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| تعداد مقالات | 63,289 |
| تعداد مشاهده مقاله | 104,969,093 |
| تعداد دریافت فایل اصل مقاله | 82,040,748 |
هنر شیعی در ایران | ||
| جامعه شناسی هنر و ادبیات | ||
| مقاله 1، دوره 3، شماره 1، خرداد 1390، صفحه 7-36 اصل مقاله (1.08 M) | ||
| نویسنده | ||
| مسعود کوثری | ||
| دانشیار دانشگاه تهران | ||
| چکیده | ||
| در این مقاله تلاش شده است با رویکرد جامعه‌شناسی هنر نگاهی به عناصر شیعی در هنرهای متفاوت ایرانی اسلامی افکنده شود و تاریخ و نحوه‌ی ظهور آنها و نیز عوامل اجتماعی موثر بر این ظهور مطالعه شود. یافته‌های مقاله نشان می‌دهد به تناسب نوع حکومت‌های اسلامی، اعم از شیعی و غیر شیعی در دوره‌های گوناگون، شیوه نمایش عناصر شیعی در هنر تغییر کرده است. هنگامی که شیعیان دچار محدودیت بودند این عناصر کمتر بوده و هنگامی که خود حکومت را به دست گرفته‌اند، این عناصر افزایش داشته‌اند. مقاله با تکیه بر عناصر محتوایی هنر شیعی نشان می‌دهد که چگونه باورها و آموزه‌های مذهب شیعه در هنر آن، به‌خصوص معماری و کتیبه‌نگاری، متجلی شده است. در پایان پیشنهاد می‌شود برای شناخت هنر شیعی یا هنر ملهم از شیعه، هم هنرهای رسمی و هم هنرهای مردمی و عامه‌پسند شیعی بررسی شود. | ||
| کلیدواژه‌ها | ||
| بقاع متبرکه؛ تعزیه؛ خطاطی؛ کتیبه‌نگاری؛ معماری؛ نگارگری؛ هنر شیعی | ||
| عنوان مقاله [English] | ||
| The Shiite Art in Iran | ||
| نویسندگان [English] | ||
| masoud kousari | ||
| چکیده [English] | ||
| The Islamic period of the Iranian History suggests that the development of the Shiite art is an outcome of a continuous interaction and struggle between the political systems dominated in Iran and the Shiite beliefs system. Historically, the situation of the Shiite, as a resistance movement, has gradually changed to an established religion with its own theology. In other words, when the Shiite peoples were struggling to acquire the political legitimacy, they were not allowed to cite the names of the Shiite Imams anywhere except their mosques and mostly in inscriptions. However, when their position changed (for example in the Timurid period), they tried to make rational and narrative arguments and reveal their beliefs in the creative forms. Thus, the Shiite art has been a kind of resistant art and has been able to use even limited and smallest spaces for its own interests. The political domination of the Sunni religion in most parts of Iran has hindered the expression of the Shiite elements in art forms. This is especially the case in the Mongol period. However, these elements gradually appeared in creative works. Thus, Since the Illkhanian (Mongol successors), especially in the Timurid and Safavid period, we can see the presence of the Shiite thought and its intellectual arguments in the fine arts, especially in architecture and inscriptions. Accordingly, the main difference between the Shiite and Sunni mosques is not in the style or structure, but in the religious elements represented in the inscriptions. It seems that the impacts of social isolation or domination of the Shea in different periods of the Iranian history is evident in the art works of these religious groups. Therefore, the Shiite art is a reflection of the Shea position in political structure of the Iranian society and its relation to the Sunni religion. On the other side, it should be noted that the legends, myths and beliefs of the Iranian people and the Shiite beliefs are intermingled. Examples of this combination can be found in the popular paintings of holy shrines of Shiite Imams sons, Taziye, and tea houses. In fact, before the Safavid period the Shiite resistance in architecture is evident, but after that period, both fine and popular arts are full of Shiite religious elements. These latter popular art forms are richer and more creative than the former ones. | ||
| کلیدواژه‌ها [English] | ||
| calligraphy, Holy Shrines, inscription, Miniature, Shiite Art, Taziye | ||
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آمار تعداد مشاهده مقاله: 3,606 تعداد دریافت فایل اصل مقاله: 2,580 |
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