تحلیل ویژگی‌های فنی و هنری قلمزنی ایران دوره معاصر

فلزکاری در ایران، پیشینه بسیار پربار و طولانی دارد. در میان منابع مطالعاتی موجود پیرامون هنر فلزکاری در دوران پیش از تاریخ تا دوره قاجار به‌طور عمده با رویکردی تاریخی مورد مطالعه قرار گرفته و منابع متنوعی در این حوزه، در دست است. در این میان هنر قلمزنی به عنوان یکی از زیرشاخه‌های مهم در هنر فلزکاری مطرح است اما مطالعات کافی پیرامون این هنر از دوره پهلوی تا به امروز صورت نگرفته و آنچه مهم به نظر می‌رسد سرگذشت و حیات هنر قلمزنی است که به عصر قاجار محدود نشده و نه تنها در دوره معاصر از حرکت بازنایستاده بلکه پویایی و مانایی خاصی در دوره معاصر داشته است. هدف، بررسی ویژگی های فنی و نقوش قلمزنی در شهرستان های اصفهان، بروجرد، تهران، شیراز، طبس، کرمان، کرمانشاه، مشهد و یزد به عنوان شهرهای شاخص قلمزنی در دوره معاصر است. از این‌رو پژوهش پیش رو به دنبال پاسخ بدین پرسش‌هاست که خصوصیات فنی و نقوش قلمزنی معاصر ایران در شهرهای مذکور چیست و نقاط افتراق و اشتراک آنها کدام است؟ تحقیق از نظر هدف، توسعه‌ای و از لحاظ روش، توصیفی تحلیلی است. روش جمعآوری اطلاعات کتابخانه ای بوده اما به‌طور ویژه بر داده های میدانی استوار است. در این شهرها تاریخچه فلزکاری، طرح و نقش، تولیدات، خلاقیت و نوآوری، ابزار مورد استفاده و روش اجرای هنر قلمزنی مورد واکاوی و تحقیق قرار گرفته است. مهمترین و شاخص ترین ویژگی مطرح شده در هر شهر معرفی گردیده و درنهایت هر یک از این ویژگی ها در قالب جداولی مورد بررسی و مقایسه قرار گرفته است.

analyzing the technical and artistic features of qalamzani of iran in contemporary period

familiarity of iranians with copper metal and its smelting industry dates back to at least the fifth millennium bc. metal is a material that has been used to make various tools in different historical periods from ancient times to today. the formability of this metal has revolutionized the history of human civilization and has multiplied its use. in addition to the manufacturing of war tools and industrial tools, a large number of metal artifacts have survived throughout iran's history. some are related to copper metal, or its alloy. in addition to copper, access to other metals such as silver and gold also led to the creation of works of art in iran. many researchers have tried to introduce historical works, among whom people such as arthur pope, robert dyson, rw frey and mohammad taghi ehsani can be mentioned. this is clear that the admirable skill of iranians in these metals and making precious cultural works have been left for posterity. however, the direct and regular introduction and examination of the technical and artistic features of these works have not received much attention, and on the other hand, the history of metalworking ends in the qajar period. but the continuity of this art has not stopped moving in the contemporary period, but has given it a special dynamism and meaning. what distinguishes this article in the first stage is the typology of techniques and methods of metallurgy in the historical period of iran, which after many studies have been classified into six groups. slight bump, deep bump, jonde kari, koftegari, latticework and sculpture have been the result of this collection. the second issue is the position of iranian metalworking art in the contemporary period. the cities of isfahan, borujerd, tehran, shiraz, tabas, kerman, kermanshah, mashhad and yazd were studied through surveys and field interviews. in these cities, the history of metalworking, design and role, productions, creativity and innovation, and the method of performing the art of metalworking by the artists in question have been researched. certainly what adds to the scientific value of the work is the comparison of these elements in different cities. this research is basic in terms of purpose and descriptive analytical in terms of method and nature. the library information collection method is specifically based on field data. the most important and obvious features of each city are: the use of all kinds of steel bars with or without mesh and the movement of metal on metal in isfahan, the use of warsaw metal in borujerd, traditional iranian motifs in a new format in tehran, the use of native and symbolic motifs in tabas calligraphy, stamping in kerman, the motifs of historical monuments in kermanshah, koftegari on other metals and koftegari on stone, the use of three metals gold, silver and copper with different applications and the competition of these three metals and gold artifacts with the local motifs of yazd, are all features of qalamzani in every city. the desired items have been checked and finally compared in the form of tables.