بازشناسی فضایی-نشانه ای مساجد چین

معماری اسلامی چین در طی سال های رشد و شکوفایی خود گونه های بیانی مختلفی را در ساخت مساجد این کشور به وجود آورده است. از این رو نمادپردازی به عنوان یکی از روش های بیان مفاهیم در معماری، دارای ساختاری است که از طریق آن می توان به گفت وگوی بین متنی دو فرهنگ زمینه و مهمان دست یافت. هدف از این تحقیق یافتن زمینه های مشترک بین نمادپردازی چین و اسلام مبنا در مساجد چین است. این تحقیق با روش پژوهش در نمونه موردی و تحلیل محتوا و با تکیه بر اسناد کتابخانه ای انجام شده است. در این پژوهش در ابتدا به بررسی نمادشناسی معماری چین پرداخته و سپس با بررسی نمونه ها به این موضوع که نماد های به کار رفته در این مساجد در سیر تاریخی معماری اسلامی چین و با توجه به موقعیت جغرافیایی (جمعیت مسلمانان آن منطقه) و تاریخ ساخت آن ها، تا چه میزان از نماد های سایر مساجد جهان اسلام تاثیر پذیرفته، پرداخته است. این تحقیق نشان می دهد که از بدو ورود مسلمانان به چین، معابد و خانه چینی به عنوان مساجد مورد استفاده قرار گرفته که برپایه نمادشناسی و کالبد بومی ساخته شد و تنها کشیدگی بنا به سمت قبله تغییر یافت. استفاده از چوب و رنگ سرخ در کالبد داخلی و خارجی این بناها، ماندالا و حیوانات مقدس به عنوان زمینه چینی و بودائی در این مساجد اولیه به وضوح دیده می شود. از ویژگی های دوره ی دوم، افزودن عناصری همچون گنبد و مناره و قوس های جناغی است. در این بناها همچنا نمادگرایی بودائی به چشم می خورد. در ادوار بعدی معماری، رنگ ها، گنبدها، قوس ها، مناره ها و تورفتگی ورودی و مصالح کالبد داخلی و خارجی بنا (استفاده از آجر و سنگ و گچ به جای چوب)، مشابه سایر مساجد جهان اسلام دیده می شود. تغییر در مفهوم دیوارشمالی و شکل عمومی مساجد نیز نشانه تغییر سنت سازماندهی فضایی کنفسیوسی به اسلامی در ساختمان است. این امر در نواحی از کشور چین که حضور مسلمانان پر رنگ تر است؛ بیشتر از سایر نواحی دیده می شود. با این وجود همواره در نقاطی از این کشور مساجد به همان شکل اولیه و سنتی خود پابرجا ماندند و یا اینکه تاثیر پذیری آن ها از فرهنگ و نمادهای اسلامی کمرنگ تر بوده، این موضوع بیشتر در مناطق اقلیت مسلمان نشین به چشم می خورد.

Spatial and symbolic recognition of Chinese mosques

The history of Islam in China began when the first ambassador of Islamic caliphate in 654 AD, gained the court of the Chinese emperor. After that Islam has been spread throughout there during a century. In this study, authors try to study about how architectural elements and spatial forms are effected from Islam or BuddhistChinese tradition. Then, at the first it must be clear that which symbol are predominant in architectural culture of china. After that with a comparative study with Islamic symbol and spatial arrangement it may be understand the Chinese mosque concept instead of west Asia traditional design, especially with Iranoislamic architecture. Chinese symbols and meanings revolve around good fortune, and positive elements that are inspired of Buddhism, Confucius and taoism. It is the Chinese belief that by filling their lives with lucky objects and images, they increase prosperity and happy circumstances, making their existence joyful and fulfilling. Symbols and signs have graced their architecture, language, artwork, and everyday objects for centuries. In Chinese decorative arts pictured flowers, fruits, and trees are representations for various aspects of life. Knowing the symbolic meaning of a plant enables you to understand the hidden message. Color in Chinese culture refers to the certain values that Chinese culture attaches to colors, like which colors are considered auspicious or inauspicious Most Chinese decorative art are based on its symbolic values. These symbols could be understood and interpreted and only when we do that the true meaning of the objects reveals itself. The purpose of this study is to find the genealogy of symbol between china and Islam semiotic studies. The authors discuss on symbolism in Chinese architecture and then the extent to which these symbols are used in the architecture of mosques in different parts of the country. This research is based on reviewing some mosques in china. Content analysis based on library documents and resources. Finally, the results of this research show that since the arrival of Muslims and the increasing interactions between Chinese with Muslim, monuments of temples and houses The Chinese were used as mosques, which did not include any elements of the architecture of the Islamic Mosque. With the overtime, the primary period of Islamic architecture, these mosques seem to have some Islamic symbol by adding elements such as domes, minarets and arches. Still, in these buildings, Buddhist symbols were seen. In the fourth period of the Islamic architecture of China, similar colors and elements, such as domes, arches, minarets, and nicks, were used in other mosques of the Muslim world in these mosques. Of course, in all over of the china, mosques have always remained in the same traditional and original form. Chinese architects accepted Islamic elements with their national identity the national and religious identity of China is represented in the form of colors and symbols as well as elements of the entrance of the mosques. The symbol of Buddha and Mandala among the elements of Chinese mosques is more than anyone else. Red is seen as an element of the identity of the sector to Chinese architecture in the mosque architecture. This color is not seen in other mosque ornaments. Chinese symbols have become Islamic symbols in Islamic architecture. Some of these symbols are rooted in religious symbols such as Buddha statues, dragons, Phoenix, etc. Form conversion is the most important feature of the Islamic architecture of China. The root of the transformation is a form of ethnic, climatic and geographical dependence. There is a dragon element in the native architecture of China, which has been used in mosques in China as Slimi. Islamic architecture in China can be considered as an example of a consistent architecture of indigenous symbols and the preservation of Islamic values. It is hoped that researchers in future studies will pay attention to the influence of ethnic and native components on the shape of Islamic architecture.