تبیین ابعادِ نمایشیِ نگاره ی اردشیر و گلنار از شاهنامه ی بایسنقری با تکیه بر دیدگاهِ مشاهده ی مرتبه ی دومِ نیکلاس لومان (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
نگارگران همواره تلاش نمودهاند تا معانی غنی در ادبیات را بسته به نوع نگاه و تخیلشان، به شکلی متفاوت، به زبان تصویر درآورند. این تفاوت در تجلیِ معنا، گاه یادآور هنرهای تصویریِ دیگری همچون هنر نمایش میباشد که خود وام دار ادبیات و روایت است. یکی از مهمترین نمونههای تصویرسازی شده که نمودی برای این مدعاست، نگارهی اردشیر و گلنار از شاهنامهی بایسنقری است که به دلیل فضاسازی منحصربفردی که در آن جریان دارد، به نظر میرسد دارای ساختاری نمایش گونه است. این فرضیه با دقت در نظریهی نیکلاس لومان دربارهی جایگاه مشاهده و ادراک در هنر میتواند قوت بیشتری پیدا کند، لومان بر این باور است که فرایند ادراکِ یک اثر هنری با سه مشاهدهگر فعال، یعنی سیستم هنر، هنرمند و مخاطب حاصل میگردد و مشاهده برآیند نشانهگذاری و تمایزات است، بدین صورت که وقتی چیزی مشاهده میشود، یک سوی تمایز از نظر پنهان میماند تا سویهی دیگر آن جلوه کند. به عقیدهی او مشاهدهی مرتبهی دوم، مشاهدهی تمایزاتی است که مشاهدهگر اول از آن استفاده کرده است اما توجهی به آن نکرده است. بر این اساس هدف از پژوهش حاضر، شناسایی و معرفی نظریهی مشاهدهی مرتبهی دوم لومان و تبیین ویژگیهای نمایشی نگاره اردشیر و گلنار با توجه به آن نظریه است و پرسش اصلی عبارتاست از: مولفههای هنر نمایش با توجه به نظریهی مشاهدهی لومان چگونه در نگارهی اردشیر و گلنار بازتاب داشته است؟ نتیجهی بنیادین این پژوهش، که به صورت توصیفی-تحلیلی و با بهرهگیری از منابع کتابخانهای انجام پذیرفته است، حاکی از آن است که کلیهی عناصر صحنهای از قبیل: عناصر طبیعت و معماری، نوع پوشش و طراحی لباس، نوع ایستایی وژستِ پیکرهها در قامت بازیگران همراه با زاویهی دید ناظران، با ایجاد ترکیببندی و فضاسازیِ متناسب، موجب انعکاسِ سکوتیِ رازآلود در اثر شده که یادآور صحنهای از یک نمایش در فضای باز است.Explanation of the dramatic dimensions of Ardashir and Golnar's painting from Baisangari's Shahnameh based on Nicholas Lohmann's second-order observation point of view
Literary texts, especially Divan Shera, have been considered the most important source of inspiration for Iranian painters for many years, in the meantime, Ferdowsi's Shahnameh has always been at the center of attention, and artists have created many pictures of stories. They have drawn it. One of the unique examples of Iranian painting is Baysangari's Shahnameh, which increases its importance due to the fact that all 22 of its paintings are available together and are kept in the Golestan Palace Museum. This work has been analyzed and researched so far in terms of composition, color, light, texture, direction, etc., among the people who have studied it, we can refer to the research of Yacoub Azhend in the book " Painting of Iran" mentioned, but little research has been done on it from a perspective outside the field of painting. Baysanghari's Shahnameh paintings are such that they remind the atmosphere of the show, the structure of the work, including stage design, and decorations, and paying attention to visual qualities to the visual basis of the work (dynamics, static, and movement in the frames) with The scene is relevant. So that by watching Ardeshir and Golnar's painting, it is as if we are watching a scene from the theater. On the other hand, the contemporary German theorist Nicholas Lohmann is of the opinion that the observation of works of art should not depend on the same order, and the observers, both the artist and the audience, can focus on the hidden part of the distinctions that the artist has made in the work. but he did not pay attention to them the first time, they should resume the observation process and analyze the work for the second time. Lohmann believes that the process of perceiving a work of art is achieved with three active observers, that is, the art system, the artist, and the audience, and observation is the result of marking and distinctions so that when something is observed, one side The distinction remains hidden from view until its other side is revealed. In his opinion, the second-order observation is the observation of distinctions that the first observer used but did not pay attention to. Therefore, the aim of this research is to achieve a new reading of the image of Ardeshir and Golnar in Baisangari Shahnameh based on the dramatic structure and the explanation of its components such as scene design, clothes, body postures or poses and angles. It is vision. Based on this, two questions have been formulated: 1- What is the concept of Lohmann's second-order observational theory? 2- How did the components of performance art reflect in the paintings of Ardeshir and Golnar according to Lehmann's theory of observation? The fundamental result of this research, which was carried out in a descriptive-analytical way and by using library sources, indicates that in examining the history of painting in Iran, there are few cases of such a precise arrangement of paintings in the form of The structure of a classical play, in Ardeshir and Gulnar's painting of Baisangari's Shahnameh, the artist has shown the scenes of the show as if he was directing a scene from a play. And the pose of the figures and the angle of view of the audience, which is done in accordance with the dramatic story of Ardeshir and Gulnar, is so accurate and meticulous that it amazes people. In this, it is most noticeable to pay attention to the details such as the appropriate use of colors, which has led to the accurate lighting of the scene and the cleaning of visible and hidden components in the scene. This happened with the observation of the artist's observations, or the second-order observation, so that after identifying the signs of representation that have not been the focal point of the painting's observation until now and were in the dark part of the work's distinctions. has caused the emergence of stage elements such as elements of nature and architecture, the type of clothing and design, the type of static and gesture of the figures in the form of actors along with the angle of view of the observers, which by creating a suitable composition and atmosphere, has become the basis for the reflection of a mysterious silence in the work, which is reminiscent of a scene from an outdoor show. In general, it can be stated that the art of painting has undiscovered capacities and capabilities, which can open a new window by examining different artistic landscapes and aspects and using the opinions of thinkers. He opened it and revealed its different capabilities. Conducting this research is necessary and important because by examining the qualities, structure, and various aspects of the masterpieces of Iranian painting, it is possible to address the hidden or neglected aspects of the works and provide more study resources in the field of painting recognition. and artists and their way of thinking are created for the audience.
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