جستجوی مقالات مرتبط با کلیدواژه « Carpentry Genealogy » در نشریات گروه « هنر و معماری »

Countless artists have also appeared during the Islamic period of Iran, Although by the middle of this period, for various reasons, the dominant names of these masters have been hidden from us, what seems likely is that the tradition of teamwork has always existed among them. In other words, by transferring their skills and experiences to their children, the teachers, in addition to continuing their jobs or family careers, made them become master teachers and a suitable alternative for themselves. Today, the identification of these master artists is mainly done by their signatures on their works. One of the anonymous areas in which less attention is paid to the creators and artists of the masterpiece is wooden works. One of the areas in the country where we are faced with a large number of wooden works and signatures of carpenters, the current Mazandaran province - formerly known as Tabaristan on historical texts - in the 9th and 10th centuries AH is left on wooden works Artisans often use the carpenter suffix for themselves in addition to sponsor and builder. At this time, first the Marashians and then the Safavid Shiites ruled the region. For a variety of reasons, the construction of mausoleums, which had flourished since the Marashian period, continued into the 10th century. At the same time, the construction of wooden tombstones, wooden doors and windows for these buildings is intensifying, and this is one of the main factors in the spread and continuation of the carpentry tradition among indigenous families. Thus, the purpose of writing this article, i is to introduce these families in the mentioned centuries. Therefore, the research questions can be posed as follows: What is the continuation of the construction of wooden works in the families of carpenters in Tabaristan in the 9th and 10th centuries AH? And what are the most prominent artistic families of Tabaristan carpenters in the 9th and 10th centuries AH? Although the names of some of these anonymous artists are sporadically mentioned in scientific and historical texts, no scientific source has dealt with these artists and their works independently. Tracing these families can be an important part of the history of our country's artists that has not been addressed so far and shows the necessity of the present research. The present study has been done with a quantitative approach and analytical and descriptive methods as well as matching the samples based on the works recorded in scientific texts. The results showed that after studying 86 wooden inscriptions in the desired time and place, most of the inscriptions were accompanied by the name of the father in continuation of the name of the master carpenter. Also, three families, Najar Sari in the eastern region of Mazandaran (Sari and Ghaemshahr), Najar Amoli Razi in the central region of Mazandaran (Babol and Babolsar) and Labasani family in the western part of Mazandaran (Noor, Kojoor, Chamestan) have been working.