جستجوی مقالات مرتبط با کلیدواژه « خط بنایی » در نشریات گروه « هنر و معماری »

One of the most famous Imams in Gilan is Hazrat Sultan Seyyed Jalaluddin Ashraf (AS). The city of Astana Ashrafieh is considered the fifth religious city of Iran due to the presence of his shrine.This research aims to first describe the decorations applied inSeyyed Jalaledin Ashraf Shrine, and then introduce the types of linear masonry and checkered grid structure used in said decorations. Masonry line is made up of sharp angles and observing the ratio of black to white is considered a principle in its design. This line is formed on the basis of a checkered grid, and therefore has square and sometimes rectangular movements, and as a result, creates a complete geometric design. The grid is an orderly network that plays an important role in the design and formation of the structure of the artwork. The construction line of this architecture includes simple, single-layer, straight, embowed, and triple-layer construction, the grading structure of each can be examined and reflected upon. The variety of masonry lines in this shrine has inspired the design of new masonry inscriptions to decorate the walls of the interior and exterior facades that are being renovated, which include a large portion of the wall of the women's mosque, a part of the courtyard wall, and the men's entrance.  With the aim of introducing the decorations in the structure of the shrine, this research has studied the typology and linear analysis of the masonry. In accordance with this goal, two questions are raised: 1- What is the hidden connection between the themes of inscriptions in Imamzadeh Hazrat Sultan Seyyed Jalaluddin Ashraf (AS) shrine and form and space? 2- How have architects applied calligraphy arrays (masonry lines) in architecture in order to convey their religious beliefs and ideas? Due to the lack of decorations and curves in the writing, the masonry line is in harmony with the main materials used in the building (bricks, tiles, etc.) and is in complete comformity with the architecture. Therefore, in this research, the masonry line has been specially considered.This research is fundamental-theoretical in terms of purpose and descriptive-analytical in terms of nature and method. It is based on library sources and field observations. It has been tried to examine the most significant examples of inscriptions with masonry lines from the blessed shrine of Sultan Seyyed Jalaluddin Ashraf (AS) of Astana Ashrafieh as the research material; therefore, selective sampling method has been used. In this research, the author has considered the sample size based on the purpose of the research and the type of the research material using the qualitative or targeted sampling method. The number of samples will be enough to provide data saturation, and the sample size has been estimated personally by taking into account specific factorsaccordingly 20 samples are selected from among the masonry line inscriptions (12 inscriptions with simple masonry lines3 inscriptions with one-line script, 3 inscriptions with horizontal and straight script, and 2 inscriptions with triple-line script), for the twenty samples are inscriptions that have been seen only once in the entire building. Some inscriptions are repeated in several different places, which have been avoided in sample selection process. 12 inscription designs have been proposed for the interior and exterior of the shrine (5 designs with simple masonry lines, 4 designs with single-line masonry lines and 3 designs with the embowed or straight masonry lines also 1 design for the flag of Imamzadeh is suggested.According to the overviews conducted on the architectural decorations of Imamzadeh Sultan Seyyed Jalaluddin Ashraf (AS), especially its masonry lines, the findings are as follows:- Masonry line consists of geometric shapes such as square, rectangle, parallel and intersecting lines that are in total harmony with the architectural integrity of the structure architecture. All the masonry inscriptions are executed in the form of tiling; Except for the ceiling and wall of the sub-porch and the women's sub-entrance which are made with glazed bricks.- Twenty masonry inscriptions have been used in this structure, which are of simple masonry type, one-sided, straight, embowed, and three-sided.  - Ruler or checkered grid is a structure consisting of horizontal, vertical and diagonal lines that by placing the work in them, create a geometric and coherent structure. In the simple construction design of this monument, only checkered grid with horizontal and vertical lines has been used, which sometimes, with respect to the execution space, has undergone a 45 degrees rotation. In order to avoid monotony in the masonry inscriptions of this plce, the other masonry lines have been given one-sided, straight, or embowed lines. In the one-sided designs, each frame is divided into two parts from the grid and the final design is presented in 45 degree squares. In the embowed and straight lines, each checkered grid is divided into three parts and the final design is presented in 3 squares of 45 degrees (up to this stage it is a triangle) and finally, by joining the three squares, the straight and embowed lines are revealed. (The full description of these structures is given in the text). The three-sided design can be implemented on the square grid according to the type of calligraphy. And its principles are different from other lines.- The name of this Imamzadeh was designed based on the ruler of simple masonry lines and presented to the board of trustees as a proposal for the flag above the dome.- In the Hazrat Sultan Seyyed Jalaluddin Ashraf (a.s.) shrine, simple, single-layer, straight and horizontal, and three-layer masonry lines are used, and the most variety of inscriptions is in the simple masonry type. Based on three design methods (simple masonry, single vein, straight and embowed), new masonry inscriptions have been designed to decorate the interior and exterior walls. (And of course, the point that should be mentioned is that due to the reconstruction of the shrine, the possibility of changing the name and destruction of some spaces in the future reconstructions  should be considered).- According to the design of the inscriptions of this shrine, 12 new inscriptions have been designed in the form of simple, uniform, straight and horizontal lines for the places under reconstruction and have been presented to the board of trustees as sampes for the proposed design.Finally, based on the contents and findings of the current research, the following questions can be answered:1- What is the hidden connection between the themes of inscriptions in Imamzadeh Hazrat Sultan Seyyed Jalaluddin Ashraf (AS) shrine and form and space?The carved inscriptions on the interior and exterior of Imamzadeh Hazrat Sultan Seyyed Jalaluddin Ashraf (a.s.) shrine inspire the meanings of the words of these inscriptions in the minds of believers. And they also make people understand the spiritual power of the name and words of God and the Imams, and since important and historical information is hidden in the inscriptions, they can act as media propagandize and imply divine teachings according to their form, space and content. And this is a sign of the important role that architects and scribes play in the cultural context and religious propaganda of the society in conveying the themes of the inscriptions.2- How have architects applied calligraphy arrays (masonry lines) in architecture in order to convey their religious beliefs and ideas?The results of the research findings show that the architects expressed their religious thoughts and beliefs in the form of inscriptions (Kufi calligraphy) engraved on the interior and exterior of the shrine, with topics such as the names of God, Prophet Muhammad (PBUH), Imam Ali (PBUH) etc. they annunciate the hope and belief in the emergence if the Savior and as it was mentioned before, the characteristic of the inscriptions as messengers makes the architects and scribes use these religious subjects in the implementation of the inscriptions and inspire their thoughts to the people.

This research aims to identify and assess the authenticity of the Square Kufic (mo‘aqqeli) inscriptions on the portal of the Masjed-e Jame‘-e ʿAbbasi of Isfahan. There are several Square Kufic inscriptions on the portal of this mosque, yet the historical authenticity of none has ever been studied. This research was done in three steps: First, we completely photographed the portal of this building. Then we made a panoramic image out of the photos from the facade, identified 46 Square Kufic inscriptions, and marked their place on the mentioned panoramic image. Then, we produced a two-dimensional map of that image and showed the current location of all the Square Kufic inscriptions of the portal on this map. In the second step, we identified the historical photos of the portal of this mosque and organized them in chronological order. Then, we overlaid these historical photos on the produced map and identified which Kufic inscriptions were damaged or collapsed and later restored. By doing so, we showed which of these inscriptions were still in place before the restoration of 1937-1938, and so, are more likely to be authentic and which of them are definitely not. In the third step, we compared the condition of the inscriptions which remained intact on the portal’s facade until the restoration of 1937-38, as recorded in historical photos, with their present condition and showed which ones are definitely authentic and which ones are not. This research shows that out of 46 Square Kufic inscriptions on the portal of this mosque, 34 inscriptions are historically authentic, 11 inscriptions were definitely lost before the restoration works of 1937-38 and therefore are not authentic. Moreover, the historical authenticity of one inscription is only probable.