خوانش بینامتنی نقاشی پشت شیشه و نگارگری دوره صفوی
آرشیو
چکیده
هنر نقاشی پشت شیشه به عنوان هنری تزیینی پس از رواج یافتن در کشورهای اروپایی به کشورهای آسیایی نیز سوق یافت و در دوره صفویه وارد ایران شد. هنرمندان ایرانی، توانایی خاصی در این هنر یافته و همچون نگارگری رنگ وبوی بومی بدان بخشیده و رواج دادند. نگارگری ایران نیز در دوره صفویه با شکل گیری مکاتب مختلف هنری، هم زمان با تحولات سیاسی و اجتماعی آن دوره رونق داشت. علیرغم تقارب زمانی، تأثیر و تأثرات نقاشی پشت شیشه و نگارگری دوره صفوی مورد مطالعه قرار نگرفته، درحالی که بررسی آن و به طورکلی رابطه بین متون تصویری مختلف با رویکرد بینامتنیت می تواند در تبیین بهتر این روابط راهگشا باشد. بنابراین پژوهش حاضر با هدف بررسی روابط بینامتنی در آثار هنری مذکور دوره صفویه بر مبنای نظریه ریفاتر درصدد پاسخ به این پرسش اصلی که چه رابطه بینامتنی مابین هنر نقاشی پشت شیشه و نگارگری دوره صفوی وجود دارد؟ برآمده است. روش تحقیق توصیفی-تحلیلی بوده و اطلاعات با استفاده از منابع کتابخانه ای و اینترنتی گردآوری شده است. یافته های پژوهش نشان می دهد که با توجه به نظر ریفاتر و نقش اصلی مخاطب در خوانش متن، بین نقاشی پشت شیشه و نگارگری دوره صفوی بینامتنیت احتمالی برقرار است و نقاشی پشت شیشه این دوره ضمن حفظ ویژگی های منحصربه فرد خود تأثیر متون تصویری دیگر را نمایان می سازد.Inter-textual Reading of Reverse Painting on Glass and Miniature of the Safavid Period
The connection of miniature with other arts has provided interdisciplinary studies, especially comparative and inter-textual studies. Inter-textual studies have adopted different theoretical approaches in their historical course. This has led to the expansion of the scope of studies. These theories can be seen in topics such as Bakhtin's dialogism, Yulia Kristeva's creative intertextuality, Roland Barthes' and Michael Rifater's and Genie's reading intertextuality, as well as Gérard Genet's trans-textuality. In this sense, examining the inter-textual relationships of different arts in a period can help explain the influence and effects of these arts.Among the arts that flourished in the Safavid period, we can mention the reverse painting on glass and the miniature. Despite the closeness of time and their historical and artistic importance, the influence and effects of the works of art belonging to each have not been studied. The art of reverse painting on glass was a decorative art, and after becoming prominent in European countries, it moved to Asian countries and entered Iran in the Safavid period. Iranian artists found a particular ability in this art, gave it a native color and flavor like miniature, and popularized it. Iranian miniature flourished during the Safavid era with the formation of different art schools concurrent with the political and social developments of the time.Despite the closeness of time, the influence and effects of reverse painting on glass and the miniature of the Safavid period have not been adequately studied. Also, its investigation and the relationship between different pictorial texts with an inter-textual approach can lead the way in better explaining these relationships. Therefore, the current research aims to investigate the inter-textual relationships in the mentioned artworks of the Safavid period based on Michael Rifater's theory and tries to answer the main question of what inter-textual relationship exists between the art of reverse painting on glass and Safavid period miniature. As one of the prominent figures in inter-textuality, Michael Rifater was inclined towards reading inter-textuality. Therefore, in Rifater'sopinion, the reader is the central axis and builds inter-textuality.The research method is descriptive-analytical, and the information was collected using library and internet sources. The research findings show that according to the reviewer's opinion and the central role of the audience in reading the text, there is a possible inter-textuality between the reverse painting on glass and the miniature of the Safavid period. The reverse painting on glass of this period shows the influence of other visual texts while maintaining its unique characteristics.
تبلیغات
