مطالعه تطبیقی اعجاز پیامبران اولوالعزم در قرآن و متون تفسیری با متن و نگاره های نسخه روضه الصفا (جلد اول) محفوظ در کتابخانه ملی فرانسه (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
یکی از نسخه های تاریخی مصور کتاب «روضه الصفا فی سیرت الانبیاء و الملوک و الخلفا» نوشته میرخواند است که در موزه ملی فرانسه نگهداری می شود. بخشی از متن این کتاب به داستان اعجاز پیامبران اولوالعزم اختصاص دارد و پنج نگاره با موضوع معجزات پیامبران اولوالعزم در این نسخه به تصویر درآمده است. هدف از این تحقیق، شناسایی میزان مطابقت نگاره های اعجاز پیامبران اولوالعزم و متن نسخه روضه الصفا با روایات قرآن و متون تفسیری است تا مشخص گردد این نگارگران تا چه میزان از بیان تصویری معجزه به منبع اصلی آن یعنی قرآن کریم وفادار مانده اند. سؤال اصلی تحقیق حاضر این است: متن و نگاره های اعجاز پیامبران اولوالعزم در روضه الصفا با روایات قرآنی و تفاسیر تا چه میزان مطابقت دارند؟ این تحقیق به روش توصیفی، تطبیقی و تحلیلی به جستجوی ویژگی های تصویری و محتوایی آن ها می پردازد. نمونه های مطالعاتی و روش گِردآوری اطلاعات این پژوهش با استفاده از منابع اینترنتی و کتابخانه ای انجام شده است. از نتایج این مطالعه می توان پی برد، با توجه به این که منبع اصلی نگارش کتاب روضه الصفا، کتبی با مضامین تاریخی، مذهبی و قرآن است؛ با این وجود، تفاوت ها و شباهت هایی میان روایت متن و تصویر (روایت کاتب و نگارگران) این کتاب با روایت اعجاز پیامبران اولوالعزم در تفاسیر(شیعی و سنی) و آیات قرآن وجود دارد و میرخواند در بیان موضوع اعجاز پیامبران اولوالعزم از تفاسیر به خصوص تفسیر شیعی استفاده نموده است و هنرمند در ترسیم آن بیشتر به متن روضه الصفا و تفسیر شیعی وفادار مانده است. همچنین نگاره ای در این نسخه، تصویرسازی شده که از آن با عنوان معجزه شفای نابینایان و بیماران مبتلا به پیسی توسط حضرت عیسی(ع) یاد می کنند در حالی که با توجه به آن چه در این مقاله گفته خواهد شد این نگاره مربوط به معجزه زنده کردن مردگان آن حضرت است که بیشترین میزان انطباق را با متن روضه الصفا دارد و به تفسیر شیعی بسیار نزدیک است.A Comparative Study of the Miracles of Ulu-l-Azm Prophets in the Qur'an and Commentary Texts with the Text and Illustrations of the Rouzah al-Safa Manuscript (Volume 1) Preserved in the National Library of France
One of the illustrated historical manuscripts is the book "Rouzah al-Safa fi Sirat al-Anbiya wa al-Muluk wa al-Khilafa". This manuscript contains the history of the world, which was written in Herat by Mirkhand and is in the National Museum of France maintained under the number Persian. 1567. This manuscript was written during the Timurid period and illustrated during the Safavid period. Many consider Rouzah al-Safa as an authentic historical source and parallel to Tabari's history. This book is a historical book in the field of the history of prophets, caliphs and kings, which has received less attention in the field of art than other historical books. Part of the text of this book is dedicated to the story of the miracle of Ulu-l-Azm prophets. Therefore, five paintings on the subject of the miracles of Ulu-l-Azm prophets are depicted in this manuscript. The purpose of this research is to identify the degree of conformity of the paintings of the miracles of Ulu-l-Azm Prophets and the text of the Rouzah al-Safa manuscripts with the narrations of the Qur'an and explanatory texts in order to determine to what extent these painters have remained faithful to the original source of the Qur'an. The main question of the current research is: to what extent do the text and pictures of the miracles of Ulu-l-Azm Prophets in Rouzah al-Safa correspond with the Qur'anic narrations and interpretations? This research looks for their image and content characteristics by descriptive, comparative and analytical method. The study samples and data collection method of this research were done using internet and library sources.From the results of this study, it can be seen that the main source of writing the book of Rouzah al-Safa is a book with historical, religious and Qur'anic themes. Nevertheless, there are differences and similarities between the narration of the text and the image of this book and the narration of the miracles of Ulu-l-Azm Prophets in the (Shia and Sunni) interpretations and verses of the Qur'an. By matching and comparing the details of the picture with the examined texts, the status of each picture with the texts (Qur'an’s verses, interpretations and the text of Rouzah al-Safa) is determined: the picture of Noah's storm is different from the verses of the Qur'an, interpretations and the text of Rouzah al-Safa. Although Mirkhand cited interpretations in dealing with the event of Noah's storm (the text of the book), the artist did not pay attention to the cases of animals being paired, the drowning of unbelievers, and big waves. In fact, the image does not reflect the key details of this event that are stated in the verses of the Qur'an, interpretations and the text of Rouzah al-Safa. The depiction of the coldness and healing of the fire for Ibrahim has differences with the interpretations and is depicted very close to the text of Rouzah al-Safa; Meanwhile, Mirkhand has written the text of Rouzah al-Safa in explaining the miracle of Ibrahim, close to the interpretations. The picture of the mountain being placed above the heads of the people of Israel is drawn very close to the Shia interpretation and the text of Rouzah al-Safa. In fact, like the text of Rouzah al-Safa, which is about the miracle of Moses, the painter has remained faithful to the narration of the text of the book, which is taken from the Shia commentary texts. The image of resurrecting the dead has been drawn according to the text of Rouzah al-Safa. Of course, this painting has adhered to the Shia narrative to a large extent. As in describing the miracle of resurrecting the dead, Mirkhand has acted very close to the Shia interpretation. The image of heavenly victuals is not drawn in accordance with the verses of the Qur'an, the interpretations and the text of Rouzah al-Safa, and considering that Mirkhand has used interpretations in the text of the book and in expressing this issue. However, the illustration has differences in the visual representation of this issue with the interpretations and text of Rouzah al-Safa. Though Mirkhand was a Sunni, he has used (Shia and Sunni) interpretations, especially Shia interpretation, and the artist has remained more faithful to the text of Rouzah al-Safa and the Shia interpretation in depicting the miracles of Ulu-l-Azm Prophets in the book Rouzah al-Safa. In most of the examined pictures, the author and artist were closer to Shia thoughts. In addition, the illustrations in this manuscript are illustrated and referred to as the miracle of the healing of the blind and sick by Jesus, while according to what will be said in this research, this painting is related to the miracle of resurrecting the dead by Jesus, which has the highest degree of conformity with the text of Rouzah al-Safa and is very close to the Shia interpretation.
تبلیغات
