تطبیق و تحلیل صوری آرایه‌های به‌کاررفته در صفحات تزیینِ اولین نسخ خطی قرآن و اناجیل اینسولار

هنر تزیین و تذهیب کتب مقدس در مسیر تاریخی خود، تحت تاثیر اندیشه و باورهای دینی و همچنین نقش‌مایه‌های فرهنگ پیشین خود بوده است. بخش مهمی از کتاب‌آرایی کتب مقدس، به صفحات بدون متن و سرشار از تزیینات و انواع نقوش اختصاص‌یافته که صفحات تزیین نامیده می‌شوند. از نمونه‌های نخستین این صفحات در کتب مقدس، می‌توان به اناجیل اینسولار (7 تا 9 میلادی) و نسخ خطی قرآن‌های سده‌های نخست اسلامی (قرن 9 میلادی) اشاره نمود. با توجه به شباهت ماهوی میان انجیل و قرآن (ازآنجاکه هر دو متن معیار دینی در ادیان ابراهیمی به شمار می‌روند)، هدف پژوهشِ حاضر تبیین وجوه اشتراک و افتراق میان نقش‌مایه‌های صفحات تزیین این نسخ مذهّب بوده و به این سوال پاسخ می‌دهد که: «تشابهات و تمایزات صوری در نقوشِ صفحات تزیینِ اولین نسخه‌های مذهّب قرآن و اناجیل اینسولار کدام است؟» این پژوهش ماهیتاً کیفی بوده و با روشی توصیفی تحلیلی و گردآوری اطلاعات از منابع کتابخانه‌ای و استفاده از محفوظات موزه‌ها، به تجزیه‌وتحلیل استنتاجی داده‌ها پرداخته است. نتایج پژوهش بیانگر آن است که انواع نقوش گیاهی، درهم بافته‌ها و هندسی (با غلبه خطوط منحنی بر شکسته) در تزیین هر دو نسخه مذهّب اسلامی و مسیحی به‌کاررفته و نقوش هندسی مشبک و درهم بافته‌ها، بیشترین تطابق را با یکدیگر داشته‌اند، درحالی‌که نقوش حیوانی را تنها می‌توان در نسخه‌های اناجیل یافت. همچنین از تمایزات آشکار میان نقوش نسخه‌های قرآن و اناجیل، می‌توان به نقوش دایره‌ای سلتی، گره‌های سلتی و نقوش مارپیچ و نواری جانورسان در نسخه‌های خطی اناجیل اینسولار اشاره کرد که در قرآن‌های مذهّب وجود ندارد. این تمایز می‌تواند به تاثیر سبک هنری گذشته نسخه‌های مسیحی و اسلامی برگردد که بیشترین وجه اشتراک آن در تاثیرپذیری از هنر مصری و قبطی و بارزترین وجه افتراق آن در انعکاس هنر سلت در نسخه‌های اینسولار پدیدار است.

formalist comparison and analysis of the motifs used in carpet pages of the earliest qur’anic and insular gospel manuscripts

the art of decoration and illumination of holy books has ancient origin, and history of the use of decoration in holy books can be attributed to the illuminated (gilded) religious manuscripts of pre islamic manichaeans. due to their religious and ritual function, this method of book decoration was transferred to the later cultures and religions, and in those religions and beliefs, it was transformed in accordance with their religious and intellectual principles and foundations. in other words, in some cases, they have remained as before one or have become more complete and complex, and in other cases, these patterns and motifs have been removed or refined. islam and christianity, for example, have used this method to express their prominent and sublime concepts. some manuscripts of these holy books contain the pages known as the decoration or carpet pages (the term is common, especially in christian and jewish holy books); pages without text and filled completely by decorative (inhuman) motifs. the decoration of these pages is such that no empty space can be found in it. these pages are usually placed at the beginning of each four sections of the gospel as well as at the first and the last pages of the qur,an; like a brilliant gate that is a catharsis for the mind and spirit before entering and reading the sacred text. the earliest examples of these pages can be found in the qur,ans belonging to the third century ah in islamic realm (9th century ad) and the triple insular gospels in ireland (7th to 9th century). as the same way, the purpose of this fundamental study was to elucidate the commonalities and differentiations between the arrays and motifs of the decorative pages in the qur,anic manuscripts in the first centuries of islam and the first gilded gospels in insular art. the main query of this research focused on the degree of matching and differentiation between the motifs used in decorating these pages in the early gilded manuscripts of the qur,ans and the insular gospels. in addition to the main research question, we can elaborate on the types of motifs and the way they are represented, as well as the roots and causes for using these motifs in the two books of qur,an and gospel. since the first examples are usually effective to identifying the origins and causes of formation and development, the necessity and importance of research is determined in knowing more about causes of formation of patterns and its development and evolution. in fact, the comparison and description of these motifs in the first gilded qur,ans and gospels can also help to further clarify the patterns that evolved in later eras. for example, why in the illuminated manuscripts of gospels, the arrays and motifs are more mature than in the first gilded qur,ans? in the background of the research, we can only point to two comparative studies in islamic and christian manuscripts that were not related to the study of the designs and motifs of the carpet pages of the holy books. one is the research by shayestehfar (shayestehfar, 2006) in which the decorative motifs of the qur,ans of the ilkhanid period and the illustrated gospels of the contemporary gothic period have been studied. another is shirazi,s article (shirazi, 2016) that studies the miniatures of scientific and literary books in the islamic world (seljuk period and the abbasid school) and the art of book of christianity (the third period of byzantium and romanesque style). by relying on a descriptive analytical method and a formalistic approach, the present study compares the patterns and decorative elements in these pages. the method of data gathering in this study is searching the resources available in libraries and use of archives available at the european museums. also, the procedure of data analysis in this qualitative study is inferential. the sampling of the works is based on the antiquity of the