شمایل‌نگاری تزئینات کاشی‌کاری خانه‌های تاریخی شیراز در عصر قاجاری

تزئینات در معماری ایرانی تنها حاوی جنبه‌ های زیبایی شناسانه نیست و آرمان‌ها، آرزوها و بروندادهای فرهنگی منبعث از زمینه‌ های ملی، مذهبی و عرفی به‌عنوان مبانی روایت در آن به چشم می ‌خورد. کاشی‌کاری دوره قاجار نمونه مهمی از روایت عقاید و زیست مردمان آن دوره است که با شناخت این تصاویر می ‌توان درک مستندی از اوضاع فرهنگی آن به دست آورد. هدف از تحقیق یافتن مولفه‌های موثر بر شکل‌گیری تصویر در کاشی‌کاری خانه‌های تاریخی شیراز در دوره قاجار است. سوال اصلی پژوهش این است که ارزش‌ های بصری شمایل‌ نگارانه نقوش تزئینات کاشی‌کاری شیراز کدم‌اند؟ روش تحقیق در این مقاله مبتنی بر روش توصیفی-تحلیلی و پیمایشی و بر اساس روش شمایل‌ نگاری پانوفسکی است. شیوه جمع‌آوری اطلاعات از طریق داده‌ های اسنادی-کتابخانه‌ ای و مشاهدات میدانی شامل برداشت شخصی از خانه‌های تاریخی است. روش تجزیه‌وتحلیل اطلاعات نیز بر اساس تحلیل شمایل ‌نگارانه تصاویر است. پس از بررسی 15 خانه دارای کاشی‌کاری مستند و معتبر و تحلیل تصاویر بر اساس روش شمایل شناسانه نتایج نشان دادند نحوه بیان و روند منسجم داستانی-روایی در کاشی‌کاری خانه‌های تاریخی دوره قاجار در شیراز نشانگر سه تمایل موازی در بیان؛ شامل پایبندی به فرهنگ عمومی در قالب تصاویر ملی-تغزلی و مذهبی، گرایش مالک به جریانات متجدد مانند تصاویر عمارت اروپایی و یا شغل‌های با محوریت فن‌آوری صنعتی و تمایلات درونی فرد است. این سه گرایش نه‌تنها در قالب شکل کلی تصویر بلکه درزمینه تعیین رنگ و نوع بیان هر روایت نیز قابل‌مشاهده است.

iconography of tile decorations in historical qajar houses of shiraz

decorations in iranian architecture refer to both aesthetic and infrastructural aspects such as social beliefs and religions. these sources have been effective in the way of decorations in islamic architecture, so that the content of the image and the way of expressing that narrative are related to these tendencies. however, this process has undergone changes in different periods. qajar period tiling is an important example of how to express the ideas and life of the people of that period. by recognizing these images, a clear and significant understanding of the cultural situation of that historical period can be obtained. it should be noted that these works of art are in danger of destruction and with their destruction an important part of iran’s cultural heritage will be lost. iconography is that branch of the history of art which concerns itself with the subject matter or meaning of works of art, as opposed to their form. originally, iconography referred to the description and classification of religious or artistic objects/images, while iconology referred to the interpretation of their meanings, but these two terms now tend to be used interchangeably or as closely interwoven. in order to systematise the process, edwin panofsky constructed an integrated frame of three levels of primary, secondary and tertiary analyses. primary level (factual description of representations): the purpose of this is to enable the researcher to see all aspects of the object/image in order to prepare for the next level. secondary level (iconographical analysis at a more abstract level): seeks the meanings of the signs/symbols/images presented. tertiary level (iconological interpretation): involves seeking the deepest meaning through clarifying how the signs/symbols/images reflect the underlying principles or period in which the object/ image was created). although panofsky did not suggest this, an overall alternative analysis can often help by giving you another perspective through which to view the image. topics such as feast, religious quranic, epic, political figures, soldiers, martial themes, poetry, hunting scene, erotic, special motifs, single frame, daily life, battle, decorative motifs and slimmi (arabesque) were examined in these images. even as the new hybrid forms of euro-persian design grew more prominent in court circles, the older traditions of vegetal, geometric, and calligraphic ornament remained in use. the latter two types predominated in the decoration of qajar religious architecture, and the arabesque was frequently engraved on metalwork during the 17th-19th centuries. in this age, this industry had unique features and characteristics. moreover, the cities of isfahan, qashan, yazid, mashhad, shiraz and kerman were among the greatest ceramic centers in iran during this period. the purpose of this study is to find the components affecting the image formation in the tiling of historical houses in shiraz during the qajar period. the main question of the research is to know what are the visual values ​​of iconographic designs of shiraz’s tile decorations? the research method in this article is based on library and field methods and based on panofsky’s iconographic method. the method of collecting information is through field observation and personal perception of historical houses and library-documentary studies. in this study, 15 houses with intact tiling were examined. image analysis was performed based on iconographic method. the houses names are forough al-molk, saadat, tavalaee, salehi, modarressi, tawhidi, atrwash, basiri, owji, tavakoli, javaheri, ardakani, dokhanchi, ziaeyan, manteghinejad. the studied houses are located in the historical context of shiraz and the researchers have done the research based on the photography and analysis of each photo. the study area includes a collection of eleven old neighborhoods.