COMPARISON OF TWO PAINTINGS ABOUT THE MARTYR OF KARBALA ABBAS BİN ALİ BRINGING WATER FROM THE EUPHRATES

Hamit Arbaş

Makale detayları

COMPARISON OF TWO PAINTINGS ABOUT THE MARTYR OF KARBALA ABBAS BİN ALİ BRINGING WATER FROM THE EUPHRATES

Yazarlar:

Hamit Arbaş

Yayıncı:

Ankara Hacı Bayram Veli University

Ana Başlıklar:

İslam Sanatları

Dergi:

Türk Kültürü ve Hacı Bektaş Veli Araştırma Dergisi Issue 113, pp.1-18

Belge Tipi:

Makale

Yayın Tarihi:

3/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001343226

pISSN:

1306-8253

Anahtar kelimeler:

Özet:

 The first examples of wall paintings seen in Iran date back to the Sassanids. Many events affecting society were expressed in wall paintings. One of the events that has an important place in the religious and social life of society is the Karbala incident. The event of Karbala has affected various branches of art, especially murals. In this study, the event of Karbala 10 Muharram 61  October 10, 680 is examined from an artistic point of view. In Iran, these paintings can be found mostly in the Ghīlān region. In total, there are more than fifty murals related to the Karbala incident in Ghīlān, but twenty of them have survived today. In this study two paintings of Abbas, one of the sons of Ali, on the subject of bringing waterfrom Euphrates, which are unique elsewhere, are discussed. One of them is located in the Tomb of the Four Sultans, in Lāhījān in the province of Ghīlān in 9 AH630-631 CE and underwent some changes during the Safavid period. This work was painted by Ghulam Hussein Lāhījānī in 1277 AH1898 CE. The other painting is located in Isfahan in Imamzade Ismail the tombs of the sons and grandsons of the imams. The artist of this painting, which belongs to the Qajar period, is Muhammad Saleh Isfahanī. This research emphasizes that the event of Karbala was depicted in Iranian folk art and that the paintings produced by this art are rapidly disappearing. The Safavid and Qajar folk painters expressed their religious thoughts by painting the Karbala incident on the walls of the shrines, especially emphasizing the heroism of Abbas bin Ali. However, social change and modernization led to the decline of this art. This study examines the presence of the Karbala incident in Shii folk art and the extensive loss of paintings produced by this art. Safavid and Qajar folk painters painted the Karbala incident on the walls of shrines, expressing their religious sentiments and emphasising the heroism of Abbas bin Ali in particular. However, social change and modernisation led to the decline of this art.This study aims to introduce the wall paintings of the mausoleums, suggesting solutions to cultural, political and social concers that influenced some of the symbolic depictions at the time they were painted. The method of this study, due to the nature of the article, was to collect all visuals and written documents, analytically examine the data obtained and evaluate them with a descriptive method.

 The first examples of wall paintings seen in Iran date back to the Sassanids. Many events affecting society were expressed in wall paintings. One of the events that has an important place in the religious and social life of society is the Karbala incident. The event of Karbala has affected various branches of art, especially murals. In this study, the event of Karbala 10 Muharram 61  October 10, 680 is examined from an artistic point of view. In Iran, these paintings can be found mostly in the Ghīlān region. In total, there are more than fifty murals related to the Karbala incident in Ghīlān, but twenty of them have survived today. In this study two paintings of Abbas, one of the sons of Ali, on the subject of bringing waterfrom Euphrates, which are unique elsewhere, are discussed. One of them is located in the Tomb of the Four Sultans, in Lāhījān in the province of Ghīlān in 9 AH630-631 CE and underwent some changes during the Safavid period. This work was painted by Ghulam Hussein Lāhījānī in 1277 AH1898 CE. The other painting is located in Isfahan in Imamzade Ismail the tombs of the sons and grandsons of the imams. The artist of this painting, which belongs to the Qajar period, is Muhammad Saleh Isfahanī. This research emphasizes that the event of Karbala was depicted in Iranian folk art and that the paintings produced by this art are rapidly disappearing. The Safavid and Qajar folk painters expressed their religious thoughts by painting the Karbala incident on the walls of the shrines, especially emphasizing the heroism of Abbas bin Ali. However, social change and modernization led to the decline of this art. This study examines the presence of the Karbala incident in Shii folk art and the extensive loss of paintings produced by this art. Safavid and Qajar folk painters painted the Karbala incident on the walls of shrines, expressing their religious sentiments and emphasising the heroism of Abbas bin Ali in particular. However, social change and modernisation led to the decline of this art.This study aims to introduce the wall paintings of the mausoleums, suggesting solutions to cultural, political and social concers that influenced some of the symbolic depictions at the time they were painted. The method of this study, due to the nature of the article, was to collect all visuals and written documents, analytically examine the data obtained and evaluate them with a descriptive method.

 The first examples of wall paintings seen in Iran date back to the Sassanids. Many events affecting society were expressed in wall paintings. One of the events that has an important place in the religious and social life of society is the Karbala incident. The event of Karbala has affected various branches of art, especially murals. In this study, the event of Karbala 10 Muharram 61  October 10, 680 is examined from an artistic point of view. In Iran, these paintings can be found mostly in the Ghīlān region. In total, there are more than fifty murals related to the Karbala incident in Ghīlān, but twenty of them have survived today. In this study two paintings of Abbas, one of the sons of Ali, on the subject of bringing waterfrom Euphrates, which are unique elsewhere, are discussed. One of them is located in the Tomb of the Four Sultans, in Lāhījān in the province of Ghīlān in 9 AH630-631 CE and underwent some changes during the Safavid period. This work was painted by Ghulam Hussein Lāhījānī in 1277 AH1898 CE. The other painting is located in Isfahan in Imamzade Ismail the tombs of the sons and grandsons of the imams. The artist of this painting, which belongs to the Qajar period, is Muhammad Saleh Isfahanī. This research emphasizes that the event of Karbala was depicted in Iranian folk art and that the paintings produced by this art are rapidly disappearing. The Safavid and Qajar folk painters expressed their religious thoughts by painting the Karbala incident on the walls of the shrines, especially emphasizing the heroism of Abbas bin Ali. However, social change and modernization led to the decline of this art. This study examines the presence of the Karbala incident in Shii folk art and the extensive loss of paintings produced by this art. Safavid and Qajar folk painters painted the Karbala incident on the walls of shrines, expressing their religious sentiments and emphasising the heroism of Abbas bin Ali in particular. However, social change and modernisation led to the decline of this art.This study aims to introduce the wall paintings of the mausoleums, suggesting solutions to cultural, political and social concers that influenced some of the symbolic depictions at the time they were painted. The method of this study, due to the nature of the article, was to collect all visuals and written documents, analytically examine the data obtained and evaluate them with a descriptive method.

 İranda görülen duvar resimlerinin ilk örnekleri Sasanilere kadar uzanmaktadır. Toplumu etkileyen birçok olay duvar resimleri ile ifade edilmiştir. Toplumun dinî ve sosyal yaşamında önemli bir yeri olan olaylardan biri de Kerbela vakasıdır. Kerbela hadisesi başta duvar resimleri olmak üzere çeşitli sanat dallarını etkilemiştir. Bu çalışmada Kerbela hadisesi 10 Muharrem 6110 Ekim 680 sanatsal açıdan incelenmiştir. İran sahasında bu resimlere daha çok Gîlân bölgesinde rastlamak mümkündür. Gîlânda Kerbela hadisesiyle ilgili toplam elliden fazla türbede duvar resmi vardı ancak günümüzde resimli türbelerden sadece yirmisi ayakta kalabilmiştir. Bu çalışmada Hz.Alinin oğullarından Abbasın Fırattan su getirme konusunun işlendiği, başka bir yerde benzeri olmayan iki resmi ele alınmıştır. Bunlardan biri Gîlân eyaletine bağlı Lâhîcânda 9630-631de yapılan ve Safevîler döneminde bazı değişikliklere uğrayan Dört Padişah Türbesinde yer almaktadır. Bu duvar resmi 12771898de Gulam Hüseyin Lâhîcânî tarafından resmedilmiştir. Diğer resim ise İsfahanda İmamzade imamların oğulları ve torunlarının mezarları ve türbeleri İsmailde bulunur. Kaçar dönemine ait olan bu resmi yapan sanatçı Muhammed Salih İsfahanîdir. Bu araştırma, Kerbela hadisesinin İran halk sanatında işlendiği ve bu sanatın ortaya koyduğu resimlerin hızla yok olduğunu vurgulamaktadır. Safevî ve Kaçar, halk ressamları Kerbela vakasını türbelerin duvarlarına resmederek dini düşüncelerini ifade etmiş, özellikle Abbas bin Alinin kahramanlığını vurgulamışlardır. Ancak toplumsal değişim ve modernleşme, bu sanatın gerilemesine sebebiyet vermiştir. Bu çalışma, bir yandan türbelerin duvar resimlerini tanıtmayı amaçlarken, bir yandan da kimi sembolik tasvirlerin yapıldığı dönemde; hangi kültürel, siyasî ve toplumsal kaygıların etkili olduğuna dair çözüm önerileri sunmayı amaçlamaktadır. Bu çalışmanın yöntemi, makalenin özelliği gereği, bütün görsellerin, yazılı belgelerin toplanması, elde edilen verilerin analitik olarak incelenmesi ve betimleyici bir yöntemle değerlendirilmesi şeklinde olmuştur.

Makale detayları

COMPARISON OF TWO PAINTINGS ABOUT THE MARTYR OF KARBALA ABBAS BİN ALİ BRINGING WATER FROM THE EUPHRATES

Yazarlar:

Hamit Arbaş

Yayıncı:

Ankara Hacı Bayram Veli University

Ana Başlıklar:

İslam Sanatları

Dergi:

Türk Kültürü ve Hacı Bektaş Veli Araştırma Dergisi Issue 113, pp.1-18

Belge Tipi:

Makale

Yayın Tarihi:

3/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001343226

pISSN:

1306-8253

Wall paintings

Iranian Religious Art

Karbala

Husayn

Abbas bin Ali

Tomb of Four Sultans

Tomb of Imamzade Ismail

Ghulam Husayn LāhījānīDuvar Resmi

İran Dini Sanatı

Kerbela

Hz. Hüseyin

Abbas bin Ali

Lâhîcân Dört Padişah Türbesi

İsfahan İmamzade İsmail

Gulam Hüseyin Lâhîcânî

Sayı

Makale detayları

Yazarlar: Hamit Arbaş

Yayıncı: Ankara Hacı Bayram Veli University

Ana Başlıklar: İslam Sanatları

Dergi: Türk Kültürü ve Hacı Bektaş Veli Araştırma Dergisi Issue 113, pp.1-18

Belge Tipi: Makale

Yayın Tarihi: 3/2025

Belge Dili: Türkçe

Document ID (Org No.): 2001343226

pISSN: 1306-8253

Sayı

Yazarlar:

Hamit Arbaş

Yayıncı:

Ankara Hacı Bayram Veli University

Ana Başlıklar:

İslam Sanatları

Dergi:

Türk Kültürü ve Hacı Bektaş Veli Araştırma Dergisi Issue 113, pp.1-18

Belge Tipi:

Makale

Yayın Tarihi:

3/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001343226

pISSN:

1306-8253