چکیده:
یکی از مهمترین مضامین بهکاررفته در تزیینات آثار فلزی سدههای میانۀ دورۀ اسلامی نقوش نجومی است که خود دو دستۀ صور منطقةالبروج و نقش اختران هفتگانه را در بر میگیرد. همچنین نقش اختران در فلزکاری اسلامی همواره به دو صورت ترسیم شده است، گاه در ترکیب با صورفلکی منطقهالبروج و گاه به صورت مجزا. در پژوهش حاضر صورتهای مجزای اختران مدنظر است که دارای ماهیتی خیالیاند. مشاهدات اولیه نشان میدهد کاربرد این نقوش در آثار مکاتب فلزکاری مهم این دوره، که بهترتیب شکوفایی عبارتاند از مکتب فلزکاری شمالشرق ایران، مکتب فلزکاری جزیره و مکتب فلزکاری شمالغرب ایران، حائز تفاوتهای عمدهای است. بر این اساس، هدف از انجام این پژوهش بررسی و تطبیق صورت مجزای اختران هفتگانه در آثار این سه مکتب مهم فلزکاری ایرانی در سدههای شش و هفت هجری است. میخواهیم بدانیم چه تفاوتهای سبکی و شمایلنگارانهای میان صورت اخترانِ این سه مکتب فلزکاری وجود دارد و این تفاوتها ناشی از چیست. در این پژوهش با استفاده از روش توصیفی-تحلیلی نمونههای شاخص این مکاتب بررسی و ضمن مشخص ساختن ویژگیهای هر یک از اختران هفتگانه به تطبیق و مقایسۀ آنها پرداخته شده است. اطلاعات و دادههای مورد نیاز این پژوهش نیز بهصورت کتابخانهای گردآوری شده است. نتایج حاصل از تجزیهوتحلیل یافتهها و شواهد مبیّن آن است که رابطۀ مشخصی میان تصویرپردازی نقش اختران هفتگانه در آثار فلزی سدههای شش و هفت هجری و خاستگاههای جغرافیایی آنها وجود دارد و باورها و دیدگاههای نجومی رایج در این مناطق در ویژگیهای سبکی و شمایلنگارانۀ تصاویر اختران بروز یافته است.
One of the most important subjects used to decorate the metalworks of the Middle Ages of the Islamic period was Astrological images includimg the constellations, zodiac signs and seven planets. Also, the images of seven planets including the Moon, Mercury, Venus, Sun, Mars, Jupiter and Saturn, in Islamic metalwork has always been depicted in two ways، sometimes in combination with the zodiac signs and sometimes in isolation. In the present study, the second type is considered, which is imaginary. The purpose of this research is to consider and compare the isolated images of seven planets in the works of the three major metalworking schools during twelfth and thirteenth centuries, which are, respectively, Khurasan in the north-east of Iran, the Jazira, north of Mesopotamia, and the north-west of Iran. Because of the differences observed in the iconography of seven planets’ images in the products of these three schools, there are questions raised, including what are the stylistic and iconographic differences between the seven planets’ images of these three metalworking schools and what is the reason for these differences? In this research, we examined three important examples of the metalworks of these schools using descriptive-analytical method and then we compared them. On the island's metalwork, which used the seven planets’ images for the first time, have portraied each of the seven planets in human form sitting cross-legged that each of them has its own traditional features, such as Mars has a head and a sword, Saturn carries an ax and Venus plays lute. In the Khurasani metalwork, we see some slight changes in the overall illustration of these images and a major change in the iconography of Shams (Sun). Here, like the metalwork of the island, all of them, except for the sun, have a human body and sitting cross-legged. However, the multi-handedness of the seven planets’ images on the one hand and existence of more than usual signs, on the other hand, has revealed the difference between the iconography of planets’ images on the Jazira and Khurasan. In addition, another significant difference between these designs is in the image of the sun as well as the number of planets. The image of the sun in the metalwork of Khurasan, unlike the metalwork of the Jazira, is not human, but it is a radiation circle containing three human faces. And in the metalwork of the Khurasan, the fake planet Jozhor is also shown next to the other planets. In the end, we should point out how to draw these designs in the Northwest of Iran which almost all of its planets forms are like the designs of Jazira and is even taken from its seven planets form and there is no iconographic difference between them. The only distraction that can be seen in the seven planets’ images of this area, appeared in the image of the sun. Here also, like the metalwork of Khurasan, the sun has not appeared with a human body and it's just displayed with a radiation circle. However, the image of the sun in this area just surrounds a human face, not three faces. The required data is collected by desk-study methods. The results of the analysis of the findings and evidences suggest that there is a significant relationship between the iconography of the seven planets’ images in the metalworks of twelfth and thirteenth centuries and their geographic origins. And in the attributes assigned to each of these planet, there are effects of astronomical or astrological beliefs and perspectives caused by different geographic origins, which have led to the iconographic differences in their pictorial. In general, it should be noted that the beginning of the illustration of seven planets in Islamic metalwork, based on the earliest sample, is returned to the metalwork school of Jazira. It seams these images have been transferred from Jazira in the north-east of Mesopotamia to the north-east of Iran, and then from there, it returned to the northwest of Iran and has been depicted on the metalwork produced at the beginning of the Ilkhan period.