معناکاوی نقش مایه درخت کهنسال در نگاره خون دماغ شدن اسکندر و آسائیدن او از هفت اورنگ جامی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
درختان در نگارگری ایرانی، به عنوان اصلی ترین عنصر طبیعت، در اغلب نگاره ها وجود دارند. درختان گره خورده کهنسال از عناصر تصویری شاخص در نگاره های مکتب مشهد است که نمونه بارز آن در هفت اورنگ جامی وجود دارد. در آخرین نگاره این مجموعه به نام (خون دماغ شدن اسکندر و آسائیدن او) درخت تنومند کهنسالی وجود دارد که شاخه های آن در حال سوختن است. برای کشف مفاهیم وجود این درخت، در این پژوهش از علم نشانه شناسی استفاده شده است. حال سوال اصلی این است که نقش مایه درخت کهنسال در نگاره مورد نظر، بر چه مفاهیم ضمنی، خارج از وجه ارجاعی خود دلالت دارد؟ در این پژوهش سعی بر آن است که با علم نشانه شناسی، برگرفته از نظریات کرس، ون لیوون و شعیری در راستای تحلیل متن و تصویر به مفاهیم ضمنی درخت کهنسال در نگاره مذکور دست یافت. روش تحقیق، توصیفی، تحلیلی و نشانه شناسی دیداری است. شیوه گردآوری اطلاعات، کتابخانه ای است. بر اساس مطالعات نشانه شناسی نتایج حاصله نشان می دهد که وجود درخت در این نگاره تنها یک نشانه تصویری برای نشادن دادن طبیعت نیست و جنبه ای کاملا نمادین دارد که می تواند نمادی از اسکندر و ابراهیم میرزا (برادرزاده شاه طهماسب) حامی و پشتیبان خلق هفت اورنگ جامی باشد.The semiotics of the old tree's motif in the image of Alexander's Nose and his relief in Haft Awrang Jami
Iranian painters have always depicted the imaginary world in drawing and used imagination and trees are the most common element of nature in most images. the existence of old gnarled trees is one of the main features of the Mashhad schools, its prominent example is visible in Haft Awrang Jami. The Haft Awrang Jami version is the school's most important achievement and it is among the latest masterpieces of Iranian royal painting. In seventeen of the twenty-eight pictures we see of old trees. the last image of this collection is the Alexander's nose and his relief, which illustrate the story of Alexander's death. There is a huge, old tree whose branches are burning. to explore concepts and meanings of this tree, is used of the semiotics science in the process of this research. Bearing in mind that Iranian painting has a deep connection with literature and in the Haft Awrang Jami version, the relationship between the Jamaican characters and the fictional literature is hair-to-hair and in detail and the narrative images are clearly interpretations of the literal expression of the text in question, in fact derived from the mystical and ethical themes of Jami's poetry. so there must be a special connection between this character tree and the storyteller. the main question now is that the old tree's motif in the desired image What symbolic implications outside of its referential way implies? In this research, it is tried to think of the science of semiotics from the theory of Kress& Van Leeuwenin in his book with the name of reading images and Hammidreza shaeeri in a book as a sign-Visual semantics, in order to analyze text and image to the implicit concepts of ancient tree in the image Mentioned. The research method is descriptive, analytical and visual semiotics. The method of collecting information is a library. on the basis of the semiotics studies, the results show that the existence of a tree in this image is not just a visual cue to illustrate the nature & it has a completely symbolic aspect. By analyzing the semiotics in the structure of this picture and examining factors such as narrative processes, symbolic processes, and compositions, it can be concluded that the high tree is a sign created in a structure with the intention of representing the narrative. The tree symbol, with its symbolic features, has become a symbol in the image. A symbol of the power, ambition, life, sickness, and human immortality that made these qualities come alive. The tree that once was the source of blessings is being destroyed by social events. Sheikh Mohammed, influenced by these events and the turmoil that dominates society, and according to the storyteller who speaks of a tree that is originally a symbol of Alexander and is being destroyed by Alexander's death, it may have depicted Ibrahim Mirza in Alexander the Great, and Alexander's troops and mourners could be a metaphor for the people and artists who found themselves in disarray after the overthrow of Ibrahim Mirza.
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