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کتاب مطالع السعاده یا سعادتنسخه ای بسیار نفیس است که در دوران سلاطین ترک عثمانی نوشته و تصویرسازی شده است. این اثر به سفارش سلطان مراد سوم تهیه شده است. این کتاب شامل توضیحات و توصیفاتی از دوازده علایم صورفلکی به همراه مینیاتورها و نقاشی های بسیار عالی است. کتاب البلهان ابومعشر بلخی را می توان از سرچشمه های اصلی کتاب سعادت دانست. کتاب البلهان را برخی به کتاب عجایب ترجمه کرده اند، اما در واقع نوعی کتاب فالنامه و شامل بخش هایی همچون فال انبیا، فال مقبول و اختلاج است. در این کتاب برای کنترل تأثیر طلسم ها و مکان های سحرانگیز به انواع دیوها، اجنه، فرشتگان، پیامبران و جداول طلسمات پرداخته شده است. تصاویر کتاب سعادت در بسیاری از نگاره ها قابل تطبیق و مقایسه با کتاب البلهان ابومعشر بلخی است. هدف این مقاله، بررسی میزان تأثیرپذیری نگاره های کتاب سعادت از تصویرسازی کتاب البلهان است که با روش توصیفی- تطبیقی انجام شده است. نگاره های کتاب سعادت به لحاظ قدرت تصویرگری، طراحی، کادربندی، خلوص رنگ، رنگ پردازی و دقت در جزییات بسیار قوی تر از نمونه الگوی خود است، هر چند نگارگر در ترکیب بندی ها سعی کرده است تا به تصاویر کتاب البلهان نزدیک و وفادار بماند.   واژگان کلیدی

Comparative Study of «The Book of Felicity» Paintings and Book of «Al-Bulhan» of Abu Ma'shar al-Balkhi

The Book of Felicity » is a precious version that is written and illustrated in the era of the Ottoman sultans. This book has been prepared by order of Sultan Murad III. This version includes explanations and descriptions of Zodiac signs with excellent miniatures and paintings. The book of «Al-bulhan« of Abu Ma'shar al-Balkhi, (the «Book of Surprises» (Kitab al-bulhan) of the Bodleian Library) can be the main sources of the «Book of Felicity». Some researchers have translated the book of «Al-bulhan» to «Wonderland», but in fact it’s a «horoscope book» and includes sections such as «prediction prophets» and «horoscope accepted». We can see in this book the diverse demons, jinn, angels, prophets and tables of talismans to control of effect and magical places. The talismanic sciences were very common in the medieval Arab and Persian world and one of the most appreciated signs of devotion. Some of the miniatures of the "Book of Felicity" are comparative with the book "Al-bulhan" Abu Ma'shar al-Balkhi. The aim of this paper is study of the impact of the image of the book "Al-bulhan" on the illustration of the "Book of Felicity". Miniatures of "The Book of Felicity" are much stronger than its pattern, in terms of power, illustration, design, frame, color purity, color rendering and attention to detail, although the painter has tried to stay loyal to miniatures of the book "Al-bulhan". The method of research is descriptive and comparative. Illustration of the "Book of Felicity" should be considered as one of the masterpieces of Ottoman art in the court of Sultan Murad III. About literature review, it should be noted that it has been a little research on the subject of these two books, Including two articles from Stefano carbon and  a catalogs published by the Institute of Moleiro in which only the history and description of the book. The book of «Al-bulhan» can be considered like one of the influencing manuscripts on illustrators and art ateliers in the Ottoman court. The Ottoman manuscripts include a portrait of Murad III depicted as a man bibliophile with an open copy of the manuscript. Two copies of the book "Al-bulhan" Abu Ma'shar al-Balkhi have been done at the court of Sultan Murad III for his two daughters that due to the proximity of most descriptions and issues of the "Book of Prosperity" of Hassan al-Saudi to it, we can say that the book "Al-bulhan" and its images have a direct influence on the painting of "The Book of Prosperity". Another important point is that the illustrator of book of «Al-bulhan» tried to be as faithful to the text descriptions, despite the fact that in some paintings of "The Book of Felicity" This subject is not considered. In addition, given that  in the palace of Sultan atelier were a variety of other manuscripts illustrated from Christian lands (which may be presented as a gift ambassadors to the Ottoman Sultan) there will be an impact imagery and iconography of the Christian East it was noted.          

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