كليدواژه :
ﻧﮕﺎرهﻫﺎي ﺑﻬﺸﺖ و ﺟﻬﻨﻢ , دﯾﻮارﻧﮕﺎري ﻗﺎﺟﺎر , ﺑﻘﻌﮥ ﭘﯿﺮ رودﺑﻨﺪ , آﯾﮑﻮﻧﻮﻟﻮژي
چكيده فارسي :
ديوار نگاري، بخشي از تزيين بناهاي مذهبي، نظير كليسا، مساجد و بقاع، با الهام از اعتقادات و روايات ديني ترسيم مي شده است. مضمون بهشت و جهنم، يكي از موضوعات ديوارنگاري مذهبي در بقعه هاي دوره قاجار، مورد توجه بسياري از نقاشان بوده است. مسئله اي كه در اين مقاله مطرح مي شود، نگاره هاي بهشت و جهنم در ديوارنگاري بقعه پير رودبند دزفول، در استان خوزستان، از مهم ترين گونه هاي ديوارنگاري ايراني كه دوران اوج و شكوفايي خود را در دوره قاجار و در پيوند با بافت مذهبي اين شهرستان، سبك و سياق نقاش، بازتاب معناي خاص نگاره ها، سپري نموده است. تاكنون به ارتباط بستر فكري، فرهنگي، اجتماعي بازه زماني قاجار بر نقشمايه ي بهشت و جهنم بقعه پير رود بند دزفول پرداخته نشده است. بر اين اساس، با استفاده از رويكرد آيكونولوژي، تلاش مي شود با رمزگشاييِ منظر تاريخي، معناي ذاتي و محتوا را مورد خوانش قرار دهند. آيكونولوژي يا شمايل شناسي شاخه اي از آناليز آثار هنري در مطالعات تاريخي است. كه در سه مرحله مختلف؛ توصيف، تحليل و درنهايت به تفسير آثار مي پردازد. از اين رو پژوهش حاضر، با تكيه بر نظريه پانوفسكي و با روش توصيفي- تحليلي و شيوه گردآوري اطلاعات كتابخانه اي و ابزار آن، عكاسي و مشاهده تصاوير مي باشد. در بيان نتايج اين پژوهش مي توان گفت كه بررسي عواملي نظير تاثير پذيري نقاش و آموزش هاي گذرانده در اصفهان، در روند شكل گيري و خلق نقوش، به نگرش اجتماعي، فرهنگي و تاريخي در دوره قاجار مربوط مي شود. در ادامه با واكاوي نگاره ها مشخص شد كه نقاش در ترسيم ديوارنگاره بناي مذهبي فوق، متاثر از كليسا و نماد هاي مسيحي، نمود هاي ديني در اسلام با تلفيقي ايراني تصاوير را خلق نموده است. كه زائرين را در حين ورود، درگير ارتباطات عرفاني و روحي مي كند.
چكيده لاتين :
Mural painting in Iran has been considered by artists and art critics for thousands of years. Paintings The image of heaven and hell is a part of the decoration of tombs in the Qajar period, which is known as the most important issues in the hereafter. In sacred buildings, this theme connects with the religious beliefs of the common people and the painter's aesthetic imagination, and creates a link for the transmission of spirituality, mysticism and religious sincerity in the context of society. The issue raised is related to the drawing of the image of heaven and hell in the mural of the tomb of Pir Rudband in Dezful in Khuzestan, which is the only surviving pictorial work from the Qajar period in this province, due to the religious nature of this city, style and The painter's context has a special semantic reflection in the creation of paintings.
It can be said that the design and execution of these paintings was unique in its time. Therefore, the purpose of examining this remaining artistic treasure is to use a new approach and a new perspective in the field of art criticism and aesthetics, which is done according to the model of iconology. To find the authors' answers in a descriptive-analytical way, two frames of the tomb of Pir Rudband Dezful with the theme of "heaven and hell" with an iconological approach, the study of the painter and the training he received in Isfahan during the Qajar period, was able to form By combining religious, Iranian and Western elements, the designs create images that, by analyzing them, revealed that each of them has a meaning in order to create a spiritual and spiritual connection to the audience with the arrival of the pilgrims. Execution of paintings on top of the building makes this feature more evident.
The present research is descriptive-analytical and its research method is iconology. This method has many capabilities in explaining, analyzing and interpreting historical works of art. So first by describing the iconological approach defined by Panofsky; Will be explained. and then to mural painting in Iran and the background that has passed until the Qajar period. During this period, important factors in mural painting have had an impact. Among the religious themes, in the sacred buildings, which distinguishes it from the court frescoes. Meanwhile, the city of Dezful, which is one of the religious cities in different historical periods of Iran. There is a famous tomb called Pir Rudband with a fresco on the other side (heaven and hell), which has become special. The study of the murals of this building, with the iconology approach, includes pre-iconographic description, iconographic analysis and finally the interpretation of iconology. Data collection has been done by library, documentary and field methods.
It is worth mentioning that the execution of paintings in the upper part of the building makes this feature more evident. and engage the pilgrims in spiritual communication as they enter. It is worth mentioning that the execution of paintings in the upper part of the building makes this feature more evident.
