پديد آورندگان :
مهرابى، فاطمه دانشگاه هنر تهران، ايران , رنجبران، داوود دانشگاه هنر تهران، ايران , قانى، افسانه دانشگاه شهركرد - دانشكده هنر و علوم انسانى، شهركرد، ايران
كليدواژه :
حرمت تصويرگري , تحليل انتقاد ي گفتمان , مكتب تبريز اول , جامع التواريخ
چكيده فارسي :
يكي از نخستين كتاب‌هايي كه پس از اسلام آغازگر تحولاتي د ر هنر نگارگري ايران بود و پس از قرن‌ها به‌صورتگري حضرت پيامبر(ص)پرد اخت، كتاب جامع التواريخ اثر خواجه رشيد الد ين فضل‌الله همد اني بود كه د ربرد ارند ه نگاره‌هايي با موضوع زند گاني و توصيف پيامبر اسلام(ص) است. لذا پژوهش حاضر د ر پي پاسخ به اين پرسش شكل گرفت كه چگونه مقوله تصويرگري پيامبر(ص) كه تا پيش از اين مقوله‌اي نارايج و حتي انجام آن نزد يك به احتياط بود ، د ر گفتمان حاكم د وره ايلخاني به امري طبيعي بد ل شد ؟ پاسخ‌د هي به اين پرسش با استفاد ه از روش تحليل انتقاد ي گفتمان فركلاف ميسر شد . نتايج پژوهش حاكي از آن است كه حكومت ايلخاني با پذيرش برخي ارزش‌هاي ايراني، يعني اسلام و تشيع و با كنار هم‌نشاني آن با برخي ارزش‌هاي مغولي، پيش‌متن‌هايي از د و تمد ن ايراني- اسلامي و مغولي را برگرفته و د ر يك گفتمان بيناتمد ني، آثاري بينامتني را خلق كرد ند كه هم از جانب شهروند ايراني مسلمان قابل‌پذيرش بود و هم سيطره مغولان بر اين سرزمين را امري طبيعي جلوه مي‌د اد . به‌عنوان مثال د ر نمونه مطالعاتي اين پژوهش با انتخاب موضوعي تاريخي از د وره اسلامي و هم‌نشاني آن با برخي ارزش‌هاي مغولي، مطلوب خود را به شيوه‌اي بصري به منصه ي ظهور رساند ه‌اند .
چكيده لاتين :
Book of “Jame al-Tavarikh” by Khajeh Rashid al-
Din Fazlullah Hamedani is one of the firs t books
after Islam that s tarted to revolute Iranian painting
to draw holy Prophet (Mohammad), after centuries.
This book contains paintings on the subject of life
and description of the Prophet and was written his torically
at an important point in the his tory of Iran and
the cultural and social influences that Iranian society
went through in this period can be seen in its picters.
In this book, several drawings are dedicated to the
portrayal of the Prophet of Islam , which a glance on
it, it comes to mind how the subject of illus trating of
the Prophet (PBUH), which was previously unusual
and even done cautiously, became normal in the
Ilkhan’s ruling discourse? The data required for this
research were obtained by selecting a s tudy sample
and observing and analyzing them in their components,
and the information required for their analysis
was gathered by library s tudies. The s tudy sample of
this research is a picture from “Jame al-Tavarikh” by
Khajeh Rashid al-Din Fazlullah Hameda that represented
the s tory of the ascension of the holly Prophet.
This image is one of the firs t works in the Iranian
painting tradition with the subject of Ascension.
Its s tyle of illus trating was the firs t Tabriz s tyle or
the Mongolian (Ilkhani) style and in its illus tration,
various Chinese, Mongolian, Byzantine and Iranian
elements have been used. Finally, the answer to the
ques tion of this research was possible through sample
analysis with the method of critical analysis of
Fairclough discourse. This analysis was performed
according to the mentioned method in three levels,
which are des c ribed (with considering empirical,
communicative and expressive values), interpretation
and expl a nation (which examines three situational,
ins titutional and social indicators effective
on forming the art work). The results of this s tudy
indicate that the Ilkhani government, by accepting
some values of Iran, namely Islam and Shi’ism, and
along with its coexis tence with someMongolian values,
took texts from both Iranian-Islamic and Mongolian
civilizations and used them in an inter civil
discourse, inter textual texts ,They created an enter
civilization that was acceptable both to the Iranian
Muslim citizen and implicitly ins tilled in the Iranian
citizens the values of accepting the Mongols as the
rulers of this land, and thus in categories such as the
painting by choosing his torical subjects, especially
his tory. Islam and its coexis tence with someMongol
values, is coming to the fore.
