تحلیل شیوه‌ها و نقوش آینه‌کاری ابنیۀ تاریخی شهر اصفهان

نوع مقاله : مقاله پژوهشی

نویسندگان

1 دانشیار گروه صنایع‌دستی، دانشکده هنرهای کاربردی، دانشگاه هنر، تهران، ایران.

2 دانشجوی کارشناسی ارشد صنایع‌دستی، دانشکده هنرهای کاربردی، دانشگاه هنر، تهران، ایران

چکیده

بیان مسئله: آینه‌کاری یکی از هنرهای ظریف و پرکار وابسته به معماری است که از کنار هم گذاشتن قطعات کوچک و بزرگ آینه به‌وجود می‌آید. آرایۀ یاد شده معمولاً در بخش‌های درونی بناهای مختلف ازجمله اماکن متبرکه، کاخ‌ها و همچنین منازل مسکونی مورد استفاده قرار گرفته که علاوه‌بر بُعد تزیینی دارای جنبه‌های مهم کاربردی نیز هست. این هنر که اوج آن در بناهای دورۀ قاجار بود، رد پای آن در بناهای مختلف دورۀ صفوی دیده شده است. در پژوهش حاضر، مطالعات فنی و تحلیل محتوایی نقوش و نمادهای آینه‌کاری در پانزده بنای شهر اصفهان، با توجه به محدودۀ زمانی، انجام شده است. از این‌رو، پژوهش حاضر به‌دنبال پاسخ به این پرسش‌هاست: که ویژگی‌های تزیینات آینه‌کاری شهر اصفهان از دورۀ صفوی تا معاصر چیست ؟ و فنون به‌کار گرفته ‌‌شده در ابنیۀ تاریخی اصفهان کدام است؟
هدف: بررسی فنون و نقوش تزیینی آینه‌کاری‌های اصفهان هدف پژوهش حاضر است.
روش پژوهش: در پژوهش حاضر، روش تحقیق کیفی و تحلیلی است. گردآوری اطلاعات با استفاده از منابع کتابخانه‌ای و مشاهدات میدانی بوده است.
یافته‌ها: با توجه به پژوهش صورت گرفته در مجموع، متداول‌ترین آینه‌کاری از دورۀ صفوی تا معاصر، تکنیک آینه‌کاری برجسته و نیم‌برجسته، به‌صورت آینه‌کاری روی گچ، است. همچنین، در ارتباط ‌با نقوش، نقوش «شمسه» و «قاب‌آینه» از میان هندسی‌ها و ترنج‌های تزیینی و «گلدان»، از بین دستۀ گیاهی،‌ پرکاربرد تشخیص داده شدند. در بین نقوش، «گل زنبق زرد» و «دم‌جنبانک» نیز جزو نقوش بومی مرتبط ‌با اقلیم اصفهان است که در خانه‌های صفوی و قاجاری مشاهده گردید.

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