كليدواژه :
تصويرگري اسب , متون اسب شناسي , شاهنامه بايسنغري , ابراهيم سلطان , محمد جوكي
چكيده فارسي :
اسب با همان حضور پررنگي كه در زيست گذشتگان -خصوصاً پادشاهان- داشته به تصاوير كتاب ها راه پيدا كرده است، از اين رو او يكي از مهمترين ابژه هاي تصويري در خلق نگاره ها قلمداد مي شود. با توجه به اين موضوع و نگاه به ارزش حيواني كه نه تنها نماينده ي قدرت و عظمت يك لشكر بوده است بلكه نقش يگانه اي در خودنمايي هاي شاهانه ايفا مي كرده بايد پرسيد مصوران او را چگونه به تصوير كشيده اند؟ آنها كه خود در بستر جامعه ي درباري مي زيسته و يحتمل صاحب اسبي بوده تا چه اندازه در تصويرگري اين حيوان به كيفياتي وفادار بوده كه بر اسب خوب و زيبا دلالت داشته است؟ آيا اين كيفيات كه مستخرج از متون اسب شناسي از جمله فَرَسنامه ها و ديگر كتابهاي نوشته شده در باب خيول و اسبان است با معيارهاي مصوران در تصويرگري اسب همپوشاني دارد يا به كل متفاوت از يكديگر هستند؟ براي پاسخ به اين سوالها تنها سه شاهنامه ي مصور عصر تيموري به روش توصيفي-تحليلي مطالعه شده اند. دو نتيجه از اين پژوهش حاصل ميشود، نخست اينكه بازنمود اسب در اين سه دست نوشته ي مصور خارج از چارچوب طبيعت نبوده است. دوم آنكه مصوران شاهنامه ي بايسنغري تلاشي ستودني در جهت تصويرگري اسب نيك داشته اند و معيارهاي ايشان بسيار به گفته هاي اسب شناسان نزديك است.
چكيده لاتين :
The horse has found its way into the images of books
with the same strong presence that it had in the lives of the
ancients - especially kings -, so it is considered one of the
most important visual objects in the creation of miniatures.
Given this issue and the view of the value of the animal,
which not only represented the power and greatness of an
army, but also played a unique role in the royal ostentation,
one has to ask how the painters portrayed him. To what
extent did those who lived in the context of the court society
and possibly owned a horse, in the depiction of this animal,
be faithful to the qualities that indicated a good and beautiful
horse? Do these qualities, which are extracted from equine
science books such as Farasnamas and other books written
about horses, overlap with the criteria of illustrators in horse
illustration or are they completely different from each other?
Understanding the approach of illustrators in the illustration
of designs depends on recognizing and studying written
sources that have spoken directly about theoretical and
practical issues related to Persian painting. Since this cultural
land lacks such a written tradition, other sources have always
been replaced and studied in order to understand the rules of
this art, sources that may not be directly related to Iranian
painting, but their subject matter is about the most prominent
designs. It should be noted, however, that these sources can
never arrive at a comprehensive theory of the criteria of
illustration and ultimately provide a definition of the correct
proportions of the motifs, a definition by which a complete
work of art can be recognized.
The sources studied here are equine science books. These
books, which have been written, translated and sometimes
illustrated under different titles such as Farsnama, albeytarah,
Al-Khail in different Islamic lands, are classified
under natural sciences because they are written based on
direct observations of horses. The purpose of writing these
books is to transfer knowledge in order to understand good
and bad horses, symptoms and treatment of diseases of
this animal. What makes equine science book a valuable
resource in the absence of artistic books and cited by art
historians is their content. In these books, aesthetic qualities
such as the beautiful shape of the limbs, movements, the
size of each member in relation to the part and the whole,
colors and whiteness that indicate the value or worthlessness
of the horse is drawn. Given such content, which is full of
descriptions of good and bad horses and the most detailed
information about its appearance, it can be included in the
field of Iranian painting because this art is always defined
in great detail.
In generally, two conclusions be drawn from this research,
first, that the illustration of the horse in these three illustrated
manuscripts was not outside the framework of nature.
Secondly, the illustrators of Baysonghori Shahnama have
made a commendable effort to depict a good horse, and their
criteria are very close to those of equine science experts
