ظهور سنت اندرزدهی سیاسی در نگاره دارا و رمه دار، بوستان سعدی نسخه ۸۹۳ هجری قمری (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
اندیشیدن به ضرورت های سیاسی-اجتماعی یکی از وجوه نگارگری کمال الدین بهزاد است. براساس اسناد تاریخی، خطای سلطان حسین بایقرا در تشخیص دوست از دشمن و انتصاب های او در قشلاق مرو در سال ۸۹۲ هجری قمری، به عنوان یکی از عوامل بی نظمی دربار و نظام سیاسی در سال های ۸۹۲ تا ۸۹۵ هجری قمری مطرح است. در نسخه ای از بوستان سعدی با تاریخ ۸۹۳ هجری قمری، نگاره ای از حکایت دارا و رمه دار توسط کمال الدین بهزاد به جای مانده که از آثار شاخص نگارگری مکتب هرات محسوب می شود. این نگاره ضمن بهره گیری از اندرز طرح شده در حکایت سعدی، بروزاتی اندرزگون در مواجهه با بی نظمی در دربار سلطان حسین بایقرا و خطای او در تشخیص دوست از دشمن را آشکار می کند. بر این اساس، هدف از این پژوهش شناخت امکانات بصری سنت اندرزدهی سیاسی و هم چنین، شناخت شیوه ها و ابزارهای بصری در رسیدن به این هدف در قالب نگارگری مکتب هرات است. هم چنین، این پرسش طرح گردید که: کمال الدین بهزاد در چه وجوه و بخش هایی از این نگاره به اهداف اندرزگون دست یافته است و ابزار بصری مورد استفادهِ او چه بوده است؟ ضرورت و اهمیت این مقاله نیز در بررسی وجوه سیاسی-اجتماعی هنر ایران است. در این مطالعه، روش پژوهش توصیفی-تحلیلی و تاریخی و روش گردآوری داده ها به صورت اسنادی و کتابخانه ای است. نتایج به دست آمده نشان می دهد: کمال الدین بهزاد با شکل دهی به این نگاره، به عنوان تصویری برآمده از سنت اندرزدهی سیاسی، سلطان حسین بایقرا را مخاطب قرارداده و بروز بی نظمی در دربار و خطای او در تشخیص دوست از دشمن را مورد اندرز قرار می دهد.The Emergence of the Tradition of Political Advisory in Dara and Rameh Dar, Bostan Saadi, Version 893 A.H
The methods arising from the tradition of political advisory in Iran, having their roots in ancient times, were continued during the Islamic Middle Ages and made it possible to shape the advisory aspects of Iranian artworks. During the reign of Sultan Hossein Baiqra, due to the political conflicts in the court, the continuity of the government and the establishment of the order of the court was especially accompanied by the necessity of distinguishing friends from enemies in the court. However, according to historical documents, numerous reports of Sultan Hossein Baiqara's negligence in choosing agents and his mistake in distinguishing friends from enemies have been recorded in the form of a risk for the continuation of the government. It seems that Kamal al-Din Behzad, who had a special position in the court of Sultan Hossein Bayqra, using his closeness and influence on the sultan, chose the illustration of Dara and Ramehdar (Herdsman) to admonish the sultan and to correct his mistakes in governance.This miniature, which is a leaf from the copy of Bostan Saadi dated 893 AH, in terms of the topic of the story selected from Saadi and also in terms of the artistic subtleties used by Behzad, teaches the importance of distinguishing friend from enemy in governance. The illustration of this miniature is such that, in contrast to the conventional images of kings, which show their power, fighting, or pleasure-seeking images, it depicts a lonely king among herds and herdsmen in such a way that he is receiving advice from the herdsman. Therefore, according to the fact that Sultan Hossein Baiqara's error in distinguishing friend from enemy is emphasized as a political problem and this phenomenon is taken into account in the subject and the way of illustration of miniature of Dara and Ramehdar, in this research, Dara and Ramehdar as an advisory miniature Has been studied.In this research, the question was raised: in what aspects and parts of this miniature did Kamaluddin Behzad achieve his advisory goals and what was his visual tool? The purpose of this research is to know the visual possibilities of the tradition of political advisory and the methods and visual tools to achieve this goal in the form of Herat school miniature. Therefore, this research is important and necessary to examine Iranian art as a subject with multiple aspects. In this research, on the one hand, it is necessary to examine the political-social aspects of Iranian art, and on the other hand, how to find the relationship between the political-social aspects and aesthetics is important.In this study, the descriptive-analytical and historical research methods and the method of data collection are documentary and library. In this article, the miniature of Dara and Ramehdar is analyzed as a case study. The sample selection method was purposeful and data analysis was done qualitatively. First, based on documents and library sources, the political necessity of the formation of this miniature from the Bostan Saadi version, during the reign of Sultan Hossein Baiqara, was studied. Considering the political necessities identified in this era, and the advisory qualities of Saadi's story, based on the theory of Iranshahri's political thought, the qualitative analysis of this miniature was carried out using the semiotics method of the tradition of political advisory and the concept of justice.The obtained results show that Kamaluddin Behzad, in illustrating the miniature of Dara and Ramehdar, by paying attention to advices Saadi, has embodied an advisory image in the context of the tradition of political advice. This miniature, which was depicted in a version of Bostan Saadi and for Sultan Hossein Baiqra, emphasizes the importance of establishing order in court affairs. On the other hand, Behzad, using various artistic arrangements and portraying Dara in the clothes and headgear of Sultan Hossein Baiqra, has rearranged the advice of Saadi about his contemporary conditions to point out the similarity between the behavior of Dara and Sultan Hossein Bayqra. In this miniature, instructions such as the supervision of subordinates and the importance of distinguishing friends from enemies are given attention, which seems to have been related to the necessity of eliminating the disorder in the court of Sultan Hossein Baiqara.Also, in this miniature, the selection of elements, composition, and quality of illustration is such that Sultan Hossein Baiqara's mistake in distinguishing friend from enemy, which appeared in Qeshlaq Marv, is reminded of him. The depiction of Sultan Hossein in this miniature shows the distinction between his behavior and his royal position as the main person responsible for establishing the overall order of affairs and the highest position in the court and the land. According to Saadi's poem and the behavior of Sultan Hossein Bayqra in the administration of court affairs, the elements of this picture depict the Sultan's presence in the meadow in such a way that he is embodied as the cause of disorder, astonishment, and confusion of his subordinates, in a lower position than his subordinates.
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