بررسی تاثیرات ادبیات غنایی بر نقوش کاشی نگاره‌های هفت رنگ موجود در کاخ موزه گلستان

از نمودهای هنر دوره قاجار، نوعی نقاشی زیرلعابی بر روی کاشی است، که با زمینه ی لاجوردی و حاشیه ای از طرح های اسلیمی به همراه قاب بندی های برجسته و به کارگیری مضامین ادبیات غنایی برای تزئین فضاهای بناها به کار گرفته شد. کاخ موزه گلستان به عنوان مهم ترین بنای قاجاری و اوّلین اثر ثبت جهانی در تهران است، که گنجینه و مرجع بااصالتی از انواع نقوش کاشی نگاری قاجاری به شمار می آید. این کاشی ها از نوع نقش برجسته هفت رنگ زیرلعابی ‏است، که از مضامین متنوع  ادبیات غنایی بهره گرفته است. هدف از انجام این پژوهش، شناخت و شناسایی منابع الهام کاشی نگاران، طبقه بندی موضوعی و تحلیل جنبه های زیباشناختی و بصری مضامین ادبی بکار رفته این کاشی نگاره ها می باشد. پژوهش حاضر بر اساس روش توصیفی تحلیلی انجام شده و مطالب آن از میان منابع معتبر موجود استخراج گردیده است. یافته ها و شرح تصاویر به طریق میدانی و مشاهده ی مستقیم کاشی نگاره ها پس از شناسایی، مطالعه و تحلیل شده است. بررسی ها نشان می دهد که مضامین و نقش مایه های بکار رفته بر کاشی نگاره های هفت رنگ زیرلعابی این موزه بیشتر شامل مضامین ادبی برگرفته از دیوان جامی، دیوان خمسه نظامی و دیوان منطق الطیر عطار می باشد و از این میان، مضامین داستان های خمسه نظامی بیشتر مورد توجه کاشی نگاران بوده است.

Investigating the Effects of Ghana Literature on the Seven-Color Tile Patterns in the Golestan Museum’s Palace

The Qajar art of the Qajar art is a kind of sculpture with a lazium field and a margin of Slavic designs on a tile with outstanding frames, which came up with stories from the themes of ghanaee literature to decorate the spaces of buildings. The Golestan Museum is considered to be the most important Qajar building and the first global registration in Tehran, with treasures and valuable references from various types of Qajar tile designs, embroidered in seven different colors of embroidery in a diverse range of themes in the literature of Ghana. The purpose of this research is to identify sources of inspiration from tilers or painters on the tile of this museum in the production of illustrated tiles. In this paper, we try to study the pictures of the sevencolored tiles of the underwater mosaic with the themes of the riches of literature such as Divan Jami (Yousef and Zulikha), Khamseh nezami (Shirin and Farhad, Shirin and Khosrow, Bahram Gur and Kenizak (Azadeh and fetneh) divan manteghter attar(Sheikh Sana’an and Tarsa). The results of this research show that Ghana’s literature has always influenced Persian art and has been able to create appropriate areas for designing and decorating architectural decoration, especially in tiling. The ancient Persian literature is full of love, epic and mystic stories. Illustration of such scenes has always been the subject of many artworks throughout the ages.The main features of arts in the Qajar period, its affiliation with literature, in particular the literature of Ghanaee, is not a tile as one of the artistic representatives of the history holder in Iran, except for this rule.The designs of the themes of the encyclopaedia on the tiles of the paintings The sevencolored Golestan Museum is influenced by the following factors: Follow the traditions of the pastArestrianism, which is one of the components of this literary movement, has had a greater impact on the role of tile work of the Qajar period.Most of the themes used in tile images related to images taken from military khumsah.The familiarity of tiled artists, with expressive and symbolic delicacies of poetry, has had a direct impact on their performance, so that the more tattooed, more familiar with the richness of literature, could better capture poetic concepts and images in their works. . Literature in general can be beneficial to the painter, both in terms of education and inspirational resources, provided that the painter can identify the rules governing the structure of the literary work and, in a manner in which the author or poet is drawn, through his message Plan, find out.Most of the tiles of the sevenstory drawings of the Golestan Museum under the guise of rich literature, with a narrow margin around the elliptical frames, including whitesatin whitesatin motifs that sit on a brownish background and a leaf with the same color combination of the ellipsoidal shape of the four The side of the frame is designed to create motion and lack of uniformity.