سبک‌‌شناسی جداول زرین در نسخ خطی دورۀ تیموری و صفوی (سدۀ نهم تا دوازدهم هجری قمری)

بررسی ساختار جداول در نسخه‌های خطی تولید شده در دورۀ تیموری و صفوی نشان می‌دهد که با تکیه بر تعداد جدول زر، سبک‌های مختلفی از جدول‌کشی قابل شناسایی هستند. بر این اساس، سبک‌شناسی جداول زرین در سده‌های مذکور، به‌عنوان پژوهشی که تا به امروز انجام نپذیرفته است، ضروری می‌نماید. همچنین کمک به دقیق‌تر شدن تخمین تاریخ نسخه‌های بی‌تاریخ از طریق سبک‌شناسی جداول از دیگر الزامات انجام تحقیق حاضر است. هدف مقالۀ حاضر، شناسایی سبک‌های مختلف جدول‌کشی بر اساس ساختار تشکیل دهندۀ آنها از سدۀ نهم تا دوازدهم و خوانش نظام‌های حاکم بر ساختارهای جدول‌کشی است. سوالات پژوهش عبارت‌اند از: 1- سبک‌های مختلف جدول‌کشی در سده‌های نهم تا دوازدهم کدام سبک‌ها هستند؟ 2- چه قوانینی حاکم بر سنت جدول‌کشی‌های زرین بوده‌است؟ در مقالۀ حاضر، به روش توصیفی- تحلیلی، جداول بالغ بر 450 نسخۀ تمام مُجدول، بررسی و تحلیل شده‌اند و شیوه جمع‌آوری اطلاعات به صورت کتابخانه‌ای و اسنادی صورت گرفته است. بر اساس تعداد جدول زر، سبک‌های پایه به این ترتیب از یکدیگر تفکیک شدند: جداول یک زر، دواله (دو‌زر )، مرصّع (سه‌زر ) و چهار زر. در مرحلۀ دوم بر اساس نوع تحریر جدول زر و تعداد و نحوۀ چینش جداول رنگین اعم از لاجورد و سبز و سرخ در کنار جداول زر، سبک‌های جدول‌کشی بدین ترتیب شکل گرفتند: هشت سبک با جدول یک‌زر، هشت سبک با جدول دواله، سه سبک با جدول مرصع و دو سبک با جداول چهار زر. همچنین بررسی‌ها، قوانین حاکم بر جدول‌کشی را نیز عیان ساخت: 1- ترسیم جدول زرِ مادر (آخرین جدول زر) با ضخامتی بیش از دیگر جداول زر. 2- الویت ترسیم تحریر غیر قرینۀ (سه‌تایی) برای جدول زرِ مادر 3- نشاندن جدول لاجورد به‌عنوان آخرین جدول در ساختارهای جدول‌کشی. 4- تاکید بر استفاده از رنگ‌های متضاد و مکمل در ساختار جداول چندخطی.

the stylistics of golden rulings (jadwal) in timurid and safavid manuscripts (ninth to twelfth centuries ah)

rulings (jadwal, decorative frames, cadre, or border) are an old and continuous element in manuscripts. rulings are seen in the oldest qurans produced in islamic civilization. because the rulings are used on all the pages of a manuscript, as a result, they have a significant contribution to embellishing the manuscripts. previous studies have shown that red rulings were the first rulings used in persian manuscripts and after them, drawing rulings with gold has been popular since the middle of the 7th century. since the 9th century, decorative rulings have become one of the important elements in the book art.but unfortunately, we see that few studies have been assigned to the rulings. examining the manuscripts shows that the rulings were used in different styles in the manuscripts produced in the 9th to the 12th centuries ah. therefore, the importance of the present research is due to two reasons. the first thing is that the stylistics and typology of rulings, which are necessary for a better understanding of book art in the timurid and safavid periods, have not been done until today, and the second thing is that by recognizing the type of rulings, manuscript researchers can accurately date undated manuscripts. it is reminded that the stylistics of rulings in the manuscripts produced before the 9th century have been identified and introduced in previous research. therefore, the present study complements previous research. as a result, the first purpose of this article is to identify the different styles of rulings based on their structure from the ninth to the twelfth century ah, and the second purpose of this article is to identify the rules governing the structures of the rulings. to achieve these goals, these questions have been answered: 1- what are the stylistics of rulings in the 9th to the 12th centuries ah? and 2- what were the rules governing the structure of the golden rulings? in this article, the rulings of more than 450 manuscripts with decorative rulings that are preserved in reliable libraries inside and outside of iran were identified and analyzed using a descriptive-analytical method, and the necessary information was collected from library sources. the results of this study showed that the golden rulings in the manuscripts produced in the timurid and safavid periods (ninth to twelfth centuries ah) can be an important indicator in the classification of ruling styles. therefore, in the first stage, basic styles were formed based on the number of golden lines, which are:one golden line, two golden lines (dawaleh), three golden lines (morassa), and four golden lines. in the second step, based on the number and placement of colored lines (including lapis lazuli, red, and green) next to the golden lines, the subgroup styles of each style were formed as follows: eight subgroups for one-golden rulings, eight subgroups for two-golden rulings (dawaleh), three subgroups for three-golden rulings (morassa) and two subgroups for four-golden rulings. also, by examining the structure of the ruling, it was determined: 1- the main golden ruling (the last golden rule, the mother gold ruling) is always the thickest compared to other golden rulings. 2- three contours (thin black lines: tahrir) one contour on the front and two contours on the back are always used for the main golden rule (mother gold ruling). 3- lapis lazuli ruling is the last ruling in the structure of ruling. 4- contrasting and complementary colors are used in the structure of the rulings (gold and lapis lazuli, green and red). also, the investigations showed that due to the non-uniform thickness of the ruling lines, the use of two colors with the highest contrast (gold and lapis lazuli) and complementary colors (green and red) and drawing three contours instead of two contours for the main gold table (mother gold ruling) have been the methods by which the ruling artists have given dynamism and attractiveness to the static structure of the rulings.