بررسی اهمیت، فراوانی و پراکنش رنگ قرمز در ارسی های خانه های تاریخی ایران مورد پژوهی: 22 تاج ارسی های خانه های قاجاری تبریز

اُرُسی‌ها ازجمله عناصری هستند که از جنبه‌های تزئینی بالایی در خانه‌های سنتی ایران برخوردار می‌باشند. هدف تحقیق، رمز‌‌گشایی از دانش و مهارت رنگ‌شناسی استادکاران آرایه‌های معماری (اُرُسی) از طریق پایش فراوانی و پراکنش رنگ قرمز در 22 تاج اُرُسی خانه‌های قاجاری تبریز است. سؤال اصلی این است که فراوانی و پراکنش رنگ قرمز در اُرُسی خانه‌های قاجاری تبریز چگونه است؟ برای رسیدن به پاسخ این سؤال عکس‌هایی به‌صورت میدانی از 22 تاج اُرُسی خانه‌‌های قاجاری تبریز، تهیه گردید و سپس با استفاده از نرم‌افزارهای اتوکد و فتوشاپ، رنگ‌ها و تناسبات اُرُسی‌ها مورد بررسی قرار گرفت. شیوه‌ی تحقیق اتخاذشده، به‌صورت روش توصیفی- ‌‌تحلیلی هست. یافته‌‌های تحقیق نشان می‌‌دهد که رنگ قرمز، در رقابت برای حضور در سطح نور گذر تاج، نسبت به سایر رنگ‌‌ها مانند آبی، سبز، نارنجی و زرد، در رتبه‌‌ی اول قرارگرفته است. همچنین در بررسی جایگاه و اهمیت رنگ قرمز، مشخص شد این رنگ با 86/2%، از بیشترین فراوانی حضور، در کانون تاج اُرُسی برخوردار است. نتایج به‌دست‌آمده حاکی از آن است که استقرار رنگ‌ها در سطوح نور گذر ارسی‌ها، تصادفی نیست و از نظمی پنهان و رازآلود برخوردار است؛ نظمی که باعث ایجاد نوعی از زیبایی جهان‌شمول و بی‌زمان بر نحوه‌ی چینش شیشه‌های رنگی در ارسی‌ها می‌شود.

Stained glass windows are among the elements that have high decorative aspects in Iranian traditional homes. One of the ways to increase the lifetime of welcoming an artwork is breathe and live in the atmosphere of the traditions that have been prominent in the test of time. The main purpose of the present study is decoding the knowledge and skill of the architects of the architectural arrays through the monitoring of the frequency and distribution of color, especially the red color in the stained glass windows.

The statistical population of the present study is 121 existing stained glass windows of the city of Tabriz that include all the ones used in different locations and historical periods. In order to limit the study, the Qajar period and residential use were the primary criteria for screening the statistical society. Regarding the purpose of the article, the crown pattern, which has the ability to calibrate and overlap, was used to discover the type of distribution.

After determining the purpose, introducing the theoretical background and the experimental data (recognition of components and elements) on sash wood, the method and framework of the research, sample size, analytical method, findings and conclusions, while referring to the different colors used in stained glass windows, the present research tried to study the order, position, abundance and distribution of red color compared to other colors used in stained glass windows in Qajar houses in Tabriz and attempted to answer some questions such as:
- Which color used in the stained glass windows has the highest percentage of presence?
- Compared to the other colors, how is red color positioned in stained glass windows of Qajar architecture?

To answer these questions, photographs were taken from a sample of 22 crown head of stained glass windows in Qajar houses in Tabriz, and then, using the AutoCAD and Photoshop software, the colors and proportions of the windows were examined. The research methodology was descriptive-analytic. The theoretical foundations of this research were based on library information and the collection of written documents in the field of color and stained glass windows.
According to our results, compared to other colors (such as blue, green, orange and yellow) the color red, ranked the highest in terms of presence in the window crown light-passing surface (i.e., the visible transmittance surface). In terms of importance, color red also won the race with an abundance equal to 86.2%. Comparison of color distribution patterns across the Stained glass window crowns revealed that color red had a particularly regular and rhythmic distribution. Considering these results, we concluded that deployment of colors in the arrangement of Stained glass window transmittance area was not random, but was based on a hidden proportional order. Furthermore, it was found that the masters in an intuitive or attainted way were aware of the red color and have utilized hidden principles in using it. They knew how to use it so that it would look attractive and appealing while avoiding its excessive use

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