تاثیر نگارگران مهاجر مکتب تبریز دوم بر نگارگری دربار گورکانیان هند (با تاکید بر دوران شاه تهماسب صفوی و همایون شاه و اکبر شاه گورکانی) (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
در دوران سلطنت شاه تهماسب صفوی، بحث توبه شاه مطرح می شود؛ ازاین رو عدم توانایی پیروی از شاه توسط هنرمندان، موجب کم توجهی او نسبت به آنان می شود. در این دوران همایون در ایران با میرمصور آشنا و درصدد راه اندازی کارگاه نقاشی مغول برمی آید. توجه همایون شاه به ایشان فرصتی را فراهم آورد تا برخی هنرمندانِ ناراضی از دربار، به هندوستان مهاجرت کنند. هنرمندان مهاجر که هریک نامی بلندآوازه در مکتب نگارگری ایران داشته اند، تحت حمایت همایون شاه و سپس فرزندش اکبر شاه، نقشی بی بدیل در بنیان نهادن سبک هندی-ایرانی ایفا کرده اند. این پژوهش به دنبال پاسخ بدین پرسش است که نگارگران مهاجر ایرانی مکتب تبریز دوم چه تأثیراتی بر نگارگری گورکانیان هند گذاشته اند؟ هدف از این پژوهش بررسی چگونگی تأثیر این هنرمندان ایرانی بر هنر و فرهنگ هند در مقطع تاریخی گورکانیان و تداوم آن در قالب سبک تلفیقی هندی–ایرانی در دوره های بعد است که با استفاده از روش توصیفی-تاریخی و بهره مندی از اسناد و منابع موجود و مشاهدات میدانی در موزه ها صورت گرفت. نتیجه پژوهش حاکی از آن است که هنرمندان مکتب دوم تبریز مهاجرت کرده به هند، زمینه های تعامل هنری بین ایران و هند را فراهم ساخته و سبک هندی-ایرانی را به وجود آوردند. در سبک نگارگری هندی-ایرانی تأثیر نوع قلم گیری، رنگ آمیزی و ترکیب بندی خاص هنرمندان ایرانی به خوبی مشهود است.The Influence of Immigrant Painters of Tabriz II School on the Painting of the Gurkhanid Court of India (Emphasizing the era of Shah Tahmasb Safavid and Homayoun Shah and Akbar Shah Gurkani)
During the reign of Shah Tahmasb Safavid, due to his lack of attention to artists and Homayoun Shah's inclination, an opportunity was provided for some artists dissatisfied with the king to immigrate to India. Immigrant artists to India, each of whom has made a name for himself in the Iranian school of miniature, with the support of Homayoun Shah and then Akbar Shah, have been instrumental in establishing the Indo-Iranian style. This study seeks to answer the question that what effects have the Iranian immigrant painters of Tabriz II School had on the miniature of the Gurkhans of India? The purpose of this study is to investigate the influence of these Iranian artists on Indian art in the historical period of Gurkanid and its continuation in the form of a combined Indo-Iranian style in later periods. This research was carried out using descriptive-historical method. The result of the research shows that the artists of the second school of Tabriz migrated to India, provided the grounds for artistic interaction between Iran and India and created the Indo-Iranian style. In the Indo-Iranian style of miniature, the effect of using a brush, coloring and special Iranian composition is well evident.
Introduction
The Mongolian style of India in painting coincides with the Safavid period in Iran, which is completely different from the style of the first Tabriz school (Mongol style in Iran). The Mongol period in India began with the reign of Babur Shah and was continued by Homayoun Shah after that. After the defeat of the Syrian lion king, Homayoun Shah took refuge in the court of the Safavid Shah Tahmaseb and the Iranians helped him to regain his lost rule. Shah Homayun invited them to India because of his great interest in art; This has had a profound effect on Indian painting. The Muslim conquest of northern India has slowed the evolution of sculpture, but revived the art of painting. Akbarshah, a moderate king, was able to integrate Hinduism with Islam; This has led traditional Indian painters to become familiar with delicate paintings and the style of Iranian painting. The painting of the Gurkanian school is very close to the painting of the Tabrizdan II school in Iran, which is inextricably linked with the same principles, but with the taste of the Gurkanian rulers. From the surviving works, it can be seen that most of the painters of this school were Iranians. These artists have been able to create an Indo-Iranian style in India and teach it to Indian artists as well. The purpose of this study is to introduce and explore how Iranian artists influence Indian art and culture in the Gokanian historical period and its continuation in the form of a combined Indo-Iranian style in later periods using descriptive-historical method and data collection. Using the resources available in libraries, authoritative academic articles and museums and observations have been made.
1.1. Detailed Research Method
Considering the artistic and historical content of this research, its process was done in a descriptive-historical method and in this way in order to obtain documented and reliable data from the library method (including: benefiting from valid historical documents and sources) and field (Including: reviewing and viewing some works from museums) was used.
Discussion
During the reign of the Gurkhani rulers of India, there was a close literary, social, racial and religious relationship between Iran and India (Mubarak, 2006: 14). Zahiruddin Mohammad Babar, the founder of the Gurkhani Empire of India, was the fifth descendant of Timur Gurkhani. Gurkanians, who in their ancestral identity, founded the Herat school during the reign of Shahrokh Mirza and his son Baysanghar Mirza, descendants of Amir Teymour Gurkani, due to their interest in art, the low esteem of artists, the religious strictures of Shah Tahmaseb I and The aim of restoring the glory of the Timurid era is that many artists, including painters, calligraphers, bookbinders, etc., from all over Iran, eager to regain their former status, as well as receiving exorbitant wages and abundant and royal rewards, went to Herat for the second time with Homayoun Shah. The number of Iranian artists and celebrities who left Iran for India for nearly two and a Considering these connections, the present study tries to investigate the influence of Iranian artists on painting and illustrations of manuscripts of Homayoun Shah and Akbar Shah eras and to answer the question of what effects Iranian immigrant painters of Tabriz II school had on painting. The Gurkhas left India? half centuries from the beginning of the reign of Shah Ismail I (907 AH) to the end of the reign of Shah Sultan Hossein Safavid (1135 AH) has reached seven hundred and forty. And there are five of them, nine of them in the time of Zahir al-Din Babarshah, thirty-three in the time of Nasruddin Homayoun Shah and two hundred and fifty in the golden age of Jalaluddin Akbar Shah (Mubarak, 1385: 15) and emigration These artists have made a great impact on the painting of that land, which today is considered one of the most exquisite paintings left from this historical period.
Conclusion
With the beginning of Homayoun Shah's rule in India, the art of painting was revived and due to the comprehensive development of Iran-India relations and the lack of attention of the kings of the Safavid court and especially the strictures of Shah Tahmaseb, forced artists to make a living. They left their homeland and, with great effort and skill, interested the king of India in themselves. At the same time, Homayoun Shah's invitation to the great Iranian artists to the Gurkhani court paved the way for the migration of artists. When the artists entered the court of Homayoun Shah; Faced with the king's welcome, Homayoun Shah granted them many positions and status. After Homayoun Shah, Akbarshah was more interested in art than his father and had a special respect for Iranian artists living in India. Because they considered themselves the heirs of Timur Gurkhani and sought to culminate their school in the time of Shahrokh Mirza and Baysanghar Mirza. His interest in Iranian artists was such that Akbar Shah himself was trained by Iranian artists Mir Seyyed Ali and Abdul Samad. Mir Seyyed Ali, nicknamed Nader al-Mulk, and Abdul Samad Shirazi, nicknamed Shirin Ghalam, were the founders of Indo-Iranian style painting and were very skilled in simulation. These two artists were responsible for performing the drawings of the book during the time of Homayoun Shah and Akbar Shah, which is an important historical event. Relying on the position of their fathers, their children were able to work in the court of Gurkhani and be respected. In the Gurkhani court, as in the Safavid court, painting and writing were done by order of the king and high-ranking courtiers. During the reign of Akbarshah, several illustrated books were written, which can be said to be among the best painting books of India after Islam. The Indo-Iranian style gradually gave way to the Mongolian-Islamic style, and this was only possible with the efforts and skills of Iranian painters and their students. The best Indo-Mongolian painters were trained or influenced by Iranian artists. In the new style of Indo-Iranian painting, the clever influence of the type of engraving, coloring and special composition of Iranian artists can be seen. After Akbar Shah, other famous artists migrated to India and created other styles. What is important is that the art of simulation, which did not flourish in Iran, due to the taste and interest in development, as well as the high taste and elegance of the Gurkha kings of India and, more importantly, the presence of skilled Iranian artists in cultural management. And the art of the court of that land, caused the development and growth of art in all fields in the Indian subcontinent.
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