تأثیر نگارگری ایرانی بر عناصر بصری حمزه نامه با تأکید بر مکتب تبریز2 (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
ایران، ازجمله ملل و نژادی است که طی قرون متمادی با هند در ارتباط بوده و در هنر و فرهنگ آنها نفوذ کرده است. یکی از دوره های طلایی هنر و فرهنگ ایران، در اوایل دوران صفویه در تبریز بود؛ زمانی که شاه طهماسب از هنر روی برگردانید، برخی از هنرمندان به دعوت همایون پادشاه گورکانی به هند رفتند و هسته اصلی مکتب نگارگری مغولی هند را بنیان گذاشتند. بدین ترتیب، مهم ترین اثر این مکتب، حمزه نامه، تحت تأثیر شدید نگارگری ایرانی و تحت نظارت نگارگران ایرانی خلق شد. بر این اساس، پژوهش حاضر به این پرسش ها پاسخ می دهد که چه عناصری از مکتب نگارگری تبریز 2 در تصاویر حمزه نامه مشاهده شدند؟ و تأثیرات دیگر مکاتب نگارگری ایرانی بر تصاویر حمزه نامه چیست؟ با هدف دسته بندی برخی از این عناصر تصویری، روش تحقیق توصیفی- تطبیقی است و نتایج نشان می دهد عناصر تصویری نگاره های حمزه نامه تشابهات بسیاری با نگاره های مکتب تبریز 2 دارد؛ زیرا بسیاری از عناصر گیاهی، تلفیقی، جانوری و سماوی در حمزه نامه با شباهت فراوانی با همین عناصر در مکتب نگارگری تبریز 2 ترسیم شده اند. علاوه بر آن، تأثیرات دیگر مکاتب نگارگری ایرانی نیز بر نگاره های حمزه نامه مشاهده می شود.Iranian painting impact on the formation of Hamzanama with an emphasis on School of Tabriz
Among different people and races which were in contact with India and were affected by it in their lives and culture, the oldest and most lasting of them are Iranians. The turning point of massive entry of Iranian culture elements to India was by enthronement of Babur's son Humayun's and subsequently his refuge at the court of Shah Tahmasp. The presence of Homayoun Shah in Iran in court of Shah Tahmasp coincides with one of the golden periods of art and culture of Iran in the early Safavid period in Tabriz. When Shah Tahmasp turned away from art and its support, some of the artists were invited by king Humayun of Gurkani dynasty to go to India and found the core of the school of miniature in that country and that is how the most important result of this school (Hamzanama) under the extreme influence of Iranian miniature and artists was created. Indian earliest works in this field are generally drawn from the works of Iranian Safavid era. One reason for the above mentioned advantage and influence of Iranian miniature art on Indian art was related to Indian Emperor’s trip (Humayun) to Iran. During his visit to Iran, he was more attracted by Iranian miniature art than Persian painting. Mural painting and miniatures that reached perfection in the Safavid era in Iran by disciples of Kamal-ud-Din Behzad were gained in the land of India. The presence of these artists in workshops and in book illustration of Mughal Empire caused the transfer and expansion of a large number of Tabriz miniatures. It also resulted in the aesthetic achievement of the fledgling school of Gorkany miniature and also the achievement of the images of great book named Hamzanama. Hamzanama is regarded as the first collective workings of the art workshop, Akbar Shah. Hamzanama was completed during about 15 years. Backgrounds of this collection attracted people’s attention. Its preparation can be traced to the palace murals, the Mongols, in the cable. Accordingly, the purpose of the present study was to categorize some of these elements emphasizing the old connection between these two lands. The study simultaneously attempted to answer the following questions stating that which elements of Tabriz School 2 had a direct influence on Hamzenama and that what influences of the other Iranian negargary schools can be seen on Hamzenama. This research has a historical purpose. Descriptive analysis and comparative analysis were used and the data was collected in libraries. The findings of this study demonstrated that visual elements of Hamzanama image have many similarities with the paintings of Tabriz School 2. Most of Herbal combined animals and celestial elements of Hamzanama with the elements existed in the painting school of Tabriz 2. They had many similarities with each other. Furthermore, the other effects of painting schools of Iran, especially in Herat Painting School, on Hamzanama paintings include the School of Shiraz during the Injuids and Tabriz school in the late eighth century.
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