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اسلوب کنایی و اشکال کاربست آن در نقاشی ایرانی | ||
| پژوهش نامه گرافیک نقاشی | ||
| مقاله 6، دوره 3، شماره 4، مرداد 1399، صفحه 74-85 اصل مقاله (631.3 K) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/pgr.2020.26933.1038 | ||
| نویسندگان | ||
| رضا رفیعی راد1؛ مهدی محمد زاده2؛ فرنوش شمیلی* 3 | ||
| 1دانشجوی دکتری هنر اسلامی،دانشکده هنرهای صناعی، دانشگاه هنر اسلامی تبریز، تبریز، ایران | ||
| 2استاد گروه هنر اسلامی،دانشکده هنرهای صناعی، دانشگاه هنر اسلامی تبریز، تبریز، ایران. | ||
| 3استادیار دانشکده هنرهای تجسمی، دانشگاه هنر اسلامی تبریز، تبریز، ایران، نویسنده مسئول | ||
| چکیده | ||
| پیوند میان نقاشی ایرانی و ادبیات فارسی، پیوندی ناگسستنی است. هم‌سانی صور خیال در نقاشی ایرانی و ادبیات فارسی نیز خود نشانی از این پیوند است. کنایه، یکی از صور خیال است که در ادبیات فارسی، به دلایل مختلفی از جمله آزمودن زیرکی مخاطب، آگاهی دادن از عاقبت امری، اختصار و گاه، ترس از بیان مطلبی خاص بهکار می‌رود. مساله این است که در برخی نگاره‌ها، شاهد شگردهای خاص تصویرسازانه نگارگر، با تکیه بر اسلوب کنایی هستیم. هدف، مشخص کردن حضور ادبیات فارسی در نقاشی ایرانی و نحوه کاربست اسلوب کنایی در نگاره‌هاست. پرسش این است که: نگارگر ایرانی چگونه از طریق اسلوب‌کنایی، شالوده تصویر در نقاشی ایرانی را غنا می‌بخشید؟ فرضیه این است که، نگارگر ایرانی، کنایات و کارکردهای تصویری آن را می‌شناخته و در نقاشی بهکار می‌برده است. این مقاله پس از جمع‌آوری و بررسی مجموعه‌ای از نگاره‌های مکاتب مختلف نقاشی ایرانی، با روش توصیفی ـ تحلیلی و قیاسی نشان می‌دهد که نگارگر ایرانی، حداقل در مکتب هرات، تبریز و صفوی، نسبت به کنایه و تاثیرات تصویری آن بر مخاطب آگاهی کامل داشته و نمایش اسلوب کنایی در نقاشی ایرانی از دو طریق محقق می‌گردید. طریقه اول، مصور شدن کنایه موجود در متن ادبی و طریقه دوم، رجوع نقاش، به ساحت ادبیات فارسی و بهره‌گیری از اسلوب کنایی بوده است. بدین‌وسیله، علاوه بر غنابخشیدن به نگاره، پیوندی عمیق میان ادبیات و نقاشی ایرانی ایجاد می‌نمود. از انواع کنایاتی که نقاش از آن‌ها استفاده نموده، می‌توان به «کنایه از موصوف»، «کنایه از صفت» و «کنایه از فعل» اشاره نمود. | ||
| کلیدواژه‌ها | ||
| واژه‌های کلیدی: اسلوب کنایی؛ نقاشی ایرانی؛ زبان و ادبیات فارسی؛ صور خیال | ||
| عنوان مقاله [English] | ||
| The Style of Literary Allusion and its forms of use in Iranian Painting | ||
| نویسندگان [English] | ||
| R. Rafiei Rad1؛ M. MohammadZadeh2؛ F. Shamili3 | ||
| 1Ph.D Student of Islamic Arts, Faculty of Islamic Crafts, Tabriz Islamic Art University, Tabriz, Iran | ||
| 2Professor of Islamic Arts Department, Faculty of Islamic Crafts, Tabriz Islamic Art University, Tabriz, Iran | ||
| 3Assistant professor of Visual Arts Faculty, Tabriz Islamic Art University, Tabriz, Iran. Corresponding Author | ||
| چکیده [English] | ||
| The connection between Persian painting and Persian literature is an unbreakable bond. Throughout the visual history of Iran, Iranian painting and Persian literature have had an inseparable connection and have always been existed in each other's fields. The unique capabilities of Allusion makes it widely used in language and literature. Reasons for using sarcasm include "informing too much of power", "cleverly testing the audience”, "abandoning the word to what is more beautiful”, "doing the right thing”, "intent on rhetoric”, "exaggerating intentions in praise or admiration”. "Awareness of the consequences", "brevity", "expressing a sentence whose meaning is contrary to its appearance", "presenting abstract concepts in a tangible form", "due to fear", "contempt and bowing" and "proving argument and claim". Allusion is the expression of something and receiving something else, that is, the combination of words or sentences that, instead of the apparent meaning, are meant to be one of the means of meaning. For example, the Allusion is, "Someone's door is open" indicates that person's generosity. Because it is necessary for a person to be generous, for the door of his house to be open to the people. Allusion, is hidden in speech, so that a word is given and its unreal meaning is meant, so that the true meaning can also be used. The consistency of imagery in Persian painting and Persian literature also represents this link. The problem is that in some of the pictures, we see the special techniques of imaging the painter, relying on this Allusion Structure. The aim is to determine how Persian literature is present in Iranian painting and then to determine which artist used the Allusion Structure on the pictures. The question is how does the Iranian painter enrich the image of Iranian painting through styles? The hypothesis is that the Iranian painter has known and used the imagery in his paintings. A collection of paintings by various Iranian painting schools was collected and reviewed. This paper conducted by descriptive-analytical and comparative methods. Iranian painting, is the product of the interaction of the master of two pens (vegetal and animal - text and image) that produced in libraries. In this production line, the three components of the painter, the painter, and the painter's technical action on the painting, in a calculated connection, created the painting. The presence of literature in Iranian painting, as far as the painter is concerned, is that sometimes, Persian literature mediated by his connection with mysticism, and the painter's mind seeks unity with the author of the text. In terms of Manuscript, it is the internal connection between text and image that sometimes represented by the contrast between external and internal matter in literature and mysticism. Painting materials were also composed of lyrical and epic poems, as well as emotions, and psychological aspects of the painting, indirectly and by signs. The play of sarcastic style was one of the most important works of Iranian painter's illustration, which was applied in two ways in the form of technical action: In the first way, the painter uses the same allusions that the poet or writer used in the literary text and illustrates them. In the second way, the painter, in order to enrich the illustration of the text, based on his ability and level of knowledge of the expressive abilities of the Allusion style, referred to the great treasure of Persian literature and chose from this boundless ocean the allusions that were appropriate to the literary text. it was placed in the picture. As in some of the paintings, "being an umbrella" and "spreading the shadow" for the king, the "Allusion of the adjective" and the "touching" of the old woman, the "finger-pointing" of the palace and the "tearing of the boy's chest" "Allusion of the verb" and "handcuffs", which are "Allusion of the character", have been used to enrich the image. It is obvious that the function of Allusion in Iranian painting is not limited to these paintings and schools. This necessitates the conduct of other studies in which one can examine separately the function of Allusion in each school. The type of identification of Mongolian, Chinese, Arabic, and Persian languages used in Iranian painting can open new doors to Iranian painting and show the extent of its effects in other languages. | ||
| کلیدواژه‌ها [English] | ||
| Keywords: Literary Allusion, Iranian Painting, Persian Language and Literature, Imaginary Forms | ||
| مراجع | ||
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