واکاوی مضامین پنهان مجالس بزم در دیوارنگاره های کوچک تالار مرکزی کاخ چهلستون (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
کاخ چهلستون به عنوان بزرگترین کاخ در مجموعه ی دولت خانه اصفهان صفوی بود. این کاخ به پذیرایی های رسمی از سفرا و برگزاری جشن ها اختصاص داشت. در تالار مرکزی آن، مجموعه ای از نقاشی های کوچک در بخش بالای ازاره ها وجود دارد که غالباً به عنوان مجالس بزم توصیف می شوند. این توصیفِ درست اما کلی ، موجب شده امکانات گفتمانی ای که در نحوه ی به تصویر کشیدن مفهوم بزم وجود دارد، از نظرها دور بماند. بررسی نقاشی های مذکور به روش توصیفی-تحلیلی، نشان می دهد که آنها تأکید ویژه ای بر نمایش ظروفِ متعدد می نوشی دارند و مجموعه ای از غیاب ها ، همچون معماری، طبیعت زیسته، اسباب موسیقی، نوازندگان و رقاصان، نمایش تأکید مذکور را تقویت نموده اند. مطالعه ی چگونگی و چرایی این موضوع ذیل گفتمان سیاسی صفویان در همان دوران، روشن می سازد که این نقاشی ها فراتر از نمایش بزم درباری عمل کرده اند. تنگ ها، صراحی ها، ساغرها، پیاله ها، قدح ها و سایر ظروف، نه فقط نمایش مصرف باده، که در خوانشی عمیق تر، بازنمایی خود مفهوم مصرف هستند. آنها رابطه ای از مصرف و بدن را به نمایش می گذارند که در همان دوران، در گفتمان سیاسی-اقتصادی صفویان ذیل انحصارطلبی شاه و طبقه ی دربار، منابع اقتصادی را به سوی مصرف فردی(در مقابل مصرف تولیدی)، سوق داد. مقاله ی حاضر به شرح رابطه ی این تصاویر و گفتمان معاصرشان می پردازد.Analyzing the hidden themes in Pictures of Bazm in the small murals of the central hall of Chehel Sotoun Palace
Chehel Sotoun Palace was the largest palace of Safavid government in Isfahan. This palace was the place for the meeting of foreign representatives and big celebrations. There are many small paintings on the lower walls of the main hall of Chehel Sotoun Palace. These paintings are often called Majles-e-Bazm (A party where wine is consumed) by the interpreters of the image. Although the naming of these paintings is correct, but it is very general. This description of the paintings has caused the study of their discourse dimensions to be ignored. Studying the paintings by a descriptive-analytical method shows that they emphasize the display of wine drinking dishes. These containers represent the concept of consumption. The display of this concept has been created through a series of image policies. These image policies include a set of absences and a set of emphases. At first, architecture is removed from painting. While nature is painted in the background, not much attention is drawn to it. This makes the viewers of the paintings pay little attention to the nature. It should also be noted that musicians and dancers are not present in most of the paintings. These absences draw viewers' attention to the foreground of the paintings. In this section, there are bodies and dishes. Both of them are carefully designed. The concept of consumption is shown through the repetition of dishes which is a recuurring theme in the paintings. This makes the bodies floating in leasure and happiness while they are far from anxiety and sadness. The concept of consumption is revealed by the frequent repetition of dishes and special emphasis on them. When we trace this topic in the political discourse of Isfahan, we find out that in the political-economic discourse of the Safavid government, the concept of consumption was under the authority of the king and the noble family. The Safavid government controlled the economic resources in a monopolistic way. In this way of economic policy, the resources of the country were consumed individually and the production activity was reduced. Aristocrats and people related to the king, who are seen in the paintings of Chehel Sotoun Palace, display the concept of monopolistic consumption. Their image can be seen as people who are consuming and consumption resources are available to them in large quantities. Cups, jars, glasses and other containers that represent objects for consumption are available to the subjects. The nobles are not engaged in any active action.They seem idle and consumerist. And the focus of the image is also on these topics., therefore It can be said that the small paintings that can be seen in the main hall of Chehelston Palace depict an important part of the economic policies of the Safavid government in the 17th century.
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