بررسی نگاره های ورقه و گلشاه: یک تحلیل جامعه شناختی و تاریخی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
ورقه و گلشاه منظومه ای عاشقانه سروده ی عیّوقی شاعر عهد غزنویست. نسخه ای از این منظومه متعلق به قرن ششم هجری محفوظ در موزه ی توپکاپی استانبول باقی مانده است. هنرمند این نقاشی ها محمد خویی است و به نظر می رسد نسخه جایی در آذربایجان در سال های پایانی قرن ششم و عصر فروپاشی سلسله ی سلجوقی (حک: 431 590 ه.ق) در ایران و به سبک نقاشی سلجوقی کشیده شده است. این پژوهش در پی تحلیل چگونگی بازتاب شرایط اجتماعی و تاریخی در نگاره های ورقه و گلشاه است؛ برای پاسخ به این دغدغه باید زمینه ی تاریخی و هنری و فرآیند رویدادهای معاصر با خلق اثر مورد بررسی قرار گیرد. از این رو این مقاله با رویکرد جامعه شناسی تأویلی و با روش پژوهش هرمنوتیک قصدگرای اسکینر به تحیلل نگاره ها به مثابه متن پرداخته است. جمع آوری داده ها نیز به شیوه اسنادی و مطالعات کتابخانه ای صورت گرفته است. نتایج این جستار نشان می دهد اگرچه نقاشی ها با هدف بهره مندی خواننده ی سوادآموز یا کم سواد کشیده شده اند اما وجود برخی ناهماهنگی ها میان متن و تصویر قصد و انگیزه ی دیگر هنرمند را بازتاب می دهند. در تصاویری که از جنگ های تن به تن وجود دارد، در حالی که شاعر توصیفی حماسی از نبردها و جنگ آوری قهرمانان داستان را ارائه می دهد، نگارگر کوشیده با بزرگنمایی صحنه های خون آلود، بر خشونت تصاویر بیافزاید. هنرمند به جای قبایل بادیه نشین عرب، تصویری از یک شهر با ویژگی های ایرانی را ترسیم کرده است. از این رو می توان نتیجه گرفت تلاش هنرمند برای ایجاد فضایی شهری و ایرانی و نشان دادن وضعیت نابسامان و خشونت آمیز جامعه ی ایرانی بازگوکننده ی قصد هنرمند در خلق تصاویری ناهماهنگ با متن هستند.Varqa and Golshah Paintings: A Sociological and Historical Analysis
Due to the ravages of the Mongol invasion and the long interval of a thousand years, only a few works have remained from the painting of the Seljuk period (590-429 AH).Varqa and Golshah is a romantic poem written by Ayyuqi, a poet of the Ghaznavid period. A manuscript of this verse belonging to the 6th century of the Hijri has been preserved in the Topkapi Museum in Istanbul. The artist of these paintings is Muhammad Khoei, and it seems that the version was drawn somewhere in Azerbaijan in the last years of the 6th century and during the collapse of the Seljuk dynasty (590-429 AH) in Iran. This period of Iran's history coincides with chaos, the formation of Atabaks local governments and endless conflicts. With the death of Sultan Masoud (529-547 AH), the last relatively powerful Sultan of the Seljuk dynasty, Emirs, who had the title of Atabek, emerged as the only influential group in the structure of the Seljuk government. Their first goal was to bring the princes under their tutelage to the throne. Atabak's first goal was to put his prince on the throne. These political conflicts caused chaos in especially the western regions of Iran.
This article follows a sociological and historical analysis of the paintings of that poetry book. Since there is no information about the artist of the paintings of Varqa and Gulshah, Muhammad Khoei, the time when these paintings were created should be taken into consideration. This paper seeks to find the intention of the artist and the relationship between the style of the paintings and the historical and social situation of that era. Every artist is influenced by external factors in his life whether he likes it or not, while the artist benefits from the previous arts and the legacy left for him. In this research, the paintings of Varqa and Golshah will be examined with the approach of interpretive sociology and with the help of some principles proposed in the intentional hermeneutic method. Hermeneutics is searching for the understanding of the text, here the paintings are considered as the text.
Here, the principles mentioned in Skinner's intentional hermeneutic method are used. According to Skinner, understanding the text involves understanding what meaning they intend to convey and how this meaning is intended to be interpreted. Skinner emphasizes the intention in the text. The intention in the text does not mean only what is in the mind of the agent or the author of the work, but to understand the intention, the actions of the author should be examined in the broader context of life and its specific social conditions. Skinner believes that the main duty of the interpreter is to prove the meaning of the text, and this meaning cannot be obtained by reading the text alone rather, to reach it, you have to go beyond or below the literary level of the text. As a result, knowing the political and social contexts along with knowing the author's intentions in Skinner's methodology can be considered. Skinner's method has three steps: Author's texts and works, Context reconstruction and Understanding the author's ideas.
The artist of the paintings was influenced by the Manichaean and Sassanid schools of art, and in addition, he was influenced by the state of society and life, and displayed signs of the social changes of his time. At this time, the Iranian society had chosen the oriental face of the Turks as a symbol of beauty for more than a century. And this issue is clearly seen in Persian literature, especially poetry in these centuries. In addition there are some inconsistencies between the text and the image, which makes it important to analyze the artist's intention for such images. This issue can be examined in two cases. The first is in the images of hand-to-hand battles. While the poet presents an epic description of the battles and the bravery of the heroes of the story, the painter tried to increase the violence of the images by enlarging the bloody scenes. Another inconsistency is about the description of the position of a tribe. The artist has drawn a picture of a city with Iranian characteristics, a picture with details that shows the urban life and various jobs in Iran. From this, we can conclude that although in general, the images are dependent on the text, but the artist has tried to show the appearance of Iranian cities and the violent state of Iranian society. These inconsistencies in the images show the intention of the painter and this has had a great impact on the paintings.
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