پیوندهای مفید
اخبار و اعلانات
آمار
| تعداد نشریات | 25 |
| تعداد شماره‌ها | 957 |
| تعداد مقالات | 7,897 |
| تعداد مشاهده مقاله | 13,334,827 |
| تعداد دریافت فایل اصل مقاله | 9,467,395 |
مقایسه نگارههای خاوران‌نامه کاخ گلستان با بازتصویرگری آن در دوره معاصر (با تأکید بر چهارمین جشنواره هنرهای تجسمی 1387) | ||
| پژوهش نامه گرافیک نقاشی | ||
| مقاله 4، دوره 6، شماره 11، اسفند 1402، صفحه 51-69 اصل مقاله (9.92 M) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/pgr.2024.45867.1227 | ||
| نویسندگان | ||
| ناهید جعفری دهکردی1؛ سمیرا ربیع زاده هفشجانی* 2 | ||
| 1دکتری پژوهش هنر، دانشکده پژوهشهای عالی هنر و کارآفرینی، دانشگاه هنر اصفهان. اصفهان. ایران. | ||
| 2دانشجوی دکتری پژوهش هنر، دانشکده هنر، دانشگاه شاهد. تهران. ایران، نویسنده مسئول. | ||
| چکیده | ||
| توجه به وحدتی پایدار در محتوای دینی و عرفانی موضوعات هنر اسلامی، موجب توجه مخاطبان در دهه‌های اخیر شده‌است. به این معنا که روحی مشترک با استحاله از الگوهای مذهبی در نمودهای گوناگون پدیدار شده‌اند. این پژوهش با مطالعات اسنادی، تصاویر بازنگری‌شده از نگارههای خاوران‌نامه کاخ‌موزه گلستان به شماره 7075 در تصویرسازی‌های معاصر را بررسی می‌کند. ارزیابی تأثیر تصویرسازی‌های معاصر از نسخه مصور خاوران‌نامه کاخ گلستان هدف این پژوهش است و این پرسش مطرح می‌شود که تصویرساز چه عناصری از نگارههای خاوران‌نامه را وام گرفته و از تکنیک‌هایی در اثر خود بهره برده‌است؟ بر این اساس، از نسخه مصور کاخ‌موزه گلستان و تصویرسازی معاصر، شانزده اثر از هشت موضوع، به شیوه توصیفی–تحلیلی با رویکرد تطبیقی و رهیافتی نظری، بر مبنای فرایند توصیف، تفسیر و تبیین واکاوی می‌شوند. گفتنی است هنرهای تجسمی و نگارگری‌های شیعی حماسی همزمان، برخوردار از فضای فرهنگی و اجتماعی زمان خود و سنت‌های هنری پیش از خود هستند. نوآوری و تطبیق عناصر با گرایش‌های فکری معاصر هنرمندان دو دوره، در آثارشان موج می‌زند. نگارههای خاوران‌نامه در شیوه اجرا، در مقایسه با تصویرسازی‌های معاصر، واقع‌گراتر هستند؛ آن‌چه موضوع را از یک اثر رئالیستی متفاوت می‌کند، وفاداری به متن است. تصویرسازی‌های معاصر تا اندازة بسیاری وابسته به اصل نگاره‌ها هستند، ولی در آن‌ها، تجربیات هنری معاصر، به‌روزرسانی و گرایش‌های فکری هویداست. در هر دو طیف، توجه انسان به کالبد آرمانی انسانی و مسائل عقیدتی جامعه‌شان پیداست. ولی تصویرسازی‌ها، به‌جای جنبه شجاعانه و دلاورانه حضرت در جنگ، بر جنبه اخلاقی و اندرزگویانه شخصیت ایشان، تأکید دارند. | ||
| کلیدواژه‌ها | ||
| کلیدواژه‌ها: سبک نگارگری ترکمانان؛ نسخه مصور خاوران‌نامه؛ تصویرسازی معاصر؛ حضرت علی (ع) | ||
| عنوان مقاله [English] | ||
| Comparing the Pictures of Khavaran Nameh of Golestan Palace with its Reimagining in the Contemporary Period (with emphasis on the 4th visual arts festival 2017) | ||
| نویسندگان [English] | ||
| Nahid Jafari Dehkordi1؛ Samira Rabizadeh Hafshejani2 | ||
| 1PhD of Art Research, Faculty of Advanced Studies in Arts and Entrepreneurship, Isfahan University of Art. Isfahan. Iran. | ||
| 2PhD Student of Art Research, Faculty of Art, Shahed university, Tehran, Iran, Corresponding Author. | ||
| چکیده [English] | ||
| Along with various heroic epics that were inspired by Ferdowsi’s masterpiece or created independently of it, religious epics deserve attention. Therefore, not enough attention has been paid to them and many of them have remained in the shadows. The main reasons can be found in these points: 1) Many of them have crude texts and were written by religious and pious people, but without familiarity with the literary codes of Persian poetry. 2) Unlike royal and heroic epics, their artists often lacked wealthy and powerful patrons. 3) Dreaming in the religious epic is not very acceptable and desirable and contradicts the official religious history. Therefore, this point can find angry critics in the circle of knowledgeable believers and jurists. Some religious epic works were lucky enough to attract talented artists to decorate them as art. Khavaran Nameh was in this issue and was painted many times, only one of which is kept in the collection of Golestan Palace Museum under number 7075. The depiction of religious subjects in the history of Iranian art has a long history and can be traced back to the first manifestations of civilization in the corners of Iranian civilization. Artists paid attention to the fact that art can be a good vehicle for conveying religious messages and influencing the audience. An image can communicate with its audience beyond the text and establish a connection between the viewer and their characters and feelings. In the visual works of the 4th Youth Visual Arts Festival, which was held for 16 days (November 14-30) in 1387 Shamsi, religious themes related to the literary version of Khavaran Nameh, which is derived from the wisdom of the First Shiite Imam, can be seen. The current research has explored the works of two collections (painting and illustration) and is based on the opinion that between the art of contemporary illustration and the above-mentioned paintings, there is a delicate thread that brings both of them in line with a single line of Iranian painting art (in its comprehensive sense). It should be said that the artists of today and yesterday, although they are different in their styles, ways, beliefs and raw materials from their previous counterparts, but they are still on the same approach and routine and principles can be found that it can be said from their perspective: the door still turns on the same hinge! The purpose of this research is to evaluate the influence of contemporary illustrations from the illustrated version of Khavaran Nameh of Golestan Palace and the style and experiences used in it; The authors try to answer the following questions. 1- What elements did the illustrator borrow from Khavaran Nameh paintings and with what techniques did he display them in his work? 2- What are the similarities and differences between these works of contemporary visual arts and Shiraz Turkmen style painting with the same subject? Based on this, images in two different artistic spectrums are analyzed in order to present concepts, so that by addressing the characteristics of the images according to the cultural values of both societies, the background and cultural context can be made evident in the works with visual characteristics. This research has a fundamental approach in terms of goal and is descriptive-analytical in nature. The method of collecting documentary information and the tool of collecting information is the note sheet. The authors have purposefully selected eight images with a single theme among the paintings of the Golestan Palace Museum's Khavaran Nameh edition numbered 7075, eight paintings, and from the works of contemporary visual arts taken from the collection of illustrations of the 4th Visual Arts Festival in November 2017, and they are trying to use a comparative approach and qualitative method to analyse the intended works. The current research process is based on three stages of description, interpretation and explanation. In the description stage, the available information about the picture or image is expressed; in such a way that the reader can imagine the work through the text. Information that can answer questions about the subject and guide us to the qualities that tell the meaning of the work. At this stage, it is not possible to prevent the entry of judgment into aesthetic perception, or at least it is not possible to overcome the qualitative analysis that occurs in the first encounter with the work. In the second stage, which is called interpretation, we identify the components of the work, examine the structural, thematic, and content characteristics, and finally, the relationships between the elements. The last part, which is called explanation, is the result of the previous two stages. The dignity and elegance of the work of art in comparison with similar works, the ability and art of the artist in conveying his subject and purpose, or his power in stimulating the mind of the audience is recognized without personal judgment, at this stage. Explanation, as a foundation in the social axis, deals with the contextual reproduction of a text by changing the contextual knowledge. The results show that Khavaran Nameh is the result of an artistic trend among writers and religious artists who thought that the right of speech and art about the Islamic epic had not been fulfilled; and of course, this example is not the only one of its kind. In the paintings of Khavaran Nameh of Golestan Palace, realism exists to a great extent and the obvious difference between Hazrat and others is in his aura. In other cases, his ornate clothes, the meaningful colour of his clothes, avoiding war defense tools (which is a sign of caution), ignoring the spectators and the war situation of the battlefield, submission, humility and seriousness can be seen in most of the pictures. The focus of the artist on the body of the Holy Prophet, in some cases, has caused the artist to neglect other visual elements in terms of artistic principles and even physical laws. Archetypes and indebtedness of text and art to the external environment are seen a lot, and both in the text itself (Ibn Hussam's poems) and in the art itself (Farhad's paintings), it is clear that the goal is to attract the general audience and express its existence and value against non-religious rivals; and of course, from this point of view, their abilities should not be underestimated. If we look at it from this point of view that Khavaran Nameh paintings were in line with the competition and show with the epic paintings of their time, we can count the contemporary depiction of those scenes in the same direction and say that the artists wanted to reach the level of Khavaran Nameh art from another angle. The important point is that the contemporary artists, almost certainly, have considered these pictures themselves or at least similar pictures of these subjects in some other illustrated versions. This point has caused artists to avoid innovation and dreaming to a great extent, and putting in a new design and breaking the ceiling of the sky. However, innovation, multiple techniques and matching elements with contemporary intellectual trends, are abundant in them. This means that the illustrations in question, like the pictures of Khavaran Nameh, are a result of their time. Another change in them is the emphasis on the compassionate face of the Islamic hero, instead of his bold and warlike face, following a trend in the art of iconography, which has started since the Qajar era. The same point can be seen in the adherence of the paintings to the principles of iconography (especially in the form of halos and the silence and stillness of the icon). | ||
| کلیدواژه‌ها [English] | ||
| Keywords: Turkman Painting Style, Illustrated Manuscript of Khavaran Nameh, Contemporary Illustration, Hazrat Ali (A.S.) | ||
| مراجع | ||
|
منابع
References
The Holy Qur'an. (1996). Translated by Mehdi Elahi Qomshaei, Tehran: Osveh (Text in Arabic & Persian).
Ahmadi Birjandi, A., (1993). Moral and social perspectives of Mohammad Ibn Hosam, Khosfi. Khorasan Research, (2nd ed), 33-47 (Text in Persian).
Anderson, T., (1991). The Content of Art Criticism. Art Education.44 (1): 162-205.
Anvari, M., (2002). Khavaran Nameh of Ibn Hosam Khosfi Birjandi, Tehran: Ministry of Culture and Islamic Guidance (Text in Persian).
Attar Nishabori, F., (1976). Manṭeq al-ṭayr (Al Tayyur authorities), Corrected by Sadeq Ghoharin, Tehran: Translation and publishing company (Text in Persian).
Attar Nishabori,F., (1983). Divan, Corrected by Taqi Tafzali, Tehran: Elmi and Farhangi (Text in Persian).
Ayati, M., (1948). Baharestan in the history and translations of Rizal Qaynat and Qahestan, Tehran (Text in Persian).
Ayatollahi, H., (2005). Theoretical foundations of visual arts, Tehran: Samt (Text in Persian).
Behnamfar, M., (2009). Shahnameh and Khavarannameh two manifestations of Iranian national identity,Pazh, 7: 177-190 (Text in Persian).
Bina Tamali, M., (2015). The role of Hazrat Ali in Khavarannameh, 10th International Conference for the Promotion of Persian Language and Literature, Persian Language and Literature Promotion Association of Iran, Mohaghegh Ardabili University (Text in Persian).
Bouzari, A., (2004).Review and analysis of Khavarannameh paintings, Honarnameh, 24:11-21 (Text in Persian).
Canby. Sh., (2012). Persian Painting, Translated by Mehdi hosseini, Tehran: Art university (Text in Persian).
Christensen, A,. (1931) The reign of Qabad and the emergence of Mazdak, translated by Nasrallah Philosopher (2). Magazine Sharq Farvardin, 8: 611-618 (Text in Persian).
Darabi, H., Hosseini, M., (2015). Introducing Models of Teaching for Visual Art Criticism Courses, Criticism of visual art, 7: 35-50 (Text in Persian).
Daryaee, T., (2004). The Sasanian Empire, Translated by Morteza Saghebfar, Tehran: Qoqnus. (Text in Persian).
Ferdowsi, A., (1997). Bihin Nama Bastan(a Summary of Shahnama), Corrected by Mohammad Jafar Yahaghi, Mashhad: Astan-e Qods Razavi, (Text in Persian).
Ghaemi, F., Yahaghi, M., (2009). Horse animal symbol frequent in Shahnameh and its role in the evolution of the archetype of hero, Persian language and literature, 42, 9-26 (Text in Persian).
Hakim Nishapuri, M., (1990). Al-Mustadrak ala al-Sahihayn, Beirut :Dar Al-Kotob Al Ilmiyyah (Text in Persian).
Hasani, Gh., (2006). Investigation and analysis of the structural and visual features of Haft Khan-e Rostam in traditional paintings, Gorgan: Islamic Azad University (Text in Persian).
Hayemm, S., (1965). Hebrew Persian Dictionary, Israel: Reserved by Elghanayan bros (Text in Persian).
Ibn Ḥussam, M., (2002). Khavaran Nameh (Golestan Palace), Painter Farhad Shirazi, Tehran: Ministry of Culture and Islamic Guidance (Text in Persian).
Ibn Shahr Ashub, M., (2000). Managheb Al Abi Taleb (Virtues of Abi Taleb's Family), Qom: Allameh (Text in Persian).
Jafari Dehkordi, N., (2016). From Samand Razm to Esban Jan, "Horse in Iranian thought and art from ancient times to Safavid era", Tehran: Marandiz (Text in Persian).
Jafari Dehkordi, N., (2018). Comparative Study of Text and Pictures of Walters's Shahnameh (W602), Journal of Comparative Literature Studies Jiroft, 49: 195-217 (Text in Persian).
Javid Anvari, A., (2013). Salman Farsi and Orientalists, Nayestan Adian and Madhab, 4: 31-40 (Text in Persian).
Kalate Salehi, M., (2013). Graphic Layout: Examining the copy of Mahfouz's Khavarannameh in the Golestan Museum of Tehran at Shiraz Painting School, Chidman Magazine. 7: 70-75 (Text in Persian).
Kazemi Rad, M. (2023). The Conflict between Good and Evil in Three Samples of Paintings of Khavaran-nameh. Painting Graphic Research, 5(9), 146-155. (Text in Persian).
Kepes, Gyorgy. (2013). The Language of Vision, Translated by Firuze Mohajer, Tehran: Soroush (Text in Persian).
Khousfi Birjandi, M., (1987). Divan Khusfi, General Department of Hajj and Endowments and Charitable Affairs of Khorasan Province, Mashhad (Text in Persian).
Khousfi Birjandi, M., (2003). Parsi Taziannameh (summary of Khavarannameh), Tehran: University Publication Center. (Text in Persian).
Levy, H., (1955). Comprehensive History of the Jews of Iran, Tehran: Yehuda Brokhim bookstore (Text in Persian).
Marjorie, BG., (2008). Profiling Shakespeare. First Published. New Yourk: Routledge
Masse, H., (1938). Croyances et Coutumes persanes, suivies de contes et chansons populaires. Vol. 1. Paris.
Moqbali, A., (2017). Analysis and criticism of paintings, Tehran: Payam Noor University (Text in Persian).
Pakbaz, R., (2012). Iranian painting from long ago until now, Tehran: Zarin and Simin (Text in Persian).
Razizadeh, R., (2005). In the style and school of paintings of Khavarannameh, Golestan_e_Honar, 2, 58-69 (Text in Persian).
Rezaee Dasht Arjaneh, M., (2013).The Status of Kaviani Flag in Shahnameh of Ferdowsi, Literary Text Research, No 55, 5-20 (Text in Persian).
Safa, Z., (2008). Epic Poetry in Iran, Tehran: Amir kabir (Text in Persian).
Sarkarati, B., (2008). Hunted Shadows, Tehran: Ghatreh (Text in Persian).
Sepehr, M., (2016). Analysis of graphic works, Tehran: Fatemi (Text in Persian).
Shad Qazvini, p., Dadi, D., (2014). A comparative study of movement in illustrations from the Khavarannameh version (881 AH) from the Shiraz school with the Khamseh Tahmasabi version (945-949 AH) from the Tabriz school, Visual arts studies, 10, 1-22 (Text in Persian).
Tabatabai, M., (2018). Al-Mizan an Exegesis of The Quran, Translated by Sayed Mohamad Bagher Mousavi, Qom: Islamic Publications (Text in Persian).
Vahad Dost, M., (2016), Animal Emotions in the Shahnameh, Iranian Studies of the Faculty of Literature and Human Sciences, 12, 197-214 (Text in Persian).
Yahaghi, M., (2014). Culture of Mythology and Stories in Persian Literature, Tehran: Contemporary Culture
Youth art, 4th Visual Art Festival. (2009). Illustration,Poster,Cartoon,Calligraphy, Tehran: surehmehr. (Text in Persian). | ||
|
آمار تعداد مشاهده مقاله: 218 تعداد دریافت فایل اصل مقاله: 130 |
||