كليدواژه :
مرغ بسم الله , خوشنويسي اسلامي , سفالينه نيشابور , تبارشناسي , هنر ايراني
چكيده فارسي :
نقش نوشته موسوم به «مرغ بسم الله» از جمله شاخه هاي هنري خوشنويسي اسلامي است كه از منظر مطالعه گرايش هاي نوين در خوشنويسي و همچنين در ارتباط با نماد شناسي عرفاني مورد توجه قرار گرفته است. اين نقش مايه غالباًً در ارتباط با گفتمان صوفيانه و ملهم از ادبيات عرفاني و ذوق آزمايي هاي عارفانه هنرمندان به ويژه در دوران صفويه و قاجار تبيين گشته است. در اين پژوهش تاريخي- تحليلي كه با استفاده از روش تبارشناسي ميشل فوكو انجام گرفته، نقش نوشته مرغ بسم الله نه صرفاً به عنوان محصول انگاره عرفاني هنر اسلامي، بلكه در ارتباط تاريخي و هويتي با تداوم سنت هاي بيان بصري در ميان جريان هاي هنري شرق ايران هم چون سفالينه هاي منقوش نيشابور در سده چهارم و پنجم هجري قمري مورد واكاوي قرار گرفته است. لذا هدف اين پژوهش، تبارشناسي نقش نوشته مرغ بسم الله و تحليل نسبت تاريخي ميان نمونه هاي هم نشيني نقش پرنده و نوشتار از سفالينه هاي منقوش نيشابور سده چهارم تا نمونه هاي متأخر در دوران صفويه و قاجار است. نتايج اين پژوهش نشان مي دهد هم نشيني نقش پرنده و نوشتار در هنر ايران به ويژه در فضاي بصري گرافيكي سفالينه هاي منقوش نيشابور دوره ساماني حائز ويژگي هاي زيبايي شناسانه و سبك شناختي است كه فراتر از تزئينات يا ذوق آزمايي صرف رفته و در نوعي هم سرشتي، مي تواند به عنوان يكي از تبارهاي تاريخي نقش نوشته مرغ بسم الله تلقي گردد.
چكيده لاتين :
The field of inscriptive motifs that known as “Bismillah
Bird” is one of the artistic branches of Islamic calligraphy,
also called "Shaped Scripts". The artistic branch of Bismillah
Bird has been studied and researched repeatedly, both as it
relates to studying new trends in calligraphy and as it relates
to mystical symbolism. For this reason, when researching
the genealogy of this written motif and its origin, a lot of
attention is paid to the Sufism view and discourse in the
history of Islamic arts. It is also important to note that
mystical literature and the random mystical creativity of
artists, particularly during the Safavid and Qajar eras, played
a major role in the development of this field. It is important
and necessary to pay attention to the contextual and
historical background of the development of artistic motifs
in different periods in connection with the continuation
of artistic traditions within a specific culture as well.
Because culture is always focused on the past, it also has
a history and the history of culture can be written. Cultural
phenomena aren't natural but historical, and the conditions
for their emergence can be determined. Understanding the
culture and accurate perception of artistic phenomena is
not possible except by relying on their historical essence.
In this historical-analytical research, which has been done
using method of genealogy in parallel with Gestalt theory,
the written motif of Bismillah Bird has been measured not
only as a product of the mystical ideas of Islamic art, but also
in relation to its historical origins. As part of the historical
and identity search, the continuation of traditions of visual
expression has been studied in relation to artistic currents
of Eastern Iran, such as 4th and 5th centuries (AH) painted
potteries. In order to identify the origin of the written motif
of the Bismillah Bird in Iranian art throughout the Islamic
period, this study is devoted to search its genealogy. Also,
in this study, the analysis of the historical links between
the bird pattern and the inscriptions in the painted pottery
of Nishabur in the 4th century to the later specimens in
the Safavid and Qajar eras has been studied by referring
to 16 samples of artworks. Therefore, the results of this
research by using Gestalt theory show that the correlation
of the bird motif and inscription in Iranian art, especially
in the visual atmosphere of Nishabur painted pottery of
the Samanid period has aesthetic and stylistic features that
have gone beyond mere decorations or random creativity.
Thus, the interaction of these two motifs in the pottery of
Nishabur in the 4th century (AH) can be seen as the origin
of the inscriptive motif of the Bismillah bird. As a result,
paying attention to the historical and genealogical aspects
of artistic motifs rather than overemphasizing their mystical
and spiritual features is important not only to recognize the
identity and art history, but can also be a barrier against
cultural forgery.
