نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشیار، گروه معماری، واحد مشهد، دانشگاه آزاد اسلامی، مشهد، ایران.
2 دانش آموخته کارشناسی ارشد، گروه هنر، واحد مشهد، دانشگاه آزاد اسلامی، مشهد، ایران.
چکیده
کلیدواژهها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
In the edifices of the Holy Shrine of Imam Reza (AS), one of the largest and most magnificent religious complexes in the world, tilework stands as the most prominent decorative element in the architecture of its courtyards. This research examines the motifs in these tilework pieces and their specific spatial placement within the Azadi Courtyard of the Razavi Holy Shrine. The objective of this study is to investigate the origins of these motifs and to comprehend their relationship with their respective locations across the porticoes (Iwans) of the Azadi Courtyard. Employing a descriptive-analytical methodology, with data gathered through both documentary and field research, this study seeks to answer two primary questions: Firstly, what are the origins of the various decorative tile motifs adorning the porticoes of the Azadi Courtyard from the Qajar era? Secondly, how does this origin correlate with the specific placement of each motif? The findings indicate that the origins of the tile motifs on the four porticoes of the Azadi Courtyard can be categorized within the realms of tradition, modernity, and a synthesis of both. Traditional motifs encompass geometric combinations, figurative designs, as well as floral and vase patterns. Postcard-style landscape paintings are identified as modern motifs. Conversely, motifs such as Gol-o-Morgh (bird and flower), Gol-e Farang (Europeanized flowers), trees, vases with Gol-e Farang designs, landscapes, dish-and-cup patterns, and angels are classified as hybrid or synthetic. The results further demonstrate that traditional motifs exhibit the highest frequency in the decoration of the porticoes. The Western Iwan, given its preeminent position, predominantly utilizes traditional motifs. The Eastern Iwan displays a conservative amalgamation of traditional, modern, and synthetic motifs. The Northern Iwan, featuring the most diverse array of decorative motifs, signifies a greater degree of artistic freedom exercised by designers in selecting and applying patterns in accordance with the creative developments of the Qajar period. In contrast, the Southern Iwan is primarily dedicated to the display of traditional motifs. It appears that the designer, in addition to considering the origin and type of motif, also incorporated the artistic and social transformations of the Qajar era into the strategic placement of these designs.
کلیدواژهها [English]
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