مقايسه تزئينات بناي مسجد كبود تبريز و رصدخانه مراغه
محورهای موضوعی : باستانشناسیزهره صاحبقرانی 1 * , رضا رضالو 2
1 - كارشناسي ارشد باستان‌شناسي، گرايش دوران اسلامي، دانشگاه آزاد اسلامی واحد ابهر، ایران.
2 - استاد گروه باستان‌شناسی، دانشگاه محقق اردبیلی، اردبیل، ایران.
کلید واژه:
چکیده مقاله :
هنرمندان و معماران در جوامع كوچكتر با امكانات و شيوه‌هاي محلي در شرايط مختلف اقدام به ساختن ابنيه مذهبي و غيرمذهبي مي‌كردند چون هر منطقه ذوق و سليقه بخصوص در معماري داشت سبكها و اسلوبهاي ويژه‌اي به وجود آمد به طور كلي از نظر مصالح ساختماني و شكل بناهاي كه نقاط مختلف آذربايجان ساخته شده‌اند شباهتي وجود دارد كه در بناهاي نقاط ديگر ايران كمتر ديده مي‌شود اين مقاله درصدد پاسخگويي به اين سوالات است كه اولاً تزئينات بناي مسجد كبود تبريز در رصدخانه مراغه چه شباهت‌هايي با هم دارند و ثانياً افتراق اين بنا در تزئينات كدامند؟ تزئینات کاشی کاری مسجد کبود صرفاً به رنگ لاجوردی و عمدتاً با قطعات شش ضلعی کار شده است. تزئینات کاشی کاری رصد خانه مراغه دو رنگ فیروزه ای و قهوه ای سوخته در بیش از شانزده نوع تراش یافته اند. روش پژوهش توصيفي و تحليلي با بررسي اسناد كتابخانه‌اي و مطالعات ميداني انجام گرفته است. يافته‌هاي نشان داده كه هر دو بنا در تزئينات از کاشی بهره جسته‌اند اما در تزئينات مسجد كبود بيشتر از كاشي‌هاي معرق استفاده شده و در رصدخانه مراغة عمدتاً تزئيات معقلي.
Extended Abstract
Artists and architects in smaller communities constructed religious and secular buildings using local techniques and materials, leading to the emergence of distinct regional styles. In Azerbaijan, architectural decorations share unique characteristics rarely found in other parts of Iran. This study examines the similarities and differences between the decorative elements of the Blue Mosque in Tabriz and the Maragheh Observatory. The research employs a descriptive-analytical methodology, utilizing both library resources and field studies. Findings indicate that while both structures incorporate tilework, the Blue Mosque predominantly features mosaic tiles, whereas the Maragheh Observatory exhibits mainly brick-mosaic decorations.
Introduction
Architectural decorations in religious and secular buildings, particularly tilework and its role during the Ilkhanid period, have been analyzed extensively. The timeline of Ilkhanid and Seljuk art highlights the distinct styles and decorative approaches of each era. This study references both Persian and English sources to provide a comprehensive analysis.
With the establishment of the Ilkhanid dynasty in Iran, major cities like Tabriz, Soltaniyeh, and Maragheh became centers for artists, resulting in the construction of numerous religious and secular buildings adorned with intricate tilework, brickwork, and stucco. However, the invasion of Timur in the mid-14th century led to the destruction of many urban centers, shifting the architectural focus to Samarkand, the capital of the Timurid Empire. The artistic achievements of this period were characterized by elaborate stucco, tile, and brick decorations that carried forward the architectural traditions of earlier eras.
The Maragheh Observatory, an esteemed scientific and architectural project, was established in 1259 CE under the patronage of Hulagu Khan and the supervision of Nasir al-Din al-Tusi. Meanwhile, the Blue Mosque of Tabriz was constructed in 1465 CE during the Qara Qoyunlu era under the direction of Saleha Khatun, daughter of Sultan Jahan Shah. This research explores the decorative similarities and differences between these two iconic structures.
The primary research questions focus on identifying the shared decorative elements between the Blue Mosque and the Maragheh Observatory and highlighting their distinctive features.
Methodology
This study adopts a descriptive-analytical approach, incorporating both field observations and library research. By closely examining architectural remains and studying historical records, the research aims to provide a thorough understanding of the decorative features of the two structures.
Discussion
The Ilkhanid period marked a significant transformation in Persian architecture, particularly in decorative techniques. The architectural elements of the Maragheh Observatory and the Blue Mosque illustrate both continuity and innovation in artistic expression.
The Maragheh Observatory, as a scientific center, employed decorative elements aligned with astronomical and geometric principles. The use of brick-mosaic decorations, carved stones, and inscriptive tiles reflected the scholarly nature of the site. Materials such as river stones, cut stones, and bricks of varied sizes were extensively used in construction. Colored glazed tiles featuring astronomical motifs further reinforced the observatory's scientific purpose.
In contrast, the Blue Mosque, a masterpiece of Qara Qoyunlu architecture, represents the pinnacle of Persian tilework. Its decoration features intricate mosaic tiles arranged in complex geometric and floral patterns, creating an overwhelming sense of visual harmony. Unlike the brick-mosaic decorations of the Maragheh Observatory, the mosque's interior and exterior surfaces were adorned with deep blue and turquoise tiles, interwoven with gold and white inscriptions. The entrance portal of the mosque, a prime example of mosaic tilework, bears Kufic inscriptions set against a cobalt-blue background, signifying a unique artistic approach distinct from earlier Ilkhanid architecture.
A comparison of these two sites highlights the evolution of architectural decoration from the scientific and functional designs of the Ilkhanid period to the highly elaborate and ornamental styles of the late 15th century. Despite their differences, both structures exhibit a profound understanding of spatial aesthetics and material application.
Furthermore, historical sources, such as those by Nosratollah Meshkooti (1969), Soroush Azati (1997), and more recent studies by Aisa Ehsani and Parisa Deraj (2013), underscore the importance of inscriptions in understanding the cultural and religious influences behind these decorations. In the case of the Blue Mosque, inscriptions predominantly feature Shi'a religious expressions, reflecting the patronage and beliefs of Jahan Shah. Meanwhile, the Maragheh Observatory’s inscriptions revolve around astronomical theories and scholarly attributions.
Another significant aspect of this comparison is the use of architectural motifs. The Maragheh Observatory incorporates angular and linear designs, resonating with the scientific functions of the site. Conversely, the Blue Mosque exhibits intricate arabesque and floral motifs, which align with the spiritual and aesthetic ideals of the Qara Qoyunlu rulers.
This study contributes to a broader understanding of how architectural decoration evolved under different political and cultural influences. It also emphasizes the continuity of artistic traditions, demonstrating that while styles changed, the core principles of Persian architectural decoration remained rooted in geometric precision, symmetry, and symbolic representation.
Conclusion
The comparison between the Blue Mosque in Tabriz and the Maragheh Observatory reveals significant insights into the development of Persian architectural decoration. While both structures share a reliance on tilework, their artistic approaches differ significantly. The Blue Mosque, with its intricate mosaic tilework, represents a highly refined aesthetic approach, whereas the Maragheh Observatory’s brick-mosaic decorations reflect a more functional and scientific orientation. This study highlights the role of historical context in shaping architectural styles. The Ilkhanid period’s emphasis on scientific inquiry is evident in the observatory’s design, while the Qara Qoyunlu dynasty’s patronage of the arts resulted in the Blue Mosque’s visually stunning decorations. The findings underscore the continuity and transformation of Persian architectural traditions, emphasizing the significance of decoration in conveying cultural and intellectual values.