تحلیل معنای قالیچه محرابی «سلیمان نبی» با روش آیکونولوژی

با خوانش متون هنری به شکل نظام مند، می توان اندیشه ی دوره ای که اثر هنری در آن خلق شده است را بهتر شناخت. از جمله این متون، قالی و قالیچه های محرابی است که در دوره صفویه جایگاه ویژه ای دارد. اکثر قالیچه های محرابی در دوره صفویه با آیه آمن الرسول یا آیه الکرسی آغاز می گردد؛ ولیکن در این بین تعدادی قالیچه موجود است که با نام سلیمان قسمتی از آیه 30سوره نمل آغاز می گردند. حال پرسشی که مطرح می شود این است، چرا در دوره ای خاص این متن جانشین دیگر متون می شود؟ برای رسیدن به پاسخی مطلوب، نیاز است معنای متن دریافت گردد. این گذار از صورت ظاهریِ قالیچه و درک معنای نهفته در آن، فرایندی است که به روش آیکونولوژی قابل تحصیل است. پس از مطالعه قالیچه به روش توصیفی تحلیلی و گردآوری اطلاعات با توجه به اسناد موجود در کتابخانه و سایتهای اینترنتی و با روش آیکونولوژی، شبکه ای از معانی ایجاد می گردد، که در ارتباط با کل اثر می تواند بیانگر تفکرات آیینی اسطوره ای با مفهومی اسلامی باشد. بنابراین به نظر می رسد حضور  نام سلیمان در آستانه در کنار قسمتی از سوره انعام و فرم محراب علاوه بر مفهوم عروج، دلالت به مفهوم شهریاری در مفهوم ایرانیاسلامی آن و مشروعیت بخشی به حکومت پادشاهان صفوی را دارد.

Analysis of meaning in the Niche rug of the Solomon by iconology method

It is known that more than any cultural product, a work of art can represent how the world around us is organized and conceptualized by the human mind. Therefore, if we can read the artistic texts on the basis of a systematic way, we can better appreciate the ideas of the period in which the work of art has been created. Carpets are known as one of such texts; among these cultural products, Niche or Mihrabi rug is of particular importance. Niche or Mihrabi rug can be regarded as one of the handicrafts that has a religious aspect as well as beauty. As one of the characteristics of these rugs, we can refer to the use of the Quranic verses in them, motifs such as lotus, mica and khatai inside the altar; also, we can see these rugs have a regular and accurate geometric structure. The vast majority of the Niche rugs  made during the Safavid period begin with Amin AlRasool or the verse of AlKursi. However, in between there are a number of rugs that begin with the name of Solomon, part of the verse 30 of Surah AnNaml. Then part of verses 83 and 84 of Surah alAn’am is placed; also, the use is made of the verse of Noor in the third margin, in addition to the cypress tree and the lotus flower inside the altar. Since this accompaniment can be found in a large number of rugs, it seems, therefore, that these texts have been created   with a special order and purpose, giving the carpet a multifaceted and multilayered personality. Now the question arising is why this text has replaced other texts in certain periods of history? How can this replacement be explained? To find the answer, it is necessary to explore the meaning of these texts. This transition from the apparent representation of the rug to the exploration of the meaning underlying it is a process that can be studied according to an iconological way. After studying the rug in a descriptiveanalytical method and collecting the necessary information according to the documents available in the libraries and the Internet sites, using the iconological method, a network of meanings is created; then, an interconnected chain of meanings in relation to the whole work could be developed.  Therefore, we can reveal the expression of the ritualisticmythical thoughts with an Islamic meaning in these texts. Then, on the basis of the interconnected chain of meanings, it is possible to achieve the important thing that the designerartist has created a work that could express the journey and behavior of the mystic. Therefore, the conclusions that can be drawn is that the presence of Solomon’s name on the margin and next to a part of Surah alAn’am and mythological themes and the form of the Mihrab, in addition to expressing the behavior and ultimately ascension, can imply the concept of kingship in its IranianIslamic meaning, thus legitimizing the rule of the Safavid kings.