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مطالعة نگارة کشته شدن ارجاسب در رویین دژ به دست اسفندیار از منظر روایت‌شناسی | ||
| پژوهش نامه گرافیک نقاشی | ||
| مقاله 9، دوره 5، شماره 9، بهمن 1401، صفحه 122-129 اصل مقاله (585.21 K) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/pgr.2023.41489.1164 | ||
| نویسندگان | ||
| ادهم ضرغام* 1؛ الناز دستیاری2 | ||
| 1دانشیار گروه نقاشی و مجسمه سازی، پردیس هنر های زیبا ، دانشکده هنرهای تجسمی، دانشگاه تهران، تهران، ایران، نویسنده مسئول. | ||
| 2دانشجوی دکتری پژوهش هنر، پردیس هنر های زیبا ، دانشکده هنرهای تجسمی، دانشگاه تهران، تهران، ایران. | ||
| چکیده | ||
| رویکرد روایت‌شناسانه، امکان بررسی آثاری که در حوزة هنرهای تجسمی خلق شدهاند را فراهم می‌آورد. این رویکرد، جستاری بینارشته‌ای است که در زمینه‌های گوناگون گسترش یافته و به کار برده می‌شود. این گونه به نظر می‌رسد که آثار نگارگری دارای خصوصیات و ویژگی‌هایی هستند که می‌توان آن‌ها را از دیدگاه روایت‌شناسی بررسی کرد. پژوهش حاضر می‌کوشد تا به تحلیل روایت‌شناسانة نگارة کشته‌شدن ارجاسب در رویین دژ به دست اسفندیار، از شاهنامه بایسنقری بپردازد و در این راستا، بان پرسش روبه‌رو است که به چه صورت می‌توان نگارة کشته‌شدن ارجاسب در رویین دژ به دست اسفندیار را از منظر روایت‌شناسی بررسی کرد؟ روش پژوهش، توصیفی-تحلیلی است و داده‌ها به روش اسنادی گردآوری و یادداشت‌برداری شده و برای پاسخ‌گویی به پرسش پژوهش ساماندهی شدهاند. یافته‌های پژوهش نمایانگر آن است از دیدگاه مدل کنشگران، می‌توان کنشگر فاعل (اسفندیار)، کنشگر گیرنده (خواهران اسفندیار)، کنشگر شئ ارزشمند (آزادی خواهران اسفندیار) و کنشگر بازدارنده (ارجاسب) را در نظر گرفت. همچنین، می‌توان به پارة ابتدایی: رفتن اسفندیار به قصر، پارة میانی: آزاد کردن خواهران و پارة انتهایی درگیری و کشتن ارجاسب را اشاره کرد. زوی هم رفته، این اثر دارای ویژگی‌هایی است که امکان تحلیل روایت‌شناسانه را فراهم می‌آورد. | ||
| کلیدواژه‌ها | ||
| کلیدواژه‌ها: روایت‌شناسی؛ نگارگری ایران؛ مکتب هرات؛ شاهنامه بایسنقری | ||
| عنوان مقاله [English] | ||
| The Study of the Painting of Arjasb Being Killed in Roeen Castle by Esfandiar from a Narratological point of view | ||
| نویسندگان [English] | ||
| Adham Zargham1؛ Elnaz Dastyari2 | ||
| 1Associate Professor, Department of Painting and Sculpture, College of Fine Arts, Faculty of Visual Arts, Tehran University,Tehran, Iran, Corresponding Author. | ||
| 2PhD. Student, Department of Art Research, College of Fine Arts, Faculty of Visual Arts, Tehran University,Tehran, Iran. | ||
| چکیده [English] | ||
| The works that are placed in the field of visual arts can be examined and studied with a narratological approach. In the realm of visual arts, Persian painting includes characteristics that make it possible to use the approach of narratology. One of the most important and interesting features of Persian painting works is the strong connection these works have with text and literature. Especially by examining the history of Persian painting, it becomes clear and more clear that Ferdowsi's Shahnameh has played a significant role in the formation of painting works, and in many aspects, the works of Persian painters are indebted to the epic poems of the Shahnameh. It seems that the Persian painter has turned the poems and meanings in the literature into visual elements and expressed them in this way. One of the prominent works in Persian painting is Baysunghur Shahnameh, which was illustrated during the time of Baysunghur Mirza. One of the most interesting pictures in this version is the picture of the Arjasb Being Killed in Roeen Castle by Esfandiar. It is necessary to examine painting works from the perspective of theories; therefore, the aim of the present study is to analyse this painting from a narratological point of view, and in this regard, it faces the question of how to analyse the narratological painting of Arjasb Being Killed in Roeen Castle by Esfandiar? The research method of the present study is descriptive-analytical. In this research, The Narratological Analysis of the Painting of Arjasb Being Killed in Roeen Castle by Esfandiar, has been investigated. Therefore, firstly, the approach of narratology is examined and then the work is analysed based on the structure of this theory. In this research, the information has been collected in a library and organized in order to answer the research question. Narratology is the study of the system governing narratives and revealing the internal relations and relationships governing the narrative. In the current study, the picture of Arjasb Being Killed in Roeen Castle by Esfandiar has been analysed. The mentioned painting includes the plot and characters such as Arjasb, Esfandiar and his sisters. Arjasb kidnaps Esfandiar's sisters using trickery and captures them in his palace. In order to save his sisters, Esfandiar disguises himself as a merchant and enters Arjasb’s Palace. After a fight with Arjasb, Esfandiar kills him and frees his sisters. Distinguishing between the text and the outside of the text is one of the fundamental principles of the analysis of narratives. In this regard, it is necessary to pay attention to these things: considering the material that constitutes the narrative, paying attention to the internal organization of the text and not outside the text (that is, the relationship between the text and its context) and answering the question, how does the text work? When the distinction between inside and outside of the text is considered, another distinction can be considered between the levels of analysis inside the text. This classification consists of the world of the story, the act of narration and the objectification of the text. The world of the story refers to the content. This content includes time and place, story, fictional characters, etc. In the painting in question, the plot is Esfandiar going to Roeen Castle, freeing his sisters and finally killing Arjasb. The main characters depicted in this work are Esfandiar, and his sisters. The place where the story takes place is Roeen Castle, where Esfandiar went to free his sisters from Arjasb. Based on the existence of multidimensional space in Persian painting, several different times are shown together in this work, which shows Esfandiar's entry into the palace to his battle with Arjasb and killing him. As it is seen in Persian painting, in this painting the subject is drawn from the top view angle and the painter has connected the outer and inner spaces with each other by using geometrical relationships and color. In this painting, relationships and geometric composition play a key role in unifying this work and influencing the audience. In fact, this feature can be seen in paintings with building elements, especially in the Herat school. As mentioned earlier, the main subject is depicted on the upper and right side, and because the main subject of this work is the killing of Arjasb by Esfandiar, the painter uses oblique lines to direct the audience's gaze to the main subject. With the use of diagonal lines that form the ruling lines of the painting, in addition to defining a suitable place for Esfandiar's two sisters in the work, the artist has given special importance to the main topic, the conflict between Esfandiar and Arjasb. It also shows the predominance of oblique composition due to the unstable position of Arjasb. While the painter has tried to show Esfandiar's firm determination by using the vertical doors that appear frequently. In this work, the type of use of the crossbars above the head acts as an arrow and directs the viewer's vision to the battle site. The chevron shape of each door (like the shape of a very elegant and innovative bridge) implicitly directs the viewer's eyes towards the climax of the incident (the battle scene). Each of the surfaces, while having complete purity and brevity, also carries its own appropriation of color and establishes a harmonious bond with each of the shapes placed next to and around it. The whole image is in balance with the subject and has mobility, and a unique combination of lines, patterns, colors and surfaces has been created in relation to an epic subject. The researches of Vladimir Propp and later Algirdas Julien Greimas had important achievements for the analysis of narratives. In this regard, we can mention the activist pattern. In the activist pattern, six cases are mentioned: the sending or stimulating actor, the receiving or benefiting actor, the active actor, the valuable object actor, the inhibiting actor and the helping actor. In this painting, Esfandiar is the active actor who takes action and goes to Arjasb’s Palace. Since the actor can also include an abstract word, the freedom of the Esfandiar’s sisters can be considered as a value object, which is the goal of the active actor. Also, the Esfandiar sisters themselves can be considered as receiving actors or beneficiaries who benefit from the active action of the actor. Also, Arjasb can be considered as an inhibiting agent, which is considered as a kind of obstacle for the active subject, namely Esfandiar. According to Propp, the definition of narrative is the change of an event from one part to another. He calls these changes events. In continuation of Propp's work, Greimas has tried to provide a simple and abstract model for the events. In these theories, the initial, middle and final part and the change and transformation formed around the destructive force, the dynamic element and the organising force are fixed. The first part of the narrative shown in this painting is Esfandiar's entry into Arjasb Palace. As it can be seen in the center of the image, the middle part includes the release of Esfandiar's sisters. Also, the last part of this picture, which is shown above and on the right, is the killing of Arjasb by Esfandiar. In this picture, the conflict between these two can be considered as an organising force. Also, the destructive force is not mentioned in this picture. Esfandiar’s going to the palace to rescue his sisters, who were captured by Arjasb, and the conflict between the two of them, which ultimately leads to Arjasb death by Esfandiar, is the plot of this work. The findings of the research indicate that the place of the narration is Roeen Castle, and due to the multidimensional space, several times can be seen in the work. Also, from the point of view of the actors’ model, it can be distinguished as active actor (Esfandiar), recipient actor (Esfandiar sisters), valuable object actor (Esfandiar sisters' freedom) and restraining actor (Arjasb). The sending actor and the helping actor are not seen in this image. In addition, we can mention about this work the initial situation: Esfandiar's going to the palace, the intermediate situation: freeing the sisters and the final situation of the conflict and killing of Arjasb. In addition, the battle of Esfandiar and Arjasb can be considered as an organizing force. In general, the picture of the killing of Arjasb in Roeen Castle by Esfandiar displays characteristics that provide the possibility of narratological analysis. | ||
| کلیدواژه‌ها [English] | ||
| Key words: narratology, Iranian painting, Herat school, Baysunghur Shahnameh | ||
| مراجع | ||
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