fa بازشناسی تاثیر اندیشه عرفانی در پدیداری رنگ آبی در کاشیکاری مساجد ایران مطالعات موضوعی در معماری و شهرسازی اسلامی (مانند ايده های فضائی- هندسی، نمادها، آرايه ها، احجام و غیره) Subject- oriented researches in Islamic architecture and urbanism, eg. Spatial-geometrical ideas, symbols and ornaments پژوهشي Research <p><span dir="RTL"><span style="font-family:b nazanin;"><span style="font-size:11.0pt;">معماری توده عینیت یافته فرهنگی است که به آن تعلق دارد و یا از آن تاثیر می&shy;پذیرد. اگر معماری ایران نیز در طول دوره اسلامی مورد بررسی و تحقیق قرار گیرد این واقعیت را که معماری متاثر از اندیشه و باورها در طول دوره اسلامی است آشکار می&shy;نماید در همین راستا هدف از این پژوهش نیز بازخوانی تاثیر اندیشه عرفانی بر پدیداری نمادگرایانه رنگ آبی در کاشیکاری مساجد می&shy;باشد. شروع اندیشه عرفانی مبتنی بر کشف و شهود با امام محمد غزالی (قرن پنجم) و با فلسفه مبتنی بر نور شیخ اشراق سهروردی (قرن ششم) همراه بود که در آن مراتب معرفت و آگاهی با مراتب نور و ظهور آن مطابقت دارد و با رشد تفکر عرفانی نور و رنگ جلوه بارزتری یافت بطوریکه رنگ در اندیشه عرفانی نجم&shy;الدین کبری (قرن هفتم) و شیخ علاءالدوله سمنانی (قرن هشتم)، جسمانیت و کثرت یافته نورالانوار است و هر رنگی نمایانگر باطنی (تمثیل) یک معناست. سابقه تاریخی نشان می&shy;دهد تشکیل انجمن&shy;های فتیان و فتوت نامه&shy;ها نقش مهمی را در انتقال باورها و اندیشه&shy;های عرفانی شیعی به صاحبان اصناف از جمله معماری داشته است لذا این بینش تمثیلی عرفانی خصوصاً در معماری مساجد (جامع) که اوج جلوه&shy;گاه رمزی هنر معماران می&shy;باشد بکار برده شده است تا نشان دهد نیایشگاه&shy;ها می&shy;توانند محل برقراری برترین نسبت میان معماری و باور به شمار آیند. زبان عرفانی که زبان رمزی و تمثیل است به بهترین وجهی در معماری دوره صفویه که اوج تفکر شیعی عرفانی است متجلی شده است. تناظر میان حالات (اولیه) منازل سلوک عرفانی با تمثیل استفاده از کاشی آبی در معماری مساجد ایرانی که یکی از تاثیرات باورهای عرفانی می&shy;باشد، سبب گردیده است تا استفاده از کاشی آبی (چه لاجوردی و چه فیروزه&shy;ای) بصورت غالب از ابتدای بهره&shy;گیری تا استیلای تمام کاشیکاری در مساجد دوره صفویه (مسجد امام) باشد. در این پژوهش گردآوری داده&shy;ها و اطلاعات از طریق مطالعات اسنادی و کتابخانه&shy;ای صورت گرفته، سپس با تحلیل داده&shy;ها ضمن استفاده از روش توصیفی تحلیلی در بستر تاریخی با استفاده از شواهد تعیین&shy;گر به اثبات آن پرداخته می&shy;شود. </span></span></span></p> Architecture is a cultural objectified mass, which is belong to that culture or affect it. If Iranian architecture in Islamic era be studied, it can be revealed the fact that architecture is influenced by ideas and thought of this Islamic era. The purpose of this research is the readout of mystical ideas effects on symbolic visibility of color (blue) by using building blocks (tiles) in Iranian architecture of Islamic era. Mystic contemplation based on revelation was started by Imam Mohammad Ghazali and accompanied by philosophy of illumination Sheikh, Suhrewardi, which the degrees of knowledge and awareness were correspond to the degrees of light and advent, and lustered by the growth of mystical thought of light and color. So that, color in mystical ideas of Najmuddin Kubra and Sheikh Ala Simnani gets its concretion and intension mostly from light of lights and every color is an intrinsic representative (allegory) of one meaning. Thus in universe the colors and lights is compatible with lights in mystics journey and the mystic of beauty way (God) can observe the manifestation of this way as the guide in his/her inside in a form of light determinations (colors). So light has different levels and there is a connection between the universe of meaning and lights and the mystic achieves the higher levels as much as passing the steps. So that in mystical insights and among all of the colors the allegorical role of color blue is covering. In order to begin the journey, this color (blue) is suitable for those who are in the first steps of mystical life.<br> In Islam, art has the inherent connection with Islamic mystic and it has been inspiring for artists and architecture aspects. The historical background of the connection between mystic and architecture shows that the formation of Fetyan and Fotowwat associations had the important role in transferring Shiite mystical ideas and thoughts to business owners like architecture, so this allegorical mystical vision was applied to show that shrines can be enumerated as the place of establishment of the best proportion between architecture and beliefs, especially in mosques architecture (central) which is the apex of manifestation of architects&rsaquo; symbolic art. However by considering the tile of this article it can be imagined that the monastery which is the place of Sufis and Dervishes, is the appropriate litter for the subject of research, but the studies show that we do not know whether monasteries has the same concept during the Iran&rsaquo;s Islamic era or they had been changed. Also we do not know the concept of monasteries or how one place had been named as a monastery. So monastery cannot be a suitable sample for hypothesis test. The symbolic usage of blue titles in Kharazmshahian era on mosques&rsaquo; porches was provided by developing light-based mystical thoughts in sixth century and decline of rational thoughts and the degree of attention and sensitivity of architecture companions to the concept of Fotowwat and its association with mystical ideas, because these blue porches were the first thing to draw<br> the audience&rsaquo;s attention. After that due to the evolution of Islamic mystic&rsaquo;s noetic aspect in Timurid period and Shiite tendency among mystics, the employment of blue tiles in domes was increased too. Safavid era was the boom of legal, illumination and Shiite ideas and followed by, the Isfahan school established the symbolic buildings so that the mystical language, which is a kind of symbolic and allegorical language, has been manifested in a best way in Safavid era that is the peak of Shiite and mystical thoughts. Correspondence between states (initial) of mystical homes by using color allegory (blue) in Iranian mosques architecture is one of the effects of mystical beliefs which has caused the sequence in meaning and appearance between mystical thoughts and blue tiles employment in mosques architecture, so that using blue tiles (either cobalt or turquoise) from the beginning of using to full-color domination in Safavid mosques (Imam mosque). In this research, data and information collection is done through documentary and library studies, and then data is analyzed by using descriptive and analytical method in historical context and is proved by applying determinant evidence اندیشه عرفانی, تمثیل, معماری, کاشی, رنگ آبی, مسجد 32 47 http://jria.iust.ac.ir/browse.php?a_code=A-10-182-61&slc_lang=fa&sid=1 حسین مرادی نسب moradinasab_h@yahoo.com 180031947532846004769 180031947532846004769 Yes محمدرضا بمانیان bemanian@modares.ac.ir 180031947532846004770 180031947532846004770 No ایرج اعتصام irajettesam@yahoo.com 180031947532846004771 180031947532846004771 No