تفسيري بر شكل پذيرش پرسپكتيو خطي در نقاشيِ متاخرِ صفوي

An Interpretation on Form of Reception of Linear perspective in Later Safavid Painting

تاثير پذيري نقاشي ايراني از نقاشي اروپايي از اواسط عهد صفوي باعث ايجاد جرياني در نقاشي ايراني شد كه تا دوران معاصر نيز ادامه يافته است. به نظر مي رسد طرحِ فضا در اين جريان نقطه كانوني اين مواجهه باشد. اين مقاله شكل پذيرش و اجراي تكنيك پرسپكتيو خطي را در نقاشي متاخر صفوي به عنوان نمودي از نخستين مواجهه هاي هنري ايران با «مدرنيته» تحليل و تفسير مي كند. يافته هاي بخشِ تحليلي مقاله نشان مي دهد كه جريان اصلي نقاشي در اواخر عهد صفوي واجد فضايي «تركيبي» يا «دوگانه» است و پرسپكتيو خطي در اين نقاشي ها اغلب به صورت «ناقص» و «منطقه اي» اجرا شده است. در بخش تفسيري با استفاده از رويكردِ پديدارشناسيِ هرمنوتيكِ هايدگر نشان داده شده است كه اين «تركيبِ تعارض آميز» تجسمِ مواجهه دو هستي شناسي ناهمساز است. به نظر مي رسد پيش از آنكه در فضاي انديشه ايران طرحِ افكنش تكنيكي و رياضياتي «هستي» استقرار يافته باشد؛ در فضاي نقاشي ايراني ابزارهاي تكنيكي براي بازنمائي فضايِ رياضياتي مدرن به كار بسته شد و در كنار فضاي باقيمانده از سنت نقاشي ايراني قرار گرفت. بنابراين مي توان گونه اي «ناهمزماني» را در شكلِ پذيرش تكنيك پرپسپكتيو خطي در نقاشي متاخر صفوي تشخيص داد. اين امر تصويرگر شكلي از مواجهه با مدرنيته است كه در آن دريافتِ صورتِ كالايي و تكنولوژيكِ مدرنيته مقدم بر استقرار طرحِ هستي شناسانه آن است.

The impact of European painting on Persian painting from mid Safavid era، is one of the early signs of the Iran’s cultural encountering Modern West. This impact causes a trend in Persian painting even lasting to contemporary era. Studying appearance of this trend can illustrate a mode of Iranian’s cultural encounter with “The Modernity”. It seems that the projection of “space” in this trend، is the focal point of this encountering. In first layer، this essay is to describe the form of impact of Persian painting from modern illustration of space. This description is limited to paintings from 1628 A.D (year of Shah Abbas death) to 1722 A.D (fall of the Capital of Isfahan). In next layer this essay interprets this form of encountering. In other word، this essay quests about “How” and “why” of this encountering respectively in the first and second layers. In First layer formal analysis of rendering the linear perspective in Persian painting showed that this technique was incorrectly and regionally implemented here and main current of Persian painting in this time، has a “synthetic” or “dual” space. However، perspectival space is a unified and universal space، this space set beside the residue of traditional space of Persian miniature painting that is originally based on a fluid perspective and in which “the particular” is dominant. When this setting appeared in Persian painting، learning perspective techniques was possible in Iran; but there was a historical obstacle or more exact، an ontological obstacle for correct and complete learning and using of this technique. In second layer، using hermeneutic phenomenology approach، it is shown that this space is a “conflicting synthesis” which illustrates non-compensable ontologies encountering. It seems that this technique (Linear perspective) was detached from its ontological context and interred into a different context in which wasn’t able to expand and apprehend. Perspectival space is corresponding to the concept of space that Modern physics already is based on. The Science that justly represents the mathematical character of Modern ontology. But this ontological context was not existed in Safavid era. Besides، the Modern conception of space wasn’t existed in philosophy and physics of that era. And generally، the historical ontology didn’t prepare the required context for changing the concept of place as a qualitative concept to the concept of space which is a quantitative one. It can be said that before establishment of mathematical and technical projection of “Being”، this technique was entered into space of Persian paining as a commodity or an instrument. This reception associates with mode of encountering with “the Modernity” in which technological instrument’s receptions is prior to its projection of Modern ontology. Thus “the Non-simultaneity” can be distinguished in rendering of linear perspective in space of Persian paining. This means that liner perspective appeared in the space of Persian painting in Safavid era، the “age” that it didn’t belong to. “The Non-simultaneity” can be seen as the dominant mode of encountering with the Modernity in the history of Persian painting since mid-Safavid era.