چکیده:
دراین پژوهش توصیفی- تحلیلی که گردآوری اطلاعات آن به صورت کتابخانهای، میدانی و بررسی مستقیم آثارصورت گرفته است، هدف اصلی بررسی نقش مهر و طغرای پادشاهان در باز? زمانی دور? ایلخانیان تا دوره قاجار بوده است که از جمله نشانه‌های سلطنتی و نماد اقتدار خسروی محسوب می‌شوند و سجع مکتوب برآنها، عمدتا انعکاسی در افکار و عقاید مذهبی شاهان داشته است. آنها به ویژه تعمد داشتند هویت شیعی مذهبی خود را به وسیله این نشان‌های بصری دراسناد به نمایش بگذارند. در این پژوهش، با رویکرد بصری به تحلیل نشانه‌ها درطغرا و نیز در ارتباط با مهر در محورهای همنشینی وجانشینی، بررسی چگونگی روابط بصری موجود، ارزش‌های گرافیکی و امکان استفاده از دستاوردهای هنرمندان گذشته درجهت تغییر و تحول استفاده از این خط درگرافیک امروز پرداخته شده است که نتایج حاصل ازبررسی‌ها نشان می‌دهد اصل نظم، ایجاد تکرار و ریتم، چرخش حروف که جنبشی موزون را تشکیل می‌دهد در این نقوش حضور چشمگیری دارد. علاوه بر آن باید به چگونگی رنگ بندی خطوط در طغراها اشاره کرد که بافت حروف را تعدیل و تقویت می‌کند. این خط درسده‌های اخیر توسط خوشنویسان عثمانی (ترکیه) شکل و قالبی متناسب یافته و جدا از متن نوشتاری یک سند مطرح گردید.
This descriptive-analytical research in which the information has been aggregated in the form of library, field and the direct study of the works, the main goal is to study and review the role of royal stamps and Tughra from Ilkhani to Ghajar periods that are considered the royal signs and symbols of royal rule and the rimes written on it have had reflection mainly in the thoughts and religious beliefs of the kings. They had this premeditation in particular that displays their Shiite religious identity through these visual signs in the documents. That in addition to the official approval of the office letters, it has promoted the executive power of that government, and due to the same reason, specific attention has been drawn to it from the emergence of Islam. Tughras are some type of graphics which are written or depicted on the commands and decrees along with the phrases including the royal name and surname in specific style and with round and bent lines by calligraphist (person who design the Tughra). This writing or calligraphy is read hardly and has not principally been written to be read. Every king has specific Tughra for himself that is emerged as his own sign and has been unchangeable. This Tughra writing style found an appropriate shape and form in recent centuries by the Othmanis’ calligraphers (Turkey) and has been put forth as a document separated from a writing text and continued to the contemporary period of Islamic calligraphy. In addition to Tughra, one of the other signs components is the royal stamp that has significant presence along with Tughra as one of the decorative element in the documents. By using a visual approach, it has been dealt with the signs analysis of Tughra and also regarding the stamps in the axis of companionship and the succession, the manner review of existing visual relations, graphical values and using possibility of past artists’ achievements in the direction of using change and transformation of this script in today’s graphics in this research. The results obtained from studies show that the basic order, repetition and rhythm creation, the words swirl that compose a symphonic movement have a significant presence in these inscriptions and impressions. In addition to that the mode or the manner of lines color order in Tughras should also be pointed and be under consideration which adjusts and enhances the words texture and by considering the graphical dimensions and the evolution transition as well as the perfection of this secret like writing we find that Tughra writing like the other writing styles has gradually completed that had attracted more attentions in the centuries of artistic relishes and has attracted attentions as a historical sign. And due to having the visual fundamentals can play an important role in contemporary graphics especially in logo designing. It is necessary to acquaintance with this background and the points of it can be the future lights and cause the identification of today’s graphics in this field.
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