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جابه جایی جایگاه شاه تهماسب و خسروپرویز در نگارههای خمسهی شاه تهماسبی (منظومهی خسرو و شیرین) در جهت تاکید بر هویت ملی | ||
| جلوه هنر | ||
| مقاله 8، دوره 16، شماره 2 - شماره پیاپی 43، شهریور 1403 | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/jjh.2023.44083.1998 | ||
| نویسندگان | ||
| ریحانه مهدوی هزاوه1؛ کامبیز موسوی اقدم* 2 | ||
| 1کارشناسی ارشد تصویرسازی، دانشکده هنرهای تجسمی، دانشگاه هنر ایران، تهران، ایران. | ||
| 2استادیار گروه نقاشی، دانشکده هنرهای تجسمی، دانشگاه هنر ایران، تهران، ایران، نویسنده مسئول. | ||
| چکیده | ||
| صفویان در تاریخ ایران بعد از ورود اسلام، با اتکا به سه رکن اصلی مقام ارشاد کامل صوفیان، اعلام مذهب شیعی و تاکید بر احیای هویت ملی، از یک فرقهی صوفیانه به حکومتی قدرتمند تبدیل شدند. شکوفایی نگارگری مکتب تبریز صفوی، زیر نظر اساتید بزرگ مکاتب هرات و تبریز با حمایت شاهانی همچون اسماعیل اول و تهماسب جانشین وی، منجر به خلق دو نسخهی ارزشمند تاریخ این هنر، با عنوان شاهنامه و خمسهی تهماسبی شد. در این میان نقش هنر به عنوان یک عنصر مهم در جهت اهداف تبلیغی و حافظ ایدئولوژی حاکم، غیر قابل انکار مینماید. از اینرو، هدف این پژوهش بررسی چگونگی و چرایی پرداختن به جابهجایی شخصیت خسروپرویز و شاهتهماسب در نگارههای منظومهی خسرو وشیرین از نسخهی شاهتهماسبی بوده که در طی فرآیند تحقیق به سوالات: 1. اهمیت جایگاه خسروپرویز به عنوان شخصیت منتخب برای این جابهجایی در تاریخ و ادبیات ایران چیست؟ و 2. حضور شاهتهماسب در نگارههای منظومهی خسروو شیرین چگونه و با چه هدفی بوده است؟، پاسخ میدهد. در جهت نیل به هدف تحقیق، ابتدا به نحوهی شکلگیری ارکان تحکیم قدرت صفویان و اهمیت و جایگاه خسروپرویز از منظر تاریخ و ادبیات اشاره شده است. با تکیه بر مباحث فوق، متن پژوهش به اشارات مستقیم و غیرمستقیمی اختصاص دارد که به حضور شاه تهماسب در جایگاه خسروپرویز تاکید میکند. در جهت تجمیع دادههای فوق، میتوان گفت که در نگارههای مورد بحث، شاهد کارکردی فراتر از مصورسازی وابسته متن هستیم و میتوان ادعا کرد چنین انتخابی در جهت تاکید بر احیای هویت ملی و بازسازی نقش پادشاهان پرآوازهی ایران پیش از اسلام بوده که از ارکان تحکیم قدرت در این دورهی تاریخی محسوب میشود. | ||
| کلیدواژهها | ||
| کلید واژهها: هنر صفویه؛ خمسه تهماسبی؛ نگارگری؛ مکتب تبریزصفوی؛ هویت ملی | ||
| موضوعات | ||
| هنرهای تجسمی و کاربردی | ||
| عنوان مقاله [English] | ||
| Representation of National Identity in the Safavid Era: A Study of the Transformation of Shah Tahmasb and Khosrow Parviz in the Illustrations of Tahmasp's Khamsah of Nizami (Khosrow and Shirin Story) | ||
| نویسندگان [English] | ||
| Reihaneh Mahdavi Hezaveh1؛ Kambiz Mousavi Aghdam2 | ||
| 1MA of Graphic Design and Illustration, Faculty of Visual Arts, Iran University of Art, Tehran, Iran. | ||
| 2Assistant Professor, Department of Painting, Faculty of Visual Arts, Iran University of Art, Tehran, Iran, Corresponding Author. | ||
| چکیده [English] | ||
| Creating integration and establishing a centralized government have been the main factors contributing to the success of the Safavids in founding a powerful government in the history of Iran. This was made possible through an ideological system aligned with the three principles of the spiritual authority of the Sufis, the official religion (Shiism), and the revival of national identity. The position of Murshid, which continued to be inherited from one generation to another among the descendants of Sheikh Safi al-Din Ardabili, gradually transformed into a ceremonial position for the people who were not Sufis and mystics anymore, but were considered warriors and power seekers. Declaring Shia Islam as the official religion of the country was one of the strategies taken by the Safavids to consolidate the military force of the Qizilbash Shia troops. This decision, combined with efforts to revive national identity and seek legitimacy from ancient institutions, marked a significant redefinition of sovereignty and the political system. During this era, despite facing numerous challenges, we witness significant developments in the field of art in relation to the patronage of certain. Consequently, the influential role of art in promoting the ruling ideology and serving as a tool for propaganda cannot be overlooked. In the history of Iranian book arts, miniature is recognized as an art form closely associated with textual manuscripts. Iranian miniature serves to illustrate literary works that sometimes extend their function beyond mere text. Notably, in several noteworthy examples of this art form, we observe the portrayal of figures, such as kings, as heroic characters in illustrations depicting epic, mythical, or romantic narratives. Such transformations in these miniatures took place between the contemporary rulers or kings and admired figures from the pre-Islamic ancient era such as historical, heroic, and literary personalities. it seems these transformations were undertaken to seek legitimacy and validation from these prominent figures from the glorious past. In the two versions of the Shahnameh (Book of Kings) and the Khamsa of Nezami, which were the result of support from two Safavid kings, we can clearly observe such visual references. The supportive role of these two kings in the formation and flourishing of the Tabrizi School of the Safavids, which was the result of the fusion of the Herat and Tabriz Turkmen schools, is undeniable. The emergence and flourishing of the Tabriz School, which amalgamated the artistic styles of the Herat and Tabriz Turkmen schools, owed its success to the contributions of renowned masters such as Kamal al-Din Behzad and Sultan Muhammad. The valuable manuscript of the "Khamsa of Nezami" is presently housed in the British Museum Library and encompasses seventeen exquisite miniatures, six of which are dedicated to the narrative of "Khosrow and Shirin." Among these six miniatures, three depict the transformation of the main man character, Khosrow, with Shah Tahmasb. This research explores the visual cues present in these miniatures to investigate the mechanisms behind this substitution. Furthermore, this research aims to address inquiries surrounding the rationale behind selecting Khosrow Parviz for this transformation and the manner in which it unfolded. Initially, an exploration of Khosrow Parviz's significance as the protagonist of the narrative "Khosrow and Shirin" is conducted from both historical and literary standpoints. Subsequently, emphasis is placed on the visual cues evident in the miniatures. This research employs a descriptive-analytical methodology, drawing upon historical texts, subject-related research, and visual evidence extracted from the examined miniatures. The research findings, obtained through the analysis of images using historical and literary data, are classified into direct and indirect visual indications. One of the most notable direct visual features is the inscription positioned above Khosrow Parviz's throne, openly beseeching God for the splendor and majesty of Shah Tahmasb's reign through a prayer-like text. In this inscription, Shah Tahmasb is addressed as "al-Husseini al-Safavi," a title that, as indicated by written documents, seals, and coins from the same period, was similarly employed by subsequent monarchs of this dynasty. The suffix "al-Husseini" alludes to the narrative of the marriage between Shahrbanou, an Iranian princess, and Imam Hussein, the son of Imam Ali and one of the Shia Imams. The Safavids employed this narrative to establish a connection between the Shia religion and Iranian national identity, thereby presenting a novel framework for defining power. In the discussed miniature, we witness the simultaneous presence of these fundamental elements of the Safavids' ideology. On one hand, Shah Tahmasb is portrayed as one of Iran's illustrious ancient kings and the protagonist of the story "Khosrow and Shirin." On the other hand, in the inscription under examination, he is addressed as "al-Husseini." Thus, Shah Tahmasb is presented as the inheritor of both ideological aspects of the Safavids. He is depicted as the reinvigorator of Iran's ancient monarchy and as a proponent and advocate of Shia beliefs, drawing on their ancestral association with the Shia Imams. One of the indirect indications that can be observed in the transformation is the correlation between the meaning of the name "Tahmasb" and Khosrow's (the protagonist of the story) affinity and fascination with Shabdiz, Princess Shirin's swift-footed horse. "Tahmasb" is an ancient Persian name that carries the linguistic connotation of being the possessor of a mighty steed. Furthermore, within the story, Khosrow is portrayed as the owner of a swift-footed horse named Shabdiz, which had previously belonged to Shirin. A particular segment of the narrative reveals that, following the demise of Shabdiz, the courtiers hesitated to inform Khosrow of this tragic event. Another noteworthy aspect that serves as an indication of the Safavid court and the persona of Shah Tahmasb is a poetic verse referencing the throne of Khosrow and Shirin. In this verse, the Shah is addressed as the one seated on the throne of Masnad-e Jam, a reference to a mythical Iranian king. The usage of such expressions in Safavid court literature to address the king's persona was prevalent. Furthermore, the inclusion of another poetic verse with a romantic theme, exuding flattery towards Shah Tahmasb, composed by a renowned poet from the early Safavid era who passed away in Tabriz during Tahmasb's reign, exemplifies the painter's flattery towards the Safavid Shah. In these miniatures, the painter aimed to portray the presence of Shah Tahmasb within the court setting during the visual narrative of the story of Khosrow and Shirin. Through this transformation, the Safavid Shah is depicted seated on the throne instead of Khosrow Parviz, socializing with Shirin, and participating in the scene of musician Barbad's lute-playing during the festive gathering. Considering the aforementioned points, it is worth highlighting the significant role of miniature art in the reproduction and dissemination of ideological values during this historical period. The act of self-identification of the Safavid Shah with celebrated pre-Islamic kings, as depicted in literary narratives, along with the promotional function of art, further exemplifies the principle of venerating ancient monarchs in ancient times. In essence, through this substitution, the Safavid Shah presents himself as a reinvigorator of Iranian ideals, akin to the Sasanian kings such as Khosrow Parviz, who were chosen and sanctified by divine power. | ||
| کلیدواژهها [English] | ||
| keywords: Safavid Art, Persian Painting, Tabriz School, National Identity | ||
| مراجع | ||
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منابع
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