پديد آورندگان :
ﻋﺒﺪاﻟﻠﻬﯽﻓﺮد، اﺑﻮاﻟﻔﻀﻞ داﻧﺸﮕﺎه ﻫﻨﺮ اﺳﻼﻣﯽ ﺗﺒﺮﯾﺰ، ﺗﺒﺮﯾﺰ، اﯾﺮان , ازهري، فريبا داﻧﺸﮕﺎه ﻫﻨﺮ اﺳﻼﻣﯽ ﺗﺒﺮﯾﺰ، ﺗﺒﺮﯾﺰ، اﯾﺮان , ﺿﯿﺎﺋﯽ، ﻣﺠﯿﺪ داﻧﺸﮕﺎه ﻫﻨﺮ اﺳﻼﻣﯽ ﺗﺒﺮﯾﺰ، ﺗﺒﺮﯾﺰ، اﯾﺮان
كليدواژه :
ﻫﻔﺖ اورﻧﮓ ﺟﺎﻣﯽ , ﺳﺎﺧﺘﺎر ﺑﺼﺮي , ﻣﮑﺘﺐ ﻣﺸﻬﺪ , ﻧﮕﺎرﮔﺮي
چكيده فارسي :
ﭼﮑﯿﺪه ﮐﺘﺎب ﻫﻔﺖ اورﻧﮓ ﺟﺎﻣﯽ ﻧﻤﺎﯾـﺎﻧﮕﺮ ﺻـﻼﺑﺖ و ﺷـﮑﻮه در ﺳـﺎﺧﺘﺎر ﻧﮕﺎرهﻫـﺎي دورة ﺻـﻔﻮي اﺳـﺖ. ﺑـﺎ وﺟـﻮد ﺗﻼشﻫﺎي ﻣﺤﻘﻘﺎن در ﺗﺸﺮﯾﺢ ﺳﺎﺧﺘﺎر ﻧﮕﺎرهﻫﺎ، ﮐﻤﺎﮐﺎن ﻧﯿﺎز ﺑﻪ ﭘﮋوﻫﺶ در ﺧﺼﻮص رواﺑـﻂ ﻣﺨﻔـﯽ ﺣـﺎﮐﻢ در ﻣﯿﺎن ﻋﻨﺎﺻﺮ و ﺳﺎزهﻫﺎي آﺛﺎر ﻧﮕﺎرﮔﺮي ﻣﺸﺎﻫﺪه ﻣﯽﮔﺮدد. ﻣﺴﺌﻠﻪ ﻧﺤﻮة ارﺗﺒﺎط ﺳﺎزهﻫﺎي ﻣﺨﺘﻠﻒ ﯾﮏ ﻧﮕـﺎره در ﮐﻨﺎر ﻫﻢ، ﭼﮕﻮﻧﮕﯽ ﭘﺮداﺧﺘﻦ ﺑﻪ ﺳﺎﺧﺘﺎر و ﺳﺎﻣﺎنﯾﺎﺑﯽ آن ﺗﻮﺳﻂ ﻫﻨﺮﻣﻨﺪ ﻧﮕﺎرﮔﺮ در آﺛﺎر ﻣﻮرد ﺑﺤـﺚ اﺳـﺖ؛ ﻟـﺬا ﺑﺪﯾﻦ ﻣﻨﻈﻮر دو ﻧﮕﺎره از ﯾﮏ ﻫﻨﺮﻣﻨﺪ از ﮐﺘﺎب »ﻫﻔﺖاورﻧﮓ« ﺟﺎﻣﯽ اﻧﺘﺨﺎب ﺷـﺪﻧﺪ. اﯾـﻦ ﻧﮕﺎرهﻫـﺎ ﺑـﺎ ﻋﻨـﺎوﯾﻦ »ﯾﻮﺳﻒ ﺑﺮاي ﻧﺪﯾﻤﺎن زﻟﯿﺨﺎ در ﺑﺎغ ﺧﻮد ﻣﻮﻋﻈﻪ ﻣﯽﮐﻨﺪ« و »ﯾﻮﺳﻒ ﺑﻪ اﻓﺘﺨـﺎر ازدواج ﺧـﻮد ﺿـﯿﺎﻓﺘﯽ ﺷـﺎﻫﺎﻧﻪ ﺑﺮﮔﺰار ﻣﯽﮐﻨﺪ« ﻣﻨﺴﻮب ﺑﻪ ﺷﯿﺦ ﻣﺤﻤﺪ اﺳﺖ. ﺷﯿﻮة اﻧﺘﺨﺎب اﯾـﻦ آﺛـﺎر، وﺟـﻮد اﺷـﺘﺮاﮐﺎت ﻓـﺮاوان در ﺻـﻮرت ﻇﺎﻫﺮي دو ﻧﮕﺎره اﺳﺖ ﮐﻪ ﺑﻪ ﻧﻈﺮ ﻋﺎﻣﺪاﻧﻪ ﺑﻮده و در ﻣﻘﺎﻟﻪ ﺑﻪ آن ﻣﻮاردي ﭘﺮداﺧﺘﻪ ﻣﯽﺷﻮد ﮐﻪ ﻣﻨﺠـﺮ ﺑـﻪ اﯾـﻦ ﺗﺸﺎﺑﻪ ﺷﺪه اﺳﺖ؛ ﻟﺬا ﯾﺎﻓﺘﻦ اﯾﻦ ﻣﻮارد و اﯾﻨﮑﻪ ﻫﻨﺮﻣﻨﺪ ﺑﻨﺎ ﺑﻪ دﻻﯾﻠﯽ، آﮔﺎﻫﺎﻧﻪ از ﺳﺎﺧﺘﺎر ﻣﺸﺎﺑﻪ اﺳـﺘﻔﺎده ﻧﻤـﻮده؛ ﺿﺮورت اﯾﻦ ﺗﺤﻘﯿﻖ اﺳﺖ. ﻫﺪف، ﺗﻄﺒﯿﻖ ﺳﺎﺧﺘﺎري و ﻓﺮﻣﯽ در اﯾﻦ دو ﻧﮕﺎره اﺳﺖ. ﭘﺮﺳﺶﻫﺎ ﺷﺎﻣﻞ اﯾﻦ ﻣـﻮارد اﺳﺖ: از ﻟﺤﺎظ ﺳﺎﺧﺘﺎري وﯾﮋﮔﯽﻫﺎي ﻣﺸﺘﺮك دو ﻧﮕﺎرة ﺷﯿﺦ ﻣﺤﻤﺪ ﭼﯿﺴﺖ؟ ﮐﺪام ﻧﮕﺎره را ﻣﯽﺗـﻮان ﺑـﻪﻋﻨﻮان ﭘﯿﺶﻣﺘﻦ و ﯾﺎ ﭘﯿﺶدرآﻣﺪ ﺑﺮاي ﻧﮕﺎره دﯾﮕﺮ داﻧﺴﺖ؟ اﺳﺘﻔﺎده از ﺳﺎﺧﺘﺎر ﻣﺸﺎﺑﻪ در آﺛﺎر ﭼﻪ ﮐـﺎرﮐﺮدي ﻣـﯽﺗﻮاﻧـﺪ داﺷﺘﻪ ﺑﺎﺷﺪ؟ اﯾﻦ ﭘﮋوﻫﺶ ﺑﻪ ﻋﻨﺎﺻﺮ درونﻣﺘﻨﯽ و رواﺑﻂ آنﻫﺎ ﭘﺮداﺧﺘﻪ اﺳﺖ. روش ﺗﺤﻘﯿﻖ ﺗﻮﺻﯿﻔﯽ-ﺗﺤﻠﯿﻠﯽ و ﺗﻄﺒﯿﻖ ﺳﺎﺧﺘﺎر ﺑﺼﺮي ﻧﮕﺎرهﻫﺎ ﺑﻨﺎ ﺑﻪ اﺻﻞ ﻧُﻪﮔﺎﻧﮥ ﭼﺎرﻟﺰ ﺟﻨﺴﻦ ﺑﻮده ﮐﻪ ﺗﺤﻠﯿﻞ ﻋﻨﺎﺻﺮ و اﺻﻮل ﮐﯿﻔﯽِ ﺑﺼﺮي را درﺑﺮﮔﺮﻓﺘﻪ و در ﺻﺪد ﭘﺎﺳﺦﮔﻮﯾﯽ ﺑﻪ ﭘﺮﺳﺶﻫﺎي ﭘﮋوﻫﺶ اﺳﺖ. ﺑﺮ اﺳﺎس روﯾﮑﺮد ﭘﮋوﻫﺶ، ﻣﺸﺨﺺ ﮔﺮدﯾﺪ ﮐﻪ از ﻟﺤﺎظ ﺳﺎﺧﺘﺎري، ﻣﺠﻠﺲ اول ﺑﻪﻧﻮﻋﯽ ﭘﯿﺶﻣﺘﻦ ﻣﺠﻠﺲ دوم اﺳﺖ. در ﻫﺮ دو ﻧﮕﺎره ﯾﮏ ﻧﻔﺮ ﻧﺎﻇﺮ ﺑﺮ ﺻـﺤﻨﻪ وﺟﻮد دارد و ﺷﯿﺦ ﻣﺤﻤﺪ ﻗﺎب - ﮐﺎدر ﺧﻮد را در ﻣﺠﻠﺲ دوم ﺗﻮﺳﻌﻪ داده اﺳﺖ.
چكيده لاتين :
Hafte Arang book shows the strength and glory in the structure of Safavid period paintings. Despite the efforts of researchers to explain the structure of paintings, there is still a need for research on the secret relationships between the elements and structures of paintings. The issue is how the artist deals with the structure in the works in question, so for this purpose, two drawings of an artist from the book Haft Avang Jami were selected. These paintings are attributed to Sheikh Mohammad. The reason for selecting these works is purposeful and there are many commonalities in the appearance of two paintings, which seems to be intentional and requires research. The aim is structural and formal adaptation of these two images. The questions include: What are the structural features of the two paintings of Sheikh Muhammad? What can be the use of using a similar structure in works? This study seeks to answer the research questions with a structuralist approach and with a descriptive-analytical research method and Comparative and the use of library resources. In the studies, four cases were studied: the frame, the placement of the figures, the position of Yusuf and Zuleikha, and the dark-light contrast in the drawings. In both paintings, there is a person watching the scene and Sheikh Mohammad has expanded her frame in the second parliament. The two figures in both drawings function structurally the same despite their different personalities. In the second work, the host and in the first work, one of the halves, which is separated from the others, both have the function of creating sequence and sequential movement in the spiral movement of the drawings, and if they are removed, the spiral frame fails and has no connection with There are other figures. The most important meaning that can be obtained from the analysis of the structure of drawings is that; In the second parliament, the painter implicitly praised his supporter, Sultan Ibrahim Mirza, and thus sanctified him and his government.
