ویژگی‌های بصری تذهیب قرآن‌های مجموعه شیخ احمد جامی(مطالعه پنج اثر از ادوار سلجوقی تا قاجار)

گنجینه مصاحف محفوظ در مجموعه شیخ احمد جامی در شهرستان تربت‌جام تاکنون معرفی و مورد مطالعه واقع نشده است. تعداد41 نسخه قرآنی در مجموعه‌ی تاریخی - آرامگاهی شیخ احمد جام از دوره سلجوقی تا دوره قاجار وجود دارد که از این تعداد، 7 نسخه دارای ترجمه‌ی فارسی هستند و 8 نسخه نیز به صورت سی‌پاره موجود هستند و در اتاق‌های کوچک گنبدخانه مجموعه نگهداری می‌شوند.غنای خوشنویسی و تذهیب این نُسخ در کتابت، ترکیب‌بندی صفحات، خوشنویسی، تزیینات، نشان‌ها، صفحات وقف‌نامه، اوراق افتتاح و اختتام، قابل تامل و مطالعه است. هدف، توصیف و تحلیل بصری تزیینات پنج قرآن منتخب از مجموعه مذکور در دوران سلجوی تا قاجار است. بنابراین سوالهای این تحقیق عبارتند از:1 - ترکیب‌بندی قرآن‌های خطی منتخب سده‌ی 6 تا 14 هجری، وقفی آرامگاه شیخ جام چیست؟ 2 -ویژگی‌های بصریِ کتاب‌آرایی قرآن‌های منتخب این مخزن، از نوع خط و خوشنویسی، صفحه‌آرایی، تزیینات و تذهیب و نشان‌ها چیست؟ روش تحقیق توصیفی - تحلیلی بوده و روش جمع‌آوری اطلاعات، اسنادی و کتابخانه‌ای و به ویژه بر برداشت‌‌های میدانی شامل عکاسی و مصاحبه استوار است. جامعه‌ی آماری شامل تعداد چهل و یک مصحف از دوران سلجوقی تا قاجار است. نمونه‌گیری هدفمند است و از نمونه‌های بارز از هر دوره، یک عدد مصحف جهت مطالعه، انتخاب شده است. یافته‌ها نشان داد که آرایه‌ها شامل جدول‌اندازی، سرسوره، شمسه و شرفه، ترصیع و نشان آیات، خمس و عشر است و قلم‌های مورد استفاده نیز تنوع جالب توجهی دارد. جدول‌اندازی در قرآن‌های دوره سلجوقی و ایلخانی نسبت به ادوار بعدی کمتر مورد توجه بوده ولی سرسوره‌ها پرکارتر با رنگ غالب طلایی است، در حالیکه سرسوره‌ها در قرآن‌های ادوار تیموری، صفوی و قاجار با لاجورد آراسته شده است. شمسه‌ها و شرفه‌ها در قرآن‌های ایلخانی به بعد، رواج بیشتری یافته و نشان‌های آیات، خمس و عشر در دوران ایلخانی و تیموری، پرکار و ظریف تصویر شده است. بررسی کتابت قرآن از قلم‌های کوفی تزیینی و ثلث برای سرسوره‌ها و قلم‌های ثلث و ریحان در متن قرآن تا عصر صفوی کاربرد داشته و از آن به بعد قلم نسخ مورد استقبال واقع شد. ترجمه‌ی آیات در ابتدا به نسخ و در عصر قاجار با نستعلیق کتابت شده است. شناسنامه مصاحف بازخوانی و بازشناسی شد و نوع قلم و تزیینات، نیز در تعدادی، دوره تاریخی مورد بازبینی و اصلاح قرار گرفت.

Visual Features of Gilding of Qurans of the Collection of Sheikh Ahmad Jami (Study of Five Qurans from the Seljuk to the Qajar Periods)

The repository of the codices preserved in Sheikh Ahmade Jami Mausoleum Complex in Torbate Jam County have yet neither been introduced nor studied. The objective of the present work is to describe and conduct a visual analysis of the ornamentations of five different Qurans selected from the aforementioned compilation from the Seljuk era to the Qajar era. The region of Jam, due to the spiritual presence of Sheikh Ahmade Jami, has constantly been considered of an enormously elevated status by the contemporaneous rulers in comparison to other states and counties of Khurasan. Buildings were constructed to commemorate and mark the resting place of Sheikh Ahmade Jami, and thus Sheikh Ahmade Jami Mausoleum Complex expanded through time to reach its present glory and magnificence. It was deemed as a necessity to conduct this research in order to introduce the valueless Quranic manuscripts and further elaborate on the masterpieces which were kept in the collection of Sheikh Ahmade Jami Mausoleum Complex, as well as to understand the course of the developments of the ornamental elements and to provide a visual aesthetic analysis of these Quranic manuscripts from the Seljuk to the Qajar era. Ergo, one may come to propose the following questions. Firstly, what are book design, ornamental elements, and scripts which had been utilized in these Qurans throughout the period of the 6th to 14th century AH? And, secondly, what are the points of similarity and difference between the arrays?The research method was per se descriptive and analytical. And, the methods of data collection included library research as well as documentarybased research, especially focusing upon representations of field study such as interview and photography. Statistical population of this research includes fortyone codices ranging from the Seljuk era to the Qajar era. The sampling in this case is of purposeful kind; and, from amongst the prime samples and instances of each era, one codex has been selected to be under scrutiny and study.The findings of the present work have shown that ornamentations and arrays of the foretold Qurans have been elucidated and demonstrated in the form of tabulation, heading of Surah, ornamental loop (Shamseh[1]), cornice (Sharafeh[2]), gilding, interlinear gilding, symbol of the division of verse[3], symbol of ten verses (Ashar) and symbol of five verses (Khams). The scripts which had been used do also have an intriguing variety and diversity with regard to their position and status. Seljuk and Ilkhanate Qurans have been without tabulation, and during the next eras, they had been tabulated with yellow, black and eventually azure colors. In the initial periods, the heading of Surah was tangled and its main color was gold; whilst in the next periods, the ornamentations became more organized and the main color turned into azure. In the Seljuk era, the heading of Surah was written in golden Muharrar[4] script; and, in the upcoming Qurans, it turned into Venetian ceruse, and then was based upon gilding. From Qurans that belonged to the Ilkhanate era onwards, ornamental loops and cornices were more represented, getting goldcovered more coherently and consistently in the Safavid era as well as the Qajar era.Ornamental techniques, gilding, and crenulation are more applicable compared to interlinear gilding and Girih tiles. Symbol of division of verse, symbol of the ten verses (Ashar) and symbol of five verses (Khams) have had significant simplicity in Qurans of the Seljuk, Safavid and the Qajar eras, whilst these very symbols have been depicted more delicately and intricately in Qurans of the Ilkhanate and the Timurid eras. Ornamental Kufic and Thuluth scripts for heading of Surah, and Rehyan and Thuluth scripts for the body of Quran were applicable and practical until the Safavid era; and, from then on, Naskh script became more prevalent. The translation of verses was initially written in Naskh script and then turned into Nastaʿlīq script as in the Qajar era. Catalogues and/or identifications of most of the codices have been reviewed and recognized by the authors; moreover, multifarious problems with regard to the type of the script, ornamentation and the historical period of the Qurans have as well been revised, reformed and recovered. [1] The Persian/Arabic version is شمسه[2] The Persian/Arabic version is شرفه[3] Originally known as Āyah the Persian/Arabic version of which is آیه[4] The Persian/Arabic version is محرر