مطالعه تقابل هویت ایرانی و غیر ایرانی در مجلس «آوردن سر ایرج نزد سلم و تور» اثر محمد زمان (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
در این پژوهش، نگاره آوردن سر ایرج نزد سلم و تور به قلم محمدزمان از شاهنامه شاه عباس بررسی می شود. فرضیه این مقاله آن است که تفاوت این نگاره در عنوان، محتوا و فضا، با متن شاهنامه و نیز دیگر نگاره ها از این مجلس؛ ناشی از تحولات فرهنگی عصر صفوی و نمایانگر مواجهه نقاشی ایرانی با نقاشی غربی است. روش تحقیق، تحلیلی است و برای درک دستور زبان تصویری و نشانه های مستتر در آن، به تحلیل اثر مبتنی بر متن ادبی پرداخته و سپس به تفسیر آن براساس زمینه های اجتماعی و فرهنگی اثر می پردازیم. در این نگاره، برخلاف متن فردوسی، به جای تصویر، فضایی تراژیک و خشونت آمیز از قتل ایرج، قهرمان ایرانی و تاکید بر حقانیتش، فضایی موقّر و باشکوه بازنمایی شده که درآن سلم و تور، که نمایانگر هویت غیرایرانی هستند، باصلابت و با پیکرهایی بزرگ تر از ایرج و سایر افراد تصویر شده اند. محمد زمان از تکنیک های نقاشی فرنگی، پرسپکتیو، حجم نمایی و سایه روشن در نمایش شکوه این دو بهره برده است. باتوجه به تحولات پارادایمی در اصفهان قرن یازدهم و تجربه گذار از سنت به تجدد، ذبح ایرج، قهرمان ایرانی، در بارگاه سلم و تور را می توان استعاره ای از کمرنگ شدن ارزش های نگارگری در برابر پرسپکتیو و دیگر تکنیک های غربی در سبک فرنگی سازی دانست.The Contrastive Analysis Between Iranian an non – Iranian Identity in the Picture of “Bringing the Head of Iraj to Salm and Tur” , a Work by Mohammad Zaman
This study investigates the portrait of "Bringing the Iraj's head to Salm and Tor" by Mohammad Zaman named after the painters as well as pioneers and inventors of the Farangi style of painting in the Safavid period (11 th century AH). This picture is from Shahnameh of Shah Abbas. This Shahnameh was depicted during the reign of Shah Abbas Safavi. This shahnameh is depicted in different stylistic forms with two traditional Iranian painting styles and European painting and illustrating the evolution of painting. Here we see a different version of the story of the murder of Iraj in the narrative of Ferdowsi and other traditional painters. In this research, we will find that there are some interesting and interesting concepts in the content of this work. The purpose is to first describe the difference between this picture and the image of the murder of Iraj in earlier versions. Next, interpret the meaning of this difference in the context of historical-social developments in Safavid Iran By analyzing, interpreting, and discovering the angles concealed in the pictorial elements, the meaning of (Iranian) versus (non-Iranian) is revealed. The hypothesis of this article is that the difference in the title, content and space with the text of Shahnameh and other portraits from this title is due to the cultural developments of the Safavid era (westerners and cultural relations with the court and western painters and painters in to Iran and…) Reflecting the confrontation of Iranian painting with western painting. The research method is analytical and in order to understand the visual grammar and it is hidden signs, we analyze the text-based work and then interpret it based on the social and cultural context of the work. Particularly, Persian painting encounter with European style in the eleventh century for the first time. In this portrait, unlike the Ferdowsi's Shahnameh text (4thand5th century AH), instead of the tragic and violent image of Iraj's assassination, the Iranian hero emphasizing on his legitimacy, a temporary and magnificent space has been illustrated in which Salm and Tor, which represent non-Iranian identity have been pictured more stable white larger bodies than Iraj and other people. In this illustration, there is no indication of the greatness and dignity of Iraj as described in Ferdowsi's Shahnameh. Iraj seems to have had no credibility with Mohammad Zaman, an Iranian-born painter. Mohammad Zaman has used the techniques of painting, perspective, exponential volume and shading to illustrate the glory of these two. Mohammad zaman has been fascinated by the techniques of the Frenchman as well as by the use of the elements and motifs of the Frenchman. Given the paradigmatic changes in Isfahan in the eleventh century and the transition from tradition to modernity, the slaughter of Iraj, the Iranian hero, at Salm and Tor, can be seen as a metaphor for the diminishing value of illustration against perspectives and other western techniques in the style of painting. In other words, Iraj's headless corpse, the Iranian hero who is kneeling at the magnificent Salm and Tor shrine, can be concepts and forms of painting.
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