چکیده:
ﻗﺎﻟﻲ ﺑﺎﻏﻲ ﺍﺯ ﺟﻤﻠﻪ ﻫﻨﺮﻫﺎﻱ ﻣﻄﺮﺡ ﺩﺭ ﻃﻮﻝ ﺗﺎﺭﻳﺦ ﻫﻨﺮ ﺍﻳﺮﺍﻥ ﺑﻮﺩﻩ ﺍﺳﺖ. ﺩﺭ ﻋﺼﺮ ﺯﻧﺪ)٣٩١١-٣٦١١ ﻫـ .ﻕ /٩٧٧١٠٥٧١ ﻡ.( ﺑﺴﺘﺮﻱ ﺍﺯ ﻧﻘﺶ ﻣﺎﻳﻪ ﻫﺎﻱ ﮔﻮﻧﺎﮔﻮﻥ ﺩﺭ ﺍﻳﻦ ﻗﺎﻟﻲ ﻓﺮﺍﻫﻢ ﺷﺪ. ﺍﻳﻦ ﻧﻘﻮﺵ ﺑﻪ ﮔﻮﻧﻪ ﺍﻱ ﺗﺮﮐﻴﺐ ﺑﻨﺪﻱ ﺷﺪﻩ ﮐﻪ ﺩﺭ ﺿﻤﻦ ﺣﻔﻆ ﺍﻟﮕﻮﻫﺎﻱ ﺳﻨﺘﻲ ﺩﺳﺖ ﺁﻭﺭﺩﻫﺎﻱ ﻧﻮ ﻫﻢ ﺑﻪ ﺩﺳﺖ ﺁﻳﺪ. ﺍﻳﻦ ﭘﮋﻭﻫﺶ ﺑﺎ ﺭﻭﺵ ﺗﻮﺻﻴﻔﻲ ـ ﺗﺤﻠﻴﻠﻲ ﻭ ﺑﺎ ﻣﻄﺎﻟﻌﺔ ﻣﻮﺭﺩﻱ ﺑﺮ ﺭﻭﻱ ﻧﻘﻮﺵ ﻳﮏ ﻧﻤﻮﻧﻪ ﻗﺎﻟﻲ ﺑﺎﻏﻲ ﻋﺼﺮ ﺯﻧﺪ ﺍﻧﺠﺎﻡ ﺷﺪﻩ ﺍﺳﺖ. ﺷﻴﻮﺓ ﮔﺮﺩﺁﻭﺭﻱ ﺍﻃﻼﻋﺎﺕ ﮐﺘﺎﺑﺨﺎﻧﻪ ﺍﻱ ﻭ ﻣﻴﺪﺍﻧﻲ، ﻫﻤﭽﻨﻴﻦ ﺍﺑﺰﺍﺭ ﮔﺮﺩﺁﻭﺭﻱ ﺩﺍﺩﻩ ﻫﺎ ﺷﺎﻣﻞ ﻣﻨﺎﺑﻊ ﺍﺳﻨﺎﺩﻱ، ﺗﻬﻴﺔ ﺑﺮﮔﻪ ﺷﻨﺎﺳﻪ )ﻓﻴﺶ( ﻭ ﻣﺸﺎﻫﺪﻩ ﻗﺎﻟﻲ ﻫﺎﻱ ﻣﻮﺟﻮﺩ ﺩﺭ ﻣﻮﺯﺓ ﻓﺮﺵ ﺍﻳﺮﺍﻥ ﻭ ﻣﻮﺯﻩ ﻫﺎﻱ ﺧﺎﺭﺝ ﺍﺯ ﮐﺸﻮﺭ، ﻫﻤﺎﻧﻨﺪ ﻣﺘﺮﻭﭘﻮﻟﻴﺘﻦ، ﻫﻨﺮﻫﺎﻱ ﺍﺳﻼﻣﻲ ﺑﺮﻟﻴﻦ، ﻭﻳﮑﺘﻮﺭﻳﺎ ﻭ ﺁﻟﺒﺮﺕ، ﺑﺮﻭﮐﻠﻴﻦ ﻭ ﺁﺭﻣﻴﺘﺎﮊ ﺑﻮﺩﻩ ﮐﻪ ﺍﺯ ﻣﻴﺎﻥ ﻗﺎﻟﻲ ﻫﺎﻱ ﻣﻨﺴﻮﺏ ﺑﻪ ﺩﻭﺭﺓ ﺯﻧﺪ ﺗﻨﻬﺎ ﻳﮏ ﻧﻤﻮﻧﻪ ﻗﺎﻟﻲ ﺑﺮﺍﻱ ﻣﻘﺎﻟﺔ ﺣﺎﺿﺮ ﮔﺰﻳﻨﺶ ﺷﺪﻩ ﺍﺳﺖ. ﺗﺤﻠﻴﻞ ﻧﻘﻮﺵ ﻧﺸﺎﻥ ﻣﻲ ﺩﻫﺪ ﮐﻪ ﻧﻘﺶ ﻣﺎﻳﻪ ﻫﺎﻱ ﻧﻤﺎﺩﻳﻦ، ﺑﺮ ﻣﻔﺎﻫﻴﻢ ﺍﺳﻄﻮﺭﻩ ﺍﻱ ﺩﻻﻟﺖ ﺿﻤﻨﻲ ﺩﺍﺷﺘﻪ ﻭ ﺑﺎ ﻳﮑﺪﻳﮕﺮ ﺍﺭﺗﺒﺎﻁ ﻣﻔﻬﻮﻣﻲ ﺩﺍﺭﻧﺪ. ﻧﻘﺶ ﻣﺎﻳﻪ ﻫﺎﻱ ﻋﺼﺮ»ﺯﻧﺪ« ﺩﺭ ﻗﺎﻟﻲ ﺑﺎﻏﻲ ﺍﺯ ﻋﻨﺎﺻﺮ ﻓﺮﻣﻲ ﻭ ﻣﻀﻤﻮﻧﻲ ﺍﻟﮕﻮﻫﺎﻱ ﮔﺬﺷﺘﻪ ﺍﻟﻬﺎﻡ ﮔﺮﻓﺘﻪ ﺍﻧﺪ. ﺍﻳﻦ ﻋﻨﺎﺻﺮ، ﻋﻼﻭﻩ ﺑﺮ ﺗﮑﺮﺍﺭ ﻧﻘﻮﺵ ﺳﻨﺘﻲ، ﺩﺭ ﺗﺮﮐﻴﺐ ﺑﻨﺪﻱ ﻧﻘﻮﺵ ﺧﻼﻗﻴﺖ ﺩﺍﺷﺘﻪ ﺍﻧﺪ.
Gardencarpet is one of the noteworthy designs in the history of Iranian art. In the «Zand» era (12thcentury AH / 18thcentury AD) a framework of various motifs was provided for this type of carpet. These motifs are composed in such a way that while maintaining traditional patterns، new outcomes are achieved. This research uses descriptive-analytical method to case study of an example of a Zand era garden carpet. The data were collected from library sources and field research by means of documentary sources، note taking and observation of the available carpets in the Carpet Museum of Iran and overseas museums such as the Metropolitan، Islamic Art in Berlin، Victoria and Albert، Brooklyn and Hermitage.The analysis of designs shows that the symbolic motifs imply the mythical concepts and conceptually relate to one another. Motifs of the of «Zand» erain the garden carpet are inspired by the formal and thematic elements of the past patterns. These elements، in addition to repeating the traditional motifs، were creative in composition of designs.