مقایسه تطبیقی تناسبات نمای ورودی و فضای داخلی گنبدخانه در بقاع متبرکه دوره صفوی در اصفهان
محورهای موضوعی : معماریاحسان قربانی 1 , حامد حیاتی 2 *
1 - دانشجوی دکتری معماری، واحد اراک، دانشگاه آزاد اسلامی، اراک، ایران.
2 - استادیار گروه معماری، دانشکده فنی و مهندسی، دانشگاه قم، قم، ایران.
کلید واژه: تناسبات هندسی, مستطیل طلایی, گنبدخانه, بقاع صفوی, شهراصفهان.,
چکیده مقاله :
در تاریخ تمدن اسلامی ایران، بقاع متبرکه پس از مساجد نقش برجستهای در معماری داشتهاند. هدف این پژوهش شناسایی و تحلیل تناسبات نمای کلی ورودی، سردر و فضای داخلی گنبدخانه نمونههای منتخب این دوره است. روش تحقیق شبهتجربی و با رویکرد استقرایی بوده و دادهها از منابع کتابخانهای، نقشههای معماری و مشاهدات میدانی گردآوری شده و نمونهها بهصورت هدفمند انتخاب شدهاند. نتایج نشان میدهد در طراحی این بقاع از الگوهای هندسی همگرا مانند مستطیل طلایی و ششضلعی منتظم استفاده شده است. یافتهها نشان میدهد همگرایی هندسی در همه دورههای صفوی حفظ شده و استفاده از ششضلعی و مستطیل طلایی در برخی نمونهها، بهویژه دوره دوم و سوم، مشهود است. همچنین تفاوت کارکرد بقاع تأثیری بر این تناسبات نداشته است.
Architecture reflects a cultural worldview and, in Islamic architecture, goes beyond physical elements to convey philosophical, religious, and rational concepts. In Iran, burial rituals and sacred shrines have played a significant role in cultural identity and urban formation. During the Safavid era, coinciding with the consolidation of the Shiite state, the construction and reconstruction of shrines reached their peak, employing precise geometric principles and proportions in their design. Safavid shrines in Isfahan are prominent examples of this tradition, not only showcasing the grandeur of Islamic-Iranian architecture but also providing insights into geometric proportions that can guide the restoration of historical monuments and inspire contemporary architecture. The present study, focusing on entrance façades and the interior domed spaces, analyzes the geometric proportions of these architectural elements across three Safavid periods. The research method is based on a quasi-experimental approach and employs inductive reasoning. Due to the uneven distribution of shrines across historical periods, samples were purposefully selected from prominent Safavid shrines in Isfahan. Considering the fundamental architectural developments of the Safavid era, it was divided into three chronological phases, and six shrines were selected for their geometric diversity, construction dates, and availability of documentation. Required data were collected from Ganjnameh maps, cultural heritage records, and field observations, and the geometric proportions of the main façades and domed chambers were extracted and compared. Findings indicate that Safavid architects applied precise geometric principles and the golden ratio in designing entrance façades and domed chambers of sacred shrines. Examination of selected examples in Isfahan revealed that entrance façades, as prominent visual elements, and domed chambers, as the central axis of the building, were designed based on regular geometries such as regular hexagons and golden rectangles. In the first period, the design of the buildings began with basic and simple geometric proportions. In the second period, greater development and variety in proportions and geometric patterns were observed, creating enhanced visual harmony in the interior spaces and entrance façades. In the third period, previous principles and patterns were consolidated and refined, achieving the peak of geometric cohesion and visual harmony in shrine design. The results demonstrate the continuous adherence of the three historical periods to specific geometric patterns in Safavid architecture, which played a crucial role in establishing visual identity and spatial harmony in sacred shrines. Accordingly, it can be concluded that among the selected Safavid examples in Isfahan, there is a convergence in the architectural proportions of main entrances and interior domed spaces across all three historical periods. Moreover, in all cases, the design of façades and domed chambers was based on Iranian geometry derived from regular hexagons, and in the entrance façades—especially in the second and third periods—golden rectangle proportions were employed. Therefore, it can be stated that differences in function and significance of these buildings did not affect changes in their proportions