گونه شناسی فنی و بصری چلنگری های دَر و پنجره های تهران عصر پهلوی دوم (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
ابنیه تهران در دوره پهلوی دوم دارای چلنگری با طرح های متنوع هستند که نشان از هنر دست آهنگران تهرانی است. هدف مقاله، بررسی شیوه طراحی، ساخت و تکنیک های به کار رفته در چلنگری های در و پنجره تهران دوره پهلوی دوم است و به دنبال پاسخ بدین پرسش هاست: 1) شیوه طراحی، ساخت و تکنیک چلنگری (پنجره و دَر) ها در تهران چیست؟ و 2) نقوش آن ها کدامند؟ روش پژوهش به صورت توصیفی - تحلیلی و گردآوری اطلاعات، کتابخانه ای و به ویژه میدانی که تعداد نمونه ها 900 عدد پنجره و دَر، جمع آوری، آنالیز و تحلیل شده است. یافته ها نشان می دهند که، شیوه طراحی به صورت ساده و انتزاعی و نیمه انتزاعی بوده و نحوه گسترش نقوش مستقل (تکی)، قرینه (یک - دوم، یک - چهارم)، واگیره ای (4*1، 4*3، 2*3، 4*4، 2*6، 4*6، 3*1، 3*2، 4*2، 5*4) هستند. نحوه ساخت و تکنیک نیز طرح موردنظر را روی صفحه تخمین کپی کرده و سپس، به وسیله تسمه های فلزی به پهنای 2 سانتی متر و قطر 5/0 سانتی متر و گاهی، ورقه های آهن نقوش را آماده و روی دَر و قاب پنجره نصب می کنند. نقوش در پنج دسته انسانی، حیوانی، گیاهی، هندسی و گره چینی، انتزاعی هستند. تنوع طراحی، شیوه گسترش و نقوش در چلنگری های این دوره، پیرو نقش مایه های گره ایرانی بر آجر، چوب و به ویژه، کاشی کاری، نقاشی های انتزاعی مانند پیت موندریان و مکاتب قرن 19م. (سوپره ماتیسم، ریونیسم، کنستراکتیویسم) بوده و هم چنین، استفاده از نقوش ایرانی در این دوره کم رنگ شده و غالب نقوش تابع مدرنیته حاکم در ایران هستند. چلنگری ها در این دوره، ریشه هویتی ایرانی - اروپایی داشته و تمامی نقوش و فرم ها از ابعاد و شکل دَر و پنجره ها تبعیت می کنند.Technical and Artistic Typology of Blacksmithing (Chelengari) in Tehran During the Second Pahlavi Period
Blacksmithing entails the transformation of metal to craft iron tools. Historically, the crafting of metal goods fell under the domain of Chelengar. This entity prepared the primary substrate of the metal for pattern acceptance and Zomudgari. Skilled craftsmen then etched patterns and inscriptions onto the metal. Literally, Zamud also conveys the addition of ornamental roles and components. Essentially, Chalangar and Zamudgar collaborated closely in construction endeavors. With the emergence of iron doors and windows, this practice has evolved to embellish windows and entrances of distinctive locales. Within the traditional framework of ancient trades and vocations, blacksmiths ranked among artisans who forged iron in furnaces, shaping metal components into diverse tools through a process of hammering. Chalengari, a branch of blacksmithing, also referred to as small blacksmithing, stands out. Nevertheless, due to industrialization affecting numerous metal structures, this artistic pursuit has faded from memory. In yesteryears, it showcased the aesthetic sensibilities of Iranian instrument makers in various forms, embodying cultural expressions and reflecting elements of Iranian identity. Notably, the initial aspect captivating artists within households was the entryway's view - encompassing doors and windows. During the second Pahlavi era in Tehran, structures boasted splendid window railings and doors adorned with assorted designs, highlighting the artistry of Tehrani blacksmiths. From the era of Qajar monarchs, statesmen, and intellectuals, fascination with major European metropolises grew. Western advancements in modernity captivated attention. This phase witnessed changes that retained national identity and upheld traditions. However, during the Pahlavi era, an ideology promoting the replacement of the old by the new gained ascendancy in Iran. Consequently, there exists a need to engage in research to revive the art of changari, shedding light on the motifs, techniques, and forms employed in these fences, windows, and doors. What constitutes the methodology underlying the design, construction, and technique of Chelengari (windows and doors) blacksmithing in Tehran, along with their motifs? The research approach is descriptive-analytical, employing information collection from libraries and the field. A total of 900 windows and doors were amassed, analyzed, and scrutinized. Findings reveal that design methods are characterized by simplicity and abstractness, involving semi-abstract renderings. Symmetry motifs are dispersed through single, analogous (one-second, one-fourth), and contiguous (4*1, 4*3, 2*3, 4*4, 2*6, 4*6, 3*1, 3*2) patterns. Construction techniques involve transcribing desired designs onto estimating pages. Subsequently, utilizing metal straps measuring 2 cm in width and 0.5 cm in diameter, or at times iron sheets, craftsmen prepare and affix motifs onto door and window frames. These motifs can be categorized as abstract, comprising human, animal, plant, geometric, and Chinese knot themes. The diversity of design, developmental processes, and motifs in Chelengari blacksmithing during this era draw inspiration from Iranian knot motifs found in brick, wood, and particularly tiling. Abstract paintings of 19th-century schools (Suprematism, revisionism, constructivism) further influence these motifs, intertwining with prevailing motifs of Iranian modernity. Throughout this span, Chelengaris exhibit a fusion of Iranian-European roots, with all patterns and forms harmonizing with door and window dimensions and shapes. Moreover, the inception of window railings, door guards, and balcony protections in Tehran dates back to the Qajar period. This trend persisted through subsequent architectural epochs, particularly the first and second Pahlavi periods, resulting in progress and evolution within railing-window and door-balcony protection construction. However, this trend witnessed a decline during the latter Pahlavi era, sparking significant alterations in design and pattern dissemination. Commencing in the Qajar period, Chelengris embodied elements of embellishment, privacy, and security. Over time, especially in the second Pahlavi era, their decorative aspect gained prominence. The infusion of Western architectural influences, coupled with heightened external engagement, showmanship, and an emphasis on facades and urban exteriors, became noticeable since the Qajar era. This era also marked increased interaction between Tehran's populace and other cities and nations, infusing urban environments with vibrancy and fostering outward-looking perspectives. The evolution of these metal barriers adorning windows underwent substantial change from the Qajar era to the second Pahlavi period. Essentially window guards, these installations served both protective and decorative roles after exterior windows were put in place, transforming cityscapes. These transformations were driven by factors such as Western advancements across various domains, expanded trade, the transformative effects of the constitutional movement on social structures, and the migration of craftsmen to neighboring countries like the Caucasus. Notably, interactions with foreign societies, the rise of unions and guilds, the movement of businesspeople and intellectuals abroad, and exposure to new cultural and social content further contributed to these shifts. This period also witnessed the arrival of modernization in Iran as the nation faced new neighbors in England and Tsarist Russia, prompting a confrontation with Western influences. The introduction of modern materials like rebar, beams, and cement for factory, bridge, and railway construction, alongside the dissemination of drawings, postcards, and photographs, further fueled these shifts. Modernization was fostered by factors such as the constitutional movement, sending students abroad for education, translations of foreign texts, and the influence of Western architects' works. These developments deeply impacted Iranian life across literature, poetry, and the arts, ultimately resulting in a departure from traditional forms, the adoption of Western architectural styles, and a fusion of global features with native Iranian architectural concepts. Conclusively, the architecture of the Pahlavi period drew from late Qajar architecture, modernism, and neoclassical archaism (nationalism). During the second Pahlavi era, architecture seamlessly aligned with modern architectural paradigms. This period saw an attempt to merge native Iranian architectural elements with global modern features to create structures universally resonant across diverse cultures and races.
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