تطبیق تصویر آرایی معراج پیامبر (ص) در دیوارنگاره های بقاع گیلان و نسخه خمسه نظامی بر مبنای نظریه بیش متنیت ژرار ژنت
آرشیو
چکیده
در تاریخ هنر اسلامی، هنرمندان همواره مضامین دینی، عرفانی و ادبی را دست مایه خلق آثار ارزشمند خود قرار داده اند. مصورسازی واقعه شگفت انگیز معراج پیامبر (ص) از جمله این موضوعات است. آثار موجود با موضوع معراج باتوجه به ویژگی های سبکی مختلف و به تأثیر از شرایط فکری زمانه، از نظر شیوه و اجرای کار شباهت ها و تفاوت هایی دارد. نگاره های معراج پیامبر (ص)، در خمسه نظامی دوره صفوی و چهار دیوارنگاره بقاع گیلان دوره قاجار، از جمله این آثار بوده است. شناخت عمیق از نگاره های معراج و کشف روابط میان عناصر دو متن تصویری و دامنه تأثیرات نگاره معراج خمسه نظامی بر دیوارنگاره های بقاع گیلان از اهداف اصلی این پژوهش است. این پژوهش در صدد پاسخ به این پرسش هاست: 1- نگاره های معراج در خمسه نظامی اثر سلطان محمد و دیوارنگاره های بقاع گیلان، از لحاظ عناصر تصویری و ساختاری چه شباهت ها و تفاوت هایی با یکدیگر دارند؟ 2- از دیدگاه بیش متنیت ژرار ژنت، نگاره معراج خمسه نظامی تا چه اندازه در دیوارنگاره های بقاع گیلان تأثیرگذار بوده است؟ این پژوهش با رویکرد نظریه بیش متنیت ژرار ژنت، دارای ماهیت توصیفی- تحلیلی بوده، روش گردآوری مطالب به صورت کتابخانه ای انجام شده و تجزیه وتحلیل به صورت کیفی است. از نتایج این پژوهش چنین بر می آید، هنرمند نقاش بقاع ضمن برگرفتگی و تأثیرپذیری ویژگی های تصویری، مفاهیم و مضامین برخی جریانات هنری گذشته یا همزمان و موازی توانسته ترکیبی بدیع از یک سبک ممتاز مردمی را پدید آورد. همچنین، در معراج سلطان محمد و دیوارنگاره ها، با وجود آنکه هر دو نگاره از لحاظ موضوع و محتوا دارای معنایی مشابه بوده، اما کاربست عناصر تصویری و تمهیدات تجسمی با توجه به زمینه و بستر ایجادشده، یکسان و یک شکل نیست و هر دو اثر تصویری، شیوه متفاوتی از روایت و کیفیت هنری را نشان می دهد.Comparative Analysis of the Prophet's Ascension Imagery in Wall Paintings of Guilan Shrines and Nizami's Khamsa Based on Gerard Genette's Hypertextuality Theory
In the history of Islamic art, artists have consistently used religious and mystical themes as the basis for their creations. The depiction of the Prophet Muhammad's ascension (Mi'raj) is one such subject. Existing works on the theme of ascension, considering various stylistic characteristics and influenced by the intellectual conditions of their time, have similarities and differences in terms of method and execution. The ascension miniatures in Nizami's Khamsa and four wall paintings in Guilan shrines are among these works. The main objectives of this research are to gain a deep understanding of the ascension miniatures and to discover the relationships between the elements of the two visual texts, as well as the extent of the influence of the Khamsa ascension miniature on the wall paintings of Guilan shrines. This research seeks to answer the following questions: 1- What similarities and differences exist between the ascension miniatures in Nizami's Khamsa by Sultan Muhammad and the wall paintings of Guilan shrines in terms of visual and structural elements? 2- From the perspective of Gérard Genette's hypertextuality theory, to what extent has the Khamsa ascension miniature influenced the wall paintings of Guilan shrines? This research adopts a descriptive-analytical approach based on Gérard Genette's theory of hypertextuality. The method of collecting data is the library method and the analysis is qualitative. The results of this research suggest that while drawing from and being influenced by the visual characteristics, concepts, and themes of some past or concurrent and parallel artistic movements, the shrine painter has been able to create a novel combination of a distinctive folk style. Also, in the Ascension of Sultan Muhammad and the murals, even though both paintings have a similar meaning in terms of subject and content, the use of visual elements and visual arrangements is not in the same form considering the context and background created. Both visual works show a different way of narration and artistic quality.Problem Statement: The miraculous event of Prophet Muhammad's ascension is a theme that has attracted the attention of painters during the Islamic period. The illustration of the ascension from Nizami's Khamsa of the Safavid period is one of Sultan Muhammad's artistic creations exemplifying these works. This piece has had a significant influence on visual arts in later periods, such as the wall paintings of holy shrines in the Qajar era. This research aims to conduct a comparative study of Prophet Muhammad's ascension by Sultan Muhammad and the ascension wall painting in Guilan shrines, finding points of divergence and convergence between the two visual systems from the perspective of visual elements, relying on Gérard Genette's hypertextuality approach.Materials and Methods: This research is descriptive-analytical with an approach based on Gérard Genette's hypertextuality theory. The method of data collection is library-based. According to the research objectives, selected images from two visual texts with similar themes are analyzed in terms of visual elements. The method of data analysis is qualitative.Theoretical Framework: Genette divides transtextuality into five categories: 1-Intertextuality; 2-Paratextuality; 3-Metatextuality; 4-Architextuality; 5-Hypertextuality. According to Genette, hypertextuality is the relationship that connects the hypertext to the hypotext. According to the hypertextuality theory, the relationship between texts is divided into two categories: 1- Homogeneity and 2- Heterogeneity. In homogeneity, the hypertext author intends to preserve the hypotext in a new situation. In heterogeneity, the hypertext is created by changing the hypotext (Genette, 1997: 5).Findings: The centrality of the Prophet (PBUH), covering the face and the luminous halo around the head, and the color of the garment represent a kind of homogeneity in the two visual systems. In the miniature, the Prophet wears a red garment and a green cloak; however, in the wall paintings, the Prophet (PBUH) wears a blue garment and a green cloak. Another homogeneity is the image of Buraq's crown and necklace. Buraq's body in Sultan Muhammad's miniature is more delicate compared to the wall painting. In Sultan Muhammad's ascension miniature, the Prophet's entire being is placed in luminous flames of fire. In the ascension wall painting, three types of halos are used: a simple bright circle, a sun-like halo, and one with flame-like rays. The figures of eighteen angels holding gifts can be seen in Sultan Muhammad's ascension miniature. In the wall paintings, a maximum of ten angels or fewer with luminous trays are painted at the top of the frame towards the bottom. Another homogeneity can be seen in the presence of Gabriel next to the image of the Prophet (PBUH). In Sultan Muhammad's miniature, Gabriel is depicted with delicate wings and a forward movement, facing the Prophet (PBUH). A distinctive feature of the wall paintings is the green flag held by Gabriel. In the sky composition of the wall painting, due to space limitations, spiral, and semi-circular lines are used to create an otherworldly atmosphere. This type of sky depiction shows a kind of heterogeneity. In the wall paintings, the sun is depicted with feminine adornments, and the moon in the shape of a crescent is portrayed as the profile of a man. The spiral composition in Sultan Muhammad's entire miniature shows the Prophet's (PBUH) ascension movement instead of stillness. Result: In the ascension wall painting, there is an influence from the Safavid period miniature painting in terms of subject and visual elements. However, the main and important distinction between these two works is the illustration style. In this work, Sultan Muhammad has employed all visual techniques to show the Prophet's (PBUH) heavenly ascension. In the ascension wall painting, the artist has visualized a Shiite narrative of the ascension with limitations. He aimed to emphasize the Prophet's (PBUH) action. The illustration style of the ascension event in wall paintings is fundamentally different from miniature painting. Here, the elements of the scene are very limited, the faces, clothing, and crowns are Qajar-style, and the Prophet's (PBUH) face is covered with a white veil. The elements of the scene are without usual proportions, and limited colors are used for drawing. The surface of execution (wall) is incompatible with painting, which is due to the priority of building construction and the delay in drawing wall paintings in later stages. Unlike the field of miniature painting, the images are independently illustrated to satisfy the aesthetic taste of the general public, and there is no sign of continuity between text and image.
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