پديد آورندگان :
ايزدي، عباس دانشگاه تربيت مدرس تهران - دانشكده هنر , خزايي، محمد دانشگاه تربيت مدرس تهران - دانشكده هنر - گروه ارتباط تصويري , پورمند، حسنعلي دانشگاه تربيت مدرس تهران - دانشكده هنر - گروه پژوهش هنر
كليدواژه :
صفويان , قزلباش ها , نگارگري , مكتب تيريز صفوي , شاهنامه طهماسبي
چكيده فارسي :
قزلباش‌ها از مهم‌ترين عوامل قدرت در دوره صفوي بوده‌اند كه نزديك به يك قرن، مهم‌ترين مناصب نظامي و سياسي ايران را دراختيار داشتند. آن‌ها نقش اصلي را در به‌‌قدرت رسيدن صفويان ايفا كردند. هم‌زمان با قدرت قزلباش‌ها، تصويرسازي شاهنامه طهماسبي به‌دستور شاه‌اسماعيل‌اول (۹۰۵-۱۴۹۹/۹۳۰-۱۵۲۳) آغاز شد و در زمان سلطنت شاه طهماسب اول (۹۳۰-۱۵۲۳/۹۸۴-۱۵۷۶) پايان پذيرفت و قزلباشان كه مشخصه اصلي آن‌ها، كلاه‌هاي موسوم به قزلباش بود، در اين نگاره‌ها تجسم يافتند.
پژوهش حاضر با رويكردي توصيفي - تحليلي و تاريخي و روش گردآوري اطلاعات به‌شيوه كتابخانه‌اي، به اين سؤال پاسخ‌داده‌است كه نگارگر تاچه ميزان توانسته جايگاه و اهميت قزلباش‌ها را در اين دوره درخلال نگاره‌هاي شاهنامه طهماسبي تصوير كند. اين نوشتار با هدف آشنايي با جايگاه و دلايل اهميت قزلباش‌ها در اوايل عصر صفوي انجام پذيرفته است. انتظار مي‌رود موقعيت منحصربه‌فرد قزلباش‌ها در عرصه سياسي، دليل اصلي بازنمايي گسترده آن‌ها در نگاره‌هاي شاهنامه طهماسبي بوده باشد.
نتايج اين پژوهش ضمن تأييد فرضيه فوق، نشان مي‌دهد كه عنوان قزلباش، به جنبه‌اي فراقبيله‌اي اشاره دارد؛ به‌طوري كه در دوره صفوي، ايران را با نام كشور قزلباش مي‌شناخته‌اند. مناصب قزلباش‌ها هم كه در نگاره‌هاي شاهنامه طهماسبي درقالب مناصب درباري، نظامي و هنري مشاهده مي‌شود، در بسياري از موارد، اين جنبه از قابليت آن‌ها را نشان مي‌دهد.
چكيده لاتين :
The Shahnama of Shah Tahmasp (1524–76), also known as theShahnama-yi Shahi, is arguably the most luxuriously illustrated copy of Firdausi’s epic ever produced in the history of Persian painting.Its pages, with outstanding measurements for an illustrated book (approximately 48 x 32 cm), are made of fine paper enriched with large gold-sprinkled borders and lavish illuminations. Accompanying the 759 folios of text, written in superb nasta’liq script, are 258 paintings of exquisite quality and artistic originality.
This project was realized at the royal atelier in Tabriz, the first capital of the Safavid dynasty (1501–1736), and involved two generations of the most renowned artists of the time. Among them were Sultan Muhammad, Mir Musavvir, and Aqa Mirak, who succeeded each other as directors of the project through the years. Scholars still disagree about the actual dates of execution of the manuscript. It was begun around the early 1520s, probably under Shah Isma’il (r. 1501–24), the founder of the dynasty, and carried out for at least another twenty years under Shah Tahmasp, the manuscript’s dedicatee and principal sponsor.
The artistic importance of this manuscript cannot be overestimated. It is considered one of the highest achievements in the arts of the book for its superb calligraphy, painting, and illumination. From a pictorial point of view, it also marks the synthesis of the two most important phases of the Persian tradition—the Turkman style, which developed in Tabriz and Shiraz, and the Timurid style, associated with Herat.
Qizilbashes are among the sources of power in Safavid era that nearly a century held the most important posts of martial and political. They performed main role in governing of Safavids and shah Ismaeil could find to his political and religious goals with their aids. At the same time with Qizilbashes power, illustration of shah Tahmasp shahnama began with patronage of shah Ismaeil I (905-930 A.H/ 1499-1523 A.D) and finished in time of Shah Tahmasp I’ reign (930-984 A.H/ 1523-1576 A.D) and the Qizilbashes were illustrated in the paintings with their specific Qizilbash hat.
This researh with a descriptive-analytical and historical approach and with data collection in the basis of library, answers to the question that what is the achievement of painter in illustrating of Qizilbashes place and their importance in this era through of the shahnama of Shah Tahmasp paintings. It supposes the uniqe place of Qizilbashes in field of pilitical is the main reason of their representation in paintings of the shahnama of shah Tahmasp.
results of this research with confirmation of this supposition, show Qizilbash title, apart from a tribal title, indicates to a transpersonal aspect and even in Safavid time Iran has been identified with the name of Qizilbash country and presentment of a Qizilbash in the paintings of the shahnama of Shah Tahmasp indicates to a transpersonal and transtribal aspect in a lot of cases. The illustrated posts of the Qizilbashes in the paintings (courtier, martial and artistic) show this aspect of their capacity in a lot of cases.
