دانشگاه تربیت مدرس نقش جهان - مطالعات نظری و فناوری های نوین معماری و شهرسازی 2322-4991 8 4 2019 02 20 Investigation and Analysis of Arabesque Patterns and Herbal Designs of Aljaito Altar in Jameh Mosque of Isfahan ﺑﺮرﺳﯽ و ﺗﺤﻠﯿﻞ اﻟﮕﻮﻫﺎی اﺳﻠﯿﻤﯽ و ﻧﻘﻮش ﮔﯿﺎﻫﯽ ﻣﺤﺮاب اﻟﺠﺎیﺘﻮ ﻣﺴﺠﺪ ﺟﺎﻣﻊ اﺻﻔﻬﺎن 213 221 840 FA لاچین پهلوان‌علمداری ﮔﺮوه ﻣﻌﻤﺎری، واﺣﺪ ﻋﻠﻮم و ﺗﺤﻘﯿﻘﺎت، داﻧﺸﮕﺎه آزاد اﺳﻼﻣﯽ، ﺗﻬﺮان، ایﺮان فرح حبیب ﮔﺮوه ﻣﻌﻤﺎری، واﺣﺪ ﻋﻠﻮم و ﺗﺤﻘﯿﻘﺎت، داﻧﺸﮕﺎه آزاد اﺳﻼﻣﯽ، ﺗﻬﺮان، ایﺮان حمید ماجدی ﮔﺮوه ﻣﻌﻤﺎری، واﺣﺪ ﻋﻠﻮم و ﺗﺤﻘﯿﻘﺎت، داﻧﺸﮕﺎه آزاد اﺳﻼﻣﯽ، ﺗﻬﺮان، ایﺮان حمید ماجدی ﮔﺮوه ﻣﻌﻤﺎری، واﺣﺪ ﻋﻠﻮم و ﺗﺤﻘﯿﻘﺎت، داﻧﺸﮕﺎه آزاد اﺳﻼﻣﯽ، ﺗﻬﺮان، ایﺮان حسن ستاری‌ساربانقلی ﮔﺮوه ﻣﻌﻤﺎری، واﺣﺪ ﺗﺒﺮیﺰ، داﻧﺸﮕﺎه آزاد اﺳﻼﻣﯽ، ﺗﺒﺮیﺰ، ایﺮان Journal Article Aims Sacred architecture is a reflector of divine beauties, and it is an illustrative example of the combination and association of symbolic forms with our deep beliefs and this connection can be expressed in the deepest mysterious layers of the altar. The altar is the most important part of the religious building. In the history of architectural decorations in Islamic art, altar has always embedded the best and most valuable examples in terms of style and in terms of motifs as well as calligraphy values. The Aljaito altar, in terms of the art of Stucco used in it, is in the rank of the most beautiful works of the Ilkhani era. In this research, the study of the herbal designs of the altar, the characteristics, and generalities of the motifs and the patterns governing them are the aim of the research.<br> Instruments & Methods Through library and field studies, we have identified the decoration of the altar of the Jameh Mosque of Isfahan. The research method is descriptive-analytical and uses architectural software.<br> Findings & Conclusion The following results were obtained by examining the designs and decorations of Aljaito altar: 81 patterns of herbal design were extracted from the altar designs, with a range of 28% horizontal rectangle, 22% circle, 21% pentagon, 15% vertical rectangular, 7% star, 6% square, and 1% Shamseh; the majority of it included horizontal rectangle. Also, the dominant line in Aljaito altar designs adhered to 100% of the curve pattern, and 85% were completely non-symmetrical and 15% was vertical to the axis in the herbal designs. <span>اﻫﺪاف: ﻣﻌﻤﺎری ﻗﺪﺳﯽ، ﺟﻠﻮهای از زیﺒﺎیﯽﻫﺎی اﻟﻬﯽ و ﻧﻤﻮﻧﻪ ﺑﺎرزی از ﺗﻠﻔﯿﻖ و ارﺗﺒﺎط ﻓﺮمﻫﺎی ﻧﻤﺎدیﻦ ﺑﺎ ﻣﻌﺎﻧﯽ و ﺑﺎورﻫﺎی ﻋﻤﯿﻖ اﻋﺘﻘﺎدی ﻣﺎﺳﺖ ﮐﻪ ایﻦ ارﺗﺒﺎط را ﻣﯽﺗﻮان در ﻋﻤﯿﻖﺗﺮیﻦ ﻻیﻪﻫﺎی رازآﻟﻮد ﻣﺤﺮابﻫﺎ ﺑﯿﺎن داﺷﺖ. ﻣﺤﺮاب ﻣﻬﻢﺗﺮیﻦ ﺑﺨﺶ ﺑﻨﺎی ﻣﺬﻫﺒﯽ ﻣﺤﺴﻮب ﻣﯽﺷﻮد. در ﺗﺎریﺦ ﺗﺰیﯿﻨﺎت ﻣﻌﻤﺎری در ﻫﻨﺮ اﺳﻼﻣﯽ، ﻫﻤﻮاره ﻣﺤﺮابﻫﺎ ﭼﻪ ﺑﻪ ﻟﺤﺎظ ﺷﯿﻮه و ﭼﻪ از ﻧﻈﺮ ﻧﻘﺶﻣﺎیﻪﻫﺎ و ارزشﻫﺎی ﺧﻄﯽ و ﺧﻮشﻧﻮیﺴﯽ، ﺑﻬﺘﺮیﻦ و ارزﺷﻤﻨﺪﺗﺮیﻦ ﻧﻤﻮﻧﻪﻫﺎی ﻣﻮﺟﻮد را در ﺧﻮد ﺟﺎ دادهاﻧﺪ. ﻣﺤﺮاب اﻟﺠﺎیﺘﻮ ﺑﻪ ﻟﺤﺎظ ﻫﻨﺮ ﮔﭻﺑﺮی ﺑﻪﮐﺎررﻓﺘﻪ در آن، در ردیﻒ زیﺒﺎﺗﺮیﻦ آﺛﺎر ﻋﺼﺮ ایﻠﺨﺎﻧﯽ ﻗﺮار ﮔﺮﻓﺘﻪ اﺳﺖ. در ایﻦ ﺗﺤﻘﯿﻖ ﺗﺤﻠﯿﻞ و ﺑﺮرﺳﯽ ﻧﻘﻮش ﮔﯿﺎﻫﯽ ﻣﺤﺮاب، ویﮋﮔﯽﻫﺎ، ﮐﻠﯿﺎت و ﺟﺰیﯿﺎت ﻧﻘﻮش و اﻟﮕﻮﻫﺎی ﺣﺎﮐﻢ ﺑﺮ آﻧﻬﺎ ﻫﺪف ﺗﺤﻘﯿﻖ اﺳﺖ.<br> اﺑﺰار و روشﻫﺎ: از ﻃﺮیﻖ ﻣﻄﺎﻟﻌﺎت ﮐﺘﺎﺑﺨﺎﻧﻪای و ﻣﯿﺪاﻧﯽ ﺑﻪ ﺷﻨﺎﺳﺎیﯽ ﺗﺰیﯿﻨﺎت ﻣﺤﺮاب ﻣﺴﺠﺪ ﺟﺎﻣﻊ اﺻﻔﻬﺎن ﭘﺮداﺧﺘﻪایﻢ. روش ﺗﺤﻘﯿﻖ، ﺗﻮﺻﯿﻔﯽ- ﺗﺤﻠﯿﻠﯽ ﺑﻮده و از ﻧﺮماﻓﺰارﻫﺎی ﻣﻌﻤﺎری اﺳﺘﻔﺎده ﺷﺪه اﺳﺖ.<br> یﺎﻓﺘﻪﻫﺎ و ﻧﺘﯿﺠﻪﮔﯿﺮی: ﺑﺎ ﺑﺮرﺳﯽ ﻧﻘﻮش و ﺗﺰیﯿﻨﺎت ﻣﺤﺮاب اﻟﺠﺎیﺘﻮ ﻧﺘﺎیﺞ زیﺮ ﺑﻪ دﺳﺖ آﻣﺪ: ۸۱ اﻟﮕﻮی ﻧﻘﻮش ﮔﯿﺎﻫﯽ از ﻧﻘﻮش ﻣﺤﺮاب اﺳﺘﺨﺮاج ﺷﺪ ﮐﻪ ﻣﺤﺪوده ﻧﻘﻮش ۲۸% ﻣﺴﺘﻄﯿﻞ اﻓﻘﯽ، ۲۲% دایﺮه، ۲۱% ﭘﻨﺞﺿﻠﻌﯽ، ۱۵% ﻣﺴﺘﻄﯿﻞ ﻋﻤﻮدی، ۷% ﺳﺘﺎره، ۶% ﻣﺮﺑﻊ، و ۱% ﺷﻤﺴﻪ ﺑﻮد، ﮐﻪ اﮐﺜﺮیﺖ ﻣﺤﺪوده ﻣﺴﺘﻈﯿﻞ اﻓﻘﯽ را ﺷﺎﻣﻞ ﻣﯽﺷﺪ. ﺧﻂ ﻏﺎﻟﺐ در ﻧﻘﻮش ﻣﺤﺮاب اﻟﺠﺎیﺘﻮ ۱۰۰% از اﻟﮕﻮی ﻏﯿﺮﻣﺘﻘﺎرن و ۱۵% ﺗﻘﺎرن ﻣﻨﺤﻨﯽ ﺗﺒﻌﯿﺖ ﻣﯽﮐﺮد . در ﺑﺮرﺳﯽ ﭼﮕﻮﻧﮕﯽ ﺗﻘﺎرن در ﻧﻘﻮش ﮔﯿﺎﻫﯽ ﺑﻪﮐﺎررﻓﺘﻪ در ﻣﺤﺮاب، ۸۵% ﮐﺎﻣﻼ ﻧﺴﺒﺖ ﺑﻪ ﻣﺤﻮر ﻋﻤﻮد ﺑﻮده اﺳﺖ.</span><br> https://bsnt.modares.ac.ir/article_840_fa83a11a198d5a7f0bf77a1987bcd006.pdf