مطالعۀ نقوش و کتیبه‌ها در محراب تکیۀ مشرقی شیراز

محراب گچ‌بری‌شدۀ طاق مشرقی نمونۀ کم‌نظیری از محراب‌های گچی با طاق‌نماهای تودرتو در فارس است که ازنظر تناسبات هندسی و زیبایی‌شناسی نقوش، اثری ویژه تلقی می‌شود. بااین‌همه، مطالعات کافی برای شناخت آن صورت نپذیرفته و به سبب ناپدید شدن کتیبۀ ساخت، تاریخ‌گذاری آن نیز به‌درستی انجام نشده است. هدف این پژوهش، مطالعۀ نقوش (گیاهی و هندسی)، بررسی نظام تناسباتی و انگاره‌های زیبایی‌شناسی حاکم بر طراحی نقوش محراب است تا بتوان از رهگذر آن بازۀ زمانی دقیق‌تری نیز برای ساخت محراب پیشنهاد داد. پژوهش کنونی از روش تاریخی و رویکردی توصیفی و تحلیلی بهره برده است؛ داده‌های میدانی، برداشت دقیق محراب و بررسی منابع تاریخی به نتایج منتهی شده‌اند. یافته‌ها نشان می‌دهند که این محراب از نظام تناسباتی شناخته‌شده‌ای -که برخی از آن به «تناسبات طلایی ایرانی» یادکرده‌اند- بهره برده است. طاق‌نمای درونی از نوع «چَفد سه‌بخشی تند» با گره‌بندی است و مملو از کتیبه‌هایی شامل اسماء الهی و نقوش گیاهی (گل و برگ) در حالتی طبیعت‌گرایانه و واقع‌گرایانه است. کتیبه‌ای با خط کوفی بنایی نیز سورۀ اخلاص را نشان می‌دهد. تشابه نقوش گیاهی این محراب با برخی از نقوش مدرسۀ الغ‌بیگ سمرقند و طرح‌هایی از سنت کتاب‌آرایی و نگارگری مکتب شیرازِ عهد تیموری این گمان را قوی می‌نماید که محراب اثری از روزگار ابراهیم سلطان بوده و حوالی ساخت سنگ مزار عماد‌الدّین محمود در جوار آن ساخته شده باشد. این کار یا به دست خبرگانی از سمرقند یا هنرمندانی از کارستان هنری ابراهیم سلطان انجام شده، چراکه از سنت‌های محلی و دیگر نمونه‌های پیش و پس از خود در شیراز متمایز است.

the study of motifs and inscriptions in the mihrab of the mashraqi tekiye in shiraz

the plastered miḩrāb of the mashreqi vault is a rare example of plaster miḩrāb with nested arches in fars, considered a special work in terms of geometric proportions and aesthetics of motifs. however, insufficient studies have been conducted to identify it, and due to the disappearance of the construction inscription, its dating has not been accurately determined. the eastern miḩrāb of tekyeh mashreqi is one of the only two surviving plaster miḩrābs in the historical buildings of shīrāz, with remnants that are still visible and open to study. the other example of this kind is a miḩrāb in the khodai khan mosque, lacking precise dating but estimated to date from the early 12th to the 14th ad century. unlike its stone counterpart, the plaster miḩrāb in the jami atiq mosque in shīrāz, likely dating back to the 14th century ad, has not preserved many of its floral chain decorations beneath the inner arch of the miḩrāb. furthermore, the eastern miḩrāb is a treasury of various floral and geometric motifs along with inscriptions in kufic script, showcasing a unique collection of art from the possibly 13th to 15th ad in shīrāz, spanning the al-e injoo, al-e mozaffar, and timurid periods. however, its precise dating remains challenging, and efforts have not been made towards this end. thus, the current research aims to document and study the existing floral and geometric motifs in this miḩrāb, as well as investigate the governing proportional system of its geometric structure to provide a basis for its reconstruction and a deeper understanding of its arrays, some of which are only faintly visible. the second objective is to propose a more precise timeline for the miḩrāb’s construction, which requires an understanding of the aesthetics governing the details of its arrays and finding similar examples, especially within the shīrāz and samarqand manuscript traditions. hypotheses in this regard have been formulated, and supported by the necessary evidence and documentation.research questionsthis study explores important inquiries: what is the general form and geometric-aesthetic design of the eastern arch miḩrāb? how can identifying similarities among artistic traditions and miḩrāb embellishments, in conjunction with historical records, enhance the precision of dating the structure?research methodologythe current research utilized the historical method along with a descriptive and analytical approach. the field data, which documented the miḩrāb, and the review of historical sources contributed to the findings. this process was carried out in three steps. firstly, the arch and miḩrāb were documented using short-range photogrammetry. a series of overlapping photographs, tailored to the miḩrāb’s dimensions and geometry, were taken with a canon m10 camera. the data was then processed in agisoft metashape professional software, version 1.7, resulting in a 3d model and orthophoto outputs for detailed drawings. the accuracy of this model and subsequent drawings was assessed based on measurements of various control points to ensure reliability. secondly, historical sources were consulted to gain insight into the history of the eastern tekyeh and its miḩrāb. this historical context helped in understanding the structure’s dimensions and provided a framework for interpreting the decorations and their potential age. finally, all field and library data were analyzed, involving a comprehensive description and analysis of the gathered information.findingsthe eastern arch and its surrounding area contain a wealth of architectural and artistic works dating back to the buyid era and extending to the qajar period. one of the most significant and least researched pieces is the plaster miḩrāb of the eastern arch, situated near the tombstone of ’imad al-din mahmud (the minister of shaykh abu ishaq inju). this miḩrāb (approximately 3 x 1.7 meters) is one of only two surviving examples of miḩrābs with nested arches in fars, which have been documented and studied in this research. it is also one of the few remaining plaster miḩrābs in fars. an examination of the miḩrāb’s proportions in its various sections reveals precise geometric calculations in its design. the sole remaining part of the miḩrāb, the inner arch, is a combination of a three-part steep arch filled with interlace patterns featuring inscriptions and floral motifs, positioned above a kufic inscription. the inner arch showcases divine attributes, while the inscription includes the surah ikhlas. what sets this miḩrāb apart from similar examples is its floral ornamentation and the aesthetics that govern it. in the local tradition of fars, a miḩrāb with such a high level of realism and naturalism in its floral motifs has not been discovered thus far. due to the disappearance of the inscription marking the construction of the structure, and the absence of a thuluth inscription (part of verse 31 of surah a’raf) indicating its place of worship, there is no other documentation for its precise dating.based on the date of imad al-din mahmud’s tombstone, the research proposes two hypotheses regarding the construction date of the miḩrāb: one in the muzaffarids (ilkhanid) era and the other linked to ibrahim sultan (timurid). the resemblance between the arch motifs and a design from madrasah al-ghaibiq in samarkand, along with the style of leaf rendering in the spandrels and other floral motifs, indicates that the miḩrāb was likely built by samarkand craftsmen or artists from ibrahim sultan’s atelier. this suggests that the eastern arch miḩrāb is a 15th-century ad work and part of the timurid legacy in shīrāz, holding significant historical and artistic value in the local architectural history. furthermore, it signifies cultural connections between shīrāz and samarkand, or a unique link between painters and plasterers from ibrahim sultan’s workshop in shīrāz.to clarify the matter, understanding the artistic movements of the shīrāz school of painting during the injuid, muzaffarids, and timurid periods can provide the necessary background and context for a better understanding of the motifs of the eastern miḩrāb, as well as its potential dating. while shīrāz painting during the injuid period utilized freehand strokes, exaggerating plant stems and flowers, the plants in the compositions are very simple, uncomplimentary, and plain. “the movement is still dry and the architecture and landscapes are very concise and summary.” in contrast, the illustrations from the muzaffarids period, perhaps due to the migration of some jalairid artists from tabriz to shīrāz, underwent a transformation in compositions and the use of geometric and plant motifs, especially in carvings, compared to the previous period. there is no longer any trace of the raw landscape depictions of the injuid period; they are filled with natural scenery, lush meadows, flower gardens, and bird-filled orchards.the findings indicate that this miḩrāb has been influenced by a well-known proportional system, often referred to as iranian golden proportions. the inner archway follows the three-part arch style with intricate knots and is adorned with inscriptions of divine names and naturalistic plant motifs such as flowers and leaves. additionally, there is an inscription in kufic calligraphy displaying surah al-ikhlāş. the resemblance of the plant motifs in this miḩrāb to those found in the ulugbek school in samarkand and the designs from the shīrāz school of painting during the timurid era strongly suggests that the miḩrāb is a creation from the time of ibrahim sultan and was constructed around the same time as the tombstone of imad al-din mahmud. this work was likely carried out by experts from samarkand or artists from ibrahim sultan’s workshop, as it differs from local traditions and other examples before and after it.