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کتابت خانه و صورت خانه در دوره ایلخانان و جلایریان | ||
| هنرهای زیبا | ||
| مقاله 7، دوره 33، شماره 33 - شماره پیاپی 1831، اسفند 1386 اصل مقاله (5.4 M) | ||
| نویسنده | ||
| دکتر یعقوب آژند* | ||
| چکیده | ||
| کتابخانه همواره یکی از نهادهای مهم تشکیلات دربار سلسله های مختلف محسوب می شده و در ابتدا وظیفه آن گردآوری کتب از مناطق مختلف و تولید کتاب های جدید برای بهره مندی اعضای دربار و خاندان شاهی بوده است. با گذشت زمان و رواج تذهیب و تصویر و کتابت زیبا در امر کتابداری? بر اهمیت کتابخانه در چارچوب دربار افزوده شد و به تدریج وجه تزیینی بعضی از نسخه ها هم بر جنبه کاربردی آن پیشی گرفت و بدین ترتیب شماری از نسخه ها از اشیاء نفیس و گرانبهای دربار گردید. بدین سبب کتابخانه سلطنتی توسعه یافت و بخش کارگاهی آن اهمیت ویژه ای پیدا و شماری از هنرمندان برجسته از کاتب و نقاش و مذهب و مجلد و غیره را برای کتاب آرایی نسخه های سفارشی جذب کرد. بخش کارگاهی کتابخانه دارای دو قسمت کتابت خانه و صورت خانه بوده که بخصوص این دو قسمت از دوره ایلخانان به بعد به دلیل رشد و گسترش کتاب آرایی در دربار? تشکیلات و کارکنان و هنرمندان زیادی را جلب کرد و کانون اصلی هنرهای تصویری. خطاطی و تذهیب و غیره گردید. در این مقاله این دو جنبه مهم کتابخانه سلطنتی ایلخانان و جلایریان فحص و تتبع شده است. | ||
| کلیدواژه‌ها | ||
| دارالکتب غازانیه؛ ربع رشیدی؛ صورت خانه؛ کاتبان و مصوران؛ کتابت خانه | ||
| عنوان مقاله [English] | ||
| - | ||
| چکیده [English] | ||
| The key to the creation of the Ilkhanid and Jalayirid? s art lies in the methods and objectives of the kitabkhana staff, those artists and craftsmen responsible for visualizing princely aspirations. Their adherence to strict notions of artistic conception and transmission was repeatedly borne out by works in a variety of media. There are intriguing anologies among painting, decorative arts, poetry and royal myth. The painting and calligraphies surviving from khitabhana make it possible to begin to reconstruct formal categories. Kitabkhana had two ateliers: ketabatkhana and suratkhana. These divisions were not absolute in conception and practice, they clearly constituted loose groupings reflective of a dynastic visual program. Links with Ilkhanid and JalayiridH s ateliers are comfirmed by the »chain of transmission« between master and pupil. The confluence of highly trained artists from this heritage encouraged the creation of an ambition, state sponsored program of artistic production. Litrary evidence often implies a close relationship between ketabatkhana and suratkhana. While details of the relationship between kitabatkhana and suratkhana may be debated, the nature of the art born of that conjunction is vastly clarified by an abunbace of technical material preserved in the manuscripts and albums. The various idioms of the illustrative category: epic, poetic, historical and scientific, were all created by Ilkhanid and Jalayirid patronage. During Ilkhanid and Jalayirid period the production of luxury manuscripts was such an elaborate process of specialists, or even team of specialists, were required for calligraphy, decoration, gilding, illustration and binding. The complicated paintings in such luxury manuscripts were undoubtedly executed by several artists and apprentices. We know the names of one team of scribe and illuminator and painter who worked in Rashid al- DinH s atelier, presumably at Tabriz. Several scribes from Kashan also penned illustrated and illuminated manuscripts in the Ilkhanid period. By studying the kitabatkhana and suratkhana ( writing and picture gallery ) we can get a sense of working methods developed by the artists in Ilkhanid and Jalayirid period. A Tradition of illustrated manscripts can be documented in the Persian – speaking lands of Iraq and western Iran during the rule of Ilkhanid dynasty, when several distinct Style of book painting emerged. The reason for this apparent spurt in Production are not totally clear but it was undeniably related to the general cultural revival sponsored by the Ilkhanids. Familiarity with Chinese illustrated Scrolls may also have played arole in this development. Extant manuscripts show that the scribe first copied the text, having blanks for illustration. Sometimes the Scribe himself Painted the Pictures: sometimes another artist did. The best example of a 14Th- century Scriptorium is the one founded by the by the vizier Rashid al-Din in Rab- I Rashidi, his quarter in Tabriz. Its endowment deed Providedfor the annual copying of the Koran and other religious manuscripts, and an addendum Provided for the annual copying of the vizier`s Collected works in Arabic and Persian. Some of the 220 slaves attached to the complex were assigned to the tasks of calligraphy, Painting and gilding, and all manuscrips were to be done on good Baghdadi paper in a net hand, collated with the originals in the library and bound in Fine leather. In this article the Trend of this elements was Studied. | ||
| کلیدواژه‌ها [English] | ||
| Darol–al kutub, kitabatkhana(writing gallery), painters, Rab, Rashidy, scribes, suratkhana (picture gallery) | ||
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