نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشآموخته کارشناسی ارشد هنر اسلامی، دانشکدۀ صنایع دستی، دانشگاه هنر اصفهان، اصفهان، ایران.
2 استادیار گروه کتابت و نگارگری، دانشکده صنایع دستی، دانشگاه هنر اصفهان، اصفهان، ایران.
چکیده
کلیدواژهها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
What distinguishes the inscriptions on the inner border of slip-painted potteries from other decorative Kufic inscriptions is the concave shape of the surface. Because by reducing the diameter of the plates, the horizontal baselines and consequently the base of the writing elements are rounded and parallel to the vertical baselines are affected by the perspective to the centripetal point of the dish. Therefore, among the principles of calligraphy, the rule of good layout (Ḥosn-e ważʿ) is overshadowed. Accordingly, the main purpose of this paper is a structural criticism and formal analysis of the decorative Kufic inscriptions of Samanid slip-painted potteries based on the principles and rules of calligraphy and the principles of the epigraphy based on the rule of good layout, through the composition (Tarkīb) and baseline (Korsī). In order to know the technical values, the visual qualities, and the aesthetic aspects the current article also seeks to answer these two questions; "What are the structure and features of the decorative Kufic scripts of slip-painted potteries according to the rule of good layout?" and "What effect have these features had on the visual quality and aesthetic aspects of the inscriptions?" So, the present study analyzed 17 slip-painted potteries from the Samanid era (9th and 10th century AD/ 3rd and 4th century AH) with the Kufic inscriptions with a descriptive-analytical approach and through library studies. In general, Kufic elements are imprinted on these potteries in three central, radial and peripheral positions. Among these, only the inscriptions on the inner border of the potteries that were written using the stencil technique were selected (applying a thick layer of color and removing waste by using a sharp tool).
In this article, first, the twelve principles of calligraphy were briefly defined such as qowwa (boldness), żaʿf (faintness), saṭḥ (straightness), dawr (roundness), ṣoʿūd (heightening), nozūl (lowering), nesba or tamāsob (proportion), tarkīb (composition), korsī (baseline), oṣūl (elements), ṣafā (refinement) and šaʾn (dignity). Then, based on the priority and its limitations in inscriptions, it was concluded that the best criterion for measuring inscriptions is the rule of good layout. According to the opinions of Ibn Muqla and Abū Ḥayyān Tawhīdī, good layout is under two general rules of composition (Tarkīb-e kollī: Tansīl or Tansīq and Tarkīb-e jozʾī: Taʿlīf or Tafrīq) and baselines (Tasteir or Tawfiq) and they indicate.
In the studied inscriptions, all single letters (Mufradat) are subordinate to vertical and circular horizontal baselines. The tall letters (Alifat, Afrashtes) are placed in the range of middle to upper baselines and belong to the dominant radial and perspective axes. Elongations (Maddat) are also located due to the concave of the horizontal baselines and the intersection of the vertical baselines. Round letters (Davayer) are in line with vertical and horizontal baselines.
Two types of connections link the writing system and the decorative system. The first type of connection, Dāng (the width of the pen) does not change much and in terms of substance, it follows the structure of the script. This creates various types of knotted Kufic, interlaced (Muaqqad) and intertwined (Mushabbak). The second type is a connection in which the width of the pen has a noticeable change, and it brings out the nail-shaped (Muzahhar) foliated (Muvarraq) and floriated (Muzahhar) Kufic. The decorations of the tall letters are nail-shaped, foliated and floriated, but the interference of written and geometrical elements also leads to knotted forms, which are usually done between the middle and upper baseline - the middle third. Semi-tall letters (Nim-afrashtes) are often nail-shaped and foliated and do not exceed the subsidiary middle baseline. Elongations are sometimes closed with floriated 's rising spiral decorations, which creates a balance between positive and negative space. Sometimes, contrary to the elongated nature of the elongations, the decorative system is connected to the main body of script with the last ascent with the vertical baseline and goes up to the uppermost baseline. The circular letters have foliated and floriated decorations that go all the way to the upper baseline. But inverted circular letters only end with foliated decorations and usually the elongations before them have decorative additions. Circular letters sometimes retain the inherent aspect of their form when facing decorations; That means if the decoration is removed, the readability of the letters will not be reduced. Sometimes the legibility of circular letters depends more on the decorative system and if the decorations are removed, they lose their essence. The third group of circular letters is also written simply and almost regularly, and additional decorations are added with a little distance from the main body of the letters. These joints usually go beyond the first baseline and settle between the subsidiary horizontal and uppermost horizontal baselines.
Composition in decorative Kufic -unlike the six scripts- does not adhere to certain rules and restrictions; It means that the letters can be elongated anywhere in the word or sentence, join the decorative elements or become a decorative system. For this reason, the Epigraphists took advantage of this characteristic of Kufic in the composition and used symmetry, balance, equipoise, repeat and rhythm. Symmetry -does not mean the exact matching of the letters on both sides of the axis, but their formal similarity- in the two main vertical (Alifat) and horizontal (Maddat) movements on the axis of symmetry of the vertical baselines (tangent to the diameter of the imaginary circle in the dishes) have appeared. The tall letters are written parallel to the vertical baselines, and in the symmetry of each one, usually another tall letter, a circular letter or an elongated letter is placed; which has reached the uppermost baseline due to the plant decorative system. Also, according to the criterion of the vertical baseline, the elongations are symmetrical on the middle baseline. Foliated and floriated additional decorations play a significant role in the symmetry of the composition; Because it compensates for the length difference of the letters and parallels the elongation of the Maddat in the middle baseline, it gives coherence to the decorative system on the uppermost baseline.
Repetition, as one of the factors affecting symmetry, can be seen in the writing and decorative system of these inscriptions. The tall letters (especially alif (ا) , lām (لـ) or twisted lām-alif (لا)) are stretched evenly and symmetrically, usually from the middle of the middle baseline to the uppermost baseline. The base of the elongations such as the belt around the dishes is swept and in parallel with those separated decorative elements, are placed in the first and second baselines. In addition, the floriated decorations have reached an upper baseline with the uptrend of letters, and its stems have been repeated. Semi-tall letters and circular letters have been written at certain distances on the middle baseline, leading to a rhythmic repetition and symmetry generally. The proper placement of these elements is the result of the predetermined elongation of Maddat and maintaining the distance between the letters. Symmetry and repetition have created a kind of continuity, unity and harmony in the inscription, it has led to the equality of positive and negative spaces (blackness and whiteness or sawād o bayāż) and has caused balance and equipoise. Due to the systematic and regular positioning of the written and decorative system on the horizontal baselines, by moving to upper baselines, decorations move more freely and thus reduce the visual weight. The combination of geometrical and writing system is done either in elongations or in the tall letters which have a base on a middle baseline. The knotted decorations, which are visually heavier, are also based on the middle baselines. In this way, it can be concluded that baselines have played a prominent role in the equipoise of visual elements.
کلیدواژهها [English]
منبع تصاویر
رضی، مهرداد، (بیتا)، عکس از کتیبه برج پیر علمدار دامغان، (تصویر دیجیتالی)، تاریخ دسترسی: 11/07/1401.
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