َ تحلیل باستان‌شناختی و هنری از نسخه‌های خطی مصور ایران در دوره ایلخانی و ملوک‌الطوایفی
محورهای موضوعی : باستان شناسی
1 - عضو هییت علمی دانشگاه ازاد اسلامی واحد ورامین و پیشوا
کلید واژه: : ایلخانی, مینیاتور , تحلیل, نسخه های خطی, ملوک الطوایفی,
چکیده مقاله :
نسخه هاي خطي مصور ايران دردوره اسلامی، اطلاعات مختلف فرهنگی،باستان شناسی،تاريخي و هنري دارند که اين اطلاعات براي مورخان ، باستانشناسان و محققان داراي اهميت مطالعاتی هستند. بعضی ازحاکمان ایلخانی و ملوک الطوایفی از تولید نسخه های خطی مصور با موضوعات: مذهبی ،حماسی و علمی حمایت می کردند . در این دوران کتابهای مختلف با حمایت حاکمان بازنویسی و مصورگردیدند. نسخه های خطی مصور ایلخانی ودوره ملوک الطوایفی مینیاتورهایی دارند که اطلاعات فرهنگی ، باستان شناسی ،هنری و تاریخی مهمی از این دوران را به ما ارایه می نمایند . یکی ازاهداف اين مقاله معرفی نسخه های خطي مصور دوره ایلخانیان و ملوک الطوایفی به عنوان منابع مطالعاتی باستانشناسي، تاریخ وهنر است. هدف دیگر این تحقیق، تجزیه و تحلیل باستان شناختی و هنری مینیاتورهای این نسخه های خطی مصور می باشد.دراین پژوهش با کار میدانی و مطالعات کتابخانه ای، تعدادی ازمینیاتورهای نسخه های خطی دوره ایلخانی و ملوک الطوایفی با روش های توصیفی و تحلیلی مورد مطالعه قرارگرفته است.. سوالات تحقیق شامل موارد زیر هستند: ایا با کمک نسخه های خطی مصور می توان قسمتی از فرهنگ دوره ایلخانی و ملوک الطوایفی را بازسازی نمود ؟ با مطالعه ی ویژگی های مینیاورهای دوره ایلخانی و ملوک الطوایفی می توان الگویی را برای شناسایی سایر نسخه های خطی مصور ناشناخته پیدا نمود ؟ نتیجه این پژوهش بیانگر اهمیت نسخه های خطی مصور دوره ایلخانی و ملوک الطوایفی در مطالعات باستان شناسی و تاریخ هنر ایران در دوره اسلامی است .
Extended Abstract
Illustrated manuscripts from Iran during the Ilkhanid and Post-Ilkhanid periods contain valuable cultural, archaeological, historical, and artistic information that is of great importance for historians, archaeologists, and researchers. Some Ilkhanid and local rulers supported the creation of illustrated manuscripts on religious, epic, and scientific subjects. During this era, many books were rewritten and illustrated under royal patronage. The Ilkhanid and Post-Ilkhanid illustrated manuscripts feature miniatures that provide crucial insights into the culture, archaeology, art, and history of these periods. This paper aims to introduce these illustrated manuscripts as key sources for studies in archaeology, history, and art, and to conduct an archaeological and artistic analysis of the miniatures. Through descriptive and analytical methods, this research examines several miniatures from Ilkhanid and Post-Ilkhanid manuscripts. The main research questions are: Can aspects of the Ilkhanid and Post-Ilkhanid culture be reconstructed using illustrated manuscripts? Can the study of miniature features offer a model for identifying unknown illustrated manuscripts? This research highlights the significance of these illustrated manuscripts for archaeological and art historical studies of the Islamic period in Iran.
Introduction
Illustrated manuscripts during the Ilkhanid (1258–1334 CE) and Post-Ilkhanid (1334–1378 CE) periods flourished with the support of the rulers of these dynasties. This era saw an increased production of illustrated books on scientific, religious, epic, and romantic topics due to intellectual freedom and the lack of adherence to specific ideologies. The miniatures in these manuscripts hold great significance for studies in archaeology, history, and other disciplines, offering a valuable opportunity to reconstruct cultural and historical aspects for researchers. By analyzing the distinctive characteristics of miniatures from these manuscripts, such as those of the Ilkhanid, Jalayarid, and Injuid dynasties, scholars can identify scattered, undated miniatures from this era. Furthermore, it allows for the reconstruction of cultural features such as architecture, clothing, scientific tools, and more. This paper presents and analyzes several key illustrated manuscripts from the Ilkhanid and Post-Ilkhanid periods to explore the importance of these works in the broader field of archaeological and art historical studies.
Methodology
This research employs a descriptive and analytical methodology. Illustrated manuscripts from the Ilkhanid, Jalayarid, and Injuid periods are described and analyzed, focusing on the artistic and archaeological features of their miniatures. A portion of the study is dedicated to understanding the importance of these illustrated manuscripts for the reconstruction of art and culture during the Ilkhanid and Post-Ilkhanid periods in Iran. Comparative studies are also used to highlight the relevance of these miniatures in the context of cultural and artistic analysis. The research aims to answer several questions: What factors contributed to the prolific production of illustrated manuscripts during the Ilkhanid and Post-Ilkhanid periods? Can these miniatures aid in cultural reconstruction? How do the distinctive characteristics of these miniatures help identify unknown illustrated manuscripts?
Discussion
The illustrated manuscripts of the Ilkhanid and Post-Ilkhanid periods are crucial for understanding the cultural, artistic, and historical developments of this era. These miniatures are not only artistic expressions but also serve as historical documents that provide a visual representation of the social, political, and intellectual landscape of the time. The evolution of styles from the Baghdad school to the Tabriz school of painting during the Ilkhanid period marks a significant shift in the artistic narrative, reflecting the dynamic nature of the period. This research illustrates how these artworks can be used to reconstruct various aspects of Iranian culture, including architectural designs, clothing styles, and even scientific tools. Furthermore, the identification of certain artistic elements, such as the portrayal of sacred halos and architectural features, can help in identifying other undated manuscripts, thereby filling gaps in the historical and artistic record. This study underscores the importance of these illustrated manuscripts in providing insights into the cultural and artistic heritage of Islamic Iran, while also offering a framework for future research on unidentified works from this period.
The illustrated manuscripts from the Ilkhanid and post-Ilkhanid period (735-777 AH / 1334-1375 CE) demonstrate the continuity of manuscript illumination after the fall of the Ilkhanid dynasty in 736 AH / 1334 CE. Despite the political turmoil, manuscript production did not cease; rather, it persisted in various regions, reflecting distinct and evolving artistic styles. The Injuids, who ruled Fars (1324-1353 CE), and the Muzaffarids (1336-1395 CE), continued to patronize manuscript illumination, commissioning illustrated works such as Shahnamehs. Notably, the depiction of Bahram Gur in rural settings, such as with a woman milking a cow, provides insight into the attire of different social classes during this period.
Smaller Shahnamehs also gained popularity during this time, with several known examples showcasing the heroic figure of Bahram Gur slaying a dragon. These miniatures, distinguished by their unique style, help identify illustrated manuscripts from this period, which often deviated from the larger, more lavish royal manuscripts, reflecting a broader cultural shift. Additionally, the second half of the 8th century AH saw the flourishing of illustrated manuscripts in Shiraz, with notable works like "Muns al-Ahrar" (1341 CE), characterized by dominant red hues and ribbon-like borders, assisting in identifying other scattered and lesser-known manuscripts.
The illustrated manuscripts produced during the Jalayerid period (1335-1410 CE) also provide rich historical insights. Examples like the "Khamsa of Nizami" and "Diwan of Khawajeh Kermani" reflect the artistic tendencies of the period, often influenced by the Mongol and Islamic artistic traditions. These works are instrumental in understanding the cultural and aesthetic dynamics of the time, offering valuable insights into the daily life, attire, and artistic expression of the era.
Conclusion
Illustrated manuscripts of the Ilkhanid and post-Ilkhanid period stand as a crucial window into the cultural and artistic evolution of Iran during the 14th century. These manuscripts, especially Shahnamehs and works created under the patronage of the Injuids, Muzaffarids, and Jalayerids, reveal how the art of manuscript illumination continued to thrive, evolving in response to regional political changes. The fusion of Eastern Asian and Iranian artistic elements, particularly the depiction of mythical creatures such as dragons, transformed their symbolic meanings, with dragons becoming associated with evil in Iranian interpretations. Illustrations in these manuscripts not only showcase the rich artistic traditions of the time but also serve as historical documents, offering insights into the social, cultural, and material life of the period. By studying these miniatures, researchers and archaeologists can reconstruct cultural practices, attire, architecture, and more, providing a comprehensive view of the era's daily life and artistic heritage.
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