Journal of Islamic Crafts

fa تکنیک‌های ساخت و تزیین درانگشتری‌‌ها و گوشواره‌های قرون 9-13 میلادی در ایران موجود در موزه‌ متروپولیتن Techniques of making and decorating rings and earrings of the 9th-13th centuries in Iran in the Metropolitan Museum مبانی نظری هنر اسلامی 2 پژوهشي Original Research <div style="text-align: justify;">جواهرات اسلامی بخشی از هنر و فرهنگ اسلامی است که متناسب با سرزمینی که اسلام در آن وارد شده است شکل‌گرفته، رشد کرده و بالنده شده است. در قرون نخست ورود اسلام به ایران، شهرهای نیشابور و گرگان (جرجان) از مهمترین مراکز فلزکاری اسلامی و ساخت جواهرات اسلامی بودند. از این مناطق نمونه‌‌هایی از انگشتری و گوشواره‌‌ها و گردنبند یافت شده است که تعدادی از آنها در موزه متروپولیتن نیویورک، جمع‌‌آوری شده است. هدف این پژوهش بررسی تکنیک‌‌های ساخت و تزیین جواهرات اسلامی در قرون اولیه ورود اسلام (قرون 9-11 م) و همچنین قرون نخست سده‌‌های میانه (11-13 م) موجود در موزه، به‌‌روش ترکیبی از توصیف تحلیل و تطبیق هست. نتایج حاکی از آن است که در دوران نخست اسلام در ایران، انگشتری‌‌ها‌‌ و گوشواره‌‌ها دارای فرم‌‌های ساده بوده و در تکنیک‌‌ ساخت و تزیین متأثر از صنعت جواهر‌‌سازی پیش از اسلام و روم می‌‌باشند. در قرون میانه در جواهرات به‌‌تدریج جهش بزرگی در فرم، تکنیک و تزیین ایجاد می‌‌شود. انگشتری‌‌های اسلامی از سده‌‌ نخست به سمت میانه بسیار پیشرفته‌‌ و مزین به نقوش حجمی هندسی، اسلیمی و موجوداتی همچون هارپی می‌‌شوند. گوشواره‌‌ها که در سال‌‌های نخست از یک حلقه و یک مهره تشکیل شده‌‌ بودند، به‌‌تدریج به‌‌روش ملیله‌‌کاری (توری شکل) و یا با قرار گرفتن فرم-های بیست‌‌وجهی و دوازده‌‌وجهی منتظم و فرم‌‌های مثلث که شکل کروی را ایجاد می‌‌کند، ساخته‌‌شدند. این فرم‌‌ها یادآور گوشواره‌های بیزانسی است. روش‌‌های ساخت و تزیین اگرچه در قالب کلی تحت تأثیر فرهنگ بیزانس است، اما در جزئیات تکنیکی و نقوش، ایرانی است. همچنین ایرانی‌‌ها در این زمان به تکنیک‌‌های ساخت خاصی دست پیدا کرده بودند که در دوره‌‌ سلجوقی به اوج می‌‌رسد.</div> <div style="text-align: justify;">In line with the display of the power and wealth of the imperial dynasties and magnificent palaces, throughout the history of Iran, magnificent and valuable works have been created, from studying them in different dimensions, facts of the culture and art of this land can be clarified. The support of the court for jewelry making and gem-marking, using metals such as gold and silver and precious and semi-precious stones, turned this art into one of the noble arts. With the conquest of Iran by Muslims and the introduction of Islam to this land, Islamic culture overshadowed all fields, including jewelry making. Islamic jewelry is a part of Islamic art and culture that has been formed, grown and developed according to the land where Islam entered. The spirit of luxury and aestheticism of Iranians soon opened a new chapter in world art and culture, which today can be studied and studied under the title of Islamic art. In the first centuries of Islam entering Iran, the cities of Neishabur and Gorgan (Jorjan) were among the most important centers of Islamic metalworking and Islamic jewelry making. Examples of rings, earrings, and necklaces have been found from these areas, some of which have been collected in the Metropolitan Museum of New York. The study of Islamic jewelry in the first years of the introduction of Islam, which is the aim of this research, is unfortunately accompanied by a lack of sources and examples. The lack of samples obtained from this period and the similarity of these samples to the Sassanid and Byzantine samples, make the assumption that probably some of the works that are recorded today as Byzantine and Sassanid belong to the year be the first of Islam; gives strength But in the later years of the 10th-11th centuries, for unknown reasons, both the volume of samples increased and the works were more decorated and developed under the influence of Byzantine jewelry. The purpose of this research is to investigate the techniques of making and decorating Islamic jewelry in the early centuries of the arrival of Islam (9th-11th centuries) as well as the first centuries of the Middle Ages (11th-13th) in the museum, using a combination of description-analysis and comparison. be The main question of the research is what are the characteristics of the form and technique of making earrings and rings in the 9th-13th centuries? And basically, are these manufacturing techniques used in making this type of jewelry in Iran in such a way that by referring to it, the works can be considered as belonging to Iranian civilization, in this particular time period? The results indicate that, during the first period of Islam in Iran, rings and earrings had simple forms and were influenced by the pre-Islamic and Roman jewelry industry in their manufacturing and decoration techniques. In the Middle Ages, jewelry gradually made a big leap in form, technique, and decoration. From the first century to the middle, Islamic rings become much more advanced and decorated with geometric, Islamic volumetric motifs and creatures such as harpies. The earrings, which in the first years consisted of a ring and a bead, were gradually made using the tapestry-work method (lace-shaped) or by placing regular dodecahedral and dodecahedral forms and triangle forms. which creates a spherical shape, were made. These forms are reminiscent of Byzantine earrings. Although the construction and decoration methods are influenced by Byzantine culture in general, they are Iranian in technical details and motifs. Also, during this time, the Iranians had achieved special construction techniques, which reached their peak in the Seljuk period.  </div> جواهرات اسلامی, فلزکاری اسلامی, تکنیک ساخت وتزیین گوشواره , تکنیک ساخت وتزیین انگشتری. Islamic jewelry, Islamic metalwork, technique of making and decorating earrings, technique of making and decorating rings. 117 125 http://jih-tabriziau.ir/browse.php?a_code=A-10-445-2&slc_lang=fa&sid=1 Zahra Akbarzade Niaki زهرا اکبرزاده نیاکی niaki.zahra@gmail.com 10031947532846002771 10031947532846002771 Yes Faculty (instructor) of the Department of Art, Hazrat Masoumeh University, Qom, Iran. مربی گروه هنر، دانشگاه حضرت معصومه (س)، قم، ایران Bahare Barati بهاره براتی b.barati@hmu.ac.ir 10031947532846002772 10031947532846002772 No Faculty (assistant professor) of the Department of Art, Hazrat Masoumeh University, Qom, Iran. استادیار گروه هنر، دانشگاه حضرت معصومه (س)، قم، ایران