خاستگاه مینوی نقش اسلیمی در هنر اسلامی ایران

از مهم‌ترین شاخصه‏های فرهنگ ایرانی، ارتباط نزدیکْ بین هنر و آداب معنوی برگرفته از مذهب می‏باشد. این ارتباط یکی از مهم‌ترین عامل شکل ‏دهنده هنر ایران است. در هنر ایران قبل از اسلام، در آئین زرتشت هم این ارتباط کاملاً هویدا می‏باشد. ارتباط بین هنر و دین در طول دوره اسلامی بیشتر از هر زمان دیگر شکوفا و توسعه یافت. هنرمندان بسیاری از نقش و نماد‏های قبل از اسلام را اقتباس و معنا و مفهومی کاملاً نو و هماهنگ با جهان‏بینی اسلامی به آنها بخشیده‌اند. مصداق بارز این ادعا، پیدایش «نقش اسلیمی» در سده‌های آغازین هنر ایران در دوره اسلامی است. هدف اصلی این مقاله معرفی خاستگاه و مراحل شکل‌گیری نقش اسلیمی در سده‌های اول هنر اسلامی ایران است. علی‌رقم آرای قریب به‌اتفاق خاورشناسان که منشا نقش اسلیمی را هنر کلاسیک باستان (هنر یونانی رومی) معرفی می‌کنند، این مقاله منشا ایرانی برای آن تعریف نموده است. به نظر می‌رسد خاستگاه نقش اسلیمی در هنر دوره اسلامی، «نقوش بالی شکل» هنر ایران قبل اسلام است. با گذشت زمان، نقوش بال ساده و تلطیف شده تا حدی که اغلب هویت خود را از دست داد و به شکل تجریدی تبدیل شده، امروزه آن را بنام اسلیمی می‌شناسیم. این نقش از اصیل‌ترین و ناب‌ترین نقش در بین دیگر نقوش ایرانی به شمار می‌روند. بر اساس این نظر، نقش اسلیمی از ایدۀ نقوش بالی شکل قبل از اسلام متولد شده است. انتقال و استمرار هنری نقش بال از دوره ساسانیان به دوره‌های اسلامی می‌تواند ناشی از کارکرد مذهبی آن نقش بوده که بیشتر به عنوان نمادی از قداست، فرازمینی و پیونددهنده عالم ملک به ملکوت بکار ‌گرفته شده است. این پژوهش، به روش توصیفی تحلیلی و تطبیقی و بر اساس مطالعات میدانی و کتابخانه‌ای به سرانجام رسیده است.

the heavenly origin of the arabesque motif (islîmî) in islamic art of iran

decorations are an integral part of islamic art. islamic art is formed based on decorations to accurately represent nature. decorations in islamic art have emerged as three main elements including: islamic pattern, geometric pattern and calligraphy (inscription) and two secondary elements: animal motifs and human motifs. these motifs may be engraved separately or in combination with each other. among these decorative elements, the role of slimi has a special place. in fact, this role is considered one of the noblest and most original creative elements of islamic art in iran and the islamic world. this role is used not only to decorate religious places and objects, but also to decorate everyday items. the role of islimi as a fundamental role has a special place in the history of decorative arts of the world.due to the fact that the islamic pattern is the most important pattern used for decorations by artists, but compared to other decorative elements such as khatnagareh (inscription) and garh (geometric patterns), it has been less researched and analyzed. the oldest document that is currently available that uses the word 'islimi' belongs to zaradeh which was prepared by the librarian of sultan baysanghar mirza (802-837 ah) during the timurid period. this offered is actually a working report on the state of the royal library, it is currently kept in the library of topkapi museum in istanbul (khazaei, 1398, 125). sadeghi beyk afshar, an artist and writer of the safavid era, who was once the librarian of shah abbas, in his book qanun al-sour which he wrote around the end of the 10th century of hijri, considers islimi as one of the seven main painting. qazi mir syed ahmad manshi qomi in his book golestan art describes the decorative elements of painting and gilding as seven principles, the first of which is islamic (manshi qomi, 132, 1366). in the preface of dost muhammad, bahram mirza considers motif as-islimi to be the invention of imam ali (a.s.) (khazaei, 1398, 119).although europe's attention to islamic art has its roots in the renaissance and the middle ages, in the 19th and 20th centuries, this category received more attention and many articles were written about geometric decoration in islamic architecture. in these studies, the term arabesque is used to express muslim decorations and they consider it the gem of the unity of islamic visual culture (necipoglu, 1995, 87). several different definitions for arabesque have been expressed in such a way that most consider it equivalent to all decorative elements such as calligraphy, plant motifs, geometric motifs and even iconography. some people have mentioned it only for plant motifs. in islamic art, the islamic motif is a single form of a plant ornament, in which the rhythmic leaves are attached to wavy or spiral stems and along each other, they induce repetition and the desire to move.it seems that the special place of iranian art in the origin and evolution of motifs has not been evaluated in choosing the word arabesque. this issue could be due to the fact that this term was chosen by orientalists, who focused more on the cultural elements of the western islamic world, including morocco, egypt, north africa, and spain, than on iran and the eastern lands.although many studies have been conducted by orientalists in the field of islamic decorative arts, the first person to seriously investigate the islamic pattern under the title arabesque was alois riegel (1858-1905), an austrian art scholar in the book the quality of style was published in berlin in 1893 (riegl, 1992).