كليدواژه :
شمايل , نگارگري ايراني , سلطان محمد , ديوان حافظ
چكيده فارسي :
نگارة «مستي لاهوتي و ناسوتي»، مربوط به برگي از ديوان حافظ سام ميرزا، اثر سلطان محمد نقاش، نگارگر مكتب تبريز صفوي، از نظر آفرينش فضايي عرفاني، نمادين و نمايشي و نيز جاذبه هاي تجسمي، يكي از نمونه هاي غني از شمايل هاي تصويري به شمار مي رود. پژوهش حاضر از نوع نظري بوده و به روش توصيفي- تحليلي تدوين شده و با گردآوري تصاوير و اطلاعات با مراجعه به منابع علمي معتبر در كتابخانه، نگارة يادشده را مورد تحليل تصويري-معنايي قرار داده است. هدف از اين پژوهش آن است كه با رويكردي تاريخي و معناشناختي از شعر حافظ و نيز سياق هنري سلطان محمّد، سعي در رمزگشايي از مفاهيم عرفاني و روايي مستتر در اين نگاره، متأثّر از متن اصلي داشته باشد. پرسش بنيادين پژوهش عبارت است از: «چه مفاهيم حكمي، عرفاني، تغزّلي و اساطيري در پس روابط ميان شمايل ها و فضاي تجسّمي حاكم بر نگاره حكم‌فرماست؟» پيشينه هاي پژوهشي در رابطه با زندگي حافظ و نيز معناپردازي و سبك شناسي غزليات او و همچنين تاريخ نگارگري مكتب تركمانان و تبريز صفوي و شيوة نقاشي سلطان محمّد نقاش، كه در مقالات و كتاب‌هاي نويسندگان ايراني و خارجي نگاشته شده، به‌عنوان منابع پژوهشي مورد مطالعه قرار گرفته و نتيجة حاصل آنكه شيوة اغراق آميز و طنزآلود سلطان محمّد در ترسيم شمايل ها با جهان بيني رندانة حافظ منطبق بوده و همچنين تقسيم بندي نگاره به سه ساحت مشخّص از پايين به بالا و در نظرگيري شمايل هاي متناسب با هر يك، با ديدگاه تفكيكي عرفاني مبني بر ساحت هاي سه گانة ناسوت، ملكوت و لاهوت تناسب دارد.
چكيده لاتين :
The range of theoretical sciences related to visual arts in
the present age based on his torical achievements, ranging
from the Renaissance scientific s tudies to a wide range of
philosophical and aes thetic theories, which has broadened
from the Enlightenment age and has encompassed a variety
of theses, antitheses and synthesis, has been growing
to the present day. Meanwhile, interdisciplinary s tudies,
as well as theories that eliminate the boundaries between
theoretical and artis tic foundations and try to somehow
unify them, are more welcomed by the art his torians, artlovers
and artis ts than the other methods. Among these
s tudies is Iconography which is the combination of art
his torians, mythologis ts, and semiotics’ findings, and because
of it, it is more scientific and easier to interpret and
unders tand works of art on the basis of the his torical and
cultural context of the creation time. Iconological s tudy, as
one of the mos t effective ways of analyzing and criticizing
the works of visual arts, has become a universal and
applied method in discovering the meanings and concepts
involved in these works and has been used as a targeted
and promising s trategy for researchers. Paying attention to
the cultural, social, his torical and artis tic backgrounds in
relation to the time and place of the creation of works of
art, has led this interpretive approach to an objective direction
and even beyond that, it exceeds the artis t’s mental
intentions. Today, Iconology serves as an ins trumental tool
for explaining and interpreting the works of Iranian painting
and helping the audience as a reliable way of decoding
and perceiving images.
The consis tency of the s tages of iconology with the visual
and ideological s tructure of Iranian painting offers a
powerful opportunity for researchers in the field of Iranian-
Islamic art to utilize it based on the contemporary and
relevant needs of the research and culture of society. Also,
by relying on the rich and meaningful Iranian literature
which is the source for many of the original paintings of
this land, as well as the semantic analysis and decoding
of literary works related to the themes of the images, it
is possible to pave the way for the iconological analysis
and interpretation of these works. The present s tudy has
been conducted with the focus on the “Mas ti Lahuti va
Nasuti “, by Sultan Mohammad Naghash, belonging to
the Divan Hafiz of Sam Mirza. Due to its conceptual and
mythological atmosphere, this work has many possibilities
for the s tudy of the iconography. This image, depicted in
the Shah Tahmasb Safavid era in the tenth century AH, is
an admirable portrayal of a unique way of translating a
poem from Hafez. This paper will try to answer the following
ques tion from an icological perspective: “What phylosophical,
mys tical, lyrical, and mythological concepts
are behind the relationships between icons and the visual
atmosphere governing the image?” The present s tudy is of
a theoretical type, using descriptive-analytical method and
using library resources, the above-mentioned painting has
been analyzed and a two-way relationship between form
and content has been es tablished to discover the meanings
beyond the visual s tructure of the painting.As a result, the
painter, by dis tinguishing three areas of the image, and by
being influenced by the text of the poem has depicted the
semantic s tructure derived from the Nasuti, Lahut, and
Jebroot, and has utilized the icons and visual symbols associated
with each of these areas.The purpose of this research
is to achieve a model and sys tem of communication
between the concepts and ideas hidden in the heart of the
painting and assess the quality and quantity of the painter’s
being influenced by the poet.
