پديد آورندگان :
عباچي، معصومه دانشگاه شهيد باهنر كرمان - دانشكده هنر و معماري صبا , فهيمي فر، اصغر دانشگاه تربيت مدرس تهران - دانشكده هنر و معماري , طاووسي، محمود دانشگاه تربيت مدرس تهران - دانشكده هنر و معماري
كليدواژه :
شاهنامه ي كهن جهان , نسبت ۲راديكال , عناصر زيبايي شناسي , شاهنامه هاي اينجو
چكيده فارسي :
يكي از كهن‌ترين شاهنامه‌هاي مصور ايران، كه براي بسياري از پژوهشگران ناشناخته است، شاهنامه‌ي « كاما» يا «دستور» است كه به نظر مي‌رسد متعلق به اوايل قرن هفتم ه.ق باشد. اين نسخه‌ي مصور داراي جنبه‌هاي ساختاريِ بسيار اصيلي است كه تاكنون بدان و تأثيرات زيبايي‌شناختي آن بر ساير نُسخ ادوار بعد پرداخته نشده است. هدف اصلي اين جستار تحليل هندسه‌ي مبنايي و بررسي تأثيرات زيبايي‌شناختي اين شاهنامه بر شاهنامه‌هاي مكتب شيراز اينجوست.
سوال اصلي پژوهش حاضر اين است كه شاهنامه‌ي مذكور به لحاظ عناصر تصويري و هندسه‌ي مبنايي چه تأثيراتي بر نگاره‌هاي اصيل مكتب اينجو گذارد؟ روش اين تحقيق توصيفي و تحليلي- تطبيقي، مبتني بر اولين مرحله از رويكرد اروين پانوفسكي، كه توصيفي پيشا‌شمايل‌نگارانه است، با تكيه بر منابع كتابخانه‌اي و اينترنت مي‌باشد.
تحقيقات اين پژوهش اشكار مي‌سازد نگارگر شاهنامه‌ي كاما از نسبت راديكال 2 كه نسبتي است متعلق به دوران كهن -پيش از نسبت طلايي كه مصريان باستان به كار مي بردند - حدّاكثر بهره‌برداري را نموده است. اين نسبت در شاهنامه‌هاي اينجو تداوم مي‌يابد. نتايج حاصل از تطبيق نگاره‌هاي دو مكتب سلجوقي و اينجو آشكار مي‌سازد كه به‌جز هندسه‌ي مبنايي، بسياري از عناصر تصويري شاهنامه‌هاي اينجو نظير رنگ‌هاي ناب، فضاسازيِ كتيبه‌وار و فشردگي عناصر بصري در كادر افقي و طراحي پويا، از نگاره‌هاي شاهنامه‌ي كاما، تأثيرات بسياري پذيرفته است.
چكيده لاتين :
One of the most ancient Iranian manuscripts, which unknown for many researchers, is Shahnameh "comma" or "Dastur that seem to belong to the early seventh century AH. This illustrated MSS with very genuine structural aspects, which its aesthetic has potential impact on the other MSS of the following periods, have not been addressed. Many researchers, such as Adamuva and Gyvzalyan believe the oldest illustrated MSS of Shahnameh belongs to the mid-eighth century of the Hijra (Adamuva, Gyvzaliyan, 2007: 27). Shahnameh "comma" and visual elements of this manuscript to challenge the views of the researchers on some pictorial characteristics, which is believed to be Mongolian elements before the discovery of this Shahnameh in India; eg, Sheila Canbay believed that breaking the frame of picture with legs of horses and riders is the elements of Mongol in the year of 730 AH/ 1330 AD in Tabriz 1 or Bagdad School. She also stressed the move and horse riding in tight spaces and compact horizontal frame are of features and elements of Mongol.
The main aim of this paper is to analyze the geometry of the foundation and the aesthetic impact of Shahnameh of "comma" on the Shahnamehs of Shiraz School in the Injo period. The other aims of this study are to investigate the motifs of the Shahnameh "Comma" in order to determine its originality, and check the continuity or discontinuity some important motifs of this Shahnameh on the Shiraz School in Injo age.
The main question of the paper is, what are the effect of visual elements and hidden geometry of Shahnameh "comma", on the original, and pure image of the Injo School? So, this article answers the following secondary questions: 1. Is it antiquated and exquisite Shahnameh belongs to the Seljuk period? What resources has affected on this manuscript? 2. What are the Iconic motifs of the Shahnameh comma is there, but don't continue in the Persian paintings of Injo period at the Shiraz?
This research is descriptive and comparative analytical method, based on the first phase of Erwin Panofsky's approach, which is pre-iconographical description, relying on library resources and the Internet. The aim of the first stage of the method of Panofsky is, in fact, survey the motifs and stylistic characteristics and structure of the painting in the Shahnama "Comma" and identify the motifs of which have been experiencing a metamorphosis and transformation in the Injo age at the Shiraz.
The study shows that the painter of the Shahnameh of "comma" has used to the ratio of radical 2, which belong to ancient world, before the ancient Egypt, for depicturing the frame of painting, and hidden structure in the picture. This ratio continues in the Injo shāhnāmehs.
The results of the comparison between the painting of Seljuk and Injo schools reveals that except geometry basis and the ratio of radical 2 in the picture of the Injo shāhnāmehs, many visual elements such as pure and bright color, Compression of the composition and image elements in box-like atmosphere, took much impression of the Shahnameh "comma".
