مطالعۀ تطبیقی-تحلیلی بقعۀ عبدالمومن حبیب‌آباد، جلوه‌گاهی از نقاشی دیواری عهد صفوی و قاجار

بنای امام زاده شاهزاده عبدالمومن در حبیب آباد، واقع در 18 کیلومتری شمال شرقی اصفهان قرار گرفته است. این بنا از مقابر ناشناخته ای است که به واسطۀ دورۀ زمانی ساخت، ویژگی های معماری و هنرهای تزئینی، از شایستگی توجه و تحقیق برخوردار است. در این بین آرایه های تزئینی بنا به ویژه تزئینات نقاشی دیواری باتوجه به مواردی همچون دورۀ زمانی، وجود کتیبۀ ساخت، چگونگی مضامین به کار رفته و شیوۀ ترسیم و خالقان هنری، از اهمیت ویژه ای برخوردار است. برهمین اساس در این مقاله ضمن گاهنگاری و مطالعۀ نقشه و ساختار شکلی بنا، تزئینات وابسته به بنا معرفی و تا حد امکان تحلیل محتوایی و تطبیقی شده است. جهت نیل بدین مقصود، پژوهش حاضر به شیوۀ توصیفیتحلیلی برپایۀ رویکرد تطبیقی و برداشت میدانی نگارنده از بنا صورت گرفته است. چنان چه نتایج این پژوهش نشان می دهد، ساختمان امام زاده احتمالاً در دورۀ ایلخانی ایجاد شده و در دورۀ شاه عباس دوم صفوی و ناصرالدین شاه قاجار تعمیرات، ساختمان سازی ها و تزئیناتی در آن، صورت گرفته است. عمدۀ فعالیت صورت گرفته در دوره های صفوی و قاجار، ایجاد تزئیناتی همچون نقاشی دیواری، مقرنس کاری و کاربندی بوده که در میان آن، نقوش دیواری اهمیت و نمود بیشتری داشته است. این نقوش به شیوه های رنگ وروغن و آبرنگ ایجاد شده و از انواع گره های هندسی، نقوش قهوه خانه ای، گل و مرغ، گل و بوته و منظره سازی فرنگی تشکیل شده اند. مضامین نقوش و کتیبه های بنا در ارتباط مستقیم با اندیشۀ تشیّع و مفهوم نمادین تعالی روح متوفی بوده است.

comparative and aesthetic analysis of form and decoration in the tomb of abd almomen habibabad; a manifestation of safavid and qajar wall paintings

abstractthe imamzadeh of shahzadeh abd almomen is located in habibabad, 18 km northeast of isfahan. this unknown tomb deserves attention because of its construction period, architectural features, and decorative arts. decorative arrays, especially wall paintings, are of special importance, according to the time period, the existence of inscription, themes, the method of drawing, and the creators of art. in this article, considering chronology, plan and structure of the building, the decorations are presented, and as much as possible, content, and aesthetic analysis are discussed. the present study benefits from a descriptiveanalytical method and a comparative approach, in addition to the field interpretations of the building. as the results of this study show, the imamzadeh building was probably built during the ilkhanid period. during the reign of shah abbas ii safavid and nasser aldin shah qajar, repairs, constructions, and decorations were conducted in it. the main activities carried out in the safavid and qajar periods were the creation of decorations such as murals, moqarnas, and karbandi, among which the murals are significant. these designs are based on oil painting, and watercolor techniques and consist of a variety of geometric knots, coffeehouse (qahvehkhaneh) motifs, flowers and brids, bush and flowers, and the western views. the themes of the motifs and inscriptions of the building have been directly related to shiite thought and the symbolic concept of the exaltation of the deceased soul.keywords: ilkhanid, safavid, qajar, tomb of abd almomen, wall paintings.introductionarchitecture is one of the important features of art and civilization, which human groups has always been a great effort in the development of various aspects of that. among the architectural subdivisions, tomb architecture has a special place and includes a special and significant part of the architectural remains of the past periods. meanwhile, the tombs of the great men of religion and politics, especially the tombs of the imams and their descendants, are of great importance in the islamic architecture of iran and the growth and expansion of decorative arts, architecture, applied arts, urban spaces. similarly, in the origin of some towns and villages, have been important and influential factors. however, some of these monuments, which have mostly appeared in the building of imamzadegan, are still unknown, and the need to identify and study. the imamzadeh of shahzadeh abd almomen is one of such buildings that, despite the existence of various decorative arrays, the type, and the artistic value of them, has been neglected. hence, this research introduces the building and studies the architectural forms and the evolution of architectural decorations. in addition, there is not any proper chronology for this building, as a consequence of the original building destruction, numerous repairs and constructions of especially the contemporary period. to properly understand the context of the studied decorations, chronology, and the evolution of the architecture of the building has been taken into consideration.abd almomen’s tomb consists of a courtyard, a mausoleum room with surrounding rooms and porches, a columned nave, and three openings on the north and northwest fronts of the courtyard. the courtyard has been used as a cemetery from ancient times to the present day, and there have been crypts as the house dead bodies. the decoration of the building in the outer part of the dome includes tiles, which have been done in recent years, but as mentioned, the outer covering of the dome had been decorated with tiles at the same time as the construction period. another decoration of the outer space of the building, which was described earlier, is the muqarnas of the upper part of the western entrance of the dome. interior decorations include murals and carbandi. painting decorations according to the inscription belong to the safavid and qajar periods. safavid motifs include knotted motifs under the dome, which contain various names of god, some verses and hadiths. according to the inscription, these motifs are related to the time of shah abbas ii safavid. qajar murals are more diverse. these motifs include motifs of flowers and plants, flowers and birds, hazrat ali and hasnain, and noon of ashura and belong to the period of nasser aldin shah qajar. the artist of these designs was seyed hossein emami, one of the famous painters of isfahan. conclusion considering the plan of the dome chamber of the building and its adaptation to the examples of the ilkhanid period, it is possible that the building of abd almomen was one of the constructions of the ilkhanid period. as usual in many holy shrines and shrines, during the safavid period (shah abbas ii) and qajar (nasser aldin shah) repairs, construction and decorations were done in the building. due to the destruction, the lack of archeological excavation, and the impossibility of peeling the walls of the dome chamber, accurate diagnosis of how the physical changes and how the components of the building in different periods, especially the shape of the dome chamber of the ilkhanid period, is not possible. however, as it turned out, the dome chamber was one of the ilkhani components of the building, and in the safavid and qajar periods, due to the special religious requirements of these two periods, other spaces of the complex have been added to it. the existing decorations belong to the safavid and qajar periods, and among them, murals constitute the main decorations of the building. considering the concept and content, the use of these motifs, along with the decorative inscriptions of the building, has been directly related to shiite thoughts like the depiction of heaven, and the symbolic concept of the exaltation of the deceased soul. in the meantime, the motifs depicting the event of ashura along with imam ali’s tales, which was one of the most effective ways to transfer religious beliefs to the public, as one of the topics of interest to qajar painters. these widely used motifs in the decoration of holy shrines and imamzadegan of the qajar period have a special effect in comparison with other existing examples of iranian tombs, especially the examples in the tombs of gilan which has the highest quantity. in one hand, the high artistic quality, the existence of the painter’s signature, the existence of the inscription, and subsequently being considered as the oldest example with the inscription of this type of motif in the tombs of iran, shows the artistic importance of the motifs related to the ashura of abd almomen’s tomb, and on the other hand, it shows the influential role of isfahan qajar painters in the growth and expansion of such motifs.