مطالعه تطبیقی نقش اختران در مکاتب فلزکاری جزیره، شمال‌شرق و شمال‌غرب ایران در سده‌های 6 و 7 هجری براساس آینه مفرغی موصل، جام پایه‌دار خراسان و قلمدان برنجی آذربایجان

یکی از مهم‌ترین مضامین به‌کاررفته در تزیینات آثار فلزی سده‌های میانۀ دورۀ اسلامی نقوش نجومی است که خود دو دستۀ صور منطقه‌البروج و نقش اختران هفتگانه را در بر می‌گیرد. همچنین نقش اختران در فلزکاری اسلامی همواره به دو صورت ترسیم شده است، گاه در ترکیب با صورفلکی منطقه‌البروج و گاه به‌ صورت مجزا. در پژوهش حاضر صورت‌های مجزای اختران مدنظر است که دارای ماهیتی خیالی‌اند. مشاهدات اولیه نشان می‌دهد کاربرد این نقوش در آثار مکاتب فلزکاری مهم این دوره، که به‌ترتیب شکوفایی عبارت‌اند از مکتب فلزکاری شمال‌شرق ایران، مکتب فلزکاری جزیره و مکتب فلزکاری شمال‌غرب ایران، حائز تفاوت‌های عمده‌ای است.‌ بر این ‌اساس، هدف از انجام این پژوهش بررسی و تطبیق صورت‌ مجزای اختران هفتگانه در آثار این سه مکتب مهم فلزکاری ایرانی در سده‌های شش و هفت هجری است. می‌خواهیم بدانیم چه تفاوت‌های سبکی و شمایل‌نگارانه‌ای میان صورت اخترانِ این سه مکتب فلزکاری وجود دارد و این تفاوت‌ها ناشی از چیست. در این پژوهش با استفاده از روش توصیفیتحلیلی نمونه‌های شاخص این مکاتب بررسی و ضمن مشخص ساختن ویژگی‌های هر یک از اختران هفتگانه به تطبیق و مقایسۀ آنها پرداخته‌ شده است. اطلاعات و داده‌های مورد نیاز این پژوهش نیز به‌صورت کتابخانه‌ای گردآوری شده‌ است. نتایج حاصل از تجزیه‌وتحلیل یافته‌ها و شواهد مبیّن آن است که رابطۀ مشخصی میان تصویرپردازی نقش اختران هفتگانه در آثار فلزی سده‌های شش و هفت هجری و خاستگاه‌های جغرافیایی آنها وجود دارد و باورها و دیدگاه‌های نجومی رایج در این مناطق در ویژگی‌های سبکی و شمایل‌نگارانۀ تصاویر اختران بروز یافته است.

A Comparative Study of Seven Planets’ Images in Metalworking Schools of Jazira, Northeast and Northwest of Iran during the 12th and 13th Centuries AH Based on Bronze Mirror from Mosul, Footed Cup from Khorasan and Brass Pencase from Azerbaijan

One of the most important subjects used to decorate the metalwork of the Middle Ages of the Islamic period was astrological images including the constellations, zodiac signs and seven planets. Also, the images of seven planets including the Moon, Mercury, Venus, Sun, Mars, Jupiter and Saturn, in Islamic metalwork have always been depicted in two ways, sometimes in combination with the zodiac signs and sometimes in isolation. In the present study, the second type is considered, which is imaginary. The purpose of this research is to consider and compare the isolated images of seven planets in the works of the three major metalworking schools during twelfth and thirteenth centuries, which are, respectively, Khorasan in the northeast of Iran, the Jazira, north of Mesopotamia, and the northwest of Iran. Because of the differences observed in the iconography of seven planets’ images in the products of these three schools, the following questions raised, including what are the stylistic and iconographic differences between the seven planets’ images of these three metalworking schools and what is the reason for these differences? In this research, we examined three important examples of the metalwork of these schools using descriptiveanalytical method and then we compared them. On the island’s metalwork, which used the seven planets’ images for the first time, each of the seven planets have been depicted in human form, sitting crosslegged and bearing their own traditional features, such as Mars that has a head and a sword, Saturn that carries an ax, and Venus that plays a lute. In the Khorasani metalwork, we see some slight changes in the overall illustration of these images and a major change in the iconography of Shams (Sun). Here, like the metalwork of the island, all of them, except for the sun, have a human body and sitting crosslegged. However, the multihandedness of the seven planets’ images on one hand and existence of more than usual signs on the other hand, has revealed the difference between the iconography of planets’ images of the Jazira and Khorasan. In addition, another significant difference between these designs is in the image of the sun as well as the number of planets. The image of the sun in the metalwork of Khorasan, unlike the metalwork of the Jazira, is not human; instead it is a radiating circle containing three human faces. And in the metalwork of the Khorasan, the fake planet Jozhor is also shown next to the other planets. In the end, we should point out how these designs were drawn in the northwest of Iran where almost all the planets’ forms are similar to the designs of Jazira, showing influences from its seven planets’ form with no iconographic difference between them. The only distraction that can be seen in the seven planets’ images of this area appeared in the image of the sun. Here also, like the metalwork of Khorasan, the sun has not been depicted with a human body and appears with merely a radiating circle. However, the image of the sun in this area just surrounds one human face rather than three. The required data is collected through library research method. The results of the analysis of the findings and evidences suggest that there is a significant relationship between the iconography of the seven planets’ images in the metalwork of twelfth and thirteenth centuries and their geographic origins. Furthermore in the attributes assigned to each of these planets, effects of astronomical or astrological beliefs and perspectives of different geographic origins, which have led to the iconographic differences in their imagery, are evident. In general, it should be noted that the beginning of the illustration of seven planets in Islamic metalwork, based on the earliest sample, is attributed to the metalwork school of Jazira. It seems these images have been transferred from Jazira in the northeast of Mesopotamia to the northeast of Iran, and then from there, they returned to the northwest of Iran and have been depicted on the metalwork produced at the beginning of the Ilkhanid period.