پديد آورندگان :
علي آبادي، مريم دانشگاه بيرجند , پايدارفرد، آرزو دانشگاه بيرجند - گروه هنراسلامي , نيك نسب، زينب دانشگاه هنراسلامي تبريز
كليدواژه :
دوره سلجوقي , ادبيات , نگارگري , ورقه و گلشاه , عيوقي
چكيده فارسي :
منظومه ورقه و گلشاه عَيوقي، نسخه خطي ارزشمند دوره سلجوقي است كه كيفيت تصويرسازي و بازنمايي داستان آن توسط نگارگر، اين نسخه را ماندگار كرده است. نسخه ورقه و گلشاه قديمي‌ترين وكاملترين نسخه خطي عاشقانه و حماسي اسلامي است كه مي‌توان در آن ريشه‌هاي پيوند شعر و نقاشي را باز شناخت، دليل انتخاب اين نسخه، تطبيق نگاره ها با داستان آن است تا بتوان به موفقيت نگارگر در بيان تصويري سروده پيبرد. بر اين اساس، براي بررسي محتواي داستان (جنبه هاي عاشقانه و حماسي)، پي رنگ ها كه اساس داستان هستند، مورد توجه قرار گرفت. هدف پژوهش حاضر، بررسي و تحليل محتواي سروده عيوقي بر اساس نگاره ها و پي رنگ هاي اصلي است تا تطبيق يا عدم تطبيق شعر و نگاره بررسي شود. اين پژوهش در پي پاسخگويي به اين سوالات است: 1. نگارگري نسخه خطي ورقه و گلشاه تا چه اندازه بيانگر محتواي داستان و حاوي كدام پي-رنگ هاي داستان است ؟ 2. فضاسازي نگاره‌ها با توجه به متن نوشتاري چگونه بوده است؟ يافته‌هاي پژوهش حاكي از آن است كه در اين نسخه مصور، تمام ويژگي‌هاي نگارگري دوره سلجوقي، نمود داشته و پيوستگي ارزشمندي با ادبيات دارد. نگارگر با به تصوير كشيدن 71 نگاره از نسخه كتابخانه موزه توپقاپي استانبول حاوي مهمترين حوادث، شخصيت ها و پي رنگ هاي اصلي داستان عيوقي، وفاداري تصوير به متن ادبي را نشان داده است. اين داستان در قالب 17 پيرنگ اصلي طبقه بندي و مشخص شد كه، نگارگر به تبعيت از متن، با حساسيت بسيار به آن‌ها پرداخته و نقاط عطف داستان را در4 پيرنگ(شالوده) و روايت‌هاي متعدد مصور كرده است. روش تحقيق پژوهش، توصيفي– تحليلي و تطبيقي و روش گردآوري اطلاعات، كتابخانه‌اي است.
چكيده لاتين :
The poem of Varqa and Gulshah Ayyuqi is a very valuable manuscript of the Seljuk era, which has been preserved for the quality of the drawings and the representation of its story by the painter. Books such as Survey of Persian Art of Arthur Apham Pope, Persian Miniature of Basil Gray, Islamic Art and Architecture of Ernst Kuhnel, catley marguerite and humby louis in the their book, Seljuk and Kharazmi art described a brief history of Seljuk painting and the characteristics of painting of this period. This research seeks to answer these two questions: To what extent does the painting of the manuscript of Varqa and Gulshah express the story and which plots of the story does it contain? How was the atmosphere of the drawings according to the written text? Based on a story told by Arabs, the poem was (re-) composed by Ayyuqi in the eastern Iranian world during the Ghaznavid period. The poem Varqa and Gulshah is a love story about the life of two lovers in Saudi Arabia in Islamic period, which describes their mania, problems and sufferings, wars and their separation in the way of love and joiner. The story of Varqa and Gulshah is set in Arabia in the time of the Prophet Muhammad and revolves around the misfortunes of a pair of lovers. It is in the fourth century and early fifth century AH. Varqa and Gulshah are the children of two brothers who are joint chiefs of a tribe named Bani Shayba. The two are raised together, fall in love and become engaged (Grubar, 2019, p. 73). Considering that Varqa and Gulshah manuscripts is the earliest Islamic romantic manuscript in which the roots of the connection between poetry and painting can be recognized, there was a reason to choose this manuscript and to study and adapt its drawings with poems, so that the painter’s success in visual expression of the poem could be realized. Adopting a descriptive-analytical method and collecting data by library studies, the findings indicate that in this illustrated version, all the features of Seljuk painting are reflected and there is a valuable connection with literature. In illustrated manuscripts, how the story is represented as an image is of special importance. Therefore, in this study, the adaptation of the story of Varqa and Gulshah with its painting has been considered. Seljuks with emphasis on the art of this period, the characteristics of painting of the Seljuk school are mentioned. By depicting 71 paintings from a copy preserved in the Topkapı Palace Museum Library in Istanbul, containing the most important events and characters that contain the main plot of Ayyuqi, the painter has shown the fidelity of image to the literary text. This story was classified in the form of 17 main plots, and it turned out that the painter illustrated 13 examples of it and, following the text, dealt with them very sensitively and has illustrated the turning points of the story into four plots and several narrations.
