رویانگاری بر کاشی زرین‌فام در دو بنای قدمگاهی کاشان از دوران ایلخانی و صفوی

آمدن شخصی مقدس در رویای باورمندان و دستور وی به ساخت بنایی یادمانی، یکی از علت‌های اصلی ساخت قدمگاه ها بوده و نمونه های متعددی از این قبیل بناها در ایران قابل شناسایی است. در برخی موارد، برای بیان رویا و استمرار این باور برای نسل های آینده از الواح یادمانی استفاده شده است. در این مقاله به پنج کاشی زرین فام در منطقۀ کاشان اشاره می شود که در آن ها گزارش یک رویا ثبت شده است. دو نمونه از آن ها که متنشان به طور کامل حفظ شده است، شباهت های معناداری با هم دارند: اولی متعلق به قدمگاه درب مهریق آباد کاشان است که شخصی در سال 711ق/1312م امام علی(ع) را در خواب می بیند و به فرمان او تربت خانه ای می سازد. طبق متن کاشی دوم در قدمگاه خضر روستای یزدلان، شخصی در سال 1015ق/1607م خضر را در خواب دیده که به او سفارش تعمیر یک بنای گنبددار مخروبه را داده است. این نوشتار به دنبال واکاوی محتوا و بررسی وجوه تمایز و تشابه این دو لوح است. یافته های مقاله نشان می دهد که آن دو در بازتاب باورهای عامۀ ایرانی شیعی، زمان و مکان مقدس و کرامت‌های شخص محوری مقدس، بن مایه‌ای مشترک دارند و جهت اصلی آن ها مستندسازی عمارتِ بنایی مذهبی با بن مایه های ایرانی و شیعی است. طرفه آنکه گذشت قرون و اعصار نتوانسته است این بن مایه‌های اعتقادی را از میان بردارد.

The Writing of Dreams on Lustre Tiles in Two Qadamgāhs in Kashan from the Ilkhanid and Safavid Periods

One of the main reasons of building Qadamgāhs (literally meaning the place of foot or the place of stepping) was the dreams a believer had of a saint. There are a large number of such buildings in Iran. In some cases, the dreams are inscribed on tablets in order to preserve the dream for future generations. This paper introduces five lustre ceramic tablets, which contain records of such dreams. The texts of two of them have been preserved completely, and significantly show astonishing similarities. The first is dated back to 1312 AD and belongs to Qadamgāh of Mehrīqābād. Its text mentions that Fakhr alDin Hasan Tabari saw Imam Ali in a dream ordering him to build a shrine. According to the text of the second tile in Qadamgāhi Khezr in the village of Yazdelan in 1607, someone saw Khezr in a dream who orders to reconstruct a ruined domed building. This article examines the differences and similarities between these two tablets from the Ilkhanid and Safavid periods, and analyzes them in detail. It can be said that these two tablets have a common content that have been written with the aim of documenting the reconstruction of a religious building borrowing the Iranian and Shi #39;at themes. These two examples show that the tradition of recording dreams on lustre tiles was not only prevalent at the glorious era of lustre production, but also extended to three centuries later. Introduction ldquo;Qadamgāh rdquo; refers to some places of pilgrimage in the Islamic world where a Prophet, Imam or saint has passed or has been seen in a dream. Dreaming has been one of the main reasons for building Qadamgāhs, in that, it was built when someone saw one of the saints in a dream and based on the saint rsquo;s order or his own decision, he called that place a Qadamgāh. This phenomenon, which sometimes led to the establishment of a building, has been common among Shi #39;ats. In some cases, commemorative tablets made of stones or tiles were used to record the dreams. Five lustre tiles, which belong to the Qadamgāhi buildings, have been identified in the region of Kashan, that contain a record of a dream. Three of them, which bear the name of a Qadamgāh, called Darbe Mehriqābād, were produced in the fourteenth century. Although the tradition of writing on lustre tiles has continued until the Safavid period, no example containing a dream is known except for an unpublished tile from Qadamgāhe Khezr in Yazdelan village. This tile, which dates back to 1015 AH/1607 AD, is full of symbolic and mythical signs. Interestingly, the Mehriqābād tiles dates back to 711 AH/1312 AD, and the Yazdelan tile have significant similarities with them in terms of form and content.Research BackgroundThe major research on lustre tiles has been done by Oliver Watson (1975, 1985). However, no research has been done on the Qadamgāhi lustre tiles, except for two papers written by Chahryar Adle about the tiles of Mehriqābād (Adle, 1972, 1982). Nonetheless, he has made some mistakes in reading the text and also did not notice the fiftyyear difference in the date of these tiles. In addition, he was unable to identify the exact building of this Qadamgāh.DiscussionThere is a pair of circular lustre tiles in the Mus eacute;e national de c eacute;ramique de S egrave;vres, the text of which mentions the construction of a Qadamgāh in Kashan. The text of the tiles tells us that a person named Sayyed Fakhr alDin Hassan Tabari finds himself in a dream in the middle of a crowd in the garden of Amir in Kashan. There, he sees Imam lsquo;Ali who tells him to construct a building in that place so that whoever wants to visit him can come to that position. Three centuries later, a lustre tile was installed in the Khezr Qadamgāh of Yazdelan, which narrates a dream that led to the construction of the building. According to its text, a person saw Khezr in a dream, who asked him to repair a domed building.One of the similar and important elements in both dreams is their connection to the garden. In fact, the holy sites in question are located in the garden that was famous at that time. The timing of both dreams is interesting in its own way. The dream of Mehriqābād coincides with Eid alFitr and the dream of Yazdelan coincides with Nowruz. In fact, the dreamers have been influenced by the religious festivals at both times, which belong to a mythical and ritual time. Another common feature of both texts is the effort to document the dream, which mentions the exact characteristics of the place and time of the dream.ConclusionDuring the Ilkhanid period, as there was more religious freedom for Shi #39;ats, the opportunity to express and document such Shi #39;at dreams became more prominent. On the other hand, with the rise of the Safavids and the prevalent freedom for the Shi #39;ats, the emergence of Shi #39;at beliefs developed unprecedentedly. Although the two lustre tiles examined in this paper were made over a period of three centuries, they are certain significant similarities in their content. The main theme, the type of time and place, the sacred personality, the attention to documentation and the influence of Iranian culture in both examples are comparable. In fact, they both express an identical concern: the reconstruction of a religious building the location of which has sacred memories. Interestingly, in the inscriptions of both buildings discussed in this article, there are signs of preIslamic beliefs of the people of the region. However, this is far from the common traditions of Islam and is based mostly on popular beliefs.ReferencesAdle, Ch. (1972). Un disque de fondation en c eacute;ramique (K acirc; scaron; acirc;n, 711/1312), Journal Asiatique, CCLX (3‒4), 277‒297.Adle, Ch. (1982). Un diptique de foundation en ceramique lustr eacute;e, Ka scaron;an 711/1312, In: idem, ed., Art et soci eacute;t eacute; dans le monde iranien, (pp. 199218). Paris: Institut Fran ccedil;ais d rsquo;Iranologie.Watson, O. (1975b). Persian lusterware, from the 14th to the 19th centuries. Le Monde Iranien et l #39;Islam: Soci eacute;t eacute;s et Cultures, 3, 6380.Watson, O. (1985). Persian lusterware. Faber and Faber.