نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشیار گروه صنایع دستی، دانشکده هنرهای کاربردی، دانشگاه هنر، تهران. ایران، نویسنده مسئول.
2 کارشناسی ارشد هنر اسلامی، دانشکده هنر، موسسه آموزش عالی فردوس، مشهد، ایران.
چکیده
کلیدواژه‌ها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
Zarih is a structure placed on the tombstone of prophets, imams, and imamzadehs to show respect for the buried holy figures and facilitate pilgrimage. From the time of the martyrdom of the imams until today, wooden and metal boxes have been placed on the graves of imams, but over time, these wooden structures became known as grave boxes, and metal and lattice structures were placed around these wooden boxes, which are now called zarih. These lattice structures were initially plain and devoid of inscriptions and decorations, but gradually evolved from simple metal lattices into enduring works of metalwork art. Imam Ali (Peace Be Upon Him) was martyred in the year 40 A.H. and was secretly buried according to his will. Some have stated that the current tomb of Imam Ali (PBUH) includes multiple arches and porticoes that belong to both ancient and modern structures, although they are similar in terms of period and style. Some believe that the older structure may be from the time of the first Safavid king (Shah Abbas the first), while the new structure may be attributed to Shah Safi, another Safavid king. The exact date of the first zarih placed on the blessed tomb of Imam Ali is unknown, but it is clear that it goes back to before the year (1073 A.H.). In the year (1211 A.H.), Sultan Mohammad Shah Qajar replaced the old zarih with a new one. After that, Abbas Qoli Khan donated a new zarih to the shrine of Imam Ali (PBUH) in 1262 A.H., on which verses of the Quran, the names of the imams, and Persian poetry were inscribed. The next zarih was made of silver, presented as a gift by Seyyed Mohammad Shirazi, and installed in 1361 A.H. The current zarih, one of the most magnificent Zarih structures, was gifted to the shrine by the leader of the Indian Bohra community, Seyyed Tahir Saifuddin. It took five years to construct this zarih. It is said that 100 kilograms of silver and 552 kilograms of gold were used in its construction.
How is the structure and combination of decorations executed in this zarih? And what is the meaning and significance of the inscriptions from the perspective of Shia thought in the zarih?
The research method used is descriptive-analytical, and the information is collected through literature review and field research. The history of zarih, the specifications of the current zarih of Imam Ali (PBUH), the decorations of the zarih of Imam Ali (PBUH), and the constituent elements of the zarih of Imam Ali (PBUH) are all examined.
Finally, based on the studies and conducted investigations, it can be said that the zarih of Imam Ali (PBUH) structure has a general design that has evolved and become more intricate and aesthetically pleasing over the years. The zarih of Imam Ali (PBUH) is a rectangular cube. It is believed that until the Safavid period, zarih structures were without roofs and decorations, and a hanging cloth was placed on top of them. However, it is certain that since the Qajar era, zarih structures have been adorned with roofs and decorations such as metal pen carving, wood carving, and more. Therefore, the zarih of Imam Ali (PBUH) should be considered the focal point of the roof design from the perspective of height, which has been strengthened by adding upper vases in an Indian style. Among the religious themes used in the inscriptions of the zarih of Imam Ali (PBUH), the inclusion of his name alongside Allah and Prophet Muhammad (PBUH) as well as the names of the fourteen infallibles signifies not only the love and affection for this Imam but also directly reveals the inclination towards Shia ideology and devotion of some other certain beliefs. In fact, religious artists strive to reflect their thoughts and beliefs about Shia elements, their affinity for the Prophet's household (Peace Be Upon Them), and subjects such as Quranic verses, divine names, holy and prophetic traditions, Shia testimonies, and literary poems and verses describing and mourning the infallible Imams (PBUT) through their art on the zarih structures. The presence of these inscriptions on the zarih is not only for the sake of beauty but also allows the divine verses to manifest their meanings in the soul of the pilgrims, and the interpretations of the written chapters on the zarih convey their significance and the status of the Ahl al-Bayt (PBUT). In the zarih of Imam Ali (PBUH), complete chapters of Surahs such as Al-Insan, Ar-Rahman, Al-Ikhlas, Al-Fajr, Al-Hamd, Ad-Dhuha, Al-Ghashiyah, Al-Inshirah, and Al-Kawthar are inscribed, as well as a complete qasida by Ibn Abi al-Hadid and the names of the fourteen infallibles (PBUT) in two types of calligraphy, Thulth and Nastaliq, are written on the zarih. In the zarih of Imam Ali (PBUH), the three inscriptions of the second row (hadiths), third row (Quranic chapters), and fourth row (qasida and names of the fourteen infallibles) have the most prominent presence among the inscriptions, but the first row (Surah Ar-Rahman) has the least visibility due to its placement at the top of the zarih. In terms of colour harmony, calligraphy, and alloy, the first, second, and third rows of inscriptions are consistent with each other. Additionally, in the zarih of Imam Ali (PBUH), around the themes and inscriptions, the art of jewelry engraving in the heart of the metal has also been used.
کلیدواژه‌ها [English]
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