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آزمون آب در شاهنامه فردوسی به روایت تصویر | ||
| پژوهش نامه گرافیک نقاشی | ||
| مقاله 7، دوره 6، شماره 10، شهریور 1402، صفحه 98-112 اصل مقاله (1.22 M) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/pgr.2023.41429.1145 | ||
| نویسنده | ||
| ندا شفیقی* | ||
| دکتری پژوهش هنر، دانشکده هنر، دانشگاه الزهرا، تهران، ایران. | ||
| چکیده | ||
| قابلیت‌های تصویری مضامین گوناگون شاهنامه سبب شده تا این شاهکار ادبی از مهمترین کتاب‌های ایرانی در زمینة تصویرگری به شمار آید. مصورسازی بیش از هزاران نگاره از مجالس و صحنه‌های داستانی شاهنامه در ادوار و مکاتب مختلف هنر ایران، اقبال نگارگران را به این اثر ارزشمند نشان می‌دهد. بسیاری از باورها و اعتقاداتی که در متون کهن ثبت شده، در شاهنامه نیز تجلی یافته‌است. آب به‌عنوان اصلی‌ترین عنصر حیات بخش طبیعت که همواره در نزد ادیان و تمدن‌های باستان مهم انگاشته می‌شده در شاهنامه فردوسی نمود تصویری فراوانی دارد. یکی از نقش‌های نمادین آن در داستان گذر از خوان آب جلوه می‌کند. در این پژوهش با هدف بررسی 6 نمونه از نگاره‌های آزمون آب متعلق به عصر صفوی، به واکاوی وجوه بصری این عنصر گران‌مایه در ترکیب‌بندی نقاشی ایرانی پرداخته شد تا ارتباط میان نقش و نماد آب در برخی از نمونه‌های تصویری شاخص شاهنامه آشکار شود. روش پژوهش توصیفی-تحلیلی است و گردآوری داده‌های پژوهش از طریق منابع اسنادی و مشاهده آثار انجام گرفته‌است. یافته‌های پژوهش نشان داد اهمیت آب در ساختار بصری نگاره‌ها، با اختصاص مناسب‌ترین فضا به این عنصر مشخص شده‌است و جزییات و عناصر تصویر حول محور جایگاه آن در ترکیب‌بندی ساماندهی شده‌اند. همچنین پویایی اجزا با ماهیت روان و مواج آب تطابق دارد. افزون بر این، نقش نمادین حیوانات و جانوران تصویرشده در نگاره‌ها، مبتنی بر خاصیت نمادینگی اسطوره آزمون آب شکل گرفته‌است. | ||
| کلیدواژه‌ها | ||
| کلیدواژه‌ها: نگاره؛ آزمون آب؛ شاهنامه؛ ترکیب‌بندی؛ نماد | ||
| عنوان مقاله [English] | ||
| Water Test in Ferdowsi Shahnameh According to the Image | ||
| نویسندگان [English] | ||
| Neda Shafighi | ||
| PhD., Department of Art Research, Faculty of Arts, AlZahra University¸ Tehran, Iran. | ||
| چکیده [English] | ||
| Iranian painting has had a strong connection with Persian literature for a long time, and the images of fantasy in poetry and painting have been consistent with each other. After the arrival of Islam in Iran, this kinship and connection becomes more apparent and the words of the poet are mixed with various themes and narratives by the painter's line, pattern and color. Over the years, the close relationship between poetry and image develops more and many illustrations come to the fore in the form of Iranian book design art. In the meantime, novel effects of Ferdowsi's Shahnameh appear as the largest national epic poem and a relic of Iranian culture in the field of painting art of this land, and Iranian painters leave various works inspired by Ferdowsi's poems. Many beliefs and convictions recorded in ancient texts are also manifested in the Shahnameh. Ancient Iranians considered useful and beneficial elements that were somehow effective in life as holy and considered God as their guardian. Water is one of the beneficial elements that has been highly praised and prayed for. In the Shahnameh, water is mentioned many times as the most familiar embodiment for the concept of life, and this vital element has many symbolic roles in this system which can be categorized in the following cases: A) Creation: The myth of water in different human cultures has been a symbol of the beginning of the stage of material creation and the movement of the life cycle. This role is reflected in the initial creation of the world from water and the symbolic end of life in it. The myth of water has the most connection with the concept of life. b) Immortality and partial treatment: The water of life or the water of animals is one of the world's mythological essences, and the desire for immortality is one of the long-standing wishes of mankind. The myth of water represents the immortality and continuity of material life. The main source of the legend of immortality, which has appeared in different forms such as the water of life, the tree of life, the fountain of eternal youth, and potion. Another manifestation of life-giving water can be found in the myth of the water healer. c) Baptism and purification: water is a symbol of death and rebirth. An expression of the symbolisation and ritual appearance of water in connection with death and rebirth can be found in the long-standing and mythological ritual of baptism. Immersion in water is considered equal to a storm or the sinking of a continent from the ocean and a sign of the disappearance of the old face in order to give birth to a new face. d) Fertility and abundance: Another role of water in the myth and consequently in the national epic is to fertilise and give abundance to the creators of good forces. This function has existed in all ancient religions and nations, as it has become a ritual and sacred function of water. e) Test and passage: water is a test of matter that must be passed in order to reach the kingdom of meaning, and the test or "passing through water" is a symbol of death and rebirth - dying from the old form and living in a new form which manifests itself in the form of crossing the sea and the river, and a person who passes through this "Khan" steps from a stage of material life to a stage of spiritual life. Passing the water test, as a common theme in the Shahnameh, has not been overlooked by the intelligent Iranian painter. The mythological tradition of crossing water and gaining victory can be seen in the lives of many kings and legendary warriors of the Shahnameh. Fereydun from Arvand and KayKhosrow from Jaihun and Ardashir crossed the sea, and Rostam and EsfaniyarEsfaniyar passed this tough test in Haft Khan. In this essay, we intend to examine the visual reflection of the symbolic tradition of the water test by studying the pages of the Shahnameh produced in the Safavid era. For this purpose, pictures of the story of Fereydun's passage from Arvand, KayKhosrow's passage from Jaihun, and KayKhosrow and the wonders of the Sea of Zere have been selected. In order to avoid delaying the speech, it is sufficient to analyse two examples of images from each story. These pictures are kept in museums and private collections around the world. In the analysis of paintings, it seems necessary to understand the subject matter and the context from which the story originated in order to read the image and understand the work correctly. For this reason, the narrative text is mentioned first then the visual aspects of the elements, especially the element of water, in these paintings are examined. For this reason, the question that can be asked is what is the importance of the place of water in the composition of the water test pictures? And how are the symbolic concepts of water reflected in these pictures? The purpose of this research is visual and symbolic analysis of the element of water in examples of Iranian painting art, in order to reveal the degree of synchronicity of Iranian literature and painting while familiarising with local treasures. In connection with the symbolism of the elements in the Shahnameh, the characters, mythical creatures, the dreams of kings and heroes, the symbolism of water, fire, and steam have been discussed in previous researches, which are mainly based on theoretical literature, and visual examples and visual analyses are in the minority. are located, and no independent research has been found to study water in the images of different Shahnamehs and from the aspect of digging in the visual structure, and the lack of available sources has motivated the writing of this essay. The research method is descriptive and analytical, and the method of collecting library materials is through scanning and image reading. Data analysis is done qualitatively and based on logical reasoning. The statistical population includes 6 examples of paintings that were selected from the three stories of Fereydun's passage from Arvand, KayKhosrow's passage from Jaihun, and Key Khusro and the wonders of the Zere Sea, and all of them were produced in the Safavid era. The method of sampling images is selective. The results of the research showed that in Iranian paintings, form and content are intertwined, but the importance of paintings cannot be seen only in terms of the exact translation of the text into the language of the image, because the painter tried with his utmost skill to create creativity while being faithful to the narratives. Visuals and subtle details can function independently from the text. The painter carefully uses the visual facilities to depict the emotions of the story in the best possible way. In the exciting and roaring test of crossing the water, there are spatial analogies that are included in the structure and composition to provide the dynamics and movement of the story, things like creating movement by breaking the frame of the image and penetrating details to the edge, cutting off limbs and bodies.On the sides of the frame, turning the gaze of the main character of the story, emphasizing all the elements and details to the center of gravity of the image and using rich and exciting colours. In response to the first question of the research, it can be said that due to the key role of water in the story, the highest and most focal place in the composition is assigned to it, that is, all the elements and components of the page are arranged around the axis of the river and the sea, and the composition focus and balance coordinates with it. The mobility of the elements of the picture are formed in line with the dynamic nature of water waves, as far as the rhythm and balance of color and shapes are established according to the position of this element in the composition. The occupation of the largest possible space in the picture frame by the river or the sea, indicates the importance of water in the picture. To answer the second question of the research, we can talk about silver colour, because the use of silver metal in colouring water is done with the aim of inducing brilliance, light reflection, purity and spirituality of this element in a symbolic gesture with the spirit of narration. It should be consistent because if the hero of the story wins this difficult test and passes through the raging waters, he will be separated from the pollution of the material world and reach the Kingdom. The presence of animals such as fish and aquatic birds as a symbol of the abundance of water and creatures such as mermaids, dragons, eagles, cows and mixed monsters both strengthen the symbolic nature of water and are closely linked with the text. The role of most of these creatures has made the characteristics of filth and evil clear and they have found an appearance in the form of a symbol of the difficulty of the test. | ||
| کلیدواژه‌ها [English] | ||
| Keywords: Iranian Painting, Water Testing, Shahnameh, Composition, Symbol | ||
| مراجع | ||
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