الگوهاي معراج‌نگاري در عصر ايلخاني و تيموري بازخواني الگوي بصري معراج به‌وساطت عنصر «زمين» و «براق» با اتكا به متون معراجيه

The Patterns of Miraj Illustration in Ilkhanid and Timurid Eras: A Re-reading of Visual Patterns of Miraj regarding Concepts of ‘Earth’ and ‘Boraq’ in Mirajyeh Texts

»ﺣﺪﯾﺚ« را اﮔﺮﭼﻪ ﻣﯽ ﺗﻮان ﭘﺎﯾﮥ ﺳﻨﺖ ﻣﻌﺮاج ﻧﺎﻣﻪ داﻧﺴﺖ، اﯾﻦ ﺳﻨﺖ در ﻣﺘﻮن ﺗﻔﺴﯿﺮي ﺑﺎرور ﺷﺪ و ﺑﻌـﺪﺗﺮ در ﻣﺘـﻮن ﻣﺴـﺘﻘﻞ ﻣﻨﺜـﻮر و ﻧﯿـﺰ ﻣﻘﺪﻣـﻪ ﻫﺎي ﻣﻨﻈﻮم اداﻣﻪ ﯾﺎﻓﺖ. در ﻣﻘﺎﺑـﻞِ ﺳـﻨﺖِ ﺑﺎﻟﻨﺴـﺒﻪ روﺷـﻦ ﻣﺘـﻮن ﻣﻌﺮاﺟﯿـﻪ، ﺳـﺮآﻏﺎزِ ﺗـﺎرﯾ ِﺦ ﻧﮕﺎره ﻫـﺎي ﻣﻌـﺮاج ﻣﻌﻠـﻮم ﻧﯿﺴـﺖ. آﻧﭽﻨـﺎن ﮐـﻪ ﻣﺸـﻬﻮر اﺳـﺖ ﻗﺪﯾﻤﯽ ﺗﺮﯾﻦ ﻣﻌﺮاج ﻧﮕﺎره ﻫﺎي اﯾﺮاﻧﯽ اﺳﻼﻣﯽ، ﺑﺎزﻣﺎﻧﺪۀ ﻋﺼﺮ ﻣﻐﻮل ﻫﺴﺘﻨﺪ؛ ﻧﯿﺰ ﯾﮑـﯽ از دو ﻧﻤﻮﻧـﮥ ﺳﻠﺴـﻠﻪ ﻧﮕﺎره اي ﻣﻌـﺮاج )ﻣﻨﺴـﻮب ﺑـﻪ اﺣﻤﺪﻣﻮﺳـﯽ( ﻣﺘﻌﻠﻖ ﺑﻪ ﻫﻤﯿﻦ ﻋﺼﺮ داﻧﺴﺘﻪ ﻣﯽ ﺷﻮد اﻣﺎ ﺗﺎ اﻣﺮوز ﻣﺘﻦ ﻗﺎﺑﻞ اﺳﺘﻨﺎد ﻧﮕﺎرﮔﺮان، ﺑﻪ ﻃﻮر ﻣﺘﻘﻦ، ﺷﻨﺎﺧﺘﻪ ﻧﺸﺪه اﺳـﺖ. ﺷـﻨﺎﺧﺘﯽ ﮐـﻪ در ﻣﻌﺮاج ﻧﮕﺎره ﻫـﺎي ﻣﺘﺄﺧﺮي ﮐﻪ ﺑﺮاي ﻣﻨﻈﻮﻣﻪ ﻫﺎ ﺳﺎﺧﺘﻪ ﺷﺪه، روﺷﻦ ﺗﺮ اﺳﺖ. ﻣﺘﻦ ﺣﺎﺿﺮ ﺑﺎ ﻓﺮض ﮔﺮﻓﺘﻦ ارﺗﺒﺎط ﻣﯿﺎن ﻣﺘﻮن و ﺗﺼﺎوﯾﺮ ﻣﻌﺮاﺟﯿﻪ ﻫﺎ، ﺗﻼش داﺷـﺖ ﺑـﺎ اﺗﮑـﺎ ﺑﻪ رواﯾﺖ ﻫﺎي ﻣﺨﺘﻠﻒ ﻣﻌﺮاج در ﻫﺮ دوره، ﺑﻪ دﺳﺘﻪ ﺑﻨﺪي ﻣﻌﺮاج ﻧﮕﺎره ﻫﺎي ﻣﺘﻘﺪم ﺑﭙﺮدازد و اﻟﮕﻮﻫﺎي ﺑﺼﺮي ﻧﮕﺎره ﻫﺎي ﻣﻌﺮاج را ﺗﺒﯿﯿﻦ ﮐﻨﺪ ﺗـﺎ ﭘﺎﺳـﺨﯽ ﺑﺮاي اﯾﻦ ﭘﺮﺳﺶ ﮐﻪ »ﭼﻪ ارﺗﺒﺎﻃﯽ ﻣﯿﺎن اﻟﮕﻮﻫﺎي رو اﯾﯽ و اﻟﮕﻮﻫﺎي ﺑﺼﺮي ﻣﻌﺮاج وﺟﻮد دارد؟« ﺑﻪ دﺳـﺖ دﻫـﺪ. در اﯾـﻦ راﺳـﺘﺎ، در ﮐﻨـﺎر »ﺑـﺮاق« )از اﺻﻠﯽ ﺗﺮﯾﻦ ﻋﻨﺎﺻﺮ ﻣﻌﺮاج(، از ﻋﻨﺼﺮ »زﻣﯿﻦ« ﮐﻪ ﻋﻨﺼﺮي ﻏﯿﺮﺿﺮوري در رواﯾﺖ ﻋﻤﻮﻣﯽ ﻣﻌﺮاج ﻣﯽ ﻧﻤﺎﯾﺎﻧـﺪ، در ﻣﻘـﺎم »راﻫﻨﻤـﺎ« اﺳـﺘﻔﺎده ﺷـﺪ ﮐـﻪ ﺑـﻪ اﯾﺠﺎد ﺳﻪ اﻟﮕﻮي ﺑﺼﺮي ﻣﻌﺮاج ﺑﺮاي ﻧﮕﺎره ﻫﺎي ﻗﺮن ﻫﺸﺘﻢ و ﻧﻬﻢ اﻧﺠﺎﻣﯿﺪ؛ اﻟﮕﻮﻫﺎﯾﯽ ﮐـﻪ ﻫﺮﯾـﮏ، روﯾﮑـﺮد ﻣﺘﻔـﺎوﺗﯽ ﻧﺴـﺒﺖ ﺑـﻪ ﻧﻘﺶ ﮐـﺮدن ﻋﻨﺼـﺮ زﻣﯿﻦ )ﺧﺎك، ﺳﺎﺧﺘﻤﺎن و...( اﺧﺬ ﮐﺮده ﺑﻮدﻧﺪ. ﺑﺮاي روﺷﻦ ﺗﺮ ﺷﺪن دﻻﯾﻞ ﺧﻠﻖ اﯾﻦ اﻟﮕﻮﻫﺎي ﺑﺼﺮي، ﺑﻪ ﻣﺘﻮن ﻣﻨﺜﻮر ﻣﻌﺮاج رﺟﻮع ﺷﺪ ﺗﺎ ﺿﻤﻦ ﯾﺎﻓﺘﻦ اﻟﮕﻮﻫﺎي رواﯾﯽ ﻣﻌﺮاج، از ﺷﺒﺎﻫﺖ ﻫﺎي ﻣﻮﺟﻮد در اﻟﮕﻮﻫﺎي ﺑﺼﺮي و رواﯾﯽ اﻃﻼع ﺣﺎﺻﻞ ﺷﻮد. در ﻧﻬﺎﯾﺖ، اﺳـﺘﻨﺎد ﺑـﻪ ﻋﻨﺼـﺮ زﻣـﯿﻦ در اﯾـﻦ دو ﻧـﻮع رﻓﺘﺎر )ﻣﺘﻨﯽ و ﺗﺼﻮﯾﺮي(، ﺗﻮاﻧﺴﺖ ﺳﻪ اﻟﮕﻮي ﺑﺼﺮي ﻣﻌﺮاج ﻧﮕﺎره ﻫﺎ را ﻣﻌﻨﺎدار ﺳﺎزد. در اﯾﻦ ﺳﻪ اﻟﮕﻮ، دﺳﺘﻪ اي از ﻧﮕﺎرﮔﺮان ﺑـﻪ زﻣـﯿﻦ ﻧﻘﺸـﯽ ﻣﺤـﻮري در ﻧﻤﺎﯾﺶ ﻣﻌﺮاج ﺑﺨﺸﯿﺪه اﻧﺪ، دﺳﺘﻪ اي زﻣﯿﻦ را ﺣﺬف ﮐﺮده و در ﻧﻬﺎﯾﺖ ﻣﻌﺮاج ﻧﮕﺎراﻧﯽ ﻧﯿﺰ اﮔﺮﭼﻪ زﻣﯿﻦ ﯾﺎ ﻧﺸﺎﻧﻪ ﻫﺎي زﻣﯿﻨﯽ را ﺗﺼﻮﯾﺮ ﮐﺮده اﻧﺪ، رﻓﺘﺎري ﻣﻐﺎﯾﺮ ﺑﺎ ﻧﺺ ﻣﻌﺮاج داﺷﺘﻪ اﻧﺪ. اﯾﻦ ﭘﮋوﻫﺶ ﺑﺎ روش ﺗﻮﺻﯿﻔﯽ و ﺗﺤﻠﯿﻠﯽ و ﻣﻄﺎﻟﻌﺎت ﮐﺘﺎﺑﺨﺎﻧﻪ اي ﺷﮑﻞ ﮔﺮﻓﺘﻪ اﺳﺖ.

Hadith is the fundamental basis on which the tradition of Miraj Nameh was formed. This tradition flourished in interpretive texts and continued in independent prose texts and poetic introductions. Unlike the roughly known tradition of Miraj literature, the history of Miraj Miniatures is not clear. The oldest Iranian-Islamic Miraj Miniature collections belong to the Mongol era. Despite the existing knowledge about later Miraj poetry, the exact text that has been used by the painters in Miraj Miniatures still has not been found out. Therefore, this study tries to discuss the relationship existing between narrative and visual patterns of Miraj tradition. In other words, this text focuses on the relationship between literature and miniature of Miraj tradition and tries to categorize early Miraj Namehs according to different Miraj narratives in different historical eras. To identify the texts cited by the painters, the writer has tried to use the “earth" factor as a guide. Thus, this essay extracted three visual patterns from eighth- and ninth-century miniatures, each of which depicted a different viewpoint on the “earth" factor (soil, building, and so on.). To clarify the reasons for creating these visual patterns, the prosaic texts of Miraj Namehs were examined; the result was an illustration of the narrative patterns of Miraj and the recognition of the similarities existing between the visual and narrative patterns. The “earth” factor used in these textual and visual contexts made three visual patterns of Miraj meaningful. In these patterns, some have given the earth an essential role in the Miraj’s narration. In some others, the earth has entirely been removed, and finally in the rest a counter manner against the Miraj’s text has been observed, although they have illustrated the earth or earthly signs. This essay tries to recognize and define these patterns. This research adopted a descriptive and analytical method and was undertaken by library study.