معناكاوي نقش مايه درخت كهنسال در نگاره خون دماغ شدن اسكندر و آسائيدن او از هفت اورنگ جامي

The Semiotics of the Old Tree’s Motif in the Image of Alexander’s Nose and his Relief in Haft Awrang Jami

درختان در نگارگري ايراني، به عنوان اصلي ترين عنصر طبيعت، در اغلب نگاره ها وجود دارند. درختان گره خورده كهن سال از عناصر تصويري شاخص در نگاره هاي مكتب مشهد است كه نمونه بارز آن در هفت اورنگ جامي وجود دارد. در آخرين نگاره اين مجموعه به نام خون دماغ شدن اسكندر و آسائيدن او درخت تنومند كهن سالي وجود دارد كه شاخه هاي آن در حال سوختن است. براي كشف مفاهيم وجود اين درخت، در اين پژوهش از علم نشانه شناسي استفاده شده است. حال سؤال اصلي اين است كه نقش مايه درخت كهن سال در نگاره مورد نظر، بر چه مفاهيم ضمني، خارج از وجه ارجاعي خود دلالت دارد؟ در اين پژوهش سعي بر آن است كه با علم نشانه شناسي، برگرفته از نظريات كرس، ون ليوون و شعيري در راستاي تحليل متن و تصوير به مفاهيم ضمني درخت كهن سال در نگاره مذكور دست يافت. روش تحقيق، توصيفي، تحليلي و نشانه شناسي ديداري است. شيوه گردآوري اطلاعات با مراجعه به منابع كتابخانه اي است. براساس مطالعات نشانه شناسي نتايج حاصله نشان مي دهد كه وجود درخت در اين نگاره تنها يك نشانه تصويري براي نشادن دادن طبيعت نيست و جنبه اي كاملاً نمادين دارد كه مي تواند نمادي از اسكندر و ابراهيم ميرزا (برادرزاده شاه طهماسب) حامي و پشتيبان خلق هفت اورنگ جامي باشد.

Iranian painters have always depicted the imaginary world in drawing and trees are the most common element of nature in most images. The existence of old gnarled trees is one of the main features of the Mashhad School, and its prominent example is visible in Haft Awrang Jami. Haft Awrang Jami is the school's most important achievement and it is among the latest masterpieces of Iranian royal painting. Old trees appear in two-thirds of the pictures. The last image of this collection is the Alexander's nose and his relief, which illustrate the story of Alexander's death. There is a huge, old tree whose branches are burning. Semiotic methodology is used to explore concepts and meanings of this tree. Bearing in mind that Iranian painting has a deep connection with literature and in the Haft Awrang Jami, the relationship between the book’s characters and the fictional literature are intertwined and the narrative images are clearly interpretations of the literal expressions of the text, which are in fact derived from the mystical and ethical themes. So there must be a special connection between this organic character and the storyteller. What is the symbolic implication of that the old tree's motif in the desired image? This research, is based on semiotic theory of Kress& Van Leeuwen and some thoughts of Hammidreza Shaeeri. The research method is descriptive, analytical, based on visual semiotics. The method of collecting information is desk-based. On the basis of the semiotic studies, the results show that the existence of a tree in this image is not just a visual cue to illustrate the nature and it has a completely symbolic function. By analyzing the semiotics in the structure of this picture and examining factors such as narrative processes, symbolic processes, and compositions, it can be concluded that the high tree is a sign created in a structure with the intention of representing the narrative. The tree is symbol of the power, ambition, life, sickness, and human immortality. The tree that once was the source of blessings is being destroyed by social events. Sheikh Mohammed is influenced by these events and the turmoil that dominates society. According to the storyteller who speaks of the tree as a symbol of Alexander which has successively been destroyed by Alexander's death, it might depict Ibrahim Mirza in Alexander the Great era, and Alexander's troops and mourners could be a metaphor for the people and artists who found themselves in disarray after the overthrow of Ibrahim Mirza