کارستان هنری ولی جان تبریزی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
فرضیه نگارنده در این مقاله مبتنی بر این است که نگارگر ولی جان تبریزی شاگرد سیاوش بیگ هرگز در حلب ساکن نبوده و با علی جان مذهب، هیچ ارتباطی ندارد. با توجه به سند آنافارتا درباره نگارگران همایون نامه باید گفت این نگارگر، پنج سال زودتر یعنی در 990 ه.ق پیش از آغاز نوشته شدن مناقب هنروران در مملکت عثمانی بوده و به دربار عثمانی راه یافته است. منابع حضور ولی جان در گروه عثمان نقاش و کارگاه سلطنتی را بعد از 992 ه.ق خبر می دهند، و او پیش از آن، در دربار نبوده بلکه آزاد کار می کرده است که در این صورت، تاریخ 988 ه.ق/1580 م. صادق به نظر می رسد. او در کتاب آرایی ها متأثر از مکتب قزوین و در تک برگ ها، تداوم بخش اسلوب ساز است. ولی جان، عناصر سبک ساز را از استادان مکتب دوم تبریز آموخته و همانند هموطن خود شاه قلی، در استانبول با ترکیب بندی جدیدی از این عناصر در راستای اسلوب ساز به خلق آثار سیاه قلم پرداخته است. در این پژوهش، از آنجایی که این هنرمند در ایران آنگونه که باید شناخته نشده، هدف معرفی، بررسی و تحلیل اسناد و مدارک موجود و آثار نگارگری ولی جان در کتاب آرایی ها و آلبوم ها به روش توصیفی و تطبیقی است.The achievements of Veli Jan Tabrizi
Veli jan Tabrizi, the famous student of Siavash Beig Gorgi, went from Tabriz to Ottoman by his will. According to the signatures of the veli jan from the seventies to the second half of the 11th century, he worked in Iran and Ottoman Empire. veli jan was educated in Qazvin school and played an important role in transferring the achievements of the schools of Tabriz and Qazvin to the Istanbul school. The veli jan, like Shah Quli (Saz style invented), learned the elements of the Turkmen and Tabriz schools in Tabriz and Qazvin, but in Istanbul, with a new composition of these elements, which was called Saz style and a style that was popular in the Ottoman court, Compositions are not seen in the painting of the Safavid period. He played a major role in the development of Saz style in Istanbul's paintings. He was influenced by the evolution of the Istanbul School of Painting from the late decades of the tenth century, along with the painter Osman. He has been impressive, but his stylish works are not as delicate and prolific as Shah Quli's works, but because the continuation of this style is very much considered. In all of his works, the elements of the Tabriz and Qazvin schools are known, and his distinctive patterns can be distinguished, and perhaps his loyalty to the style of the Safavid painting has led him to be proud, which hinders further learning in the field of art. Among the several colorful and pen drawing of the veli jan, besides a few works that are commonly found in the painting style of the Safavid paintings, it shows the rest of the Saz Style features, in particular the fairy-tale group, the body of young women and men, and the leaves of the Saz, the images and the compositions Of the birds have a single style. veli jan paid attention to detail in his early work, but he gradually avoided this. Like the painters of the Tabriz and Isfahan schools, he was also interested in illustrating Dervishes. In the paintings in the albums, the name of the veli jan is written in various forms (Fig. 18) in the picture of the angel. The signature in the form of the "veli jan Pen" is written in a long line of suspension and authenticity is confirmed. In the image of the angel at the Jacques-Mart Andre-Paris Museum, the artist signed the "Veli Jan Ibni Qasem", and in the second form in the same museum, with the signature of the "Veli jan" with the suspension line, it was written only in different forms (clinging or separating). Among the signatures, the signature form of the H.2168 can be described as the usual signature of the artist. In this research, since this artist in Iran, as it should not be known, while addressing his character, the characteristics of his pictures, the errors that have taken place in the history of some of the works and proportions are being examined.
تبلیغات
