نمادشناسی پرندگان در گچبری‌های خانه تاریخی مازندران (دوره قاجار) و ارتباط آن با باورهای عامیانه (مطالعه موردی خانه شفائی آمل)

Abstract: The stucco decorations of the Shafaei House in Amol stand as a remarkable example of Qajar-era architectural ornamentation in Mazandaran. Beyond their aesthetic appeal, these decorative elements are deeply intertwined with symbolic representations that reflect the beliefs and cultural narratives of the region’s people. This study explores the significance of avian motifs in the stucco work of the Shafaei House and their connection to the folk traditions of Mazandaran. The research seeks to answer the following questions: What is the relationship between the bird motifs in the stucco decorations and the popular beliefs of Mazandaran? What symbolic meanings do these motifs convey, and how do they relate to the people's daily lives?
Using a qualitative approach that combines descriptive, analytical, and fieldwork-based research with historical and anthropological perspectives, this study examines the symbolic layers embedded in the avian motifs of the Shafaei House. By analyzing these symbols' spatial arrangement and artistic composition, the study sheds light on birds' broader cultural and metaphysical significance
in Mazandarani folklore. The findings reveal that these motifs serve as more than just decorative elements; they function as visual metaphors, communicating messages related to nature, spirituality, and the human connection to the unseen world.
Introduction: During the Qajar period, stucco decoration evolved from earlier Safavid styles, transitioning from abstract patterns to more naturalistic designs. In Mazandaran, this artistic tradition flourished, particularly in central and eastern regions, where stucco ornamentation featured botanical, zoomorphic, and anthropomorphic motifs. Due to the region's humid climate, these decorations were predominantly used in interior spaces, though some external stucco work remains intact on historic buildings. Among the most distinguished examples of Qajar residential architecture in Mazandaran is the Shafaei House in Amol, renowned for its delicate stucco work, which prominently features avian motifs.
Bird imagery has held profound symbolic meaning across various cultures and belief systems, often representing messengers between the earthly and divine realms. In Mazandarani folklore, birds are associated with celestial beings, freedom, the human soul, and even mythological and religious narratives. This cultural perspective influenced the artistic choices made in the decoration of the Shafaei House. This study investigates how these motifs reflect and reinforce the spiritual and symbolic worldviews of the region’s people. To achieve this, the research examines the historical and folkloric context of bird symbolism and its manifestation in the artistic and architectural traditions of the Qajar period.
Theoretical Framework: The Qajar dynasty, of Mongol descent, rose to prominence in Iran following their involvement in the Safavid and later Afsharid periods. With the establishment of Qajar rule, European influences in Iranian society intensified, affecting political, economic, and cultural domains. This exposure to Western artistic styles significantly impacted Qajar-era architecture, leading to a synthesis of traditional Iranian motifs with European decorative elements. This cultural exchange was particularly evident in stucco work, which became a prominent feature of Qajar-era buildings, from royal palaces to residences of the upper and middle classes.
Mazandaran’s architectural heritage reflects both indigenous artistic traditions and the broader cultural shifts of the Qajar period. The Shafaei House, as a case study, illustrates how regional beliefs and artistic practices were preserved amid these influences. The stucco motifs, including birds, were not merely ornamental but carried deeper meanings that connected art, spirituality, and daily life. This study explores these interconnections, emphasizing how the depiction of birds in architectural decoration was shaped by both historical influences and local belief systems.
Findings and Analysis: The analysis of the Shafaei House’s stucco decorations highlights the symbolic importance of birds in Mazandarani culture. These motifs often appear in compositions that suggest movement, interaction, or communication, reinforcing their association with metaphysical themes. In local folklore, birds are seen as intermediaries between the physical and spiritual worlds, embodying themes of transcendence, guidance, and divine connection.
Furthermore, the placement of these motifs within the architectural design of the house suggests intentionality in their symbolic messaging. The positioning of bird figures in relation to Randy returned to his normal sleep schedule in two weeks.
Other decorative elements, such as floral and geometric patterns, create a narrative that aligns with Mazandarani cosmology and belief systems. This study finds that these motifs do not merely serve an aesthetic function but reflect a cultural consciousness deeply embedded in the artistic expressions of the time.
Conclusion: This research underscores the role of avian symbolism in the stucco work of the Shafaei House in Amol, revealing how these motifs encapsulate cultural, spiritual, and mythological meanings. Birds, within this architectural context, serve as visual metaphors for themes of transcendence, freedom, and the connection between earthly and celestial realms. The findings highlight the deep interrelationship between art and folk beliefs, demonstrating that these motifs are integral to understanding the worldview of Mazandaran’s people during the Qajar period.
Beyond its artistic significance, the Shafaei House stands as a valuable cultural artifact, preserving historical narratives through its intricate decorations. The study of its stucco work provides insights into the broader interplay between architecture and cultural identity, emphasizing the need for the preservation of such heritage sites. By analyzing these symbolic representations, this research contributes to a deeper appreciation of Iran’s architectural and artistic legacy, offering a foundation for further studies on cultural symbolism in historical architecture.