مطالعه نقوش هندسی و مفاهیم آن‌ها در نسخه مصور سه مثنوی خواجوی کرمانی (نسخه کتابخانه بریتانیا، 18113)

بنابر نظریه تجلی در دین اسلام، امر مطلق خود را با واسطه اظهار می‌کند و این واسطه‌ها در هنر و زیبایی مفهوم نماد به خود می‌گیرند و از زبان رمز برای بیان مفاهیم و ماهیت باطنی خود استفاده می‌کنند. هنر اسلامی برای تجلی صور مثالی در هنر، قالب هندسه را که خود سنخیتی ذاتی با صور مثالی دارد برگزیده است و نقوش هندسی در نگارگری ایرانی می‌تواند یکی از نمونه‌های بهره‌گیری از هندسه در بازنمایی عالم مثال باشد. نسخه سه مثنوی خواجوی کرمانی کتابخانه بریتانیا در سنت نقاشی ایرانیاسلامی از وجوه مختلف از جمله نقوش هندسی به‌کاررفته در نگاره‌ها، به‌عنوان الگو و سرخطی تا اواخر قرن دهم هجری دانسته می‌شود؛ لذا تحقیق و بررسی در این زمینه اهمیت می‌یابد. ازاین‌رو هدف از این مقاله معرفی و شناخت الگوهای هندسی موجود در این نسخه و تحلیل مفاهیم عددی آن‌ها براساس نظریه تجلی است. سوالات پژوهش عبارت‌اند از: 1. نقوش هندسی به‌کار رفته در نسخه مصور سه مثنوی، چه ویژگی‌های ساختاری دارند؟؛ 2. براساس نظریه تجلی در هنرهای ایرانیاسلامی، چه تحلیل‌های مضمونی می‌توان برای نقوش هندسی این نسخه ارائه کرد؟ این پژوهش از نوع توسعه‌ای و به‌شیوه توصیفی–تحلیلی انجام شده است. روش گردآوری اطلاعات اسنادی(کتابخانه‌ای) با استفاده از ابزار فیش است و روش تجزیه و تحلیل اطلاعات کیفی است. دوازده نقش هندسی در نسخه سه مثنوی به‌کار رفته است که به‌ترتیب برمبنای اعداد 8، 6 و 4 ترسیم شده‌اند و تاکید بر این اعداد خاص به‌منظور بیان مضامین و مفاهیم آن‌ها بوده است. در اندیشه اسلامی عدد هشت با عالم مثال در ارتباط است و رمز گذر از عالم محسوس به عالم معقول است. عدد چهار نماد زمین و عالم ملک است. عدد شش یادآور شش روز خلقت است و در عالم کبیر متناظر با جسم و در عالم صغیر معادل شش قوّه حرکت است و عدد کمال و رمز آسمان در نظر گرفته می‌شود. با توجه به نظام هفت رنگ در رنگ‌شناسی سنتی، رنگ غالب نقوش هندسی این نسخه آبی است که نشان از نیک‌خواهی، احسان و نفس امّاره است و غالباً در جوار رنگ مکملش، نخودی، قرار گرفته است. همچنین بنا بر تطابق ذاتی ایده و قالب در تمدن اسلامی، اکثر نقوش شش‌ضلعی که رمز آسمان در نظر گرفته می‌شوند، با رنگ آبی رنگ‌آمیزی شده‌اند و در نهایت منجر به وحدت معنا و قالب می‌شود.

The Study of the Geometric Motifs and Their Concepts in the Illustrated Manuscript of the Three Poems by Khwaju Kermani (British Library, add. 18113)

According to the manifestation theory in Islam, the God expresses himself through the mediator, and these mediators take on the meaning of symbol in art and beauty, and use the mystery language to express their inner concepts and nature. The way that God is portrayed in a religion determines the nature of its religious art. Islamic art has chosen the form of geometry, which is inherently similar to the ideal forms, to manifest exemplary forms in art, and geometric motifs in Persian painting can be one of the examples of using geometry to represent the exemplary world. Geometric motifs in PersianIslamic arts are one of the types of images that can help artists to express facts. It means by combining geometry and philosophical and theological aspects, as well as spiritual and sacred allusions, they use the language of mystery and allegory to express facts. In the traditionalist view, geometric motifs were not merely a form of decoration in Islamic art; rather, each implies a message that the conscious viewer must attain to the highest meaning and truth from the material form and appearance.The Illustrated manuscript of the three poems by Khwaju Kermani (Homay o Homayun, Kamal namah and Roudat alAnwar), 798 AH/ 1395 AD, British Library, add. 18113, in various aspects, including geometric motifs used in paintings, is considered as a sample in the tradition of PersianIslamic painting until the end of the tenth century AH. Therefore, research in this field is important. So, the aim of this article is to introduce and recognize the geometric patterns in this illustrated manuscript and analyze their numerical concepts based on the manifestation theory. The questions are: 1. What are the structural features of the geometric motifs that are used in the illustrated manuscript of the three poems by Khwaju Kermani? 2. What thematic analyses can be provided for the geometric patterns of this illustrated manuscript according to the manifestation theory in the PersianIslamic arts? This research is developmental and done by descriptiveanalytical method. The method of collecting information is documentary (library research method) and the method of analyzing information is qualitative.The statistical population of this research is all the paintings of illustrated manuscript of the three poems by Khwaju Kermani (British Library, add. 18113) which consists of 9 paintings. Between these 9 paintings, only 4 paintings have geometric motifs that have been considered as research examples. The method of selecting research samples is nonprobabilistic (selective) method and the criterion for selecting samples is the presence of geometric motifs in the painting. Examples are: Homay in the Court of Faghfor of China, Homay Arrives at Homayoun’s Castle, Parliament the Day after Homay and Homayoun’s Wedding, Bozorgmehr in the Presence of Khosrow Anoshirvan.Twelve geometric motifs have been used in the illustrated manuscript of the three poems by Khwaju Kermani, which have been drawn based on the numbers 8, 6 and 4, respectively, and the emphasis on these special numbers has been in order to express their themes and concepts. The number eight with 79.2% is the most frequent geometric basis in the manuscript of the three poems by Khwaju Kermani. In the Islamic thought, the number eight is related to the world of examples, and the key to passing from the tangible world to the rational world, the transition between the earth and the heaven, and the interface between divinity and immortality. It is also reminiscent of the eight bearers of the Divine Throne, the eight heavens and the eight heavenly rivers. The number four symbolizes the earth and the tangible world. It shows the active attributes of nature and the passive attributes of matter as well as the four parts of human worldly life. According to the companions, the number four is manifested in a square which vertical lines indicate the descent of mercy and its horizontal lines represent the balance of creatures and divine justice, and they use it to indicate the two mystical states of intuition and absence. The number six is ​​reminiscent of the six days of creation and corresponds to the body in the large world and is equivalent to six powers of motion in the small world. If the number six is represented as two inverted triangles, it indicates the relationship between body and soul. Furthermore, it is considered the number of perfection and mystery of the sky. According to the sevencolor system in traditional chromatography, the predominant color of the geometric motifs of this manuscript is blue with % 52, which indicates benevolence, beneficence and selfcontrol, and is often placed next to its complementary color, cream color. Also, due to the inherent correspondence of ideas and forms in Islamic civilization, most of the hexagonal patterns that are considered as symbols of the sky are painted in blue, and ultimately leads to the unity of meaning and form.