Athar

fa بازتاب مضامین دینی بر روی در و صندوق قبور چوبی بقاع مازندران (قرون نهم و دهم هجری‌قمری) The Reflection of Religious Themes on the Wooden Doors and Tomb Chests in Mausoleums of Mazandaran (9–10th Centuries AH) <div style="text-align: justify;">کتیبه‌های مذهبی معماری در دوران اسلامی ایران، ازجمله تزئینات وابسته به معماری هستند که غالباً بازتابی از تفکر و اندیشه‌های دینی، سیاسی و فرهنگی دوران خود بوده‌اند. بقاع یا بناهای آرامگاهی هم‌چون سایر بناهای مذهبی سهم قابل‌توجهی از این کتیبه‌ها را داشته‌اند. درها و صندوق‌ قبرهای چوبی ازجمله مهم‌ترین بسترهای نمود کتیبه‌های بقاع بوده‌اند؛ از این‌رو، ایفای نقشِ شناختی و معرفتی کتیبه‌ها متناسب با فضای از پیش تعیین شدۀ خود، دور از ذهن نیست. هدف پژوهش حاضر، مطالعۀ مضامین دینی کتیبه‌های روی درها و صندوق‌ قبرهای چوبی بقاع خطۀ مازندران در قرن 9 و 10 ه&zwj;.ق. است. پرسش‌های پژوهش بدین شرح است که، اولاً کتیبه‌های بقاع این منطقه دربرگیرندۀ کدام مضامین دینی هستند و ثانیاً چه ارتباطی بین شرایط مذهبی و سیاسی آن دوران با محتوای مضامین وجود دارد؟ پژوهش از نوع بنیادی است. داده‌ها به روش اسنادی و میدانی گردآوری شده‌اند و با دو رویکرد کمّی و کیفی و به روش توصیفی-تحلیلی مورد تحلیل و بررسی قرار گرفته‌اند. نکتۀ قابل‌توجه در یافته‌ها رواج چشم‌گیر بقعه‌سازی در این دوران پس از یک دورۀ رکود طولانی و هم‌زمان با تحولات قابل‌ملاحظه‌ای است که این منطقه از نظر مذهبی و سیاسی تجربه کرده است. در مضامین کتیبه‌های آرامگاهی، تأثیرپذیری از تحولات مذکور به‌وضوح قابل‌مشاهده و از ابعاد متعدد قابل‌تأمل است. نتایج نشان می‌دهد که تحکیم اصول اسلام و آداب مسلمانی، تجلی باورهای شیعی، توجه به حرز و توسل و تأثیرپذیری از شرایط سیاسی مهم‌ترین انعکاس کتیبه‌ها از شرایط آن جامعه است.</div> <div style="text-align: justify;">Abstract Religious inscriptions in Islamic architecture are among the architectural ornaments that often reflect the religious, political, and cultural ideologies of their respective eras. Mausoleums and other funerary monuments, similar to other religious structures, contain a significant proportion of these inscriptions. Wooden doors and cenotaphs served as some of the most prominent surfaces for the manifestation of mausoleum inscriptions. Accordingly, it is not unexpected that the epistemic and cognitive roles of these inscriptions would be shaped in accordance with their predetermined architectural contexts. The present study aims to investigate the religious themes of inscriptions carved on the wooden doors and cenotaphs of mausoleums in the Mazandaran region during the 15th and 16th centuries CE (9th–10th centuries AH). The research raises two central questions: first, what religious themes are represented in the inscriptions of mausoleums in this region, and second, what relationship exists between the political and religious circumstances of the period and the thematic content of these inscriptions? This research is fundamental in nature. Data were collected through both documentary and field methods and analyzed using a descriptive analytical approach, employing both quantitative and qualitative perspectives. A notable finding is the widespread construction of mausoleums during this period, following a long phase of stagnation, and occurring simultaneously with significant religious and political transformations experienced in the region. The influence of these transformations is clearly evident in the thematic content of the funerary inscriptions and is worthy of reflection from multiple dimensions. The results indicate that the reinforcement of Islamic principles and Muslim practices, the manifestation of Shiʿi beliefs, the emphasis on talismanic protection and intercession, and the impact of political conditions constituted the most significant ways in which the inscriptions mirrored the circumstances of that society. Keywords: Mausoleums of Mazandaran, Wooden Door, Wooden Tomb Chest, Inscription, Religious Themes. Introduction Throughout the history of Iranian architecture in the Islamic period, inscriptions and writings have consistently been among the most distinguished artistic elements, particularly within religious buildings. These inscriptions reflected religious thoughts and ideas, while at the same time, through the use of various techniques and diverse materials, they also presented aesthetically impressive works of art. Based on this foundation, inscriptions can be observed on different parts and elements of buildings, such as walls, domes, entrance doors, columns, and wooden cenotaphs. By virtue of their reliance on script and verbal expression, inscriptions naturally possess greater clarity and explicitness compared to figurative motifs and visual symbols. This very feature has led them, beyond their outward and aesthetic aspects, to attract attention for their spiritual and communicative capacities. In religious buildings and sacred sites particularly mausoleums and shrines, which constitute the focus of this research inscriptions were employed purposefully as instruments for conveying messages. In certain cases, in accordance with the function of the building and sometimes influenced by the prevailing social and political conditions, they also transmitted various other themes to their audiences. In other words, inscriptions acted as an eloquent language, confronting their viewers with specific cognitive and epistemic dimensions within that space. Examples of such religious inscriptions can be observed in the mausoleums of Mazandaran province. From the perspective of artistic form, and naturally in accordance with the climatic conditions of the region, wooden artifacts constituted a significant share of inscriptional surfaces. Accordingly, this study focuses exclusively on inscriptions carved on the wooden doors and tomb chests inside mausoleums. In fact, the present research was undertaken with the aim of examining the religious themes of inscriptions in the mausoleums of Mazandaran during the 9th–10th centuries AH. It seeks to address two primary questions: what religious themes are represented in the inscriptions on the wooden doors and cenotaphs of Mazandaran’s mausoleums during this period, and how are these themes related to the prevailing religious and political conditions of the time? The study of these works of art is significant because they functioned as vehicles for transmitting a particular school of thought and religious doctrine to their audiences. Moreover, the existence of a relationship between the themes of mausoleum inscriptions and the ideological, cultural, and, at times, political contexts that informed their creation within a specific time and place, necessitates moving beyond a purely aesthetic perspective to engage in a deeper reflection upon the spiritual dimensions of the inscriptions and the meanings they were intended to convey. Discussion With the establishment of the Shiʿi Marʿashid dynasty in Mazandaran (9th–10th centuries AH), the tradition of constructing mausoleums and consequently the production of wooden doors and cenotaphs adorned with religious inscriptions suddenly experienced remarkable prosperity. The mausoleums of this region were generally the burial places of prominent figures, particularly scholars and religious dignitaries. Thus, special attention to this type of architecture is observed during a period in which religious and Shiʿi perspectives had come to dominate the very fabric of society. Within this context, the primary focus of the present study is limited to those mausoleums that contain inscriptions with religious content, including the inscriptions of 32 wooden cenotaphs and 18 wooden doors. The examination of these examples reveals a distinct spectrum of recurring religious themes. These include verses from Surat Yasin, Surat al-Fatḥ, Surat al-Baqara, Ayat al-Kursi, Surat al-Saffat, Surat al-Imran, Surat al-Rahman, Surat al-Tawhid, Surat al-Kawthar, Surat al-Qadr, Surat al-Ahzab, Surat al-Ala, Surat al-Nur, verse 13 of Surat al-Saff, the Salutations upon the Fourteen Infallibles, the Salutations upon the Twelve Imams, the Salutations upon the Prophet Muhammad (peace be upon him), Dua-yi Nad-Ali, and hadith from the Prophet and Imam Ali (peace be upon him). The frequency of these themes has been quantitatively ranked, as shown in Chart 1. Two noteworthy points emerge from this ranking: first, the considerable difference in indicators compared to other studies; and second, the comprehensiveness of the research sample, which examines both extant and lost works, unlike the fragmented and case-specific studies of previous research. At the stage of conceptual analysis of the themes, as detailed in Table 1, the inscriptions as a whole reflect the most significant Islamic teachings, including the principles of religion (such as monotheism, resurrection, and prophet hood), the doctrine of Imamate, the glorification and remembrance of God, emphasis on renouncing worldly attachments, and the importance of prayer and the mosque for believers, among others. The relationship between the religious themes of the inscriptions and the prevailing religious and political circumstances of the period can be identified through several major components: the consolidation of Islamic principles in society, the manifestation of Shi-i beliefs, the promotion of the Islamic way of life, the reflection of political dimensions in the content of the inscriptions, and the attention to intercession and talismanic protection. A noteworthy point in the thematic analysis is that both general Islamic foundations and specifically Shiʿi principles received relatively equal attention.  Conclusion  Based on the examination of inscriptions on within the research sample, two primary findings emerge. First, the most frequently employed religious theme is Ayat al-Kursi. Following this, in descending order, are the Salutations upon the Fourteen Infallibles, Prophetic hadith, Surat al-Fath, Surat Yasin, the Salutations upon the Twelve Imams, the Salutations upon the Prophet, Dua-yi Nad-Ali, and other themes of lesser frequency. Second, through classification and analysis of the inscriptions, four major conceptual categories can be identified: 1. The establishment, consolidation, and reinforcement of the fundamental principles of Islam in both individual and social life such as monotheism, eschatology, justice, and Imamate which are typically manifested in religious beliefs, values, and even in social interactions. 2. The explicit manifestation of Shi-i beliefs, such as an emphasis on justice, reverence for the Ahl al-Bayt (peace be upon them), and loyalty to the doctrine of wilaya (guardianship). In other words, it appears that the selection of these themes in mausoleum inscriptions served as symbolic banners proclaiming the community’s devotion to the Imams and its adherence to Shi-i identity. 3. The consolidation and institutionalization of Muslim conduct encompassing ethics, behaviors, and traditions of life together with the presentation of exemplary models of living based on the Quran, the Sunnah of the Prophet, and the conduct of the Imams. 4. Enduring the hardships of life through intercession and supplication, aimed at strengthening faith and averting misfortune, a belief that significantly shaped the lifestyle of Muslims. Collectively, these themes not only sought to promote an Islamic way of life within society but also provided criteria for evaluating faith and for reshaping individuals’ perspectives on worldly existence and spiritual values. The political dimensions reflected in the inscriptions may also be discussed under four points: 1. The construction of political religious legitimacy for the rulers; 2. The promotion of religious unity and the demonstration of power and influence in the Mazandaran region; 3. The reinforcement of the ruler’s status as a servant of the Ahl al-Bayt; 4. The containment of rivals and the consolidation of Shi-i identity within society. In other words, it seems that under conditions in which other sects such as the Zaydis and Sunnis were also present in parts of Mazandaran, the Marashid rulers sought to reinforce the legitimacy of their rule by aligning themselves with Twelver Shiʿism and the lineage of the Alid Sayyids.</div> بقاع مازندران, در چوبی, صندوق قبر چوبی, کتیبه, مضامین دینی. Mausoleums of Mazandaran, Wooden Door, Wooden Tomb Chest, Inscription, Religious Themes. 261 0 http://athar.richt.ir/browse.php?a_code=A-10-4048-1&slc_lang=fa&sid=2 Mahnaz Ehteshami مهناز احتشامی M.Ehteshami@alzahra.ac.ir Yes Assistant Professor, Department of Handicrafts, Faculty of Art, Alzahra University, Tehran, Iran (Corresponding Author). استادیار گروه صنایع‌دستی، دانشکدۀ هنر، دانشگاه الزهرا، تهران، ایران (نویسندۀ مسئول). Mohammad Madhoushian Nejad محمد مدهوشیان‌نژاد M.madhoushian@alzahra.ac.ir No Assistant Professor, Department of Handicrafts, Faculty of Art, Alzahra University, Tehran, Iran. استادیار گروه صنایع‌دستی، دانشکدۀ هنر، دانشگاه الزهرا، تهران، ایران.