خوانش بیش متنی عناصر نوشتاری در قالیچه محرابی موزه دفینه (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
قالیچه های محرابی دوره صفویه از جمله گونه های قالی است که در سده نوزدهم میلادی به عنوان پیش متن سایر قالیچه ها در ایران و ترکیه مورد استفاده قرار می گیرد. از آن جا که بدون خلق قالیچه های دوره صفویه امکان خلق قالیچه های ادوار بعدی ممکن نبود، بنابراین، روابط میان این متن ها نه از نوع هم حضوری، بلکه از نوع برگرفتگی در نظر گرفته می شود. به نظر می رسد در این برگرفتگی، سبک یک سان و مضامین متفاوت است. لذا، در این برگرفتگی می توان شاهد دگرگونی های موضوعی و مضمونی بود. متن کلامی دراکثر قالیچه های صفوی برگرفته از آیات قرآنی است؛ ولیکن، متن کلامی در قالیچه موجود در موزه دفینه در دوره قاجار بیش تر شامل اشعار غنایی و تعلیمی می شود. حال پرسش این است: دگرگونی های موضوعی و مضمونی در قالیچه موزه دفینه در قیاس با قالیچه های دوره صفویه چگونه قابل تبیین است؟ هدف از این پژوهش، تحلیل نشانگان کلامی قالیچه موزه دفینه با تکیه بر بیش متنیت ژنت است؛ و با توجه به برگرفتگی این قالیچه از قالیچه های دوره صفویه، برای رسیدن به پاسخی مناسب با استفاده از رویکرد بیش متنیت و روش توصیفی و تحلیلی می توان به این نتیجه رسید که، رابطه این برگرفتگی در شکل کلی قالیچه همان گونی و از گونه پاستیش است. ولیکن، این برگرفتگی در عناصر کلامی از نوع تراگونگی و ترانزپوزیسیون است. با توجه به این تراگونگی می توان گفت، دگرگونی در بیش متن بیش تر تاکید بر مضمون است. چرا که این متون، سعی در بیان مضمونی متفاوت از سلوک و بقا و فنا فی الله را داشته و تلاش در نقد شرایط کنونی جامعه و یادآوری شرایط آرامش بخش و مفرح در دوره صفویه داشته است.Hypertextual Reading of Written Elements in the Niche Carpet of Dafineh Museum
One of the types of carpets produced in the Safavid era is niche carpets. What makes these carpets different from other types of rugs is the presence of many texts in a small handwoven rug. The weaving of this typeo of carpets continued in the later periods, especially in the 19th century (AD), even more so in Herekeh (Turkey). Nevertheless, there are examples of these carpets in Qajar era in Iran, whose general structure is equal to the carpets of the Safavid era.Niche carpets of the Safavid era in the 19th century are considered as a precursor to other styles of carpets in Iran and Herekeh. Since the evolution of carpet design cannot be possible without a history, Safavid era rugs’ influence on the design and style of later era carpets cannot go unnoticed, therefore, the relation between these texts is not considered co-present, but Derivation.It seems that in these derivations, the style is the same but the themes are different,therefore subject and thematic transformations are apparent. The verbal text in most of the Safavid carpets is taken from Quranic verses, but the verbal text in the carpet in the Dafineh Museum from the Qajar era mostly includes lyrical and didactic poems. This carpet is very similar in structure and appearance to the Safavid era carpets. It also consists of a wide margin, two narrow margins around and four inscriptions in a small frame around the writings. This rug contains several colored pieces in the Corner part, and the strip around the niche is also decorated with inscriptions. Also, the textual drsigns in this carpet are mostly taken from the poems of Hafez and Saadi; while the niche carpet of the Safavid era is full of Quranic verses and hadiths. The questions that arise re as follows: 1. Why was the carpet of Dafineh Museum influenced by the structure of the carpets of the 16th century? 2. What is the relationship between the carpet of Dafineh Museum and previous samples and how can this relationship be explained? Therefore, since the relationship between the two existing texts is a Derivation, this research attempts to analyze the images using the trans textuality approach and based on the type of hyper textuality. The purpose of this research is to analyze the textual imagery of the carpet of Dafineh Museum by relying on the hyper textuality of Genet, and considering that this carpet is a derivation of the carpets of the Safavid era. In order to reach a suitable answer by using the hyper textuality approach and descriptive and analytical methods, the conclusion that was reached was that the Derivation in the overall shape of the carpet is a type of Imitation and pastiche, but the Derivation in the textual elements is of the type of transformation and transposition.According to this contradiction, it can be said that the transformation in hyper textuality is more emphasized on the theme, because these texts express a different theme of conduct, survival and destruction in the name of God, and criticize the state of the society during the era and a reminder of the peace and tranquility during the Safavid period.This research is descriptive-analytical based on its modality and analyzes two niche rugs with the multi-textual method. Therefore, this study can be considered a comparative study. The research is time-oriented;comparing two works from the Safavid and Qajar era. This study is not focused on the similarities and differences of the two works, but on the influence of one text as a pretext on another text as a hyper textuality. What is important in this comparison is the relationship between the texts. This research is qualitative and fundamental in terms of its purpose; due to its analysis of the relationship between two rugs based on the poly textual method.The hyper textual example is the niche carpet of the Dafineh Museum in the Qajar era and the pre-text sample is the niche carpet from the Safavid era. Gérard Genette believes that there is no text that does not evoke another text (Genette,1982A:18).Therefore, in "Trans textuality", he expresses the relationship of one text with other texts. From Genette's point of view, Trans textuality has five types; which includes intertextuality, super textuality, Para textuality, met textuality, hyper textuality (Namvarmotlagh, 2013: 139). In the meantime, Genette's hyper textuality has taken a large volume of his research. Also, due to the fact that the relationship between two texts examined in this research is of a derivative nature, the hyper textuality in the samples is examined.From Genette's point of view, hyper textuality, is re-reading of a pre-text, that is, writing new content and reading pre-text creates a new text (Genette, 1987:5). The pre-text is the first text which is considered as a source of inspiration. Hyper textuality is also the second text derived from the pretext. Genette considers two big categories of similitude (imitation) and transformation (change) for most of the text.Similarity or imitation: In this regard, the author's goal and intention is to preserve the original text in new conditions.2- Transformation or transposition: "In transformation, hyper textuality is created by the change and transformation of the pre-textuality" (Namvarmotlagh, 2008: 96).Also, Genette considers three main conditions for hyper-textuality: the textuality of the subject, subject containing two or more texts, and an established and apparent relation between the pre-text and the hyper-text (Namvarmotlagh, 2013: 141). After dividing hyper textuality into Imitation and transformation, she divides them into six main types: pastiche, charge, forgery, parody, travestissement, and transposition.According to the passage, if the carpet is examined as a whole, the overall style of the Dafineh Museum carpet is the same as the niche carpet, and its style can be considered imitation, and, it can be classified under pastiche. However, if the textual imagery of the carpet of the Dafineh Museum are compared with other carpets, a change in style can be observed. Because there are Arabic verses or narrations in the beginning of the text, but most of its text is devoted to lyrical and didactic poetry. Also, the theme in the first carpet conveys a kind of pilgrimage and ascension, and each verbal text in the margins specifies a path of pilgrimage. But in Hyper textuality of the beginning of the Border or the first margin, refers to the bad state of present and the reminiscence of the past, which is a repetitive theme throughout the work. Considering that the carpet of the Dafineh Museum is a derivation of the Safavid carpet and referring to the name of Shah Abbas in a place where in the past there were important zikrs such as Tasbihat-Arbaeh, it seems that parody and transformation prevail here, because the situation is expressed with bitter humor. Therefore, it seems that the weaver tried to represent the Safavid era artistically by using the structure of Safavid rugs and imitating the general style. The weaver has tried to recreate a work from that era by imitating the style, but with a twist in the texts with a change and transformation of the theme, he refers to the unfavorable conditions of the Qajar era and wishes to return to the period of Shah Abbas. Therefore, in all the margins, he uses verses that express this matter in the best way. Since the carpet was woven in the Qajar period, criticism of the status quo and complaints about the current period, that is, complaints about the Qajar period, and considering the name of Shah Abbas and references to him in other texts of the Qajar period, it is implied that his rule and period was considered ideal for the artists.According to Genette's statements, there is no text without a pretext and the texts influence each other. Therefore, one of the ways to read the carpet of the Dafineh Museum is to study the pre-text (text A) and its connection with text (B). Using this approach, at first glance by just considering the appearance, it looks like a prayer rug, because the style of both is the same, and the similarity can be seen in the creation of the new text. However, by deeply scrutinizing the written elements and examining the relationship between them, unlike the general style, we can see a lack of clarity in the written text. This transformation has more of a whimsical element, also in this transformation we can see changes in the shape and theme of the carpet. The most important change in the appearance of the verbal text is the removal of the inscription under the forehead of the niche. Since in text A, the final collection takes place under the forehead of the niche, therefore, there is no need for such a text to be present in the carpet of the Dafineh Museum, which complains about the current situation. Also, since the structure has been preserved, it can be reminiscent of a text from the Safavid period. The main change in the content of the verbal text is from verses to poems, which does not refer to fate and death, but to the oppression of the times and the desire to return to the time of Shah Abbas, that is, the time in which the pretext matter was woven. <strong> </strong>
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