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بررسی تطبیقی پایداری اصول هندسی در طراحی و ساخت محراب های گچی ابرکوه (موردپژوهی : محراب های مقبره پیرحمزه سبزپوش، مسجد جامع ابرکوه و مسجد جامع هک) | ||
| معماری و شهرسازی پایدار | ||
| دوره 9، شماره 2، آبان 1400، صفحه 146-133 اصل مقاله (2.39 M) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22061/jsaud.2021.4522.1735 | ||
| نویسندگان | ||
| فریبا شاپوریان* 1؛ محمدحسین حلیمی2؛ راضیه عارفی3 | ||
| 1استادیارگروه ارتباط تصویری، دانشکده مهندسی معماری و شهرسازی، دانشگاه تربیت دبیر شهید رجایی، تهران، ایران. | ||
| 2استاد گرافیک، دانشکده هنرهای زیبا، دانشگاه تهران. | ||
| 3کارشناسی ارشد، رشته ارتباط تصویری، دانشکده مهندسی معماری و شهرسازی دانشگاه تربیت دبیر شهید رجایی تهران، ایران. | ||
| تاریخ دریافت: 01 تیر 1399، تاریخ بازنگری: 22 بهمن 1399، تاریخ پذیرش: 30 آذر 1399 | ||
| چکیده | ||
| چکیده در معماری اسلامی اغلب بهترین و نفیس ترین تزیینات بر روی محراب ها اجرا شده است. بسیاری از محراب های ایرانی به دلیل ظرافت و زیبایی دارای شهرت جهانی هستند؛ بخصوص محراب های گچ بری شده شهرهای مرکزی ایران. دو محراب پیرحمزه سبزپوش ابرکوه (سده ششم هجری قمری) و محراب مسجد جامع ابرکوه (سده هشتم هجری قمری) از نظر کیفیت گچ بری و طراحی نقشمایـه ها و کتیبه ها دارای ارزش و اهمیت زیاد هستند. محراب مسجدجامع روستای هِک ابرکوه (سده ششم و هفتم هجری قمری) که بخشی از گچ بری های آن از بین رفته با دو محراب مذکور قابل قیاس است. در این مقاله مسأله پژوهشگران این بود که آیا مجاورت این سه محراب از نظر مکانی عامل تشابه ساختاری و تزیینی این نمونه ها هست یا ساخت آن ها در قرون مختلف به بروز تغییرات زیربنایی یا روبنایی منجر شده است؟ پژوهش حاضر با هدف بررسی شباهت ها و تفاوت های اصول ساختاری و طراحی نقوش این سه محراب با روش تحقیق توصیفی ـ تحلیلی انجام شد. نتایج پژوهش پایداری اصول هندسی و تداوم شیوه تزیینات این سه محراب را در طول سه سده نشان می دهد؛ اگرچه محراب مسجد جامع ابرکوه به لحاظ شیوه طراحی نقوش به شکلی متفاوت نمایانگر پیشرفت این اصول است. | ||
| کلیدواژه‌ها | ||
| واژگان کلیدی: محراب گچ بری؛ مقبره پیرحمزه سبزپوش ابرکوه؛ مسجد جامع ابرکوه؛ مسجد جامع هک | ||
| عنوان مقاله [English] | ||
| Comparative Study of Three Mihrab of Abarkuh | ||
| نویسندگان [English] | ||
| Fariba Shapourian1؛ M. Halimi2؛ R. Arefi3 | ||
| 1Assistant Prof. of Graphic, Graphics Department, SRTTU., Tehran,Iran. | ||
| 2Prof. of Graphics, Fine Arts Faculty, Tehran Uni., Tehran,Iran. | ||
| 3MA. of Graphic, Graphics Department, SRTTU., Tehran,Iran. | ||
| چکیده [English] | ||
| In Islamic Architecture, the best and most elaborative and decorative designs are on the Mihrabs. Mihrab of Pir Hamzeh Sabzpoosh Abarkooh, a precious example from the sixth century (Hejry Ghamary) reveals significant values in design, traditional plaster modeling, cornice, and epigraph. Due to lack of attention to this precious Mihrab by some pioneer architectural researchers, this Mihrab has not been a subject of research yet. This research project will conduct investigations, questioning the significance of design motif on the Mihrab of Pir Hamzeh Sabzpoosh Abarkooh. This research involves analytic and descriptive methods in searching for information from public and from libraries as well as study of photographic examples and measurement of the design motifs using available software. The conclusion of this research presents involvement of principles of Iranian design motif and application of geometrical and mathematical proportional relationships. Furthermore, presenting the progress in plastering art and techniques.Mihrab, Design Motif, Mihrab of Pir Hamzeh Sabzpoosh Abarkooh Tomb, Traditional plaster modeling, Islamic Architecture | ||
| کلیدواژه‌ها [English] | ||
| Mihrab, Design Motif, Mihrab of Pir Hamzeh Sabzpoosh Abarkooh Tomb, Traditional plaster modeling, Islamic Architecture | ||
| مراجع | ||
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