آسمانه تخت

آسمانهٔ تخت، سایه‌بانی معمولاً پارچه‌ای است که بر بالای تختگاه‌های شاهان و بر بالای برخی تابوت‌های قدیسان ساخته می‌شد.

در دوره‌های بعد، در معماری ساختمان‌های مذهبی و غیره، آسمانه‌های تخت را از جنس‌های سفت و حتی بتنی نیز می‌ساختند. آسمانه‌های سفت که بر بالای محراب‌های کلیساها قرار می‌گیرند را «آسمانه محراب»[۱] می‌نامند.



منابع [ویرایش]

Peter K. Thornton, Authentic Decor: the Domestic Interior 1620-1920, (London, 1985) and Seventeenth-Century Interior Decoration in England, France and Holland, (New Haven & London, 1981).

↑ ciborium
این یک نوشتار خُرد معماری است. با گسترش آن به ویکی‌پدیا کمک کنید.
رده‌های صفحه: پارچهعناصر معماری طراحی
قس انگلیسی
A baldachin, or baldaquin (from Italian: baldacchino), is a canopy of state over an altar or throne. It had its beginnings as a cloth canopy,[1] but in other cases it is a sturdy, permanent architectural feature, particularly over high altars in cathedrals, where such a structure is more correctly called a ciborium when it is sufficiently architectural in form. A cloth of honour is a simpler cloth hanging vertically behind the throne, which may be combined with a canopy.
"Baldachin" was originally a luxurious type of cloth from Bagdad, from which name the word is derived, in English as "baudekin" and other spellings. Matthew Paris records that Henry III of England wore a robe "de preciosissimo baldekino" at a ceremony at Westminster Abbey in 1247.[2] The word for the cloth became the word for the ceremonial canopies made from the cloth.
In the Middle Ages, a hieratic canopy of state or cloth of state was hung over the seat of a personage of sufficient standing, as a symbol of authority. The seat under such a canopy of state would normally be raised on a dais. Emperors and kings, reigning dukes and bishops were accorded this honour. In a 15th-century manuscript illumination the sovereign Grand Master of the Knights Hospitaller in Rhodes sits in state to receive a presentation copy of the author's book. His seat is raised on a carpet-covered dais and backed with a richly embroidered dosser (French, "dos"). Under his feet is a cushion, such as protected the feet of the King of France when he presided at a lit de justice. The King of France was also covered by a mobile canopy during his Coronation, held up on poles by several Peers of France.
Margaret Beaufort, mother of Henry VII was a personage of such importance that in her portrait by an anonymous artist, c. 1500 she prays under a canopy of estate; one can see the dosser against the gilded leather wall-covering and the tester above her head (the Tudor rose at its center) supported on cords from the ceiling. The coats-of-arms woven into the tapestry are of England (parted as usual with France) and the portcullis badge of the Beauforts.
In the summer of 1520, a meeting was staged between Francis I of France and Henry VIII of England, where the ostentatious display of wealth and power earned the meeting-place the name of The Field of Cloth of Gold. The canopy of estate may still be seen in some formal throne rooms.


State bed of Louis XIV of France, Chambre du Roi, Versailles
Contents [show]
[edit]State bed

The state bed, intended for receiving important visitors and producing heirs before a select public, but not intended for sleeping in,[3] evolved during the second half of the seventeenth century, developing the medieval tradition of receiving visitors in the bedroom, which had become the last and most private room of the standard suite of rooms in a Baroque apartment. Louis XIV developed the rituals of receptions in his state bedchamber, the petit levée to which only a handful of his court élite might expect to be invited. The other monarchs of Europe soon imitated his practice; even his staunchest enemy, William III of England had his "grooms of the bedchamber", a signal honour.
The state bed, a lit à la Duchesse—its canopy supported without visible posts— was delivered for the use of Queen Marie Leszczinska at Versailles, as the centrepiece of a new decor realized for the Queen in 1730–35.[4] Its tester is quickly recognizable as a baldachin, serving its time-honoured function; the bedding might easily be replaced by a gilded throne. The queens of France spent a great deal of time in their chambre, where they received the ladies of the court at the morning levée and granted private audiences. By the time Marie Antoinette escaped the mob from this bedroom, such state beds, with the elaborate etiquette they embodied, were already falling out of use. A state bed with a domed tester designed in 1775-76 by Robert Adam for Lady Child at Osterley Park[5] and another domed state bed, delivered by Thomas Chippendale for Sir Edwin Lascelles at Harewood House, Yorkshire in 1773[6] are two of the last English state beds intended for a main floor State Bedroom in a non-royal residence.


Bernini's Baldacchino in St Peter's, Rome
[edit]St. Peter's Basilica

This unreferenced section requires citations to ensure verifiability.
Main article: St. Peter's baldachin
Pope Urban VIII commissioned Gian Lorenzo Bernini to design and construct a structure that would be placed over the tomb of St. Peter during the building of the new St. Peter's Basilica (located in Rome). The canopy imitated cloth in bronze, as did many subsequent imitations.
Bernini's design for the Baldachin incorporated giant solomonic columns inspired by columns that ringed the altar of the Old St. Peter's. These columns were originally donated by Constantine, and a false tradition asserts they are the columns from the Temple of Jerusalem. The lowest parts of the four columns of Bernini's Baldachin have a helical groove, and the middle and upper sections of the columns are covered in olive and bay branches, which are populated with a myriad of bees and small putti. Pope Urban VIII's family coat of arms, those of the Barberini family, with their signature bees, are at the base of every column.
All of these combine to create a feeling of upward movement.
[edit]Processional canopy

A baldachin may also be used in formal processions, including Royal entries, coronation or funeral processions, to signify the elite status of the individual it covers. The origins of such an emblematic use in Europe lay in the courts of the Neo-Assyrian state, adopted in Athens perhaps as early as the late seventh century, but relegated to the use of women by the late fifth century (compare parasol).[7]
Such canopies might be made of anything from muslin to heavy brocade, or even constructed of less flexible materials, and are supported by poles, whether affixed to a carriage, or carried by people walking on each side. An Egyptian Pharaoh, for example, was escorted both in life and in death by such a canopy of estate.
[edit]Surname Baldacchino

The surname Baldacchino comes from the artisans who used to make the Baldachin. The surname is found mainly in the islands of Malta and Sicily, particularly in Agrigento and Naro.
[edit]Gallery


The Grand Master of the Knights Hospitaller at Rhodes under a canopy of estate, on a dais: there is a cushion under his feet.



Margaret Beaufort, Queen Mother, at prayer, by an anonymous artist, about 1500.



At Versailles, the Chambre de la Reine features the centrally-placed state bed delivered for Queen Maria Leszczinska.



King Francis I of France, Charles V, and Cardinal Alessandro Farnese



A baldachin in Empire style simply adds visual importance to a daybed.

[edit]See also

Ciborium
St. Peter's baldachin
Tapestry
[edit]External links

1911 Britannica article
Burgundian example, King René's Tournament Book, BnF
"Baldachium of the Altar". Catholic Encyclopedia. New York: Robert Appleton Company. 1913.
[edit]References

^ Baldac is a medieval Latin form for Baghdad, whence fine silks reached Europe.
^ Richard Ettinghausen et al., The Art and Architecture of Islam: 650-1250, 1987, Yale University Press (Yale/Penguin History of Art)
^ Peter K. Thornton, Authentic Decor: the Domestic Interior 1620-1920, (London, 1985) and Seventeenth-Century Interior Decoration in England, France and Holland, (New Haven & London, 1981).
^ The hangings were rewoven for Marie Antoinette. The present hangings, made at Lyon by the same firm that delivered the originals, replicate the hangings as they were in 1787.
^ Of this grandiose bed Horace Walpole asked in a private letter "what would Vitruvius think of a dome decorated by a milliner?"
^ Annabel Westman and Aasha Tyrrell, "The Restoration of the Harewood State Bed" (on-line)
^ M. C. Miller, "The Parasol: An Oriental Status-Symbol in Late Archaic and Classical Athens
" The Journal of Hellenic Studies, 112 (1992:91-105).
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Categories: Architectural elementsInterior designTextiles

قس ترکی
Baldaken, Sayeban ya da Sayapan olarak da bilinir, mimarlıkta bir altar ya da mezarın üzerini örten, kolonlarla taşınan, mekanı sınırlayan duvarlardan bağımsız, sundurma biçimli örtü. İspanyolcada bir altar ya da kapının üzerine gölgelik olarak asılan ve Bağdat'tan ithal edilen özenli brokar işlemeli örtülere verilen baldaquin adından türeyen baldaken sözcüğü, daha sonraları bir altar üzerinde yer alan, yapıdan bağımsız tavanları tanımlar olmuştur.

Dört sütun üzerine oturan kubbemsi ve taştan baldaken türleri siboryum olarak bilinir. Bazı bazilikalarda küçük bir yapı niteliğinde yapılmış, zengin kumaşlarla donatılmış olanları da vardır. Küçük, açık yapıları örten ve baldakene benzeyen süslü çatı ve saçaklara arastak adı da verilmiştir. Taht vb oturulacak yerlerin, çadır kapılarının önüne dört direk üstüne gerilen kumaş örtü ya da gölgelikler de sayepuş olarak bilinir.
İlk baldaken örneklerine Ravenna ve Roma'da rastlanır. Baldaken genellikle dört sütuna oturan baştabanlarla (arşitrav) bunların üstünde yer alan bir sıra minyatür kolonadın taşıdığı bir topuz ya da beşik çatıdan oluşur. Romanesk baldakenlerde (Milano'daki S. Ambrogio'da olduğu gibi) düz baştabanların yerini çoğu zaman kemerler alır. Baldakenin dört yüzünde bu kemerlerin üstünde de alınlıklar bulunur. Gotik dönem baldakenlerinden günümüze pek az örnek kalmıştır. Zaten bu dönemde baldaken İtalya dışında pek fazla kullanılmamştır. Ama 19. yüzyılda Eugène Viollet-le-Duc'ün yeniden inşa ettiği Paris'teki Sainte Chapelle'de (1247-50) zengin bir gotik baldaken örneği bulunmaktadır. Rönesans döneminde baldaken uygulaması yaygınlaşmıştır. 17. yüzyılda, barok sanatın önde gelen temsilcisi Gian Lorenzo Bernini'nin Roma'daki San Pietro Bazilikası için yaptığı görkemli bronz baldakenin de etkisiyle, pek çok baldaken uygulaması yapılmıştır.
Kaynaklar [değiştir]


Wikimedia Commons'ta
Baldaken ile ilgili çoklu ortam belgeleri bulunur.
Bu maddenini yazılmasında Encyclopædia Britannica Fifteenth Edition'ndaki Baldaken maddesinden yararlanılmıştır.
Mimarlık ile ilgili bu madde bir taslaktır. İçeriğini geliştirerek Vikipedi'ye katkıda bulunabilirsiniz.
Kategoriler: Mimarlık taslaklarıİç mimarlık