بررسي تطبيقي عناصر بصري نگاره هاي حماسي وعرفاني

Comparative Study on visual Elements of Mystical and Epical Persian painting

ادبيات حماسي وعرفاني داراي ويژگيهاي متفاوتي هستند. نگارگري ايراني اسلامي در هم نشيني با اين دو شيوه از ادبي فارسي، تاثيرگرفته است . همين مساله باعث شده،نگاره هايي كه به يكي از اين دو موضوع پرداخته درتركيب بندي واستفاده از عناصر بصري تفاوت هايي باهم داشته باشند. اين تحقيق درجست وجوي كيفيت تعامل بين نگارگري وادب فارسي است وپاسخ به اين پرسش كه ويژگي هاي ادب فارسي در حماسه وعرفان ، چگونه در عناصر بصري ظاهر شده وچه تفاوتي را در نگاره هاي حماسي وعرفاني به وجود آورده است ؟ برخلاف چهره يكسان نگاره هاي حماسه وعرفاني با موضوعات مختلف، تفاوت هاي محسوسي وجود دارد. به نظر مي رسد تفاوت هاي ايجاد شده ، ناشي از ماهيت پرتحرك مضامين حماسي وثبات وآرامش مضامين عرفاني بوده است. نماد پردازي تصويري ورنگ در كنار مضامين ادب فارسي ، از مهم ترين ويژگي هايي است كه در عناصر اين نگاره ها تبلور يافته است . روش تحقيق اين پژوهش توصيفي وتحليل محتوا وماهيت آن تطبيقي است. شيوه جمع آوري مطالب هم كتابخانه اي است .

Epical and mystical literature properties are different. Islamic Persian Painting has been influenced, in company with these two styles of Persian literature. So, the images that have been illustrated in one of the two discussed styles, have some differences in their compositions and using of visual elements. This research tries to find the quality of interaction between Persian painting and literature and the questions which to be answered in this article are: How did Persian literary specificities in mysticism and the saga, appear in visual elements and have influences on paintings? And what differences have created in the epic and mystical paintings? Despite of the same appearance between the epic and mystical paintings, there are differences between them which seems, differences have been, due to the nature of the stirring epic themes and stability and peace of mystical themes. Visual symbolization and coloring, along with features of Persian literature, are the most important features that appear in the elements of these paintings. This research has been done based on library practices. In codification and conclusions, has been used of comparative, descriptive and analytic methods