سیر تحول آرایه‌های تزئینی سرسوره‌های قرآنی قرون اول تا نهم هجری

با ورود اسلام به ایران، هنر کتاب آرائی حیاتی دوباره گرفت و اعجاز کلام قرآن و تقدس آن منجر به توجه و تاثیرپذیری و در نتیجه کوشش برای زیبا ساختن نسخ قرآنی شد. با تکیه بر این گزاره اصلی که آثار بر جای مانده نشان می دهند در قرآن های خطی، سرسوره و فاصله میان آیات نخستین مکان هایی بودند که قابلیت تزئین یافتند؛ در پژوهش پیش رو به چرایی این پرسش بنیادی پاسخ داده می شود که سیر تکاملی سرسوره های قرآنی در نسخ خطی در سده های اولیه اسلامی در ایران چه تغییرات بنیادینی داشته اند و تحول آرایه ها و رنگبندی آن چگونه بوده‌است؟ به این منظور و با هدف بررسی سیرتکاملی سرسوره های قرآنی، به بررسی و تحلیل نقوش و رنگمایه های موجود در آن ها در نسخ خطی قرآنی در قرون اولیه اسلامی پرداخته شده‌است. این پژوهش کاربردی به روش توصیفی، تحلیلی و تجزیه و تحلیل داده ها به شیوۀ استقرایی با تکیه بر منابع کتابخانه ای و اینترنتی انجام شده است. یافته های این پژوهش نشان می دهند که در سده های نخستین اسلامی، تزئین ویژه ای در نسخه های قرآنی دیده نمی شود ولی به تدریج تا سدۀ نهم هجری با افزودن آرایه های تزئینی کتیبه، نشان و نقوش اسلیمی و ختائی و نیز تنوع در رنگ بندی و خطوط، تذهیب‌های تجملی جایگزین تذهیب‌های ساده به کار رفته در قرآن های سده‌های اولیه شده‌اند و همچنین بررسی‌ها نشان می‌دهند که نقوش و رنگ‌های به کار رفته در آرایه‌های قرآنی ابزار های مناسبی برای شناسایی هنرهای قرآنی هستند.

the evolution of the decorative ornaments in the surah names of quran from the first to the ninth centuries of hijri

iran has a long tradition of publishing books and gilding manuscripts that dates back to the sassanid era. the manichaeans were masters of book design in iran during this time, when they coexisted with islam. iranians paid attention to their techniques for gilding and book making and were also familiar with the manichaean way of book making. the majority of the arts were affected by the quran upon the entrance of islam, which led to an increase in the popularity of gilding and book design. as a result, artists created more exquisite manuscripts as a result of the miracle of the quran and its sanctity. early on, in the history of islam, calligraphy was frequently combined with gilding, which was hardly ever employed alone. )afshar mohajer, 2001: 18). when islam arrived in iran, the seljuk government was created. between the fourth and sixth centuries, iran had its first monarchy and art school. according to rouyin pakbaz in his book, the evolution of painting in iran, decorative patterns were utilized in book illustrations instead of geometric patterns during the seljuk period. (pakbaz. 1986: 401) gilding deteriorated from the time the mongol monarchs converted to islam until the end of the ilkhanids; but it underwent progressive transition once the mongols invaded iran until the end of the 7th century. from this perspective one of the significant aspects of manuscript gilding during this time, which is discussed in the book, is that the initial pages of the of the quran are gilded and divided in a geometrical form, and islamic motifs are used in them. the gilding was made more beautiful by using different and contrasting colours in the background. in the gilding in the mongolian style, which was called naturalism, plant and animal figures were used more, and this naturalistic style continued in the gildings of the timurid period. (ettinghausen, 2008: 1378) in the timurid period, it became common to draw plants, flowers, and natural landscapes, and the margins of books were illustrated with them. in this period, different colours were used, and blue and gold colours were used more. according to the proposition that in written qurans, the beginnings and the space between the verses were first gilded, in this research, the key query is: what modifications did the quranic chapters in iranian manuscripts endure. throughout the early islamic centuries, and how were these chapters gilded throughout iran’s islamic history up until the end of the timurid era? the investigation goal is to learn more about the quranic passages in manuscripts in the early islamic centuries in iran and what the gilding of these manuscripts meant. therefore, firstly, the headings and its characteristics have been explained in the manuscripts, then the quranic examples have been examined; finally, the gilding and transformation in the headings in different islamic eras until the beginning of the safavid period.