fa بررسی تشعیرهای رنگی مرقّع گلشن تخصصي Special پژوهشي Research <div style="text-align: justify;"><span style="font-size:11pt"><span style="direction:rtl"><span style="unicode-bidi:embed"><span new="" roman="" style="font-family:" times=""><span b="" lang="FA" lotus="" style="font-family:">مرقّعات، مجموعه</span><span b="" dir="LTR" lotus="" style="font-family:">‌</span><span b="" lang="FA" lotus="" style="font-family:">ای از قطعات و ورق</span><span b="" dir="LTR" lotus="" style="font-family:">‌</span><span b="" lang="FA" lotus="" style="font-family:">هایی از آثار نقاشی، خوشنویسی، نگارگری با حواشی تذهیب و تشعیر است که به صورت مجموعه در کنار هم قرار می</span><span b="" dir="LTR" lotus="" style="font-family:">‌</span><span b="" lang="FA" lotus="" style="font-family:">گیرند. مرقّع گلشن (۱۰۱۴ ـ ۱۰۳۹) یکی از نفیس</span><span b="" dir="LTR" lotus="" style="font-family:">‌</span><span b="" lang="FA" lotus="" style="font-family:">ترین مرقّعات است که در دوران گورکانیان هند، در دوره پادشاهی همایون و اکبرشاه شروع شد و در زمان پادشاهی جهانگیرشاه به اوج و کمال خود رسید. به دستور جهانگیر شاه، اوراق پراکنده مرقّع گلشن به شکل منظمی که امروزه در دسترس است، یک</span><span b="" dir="LTR" lotus="" style="font-family:">‌</span><span b="" lang="FA" lotus="" style="font-family:">اندازه شده، صفحات نقاشی و خوشنویسی و نگارگری بر روی کاغذهای ضخیم چسبانده شدند و هنرمندان حواشی اطراف آن را تذهیب و تشعیراندازی نمودند. مرقّع گلشن هم</span><span b="" dir="LTR" lotus="" style="font-family:">‌</span><span b="" lang="FA" lotus="" style="font-family:">اکنون در کتابخانه کاخ موزه گلستان به شماره </span>&nbsp;&nbsp;&nbsp;<span b="" lang="FA" lotus="" style="font-family:">۱۶۶۳ و ۱۶۶۴ محفوظ است.</span></span></span></span></span><br> <span style="font-size:11pt"><span style="direction:rtl"><span style="unicode-bidi:embed"><span new="" roman="" style="font-family:" times=""><span b="" lang="FA" lotus="" style="font-family:"><span style="letter-spacing:-.3pt">هدف این پژوهش، بررسی و مطالعه تشعیرهای رنگی مرقّع گلشن است. سؤال اصلی این تحقیق آن است که تشعیرهای رنگی مرقّع گلشن از چه نوع و دارای چه ویژگی</span></span><span dir="LTR" style="letter-spacing:-.3pt">‌</span><span b="" lang="FA" lotus="" style="font-family:"><span style="letter-spacing:-.3pt">هایی است؟ روش تحقیق در این پژوهش کیفی و بنیادی از نوع توصیفی ـ تحلیلی و روش گردآوری اطلاعات، کتابخانه</span></span><span dir="LTR" style="letter-spacing:-.3pt">‌</span><span b="" lang="FA" lotus="" style="font-family:"><span style="letter-spacing:-.3pt">ای و استخراج برخی تصاویر از نسخه مصوّر محفوظ در کتابخانه کاخ موزه گلستان است. </span></span></span></span></span></span><br> <span style="font-size:11pt"><span style="direction:rtl"><span style="unicode-bidi:embed"><span new="" roman="" style="font-family:" times=""><span b="" lang="FA" lotus="" style="font-family:">یافته</span><span b="" dir="LTR" lotus="" style="font-family:">‌</span><span b="" lang="FA" lotus="" style="font-family:">های این پژوهش نشان می</span><span b="" dir="LTR" lotus="" style="font-family:">‌</span><span b="" lang="FA" lotus="" style="font-family:">دهد که تشعیرهای رنگی این مجموعه شامل تشعیرهای انسانی و حیوانی است و اکثریت تشعیرهای رنگی را نقوش انسانی تشکیل می</span><span b="" dir="LTR" lotus="" style="font-family:">‌</span><span b="" lang="FA" lotus="" style="font-family:">دهد. تشعیرهای رنگی با نقوش انسانی بیشتر در حاشیه قطعات خوشنویسی و تشعیرهای رنگی با نقوش حیوانی اکثراً در اطراف نگاره</span><span b="" dir="LTR" lotus="" style="font-family:">‌</span><span b="" lang="FA" lotus="" style="font-family:">ها و تصاویر اجرا شده</span><span b="" dir="LTR" lotus="" style="font-family:">‌</span><span b="" lang="FA" lotus="" style="font-family:">اند.</span></span></span></span></span><br> &nbsp;</div> <span style="font-size:11pt"><span style="line-height:normal"><span calibri="" style="font-family:"><span style="font-size:10.0pt"><span new="" roman="" style="font-family:" times="">Muraqqas are collections of pieces and sheets of works of painting, calligraphy, and miniature painting with illuminated and tash&#39;ir (gilded border designs) margins, arranged together as a collection. The Golshan Muraqqa (1014-1039 AH / 1605-1629 AD) is one of the most exquisite muraqqas. Its creation began during the Mughal era in India under the reigns of Humayun and Akbar Shah, and it reached its peak and perfection during the reign of Jahangir Shah.</span></span></span></span></span><br> <span style="font-size:11pt"><span style="line-height:normal"><span calibri="" style="font-family:"><span style="font-size:10.0pt"><span new="" roman="" style="font-family:" times="">Following Humayun Shah&#39;s visit to the court of Shah Tahmasp Safavi and his subsequent appreciation for Iranian art, some Iranian artists migrated to India at his invitation, while others went independently. This group of artists played a significant role in shaping the Indo-Iranian artistic style.</span></span></span></span></span><br> <span style="font-size:11pt"><span style="line-height:normal"><span calibri="" style="font-family:"><span style="font-size:10.0pt"><span new="" roman="" style="font-family:" times="">Under the patronage of Emperor Jahangir, a known lover and supporter of the arts, the scattered pages of the Golshan Muraqqa were organized into the standardized format we see today. The paintings, calligraphy pieces, and miniatures were mounted onto thick paper sheets, and artists embellished the surrounding margins with illumination (tazhib) and tash&#39;ir. The Golshan Muraqqa is currently housed in the Golestan Palace Museum library under accession numbers 1663 and 1664.</span></span></span></span></span><br> <span style="font-size:11pt"><span style="line-height:normal"><span calibri="" style="font-family:"><span style="font-size:10.0pt"><span new="" roman="" style="font-family:" times="">The art of tash&#39;ir, a key element of Iranian-Islamic book decoration since the 15th century (9th century AH), has been crucial in adorning the margins of texts and miniatures within manuscripts. It particularly flourished alongside miniature painting during the Safavid period. Despite its importance, tash&#39;ir has received less scholarly attention compared to miniature painting and illumination.</span></span></span></span></span><br> <span style="font-size:11pt"><span style="line-height:normal"><span calibri="" style="font-family:"><span style="font-size:10.0pt"><span new="" roman="" style="font-family:" times="">This research aims to examine and study the colored tash&#39;irs within the Golshan Muraqqa. The central research question explores the types and characteristics of these colored tash&#39;irs. The study employs a qualitative, descriptive-analytical methodology. Data collection involved library research and the extraction of images from the illustrated manuscript held at the Golestan Palace Museum library.</span></span></span></span></span><br> <span style="font-size:11pt"><span style="line-height:normal"><span calibri="" style="font-family:"><span style="font-size:10.0pt"><span new="" roman="" style="font-family:" times="">Research findings reveal that the colored tash&#39;irs in this collection feature both human and animal motifs. Human figures constitute the majority of these colored designs. Among the animal depictions, birds appear more frequently than other creatures. These tash&#39;irs were executed using a watercolor technique, with some areas rendered more opaquely. Colored tash&#39;irs with human motifs are predominantly found in the margins of calligraphy sections, whereas those with animal motifs usually surround the miniatures and illustrations.</span></span></span></span></span><br> &nbsp; تشعیر, مرقّع, مرقّع گلشن, تشعیر رنگی, سبک هند و ایرانی, گورکانی, صفوی Tash'ir, Muraqqa, Golshan Muraqqa, Colored Tash'ir, Indo-Iranian Style, Mughal, Safavid 174 153 http://golestanehonar.ir/browse.php?a_code=A-10-1-363&slc_lang=fa&sid=1 Mina Mokhtarian مینا مختاریان minamokhtarian99@gmail.com‬‏ 10031947532846001197 10031947532846001197 Yes