬ﺁﺭﺷﯿﻮ ﺑﺎﺯﺭﮔﺎﻧﺎﻥ ﯾﻬﻮﺩﯼ ﻭ ﻣﺴﺎﻓﺮﺍﻥ ﺍﯾﺮﺍﻧﯽ ﺑﻪ ﻣﺎ ﻣﯽ ﮔﻮﯾﺪ ﮐﻪ‬

‫ﻣﺤﺼﻮﻻﺕﭘﺲ ﺍﺯ ﺣﻤﻞ ﻭ ﻧﻘﻞ ﻭ ﺍﺭﺳﺎﻝ ﺑﻪ ﺑﻨﺎﺩﺭ ﻣﺼﺮﯼ ﻋﺬﺍﺏ ﻭ ﻗﺼﯿﺮ ﺩﺭ ﺩﺭﯾﺎﯼ ﺳﺮﺥ ﺍﺭﺳﺎﻝ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺳﭙﺲ ﺍﯾﻦ ﮐﺎﻻﻫﺎﯼ‬

‫ﺍﺭﺯﺷﻤﻨﺪﺑﻪ ﺩﺭﻩ ﻧﯿﻞ ﺑﺎﺭﮔﯿﺮﯼ ﺷﺪ ﻭ ﺗﻮﺳﻂ ﻓﻠﻮﮐﺎ ﺑﻪ ﻗﺎﻫﺮﻩ ﻭ ﺍﺳﮑﻨﺪﺭﯾﻪ ﻣﻨﺘﻘﻞ ﺷﺪ‪ ،‬ﺟﺎﯾﯽ ﮐﻪ ﮐﺮﯾﺴﺘﺎﻝ ﺳﻨﮓ ﺗﻮﺳﻂ ﺻﻨﻌﺘﮕﺮﺍﻥ ﻣﺎﻫﺮ‬

‫ﺷﮑﻞﮔﺮﻓﺖ‪.‬‬

‫ﻣﻘﺎﻟﻪﻣﻦ ﭘﯿﭽﯿﺪﮔﯽ ﺗﺠﺎﺭﺕ ﺑﯿﻦ ﺍﻟﻤﻠﻠﯽ ﺩﺭ ﺍﻗﯿﺎﻧﻮﺱ ﻫﻨﺪ ﺭﺍ ﺩﺭ ﺍﻭﺍﯾﻞ ﻗﺮﻭﻥ ﻭﺳﻄﯽ ﻧﺸﺎﻥ ﻣﯽ ﺩﻫﺪ ‪» -‬ﺟﻬﺎﻧﯽ ﺳﺎﺯﯼ ﻗﺒﻞ ﺍﺯ ﺯﻣﺎﻥ‬ ‫ﺧﻮﺩ«‪.‬‬

‫ﺑﻪﺑﺮﺭﺳﯽ ﭘﯿﺎﻣﺪﻫﺎﯼ ﺗﮑﯿﻪ ﺑﺮ ﺷﻮﺍﻫﺪ »ﺑﯿﮕﺎﻧﮕﺎﻥ« ﺩﺭ ﺑﺎﺯﺳﺎﺯﯼ ﺷﯿﻮﻩ ﻫﺎﯼ ﺻﻨﺎﯾﻊ ﺩﺳﺘﯽ ﭘﯿﺸﺎﻣﺪﺭﻥ ﻣﯽ ﭘﺮﺩﺍﺯﺩ‪ .‬ﺑﺨﺶ ﭘﺎﯾﺎﻧﯽ ﺭﺍﻩ ﻫﺎﯾﯽ‬

‫ﺭﺍﭘﯿﺸﻨﻬﺎﺩ ﻣﯽ ﮐﻨﺪ ﮐﻪ ﺍﺯ ﻃﺮﯾﻖ ﺁﻧﻬﺎ ﻣﯽ ﺗﻮﺍﻧﯿﻢ ﺍﯾﻦ ﺩﺍﺩﻩ ﻫﺎ ﺭﺍ ﺑﺎ ﯾﺎﻓﺘﻪ ﻫﺎﯼ ﺑﺎﺳﺘﺎﻥ ﺷﻨﺎﺳﯽ‪ ،‬ﺗﺤﻠﯿﻞ ﻋﻠﻤﯽ ﻭ ﻗﻮﻡ ﻧﮕﺎﺭﯼ ﺗﻄﺒﯿﻖ ﺩﻫﯿﻢ‪.‬‬

‫ﺍﺳﺘﻔﺎﻥﭘﺮﺍﺩﯾﻨﺰ‬ ‫ﻣﻮﺳﺴﻪﻣﻄﺎﻟﻌﺎﺕ ﺗﻤﺪﻥ ﻫﺎﯼ ﻣﺴﻠﻤﺎﻥ‪ ،‬ﺩﺍﻧﺸﮕﺎﻩ ﺁﻗﺎﺧﺎﻥ‪ ،‬ﭘﺎﮐﺴﺘﺎﻥ‬

‫ﮐﺮﯾﺴﺘﺎﻝﺳﻨﮕﯽ ﺯﻧﺞ‪ :‬ﺍﺯ ﻣﺎﺩﺍﮔﺎﺳﮑﺎﺭ ﺗﺎ ﻗﺎﻫﺮﻩ ﻓﺎﻃﻤﯽ‬

‫ﺣﻔﺎﺭﯼﺑﺎﺳﺘﺎﻥ ﺷﻨﺎﺳﯽ ﺩﺭ ﻣﺎﯾﻮﺕ‪ ،‬ﺟﺰﯾﺮﻩ ﺍﯼ ﮐﻮﭼﮏ ﺍﺯ ﻣﺠﻤﻊ ﺍﻟﺠﺰﺍﯾﺮ ﮐﻮﻣﻮﺭ ﺩﺭ ﻏﺮﺏ ﺍﻗﯿﺎﻧﻮﺱ ﻫﻨﺪ‪ ،‬ﻣﻘﺎﺩﯾﺮ ﺯﯾﺎﺩﯼ ﺗﮑﻪ ﻫﺎﯼ ﮐﺮﯾﺴﺘﺎﻝ‬ ‫ﺳﻨﮕﯽﺭﺍ ﺑﻪ ﺷﮑﻞ ﺗﺮﺍﺷﻪ ﻫﺎ ﻭ ﺗﮑﻪ ﻫﺎﯾﯽ ﺑﺎ ﺍﻧﺪﺍﺯﻩ ﻫﺎﯼ ﻣﺨﺘﻠﻒ ﮐﺸﻒ ﮐﺮﺩ‪ .‬ﺍﯾﻦ ﺳﺎﯾﺖ ﮐﻪ ﺩﻣﺒﻨﯽ ﻧﺎﻡ ﺩﺍﺭﺩ‪ ،‬ﯾﮑﯽ ﺍﺯ ﺑﺰﺭﮔﺘﺮﯾﻦ ﻭ ﻏﻨﯽ‬

‫ﺗﺮﯾﻦﻣﮑﺎﻥ ﻫﺎﯼ ﺑﺎﺳﺘﺎﻥ ﺷﻨﺎﺳﯽ ﺩﺭ ﺗﻤﺎﻡ ﺷﺮﻕ ﺁﻓﺮﯾﻘﺎ ﺍﺳﺖ‪ .‬ﺍﻭﺝ ﺁﻥ ﺩﺭ ﻗﺮﻭﻥ ‪ 9‬ﺗﺎ ‪ 12‬ﺩﻭﺭﻩ ﺗﺠﺎﺭﺕ ﻓﺸﺮﺩﻩ ﺍﺑﺘﺪﺍ ﺑﺎ ﻋﺒﺎﺳﯿﺎﻥ ﺩﺭ ﺧﻠﯿﺞ‬ ‫ﻓﺎﺭﺱﻭ ﺳﭙﺲ ﺑﺎ ﺧﻼﻓﺖ ﻓﺎﻃﻤﯽ ﺩﺭ ﻣﺼﺮ ﺑﻮﺩ‪ .‬ﺩﻣﺒﻨﯽ ﻣﻮﺍﺩ ﺑﺎﺳﺘﺎﻥ ﺷﻨﺎﺳﯽ ﺑﺎ ﺛﺮﻭﺗﯽ ﺑﯽ ﺳﺎﺑﻘﻪ ﺑﺮﺍﯼ ﺁﻥ ﺯﻣﺎﻥ ﺭﺍ ﺑﺎ ﻣﻘﺪﺍﺭ ﺯﯾﺎﺩﯼ‬

‫ﺳﺮﺍﻣﯿﮏﭼﯿﻨﯽ ﻭ ﺍﯾﺮﺍﻧﯽ ﻭ ﻫﻤﭽﻨﯿﻦ ﻇﺮﻭﻑ ﺷﯿﺸﻪ ﺍﯼ ﺍﺯ ﺳﺮﺍﺳﺮ ﺟﻬﺎﻥ ﺍﺳﻼﻡ ﺗﺤﻮﯾﻞ ﺩﺍﺩ‪ .‬ﺍﯾﻦ ﺍﻧﺒﺎﺷﺖ ﺛﺮﻭﺕ ﺗﺼﺎﺩﻓﯽ ﻧﺒﻮﺩ ﻭ ﺳﺎﻟﻬﺎ‬ ‫ﺑﺎﺳﺘﺎﻥﺷﻨﺎﺳﺎﻥ ﺑﻪ ﺩﻧﺒﺎﻝ ﻣﻨﺒﻊ ﺛﺮﻭﺕ ﺍﯾﻦ ﻣﺤﻮﻃﻪ ﺑﻮﺩﻧﺪ‪.‬‬

‫ﺍﯾﻦﮐﺸﻒ ﻣﺎ ﺭﺍ ﺑﻪ ﺍﯾﻦ ﻧﺘﯿﺠﻪ ﻣﯽ ﺭﺳﺎﻧﺪ ﮐﻪ ﻣﯽ ﺗﻮﺍﻥ ﺍﺯ ﻣﻨﺎﺑﻊ ﻣﮑﺘﻮﺏ ﻋﺮﺑﯽ ﺩﺭ ﻣﻮﺭﺩ ﺗﺠﺎﺭﺕ ﺩﺭ ﺍﻗﯿﺎﻧﻮﺱ ﻫﻨﺪ ﺩﺭ ﺩﻭﺭﻩ ﻗﺮﻭﻥ ﻭﺳﻄﯽ‬

‫ﺩﻗﯿﻖﺗﺮ ﺑﻮﺩ ﻭ ﻣﺴﯿﺮ ﺩﻗﯿﻖ ﺗﺠﺎﺭﺕ ﺑﯿﻦ ﺍﻟﻤﻠﻠﯽ ﺭﺍ ﻣﺸﺨﺺ ﮐﺮﺩ‪ .‬ﻣﻨﺎﺑﻊ ﻋﺮﺑﯽ ﻭ ﻓﺎﺭﺳﯽ ﺩﺭ ﻣﻮﺭﺩ ﺗﺠﺎﺭﺕ ﺩﺭ ﺍﻗﯿﺎﻧﻮﺱ ﻫﻨﺪ ﺩﺭ ﺩﻭﺭﻩ‬

‫ﻗﺮﻭﻥﻭﺳﻄﯽ ﺍﺯ ﮐﺮﯾﺴﺘﺎﻝ ﺳﻨﮕﯽ ﺍﺯ ﺟﺰﺍﯾﺮ ﺯﻧﺞ ﺩﺭ ﺷﺮﻕ ﺁﻓﺮﯾﻘﺎ ﯾﺎﺩ ﻣﯽ ﮐﻨﻨﺪ‪ .‬ﺍﯾﻦ ﻣﺎﺩﻩ ﻣﻌﺪﻧﯽ ﺑﻪ ﺻﻮﺭﺕ ﭘﯿﺶ ﻧﻮﯾﺲ ﺍﺯ ﻣﺎﺩﺍﮔﺎﺳﮑﺎﺭ ﺑﻪ‬

‫ﻣﺎﯾﻮﺕﻭﺍﺭﺩ ﺷﺪ‪ ،‬ﺳﭙﺲ ﺍﻧﺪﺍﺯﻩ ﺁﻥ ﺗﻐﯿﯿﺮ ﯾﺎﻓﺖ ﻭ ﺑﻪ ﺧﺎﻭﺭﻣﯿﺎﻧﻪ ‪ -‬ﻋﻤﺪﺗﺎ ًﺑﻪ ﺍﯾﺮﺍﻥ ﻭ ﻣﺼﺮ ‪ -‬ﺻﺎﺩﺭ ﺷﺪ‪.‬‬

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‫ﯾﺎﺩﺩﺍﺷﺖ‬

‫ﺍﻧﺠﻤﻦﺗﺎﺭﯾﺦ ﻧﮕﺎﺭﺍﻥ ﻫﻨﺮ ﺍﺳﻼﻣﯽ‬

‫ﺍﻧﺠﻤﻦﻣﻮﺭﺧﺎﻥ ﻫﻨﺮ ﺍﺳﻼﻣﯽ )‪ (HIAA‬ﯾﮏ ﺳﺎﺯﻣﺎﻥ ﺧﺼﻮﺻﯽ‪ ،‬ﻏﯿﺮﺍﻧﺘﻔﺎﻋﯽ ﻭ‬

‫ﻏﯿﺮﺳﯿﺎﺳﯽﺍﺳﺖ ﮐﻪ ﻫﺪﻑ ﺁﻥ ﺗﺮﻭﯾﺞ ﻣﻄﺎﻟﻌﻪ ﻭ ﺁﻣﻮﺯﺵ ﻫﻨﺮ‪ ،‬ﻣﻌﻤﺎﺭﯼ ﻭ‬

‫ﺑﺎﺳﺘﺎﻥ ﺷﻨﺎﺳﯽﻓﺮﻫﻨﮓ ﻫﺎﯼ ﺍﺳﻼﻣﯽ ﻭ ﺗﺴﻬﯿﻞ ﺍﺭﺗﺒﺎﻁ ﻭ ﻫﻤﮑﺎﺭﯼ ﺑﯿﻦ ﺁﻧﻬﺎﺳﺖ‪.‬‬

‫ﮐﺴﺎﻧﯽﮐﻪ ﺑﻪ ﻓﻌﺎﻟﯿﺖ ﻫﺎﯼ ﻋﻠﻤﯽ ﻭ ﺣﺮﻓﻪ ﺍﯼ ﺩﯾﮕﺮ ﻣﺮﺗﺒﻂ ﺑﺎ ﺍﯾﻦ ﺭﺷﺘﻪ ﻫﺎ ﺍﺷﺘﻐﺎﻝ‬

‫ﺩﺍﺭﻧﺪ‪.‬ﺍﯾﻦ ﺳﺎﺯﻣﺎﻥ ﮐﻪ ﺩﺭ ﺳﺎﻝ ‪ 1982‬ﺑﺎ ﻧﺎﻡ ﻣﻮﺭﺧﺎﻥ ﻫﻨﺮ ﺍﺳﻼﻣﯽ ﺁﻣﺮﯾﮑﺎﯼ ﺷﻤﺎﻟﯽ‬

‫)‪ (NAHIA‬ﺗﺄﺳﯿﺲ ﺷﺪ‪ ،‬ﺍﺯ ﺁﻥ ﺯﻣﺎﻥ ﺑﻪ ﯾﮏ ﮔﺮﻭﻩ ﺑﯿﻦ ﺍﻟﻤﻠﻠﯽ ﺑﺎ ﺍﻋﻀﺎﯾﯽ ﺩﺭ‬

‫ﺧﺎﻭﺭﻣﯿﺎﻧﻪ‪،‬ﺁﻓﺮﯾﻘﺎ‪ ،‬ﺁﺳﯿﺎﯼ ﺟﻨﻮﺑﯽ ﻭ ﺟﻨﻮﺏ ﺷﺮﻗﯽ ﻭ ﺍﺭﻭﭘﺎ ﺗﺒﺪﯾﻞ ﺷﺪ‪ .‬ﺩﺭ ﺳﺎﻝ ‪1996‬‬

‫ﻧﺎﻡﺑﻪ ﻣﻮﺭﺧﺎﻥ ﻫﻨﺮ ﺍﺳﻼﻣﯽ )‪ (HIA‬ﺗﻐﯿﯿﺮ ﯾﺎﻓﺖ ﺗﺎ ﺍﻫﺪﺍﻑ ﮔﺴﺘﺮﺩﻩ ﺗﺮ ﺳﺎﺯﻣﺎﻥ ﻭ‬

‫ﺗﻼﺵ ﻫﺎﯼﺁﻥ ﺑﺮﺍﯼ ﺗﻘﻮﯾﺖ ﻫﻤﮑﺎﺭﯼ ﺑﺎ ﻫﻤﮑﺎﺭﺍﻧﯽ ﻓﺮﺍﺗﺮ ﺍﺯ ﺁﻣﺮﯾﮑﺎﯼ ﺷﻤﺎﻟﯽ ﺭﺍ ﻣﻨﻌﮑﺲ‬ ‫ﮐﻨﺪ‪.‬‬

‫ﺑﺮﺍﯼﺗﺸﻮﯾﻖ ﻣﺸﺎﺭﮐﺖ ﻫﺎﯼ ﻋﻠﻤﯽ ﺩﺭ ﺯﻣﯿﻨﻪ ﻫﺎﯼ ﻫﻨﺮ ﺍﺳﻼﻣﯽ‪ ،‬ﻣﻌﻤﺎﺭﯼ ﻭ‬

‫ﺑﺎﺳﺘﺎﻥ ﺷﻨﺎﺳﯽ‪،‬ﺑﻪ ﻭﯾﮋﻩ ﺗﻮﺳﻂ ﺍﻋﻀﺎﯼ ﺟﻮﺍﻥ ﻣﺎ‪ HIAA ،‬ﺟﻮﺍﯾﺰ ﺭﻗﺎﺑﺘﯽ ﻣﺨﺘﻠﻔﯽ ﺭﺍ‬

‫ﻧﯿﺰﺍﻋﻄﺎ ﻣﯽ ﮐﻨﺪ‪ :‬ﺟﺎﯾﺰﻩ ﻣﺎﺭﮔﺎﺭﺕ ﺏ‪ .‬ﺳﻮﭼﻨﮑﻮ ﺩﺭ ﻫﻨﺮ ﻭ ﻓﺮﻫﻨﮓ ﺍﺳﻼﻣﯽ ﺑﺮﺍﯼ‬

‫ﺑﻬﺘﺮﯾﻦﻣﻘﺎﻟﻪ ﻣﻨﺘﺸﺮ ﻧﺸﺪﻩ ﮐﻪ ﺗﻮﺳﻂ ﯾﮏ ﻣﺤﻘﻖ ﺟﻮﺍﻥ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻭ ﮐﻤﮏ‬

‫ﻫﺎﯼﻣﺎﻟﯽ ﻭ ﮐﻤﮏ ﻫﺰﯾﻨﻪ ﻫﺎﯼ ﮔﺮﺍﺑﺎﺭ‪ ،‬ﺑﺮﻧﺎﻣﻪ ﺟﺪﯾﺪﯼ ﺍﺳﺖ ﮐﻪ ﺗﻮﺳﻂ ﺻﻨﺪﻭﻕ ﯾﺎﺩﺑﻮﺩ‬ ‫ﺍﻭﻟﮓﮔﺮﺍﺑﺎﺭ ﺣﻤﺎﯾﺖ ﻣﯽ ﺷﻮﺩ‪ ،‬ﺑﺎ ﻫﺪﻑ ﺗﺤﻘﯿﻘﺎﺕ ﺑﯿﺸﺘﺮ ﻭ ﮐﻤﮏ ﺑﻪ ﻣﺸﺎﺭﮐﺖ ﺩﺭ‬ ‫ﺟﻠﺴﺎﺕﻋﻠﻤﯽ‪.‬‬

‫ﻣﻮﺯﻩﺁﻗﺎﺧﺎﻥ‬

‫ﻣﻮﺯﻩﺁﻗﺎﺧﺎﻥ ﺑﻪ ﺍﺭﺍﺉﻪ ﻧﻤﺎﯼ ﮐﻠﯽ ﺍﺯ ﮐﻤﮏ ﻫﺎﯼ ﻫﻨﺮﯼ‪ ،‬ﻓﮑﺮﯼ ﻭ ﻋﻠﻤﯽ ﺗﻤﺪﻥ ﻫﺎﯼ‬

‫ﻣﺴﻠﻤﺎﻥﺑﻪ ﻣﯿﺮﺍﺙ ﺟﻬﺎﻧﯽ ﺍﺧﺘﺼﺎﺹ ﺩﺍﺭﺩ‪ .‬ﻣﻮﺯﻩ ﺁﻗﺎﺧﺎﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﺧﺎﻧﻪ ﺍﯼ ﺩﺍﺉﻤﯽ‬

‫ﺑﺮﺍﯼﺷﺎﻫﮑﺎﺭﻫﺎﯼ ﮐﻤﯿﺎﺏ ﮐﻪ ﻃﯿﻒ ﻭﺳﯿﻌﯽ ﺍﺯ ﺳﺒﮏ ﻫﺎ ﻭ ﺭﺳﺎﻧﻪ ﻫﺎﯼ ﻫﻨﺮﯼ ﺭﺍ‬

‫ﻧﺸﺎﻥﻣﯽ ﺩﻫﺪ‪ ،‬ﺩﺭﯾﭽﻪ ﺍﯼ ﺭﺍ ﺑﻪ ﺑﺎﺯﺩﯾﺪﮐﻨﻨﺪﮔﺎﻥ ﺍﺯ ﺗﻨﻮﻉ ﭼﺸﻤﮕﯿﺮ ﺗﻤﺪﻥ ﻫﺎﯼ‬ ‫ﻣﺴﻠﻤﺎﻥﺍﺯ ﺷﺒﻪ ﺟﺰﯾﺮﻩ ﺍﯾﺒﺮﯼ ﺗﺎ ﭼﯿﻦ ﺍﺭﺍﺉﻪ ﻣﯽ ﮐﻨﺪ‪.‬‬

‫ﻣﻮﺯﻩﺁﻗﺎﺧﺎﻥ‪ ،‬ﯾﮏ ﻣﻮﺳﺴﻪ ﺁﻣﻮﺯﺷﯽ ﭘﺮ ﺟﻨﺐ ﻭ ﺟﻮﺵ‪ ،‬ﺍﺯ ﻃﯿﻒ ﮐﺎﻣﻞ ﻣﺸﺎﺭﮐﺖ‬

‫ﻋﻤﻮﻣﯽﺍﺳﺘﻘﺒﺎﻝ ﻣﯽ ﮐﻨﺪ‪ .‬ﺍﻣﮑﺎﻧﺎﺕ ﻧﻮﺁﻭﺭﺍﻧﻪ ﺁﻥ ‪ -‬ﮐﻪ ﺩﺭ ﺳﺎﺧﺘﻤﺎﻧﯽ ﺧﯿﺮﻩ ﮐﻨﻨﺪﻩ ﺗﻮﺳﻂ‬

‫ﻣﻌﻤﺎﺭﮊﺍﭘﻨﯽ ﻓﻮﻣﯿﻬﯿﮑﻮ ﻣﺎﮐﯽ ﻗﺮﺍﺭ ﺩﺍﺭﺩ ‪ -‬ﻓﻀﺎﯼ ﺑﺮﻧﺎﻣﻪ ﺭﯾﺰﯼ ﺍﻧﻌﻄﺎﻑ ﭘﺬﯾﺮﯼ ﺭﺍ ﺑﺮﺍﯼ‬ ‫ﺍﺟﺮﺍﯼﻣﻮﺳﯿﻘﯽ ﻭ ﺭﻗﺺ‪ ،‬ﮐﺎﺭﮔﺎﻩ ﻫﺎﯼ ﺁﺷﭙﺰﯼ‪ ،‬ﺳﺨﻨﺮﺍﻧﯽ ﻫﺎ‪ ،‬ﺭﻭﯾﺪﺍﺩﻫﺎﯼ ﻭﯾﮋﻩ ﻭ‬ ‫ﻧﻤﺎﯾﺶﻓﯿﻠﻢ ﻓﺮﺍﻫﻢ ﻣﯽ ﮐﻨﺪ‪.‬‬

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‫ﯾﺎﺩﺩﺍﺷﺖ‬

‫ﺍﻧﺠﻤﻦﺗﺎﺭﯾﺦ ﻧﮕﺎﺭﺍﻥ ﻫﻨﺮ ﺍﺳﻼﻣﯽ‬

‫ﺍﻧﺠﻤﻦﻣﻮﺭﺧﺎﻥ ﻫﻨﺮ ﺍﺳﻼﻣﯽ )‪ (HIAA‬ﯾﮏ ﺳﺎﺯﻣﺎﻥ ﺧﺼﻮﺻﯽ‪ ،‬ﻏﯿﺮﺍﻧﺘﻔﺎﻋﯽ ﻭ‬

‫ﻏﯿﺮﺳﯿﺎﺳﯽﺍﺳﺖ ﮐﻪ ﻫﺪﻑ ﺁﻥ ﺗﺮﻭﯾﺞ ﻣﻄﺎﻟﻌﻪ ﻭ ﺁﻣﻮﺯﺵ ﻫﻨﺮ‪ ،‬ﻣﻌﻤﺎﺭﯼ ﻭ‬

‫ﺑﺎﺳﺘﺎﻥ ﺷﻨﺎﺳﯽﻓﺮﻫﻨﮓ ﻫﺎﯼ ﺍﺳﻼﻣﯽ ﻭ ﺗﺴﻬﯿﻞ ﺍﺭﺗﺒﺎﻁ ﻭ ﻫﻤﮑﺎﺭﯼ ﺑﯿﻦ ﺁﻧﻬﺎﺳﺖ‪.‬‬

‫ﮐﺴﺎﻧﯽﮐﻪ ﺑﻪ ﻓﻌﺎﻟﯿﺖ ﻫﺎﯼ ﻋﻠﻤﯽ ﻭ ﺣﺮﻓﻪ ﺍﯼ ﺩﯾﮕﺮ ﻣﺮﺗﺒﻂ ﺑﺎ ﺍﯾﻦ ﺭﺷﺘﻪ ﻫﺎ ﺍﺷﺘﻐﺎﻝ‬

‫ﺩﺍﺭﻧﺪ‪.‬ﺍﯾﻦ ﺳﺎﺯﻣﺎﻥ ﮐﻪ ﺩﺭ ﺳﺎﻝ ‪ 1982‬ﺑﺎ ﻧﺎﻡ ﻣﻮﺭﺧﺎﻥ ﻫﻨﺮ ﺍﺳﻼﻣﯽ ﺁﻣﺮﯾﮑﺎﯼ ﺷﻤﺎﻟﯽ‬

‫)‪ (NAHIA‬ﺗﺄﺳﯿﺲ ﺷﺪ‪ ،‬ﺍﺯ ﺁﻥ ﺯﻣﺎﻥ ﺑﻪ ﯾﮏ ﮔﺮﻭﻩ ﺑﯿﻦ ﺍﻟﻤﻠﻠﯽ ﺑﺎ ﺍﻋﻀﺎﯾﯽ ﺩﺭ‬

‫ﺧﺎﻭﺭﻣﯿﺎﻧﻪ‪،‬ﺁﻓﺮﯾﻘﺎ‪ ،‬ﺁﺳﯿﺎﯼ ﺟﻨﻮﺑﯽ ﻭ ﺟﻨﻮﺏ ﺷﺮﻗﯽ ﻭ ﺍﺭﻭﭘﺎ ﺗﺒﺪﯾﻞ ﺷﺪ‪ .‬ﺩﺭ ﺳﺎﻝ ‪1996‬‬

‫ﻧﺎﻡﺑﻪ ﻣﻮﺭﺧﺎﻥ ﻫﻨﺮ ﺍﺳﻼﻣﯽ )‪ (HIA‬ﺗﻐﯿﯿﺮ ﯾﺎﻓﺖ ﺗﺎ ﺍﻫﺪﺍﻑ ﮔﺴﺘﺮﺩﻩ ﺗﺮ ﺳﺎﺯﻣﺎﻥ ﻭ‬

‫ﺗﻼﺵ ﻫﺎﯼﺁﻥ ﺑﺮﺍﯼ ﺗﻘﻮﯾﺖ ﻫﻤﮑﺎﺭﯼ ﺑﺎ ﻫﻤﮑﺎﺭﺍﻧﯽ ﻓﺮﺍﺗﺮ ﺍﺯ ﺁﻣﺮﯾﮑﺎﯼ ﺷﻤﺎﻟﯽ ﺭﺍ ﻣﻨﻌﮑﺲ‬ ‫ﮐﻨﺪ‪.‬‬

‫ﺑﺮﺍﯼﺗﺸﻮﯾﻖ ﻣﺸﺎﺭﮐﺖ ﻫﺎﯼ ﻋﻠﻤﯽ ﺩﺭ ﺯﻣﯿﻨﻪ ﻫﺎﯼ ﻫﻨﺮ ﺍﺳﻼﻣﯽ‪ ،‬ﻣﻌﻤﺎﺭﯼ ﻭ‬

‫ﺑﺎﺳﺘﺎﻥ ﺷﻨﺎﺳﯽ‪،‬ﺑﻪ ﻭﯾﮋﻩ ﺗﻮﺳﻂ ﺍﻋﻀﺎﯼ ﺟﻮﺍﻥ ﻣﺎ‪ HIAA ،‬ﺟﻮﺍﯾﺰ ﺭﻗﺎﺑﺘﯽ ﻣﺨﺘﻠﻔﯽ ﺭﺍ‬

‫ﻧﯿﺰﺍﻋﻄﺎ ﻣﯽ ﮐﻨﺪ‪ :‬ﺟﺎﯾﺰﻩ ﻣﺎﺭﮔﺎﺭﺕ ﺏ‪ .‬ﺳﻮﭼﻨﮑﻮ ﺩﺭ ﻫﻨﺮ ﻭ ﻓﺮﻫﻨﮓ ﺍﺳﻼﻣﯽ ﺑﺮﺍﯼ‬

‫ﺑﻬﺘﺮﯾﻦﻣﻘﺎﻟﻪ ﻣﻨﺘﺸﺮ ﻧﺸﺪﻩ ﮐﻪ ﺗﻮﺳﻂ ﯾﮏ ﻣﺤﻘﻖ ﺟﻮﺍﻥ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻭ ﮐﻤﮏ‬

‫ﻫﺎﯼﻣﺎﻟﯽ ﻭ ﮐﻤﮏ ﻫﺰﯾﻨﻪ ﻫﺎﯼ ﮔﺮﺍﺑﺎﺭ‪ ،‬ﺑﺮﻧﺎﻣﻪ ﺟﺪﯾﺪﯼ ﺍﺳﺖ ﮐﻪ ﺗﻮﺳﻂ ﺻﻨﺪﻭﻕ ﯾﺎﺩﺑﻮﺩ‬ ‫ﺍﻭﻟﮓﮔﺮﺍﺑﺎﺭ ﺣﻤﺎﯾﺖ ﻣﯽ ﺷﻮﺩ‪ ،‬ﺑﺎ ﻫﺪﻑ ﺗﺤﻘﯿﻘﺎﺕ ﺑﯿﺸﺘﺮ ﻭ ﮐﻤﮏ ﺑﻪ ﻣﺸﺎﺭﮐﺖ ﺩﺭ‬ ‫ﺟﻠﺴﺎﺕﻋﻠﻤﯽ‪.‬‬

‫ﻣﻮﺯﻩﺁﻗﺎﺧﺎﻥ‬

‫ﻣﻮﺯﻩﺁﻗﺎﺧﺎﻥ ﺑﻪ ﺍﺭﺍﺉﻪ ﻧﻤﺎﯼ ﮐﻠﯽ ﺍﺯ ﮐﻤﮏ ﻫﺎﯼ ﻫﻨﺮﯼ‪ ،‬ﻓﮑﺮﯼ ﻭ ﻋﻠﻤﯽ ﺗﻤﺪﻥ ﻫﺎﯼ‬

‫ﻣﺴﻠﻤﺎﻥﺑﻪ ﻣﯿﺮﺍﺙ ﺟﻬﺎﻧﯽ ﺍﺧﺘﺼﺎﺹ ﺩﺍﺭﺩ‪ .‬ﻣﻮﺯﻩ ﺁﻗﺎﺧﺎﻥ ﺑﻪ ﻋﻨﻮﺍﻥ ﺧﺎﻧﻪ ﺍﯼ ﺩﺍﺉﻤﯽ‬

‫ﺑﺮﺍﯼﺷﺎﻫﮑﺎﺭﻫﺎﯼ ﮐﻤﯿﺎﺏ ﮐﻪ ﻃﯿﻒ ﻭﺳﯿﻌﯽ ﺍﺯ ﺳﺒﮏ ﻫﺎ ﻭ ﺭﺳﺎﻧﻪ ﻫﺎﯼ ﻫﻨﺮﯼ ﺭﺍ‬

‫ﻧﺸﺎﻥﻣﯽ ﺩﻫﺪ‪ ،‬ﺩﺭﯾﭽﻪ ﺍﯼ ﺭﺍ ﺑﻪ ﺑﺎﺯﺩﯾﺪﮐﻨﻨﺪﮔﺎﻥ ﺍﺯ ﺗﻨﻮﻉ ﭼﺸﻤﮕﯿﺮ ﺗﻤﺪﻥ ﻫﺎﯼ‬ ‫ﻣﺴﻠﻤﺎﻥﺍﺯ ﺷﺒﻪ ﺟﺰﯾﺮﻩ ﺍﯾﺒﺮﯼ ﺗﺎ ﭼﯿﻦ ﺍﺭﺍﺉﻪ ﻣﯽ ﮐﻨﺪ‪.‬‬

‫ﻣﻮﺯﻩﺁﻗﺎﺧﺎﻥ‪ ،‬ﯾﮏ ﻣﻮﺳﺴﻪ ﺁﻣﻮﺯﺷﯽ ﭘﺮ ﺟﻨﺐ ﻭ ﺟﻮﺵ‪ ،‬ﺍﺯ ﻃﯿﻒ ﮐﺎﻣﻞ ﻣﺸﺎﺭﮐﺖ‬

‫ﻋﻤﻮﻣﯽﺍﺳﺘﻘﺒﺎﻝ ﻣﯽ ﮐﻨﺪ‪ .‬ﺍﻣﮑﺎﻧﺎﺕ ﻧﻮﺁﻭﺭﺍﻧﻪ ﺁﻥ ‪ -‬ﮐﻪ ﺩﺭ ﺳﺎﺧﺘﻤﺎﻧﯽ ﺧﯿﺮﻩ ﮐﻨﻨﺪﻩ ﺗﻮﺳﻂ‬

‫ﻣﻌﻤﺎﺭﮊﺍﭘﻨﯽ ﻓﻮﻣﯿﻬﯿﮑﻮ ﻣﺎﮐﯽ ﻗﺮﺍﺭ ﺩﺍﺭﺩ ‪ -‬ﻓﻀﺎﯼ ﺑﺮﻧﺎﻣﻪ ﺭﯾﺰﯼ ﺍﻧﻌﻄﺎﻑ ﭘﺬﯾﺮﯼ ﺭﺍ ﺑﺮﺍﯼ‬ ‫ﺍﺟﺮﺍﯼﻣﻮﺳﯿﻘﯽ ﻭ ﺭﻗﺺ‪ ،‬ﮐﺎﺭﮔﺎﻩ ﻫﺎﯼ ﺁﺷﭙﺰﯼ‪ ،‬ﺳﺨﻨﺮﺍﻧﯽ ﻫﺎ‪ ،‬ﺭﻭﯾﺪﺍﺩﻫﺎﯼ ﻭﯾﮋﻩ ﻭ‬ ‫ﻧﻤﺎﯾﺶﻓﯿﻠﻢ ﻓﺮﺍﻫﻢ ﻣﯽ ﮐﻨﺪ‪.‬‬

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‫ﺗﺼﺎﻭﯾﺮ‪:‬ﺟﺰﺉﯿﺎﺕ ﺍﺯﺩﺍﺩﮔﺎﻩ ﮐﯿﻮﻣﺎﺭﺱ‪ ،‬ﻓﻮﻟﯿﻮ ‪ 20‬ﻭﻟﺖ ﺍﺯ ﯾﮏﺷﺎﻫﻨﺎﻣﻪ ﻓﺮﺩﻭﺳﯽ)‬ ‫ﮐﺘﺎﺏﺷﺎﻫﺎﻥ( ﻣﺤﺼﻮﻝ ﺷﺎﻩ ﻃﻬﻤﺎﺳﺐ ﺍﻭﻝ‪ ،‬ﻧﻘﺎﺷﯽ ﺳﻠﻄﺎﻥ ﻣﺤﻤﺪ‪ ،‬ﺗﺒﺮﯾﺰ‪ ،‬ﺍﯾﺮﺍﻥ‪،‬‬ ‫ﺣﺪﻭﺩﺍ‪.AKM165 ،1522.‬‬ ‫ﮐﭙﯽﺭﺍﯾﺖ © ‪ 2014‬ﻣﻮﺯﻩ ﺁﻗﺎﺧﺎﻥ‪.‬‬