نمودهای بصری سیمای پیامبر اسلام (ص) در نسخه خطی جامع التواریخ رشیدی ایلخانان (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
شاخص ترین اثر دستنویس و مصور دوره ایلخانی کتاب جامع التواریخ رشیدالدین فضل الله همدانی وزیر غازان خان در رشیدیه تبریز است، که در عصر اولجایتو به اتمام رسید. این نسخه به زبان فارسی بوده و دربردارنده متونی درباره تاریخ، اساطیر، باورها و فرهنگ ترکی و مغولی، هندی و بودایی است. همچنین این کتاب موضوعاتی از تاریخ پیامبران از حضرت آدم تا پیامبر اسلام (ص)، تاریخ ایران تا پایان ساسانیان و سایر اقوام را شامل می شود. هدف از این پژوهش شناسایی نمودهای بصری از سیمای پیامبر اسلام (ص) در نسخه جامع التواریخ رشیدی است. سیمای پیامبر اسلام (ص) در نسخه جامع التواریخ رشیدی برپایه چه اصولی نقاشی شده است؟ سوالی است که در خلال پژوهش به آن پاسخ داده می شود. بر این اساس نگارندگان در و با روش توصیفی تحلیلی حاصل از مطالعات اسنادی 9 نمونه از نقاشی های دستنوس جامع التواریخ مصور محفوظ در کتابخانه ادینبورو و خلیلی را با موضوع زندگی پیامبر اکرم(ص) از نوزادی تا میان سالی را بررسی می نماید. یافته ها گویای این مهم است که هر چند سیمای پیامبر اکرم (ص) بر خلاف سایر شمایل مقدس مصور شده در ادوار بعدی هاله نور گرداگرد سر ندارند و قصد هنرمند نشان دادن دوره تاریخی این اشخاص بوده است؛ اما نقاشان توانسته اند؛ از نظر ترکیب بندی و سایر عناصر بصری به ویژه در چهره و پیکره؛ پیامبر را در مقامی والاتر از سایرین قرار دهند. در برخی موارد به خصوص در نوع پوشاک نگارگر برای مصورسازی به متون تاریخی توجه داشته است.Visual Manifestations of the Prophet (PBUH) in the paintings of Rashidi Ilkhanan's Jame al-Tavarikh manuscript
The most significant handwritten and illustrated work of the Ilkhanid era is the version of Jame al-Tawarikh by Rashid al-Din Fazlullah Hamadani in Rashidiyeh of Tabriz, which was completed in the age of Uljaito. This book contains subjects from the history of the prophets from Adam to the Prophet of Islam, the history of Iran until the end of the Sassanids and other nations. The purpose of this research is to identify how to depict the life of the Prophet of Islam in the comprehensive version of Rashidi's Chronicles based on the framework of visual semiotics. The life of the Prophet of Islam is painted in the comprehensive version of Rashidi's Chronicles based on what principles of semiotics? It is a question that is answered during the research. Based on this, in the framework of visual semiotics and historical descriptive method, the authors examine 9 examples of paintings of Illustrated Chronicles preserved in the Edinburgh Library and Khalili with the subject of the life of the Holy Prophet from infancy to middle age. Until the Ilkhanid era, the depiction of the images of prophets and saints in Iran faced limitations, which mainly stemmed from jurisprudential opinions. Jame al-Tavarikh contains the history of the world and mentions the events and the history of its characters. This history was written by order of the Mughal rulers and its main purpose was to clearly show the history and conquest of the Mughals along with great historical movements. Along with the description of historical events, the chronicles of the prophets are also described in detail. The paintings of the Holy Prophet in Jami al-Tawarikh are not very different from other figures in the painting. These pictures, rather than paying attention to the spiritual dignity of these people, have expressed a part of their life history. As a sign that these paintings are among the first illustrations of saints' faces, they do not have the characteristics of a religious icon and introduce them like other people. This is perhaps the reason that painting in this era is more than anything else after an illustrated narrative of history and has no other purpose. The adaptation of the living space, geography, clothes and tradition of the writer's time with the age of saints and prophets, although it existed before in the painting of the Shahnameh or other versions, but it had no precedent in iconography, and thanks to the art of the annalists, the painters of later eras were able to use their contemporary characteristics to create Use the living space of icons. Although the icons of the Holy Prophet do not have a halo of light around their head, unlike other holy icons illustrated in later eras, and the artist's intention was to show the historical era of these persons; But the painters have been able; in terms of composition and other visual elements, especially in the face and figure; place the Prophet in a higher position than others.
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