مطالعه نقش درخت ویسبوبیش در ترمه کرمانی دوره قاجار از منظر اسطوره شناسی تمثیلی کروزر (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
نقش مایه ویسبوبیش به عنوان الگو و مدل همواره بر آثار هنری بازنمایی می شود، اما تاکنون به نحوه شکل گیری اولیه این نقش مایه و ترکیب بندی آن با دیگر عناصر با رویکرد مطالعات فرهنگی پرداخته نشده است. رویکرد مطالعات فرهنگی بر تمامی عناصری که فرهنگ خطاب می شوند، از جمله اساطیر، تاکید دارد و روش اسطوره شناسی تمثیلی کروزر نیز امکان مطالعه ساخت مند آن ها را فراهم کرده است. ازآنجاکه ویسبوبیش در بسیاری از دست بافته های قاجاری بازنمایی شده، پژوهش حاضر به منظور دست یابی به ماهیت اولیه اش، آن را با روش تمثیلی کروزر، و بر روی یک نمونه شال ترمه قاجاری واکاوی نموده است. بر این اساس، پرسش اصلی این است: از منظر اسطوره شناسی کروزر که رمزگرایی میان آیکون و ایدوس را مبنای دانش اساطیر می داند، چه ارتباطی میان ویسبوبیش و بازنمایی آن بر آثار دوره قاجار وجود دارد؟روش تحقیق در این پژوهشِ بنیادین به صورت توصیفی-تحلیلی، و گردآوری مطالب به روش کتابخانه ای خواهد بود. بنابر این پژوهش، میان مفهوم جاودانگی و آفرینش/ ایدوس و درخت ویسبوبیش ترمه کرمان/ ایکون رابطه ای تمثیلی برقرار است و در نهایت می توان گفت علت نمونه ای استفاده از طرح ویبوبیش در ترمه قاجاری نام برده، دستیابی ذهن بافنده و مخاطب به نامیرایی و زندگی ازلی و ابدی است. [i] Icon[ii] Idos[iii] Mythical relationshipStudying the Visbobish Motif in Kermani Qajar Era Handwoven Textile: Kreuzer Allegorical Mythology
The motif of Visbobish as a pattern has always been represented on works of art in Iranian art from prehistoric times, but, the state of its initial formation and its combination with other elements with the approach of cultural studies and within the cultural texts has not been addressed until now. The approach of cultural studies emphasizes all the elements that are called culture and includes mythology too. On the other hand, German Philologist and Archeologist, Georg Friedrich Creuzer’s allegorical mythological method has also provided the possibility of the structured study of myths as integral elements of cultural studies. Since the motif of Visbobish is represented in many Qajar handlooms, in order to achieve the basic nature of this pattern, the present article has analyzed this pattern with the allegorical method of Friedrich Creuzer, and on a sample of Qajar cashmere shawl. Based on this, the main question of this study is that: from the point of view of Creuzer’s mythology, that considers the mysticism between the icon (work of art) and the idus (a phenomenon that represents something that does not exist) as the basis of the knowledge of mythology, what is the relationship between the motif of Visbobish and its representation on the works of the Qajar period? The research method in this fundamental research will be descriptive and analytical, and the collection of data will be desk-based. According to this research, there is an allegorical relationship between the concept of “immortality and creation” or “eidos” and the “Visbobish tree of Kerman cashmere” or “icon”; and finally, it can be said that an exemplary reason for using Visbobish design in Qajar cashmere is the weaver’s mind and the audience to achieve immortality and eternal life. Analysing the Visbobish pattern through Friedrich Creuzer’s mythological approach leads to the following steps: (a) description of the material cause or existing image and its subject: in this section, according to the first stage of Friedrich Creuzer’s allegorical method, the description of the image and theme of the mythical context of the mentioned cashmere textile was achieved; (b) in the second step, conducting a morphological study based on the narrative to discover the shape or formal cause was achieved and the form or formal cause or the mergence of the motif was attained; (c) in the third step cultural studies seeks in the period the paradigm governing the effect and finds similar forms was accomplished; (d) application of all the samples and discovering the typical cause, was the fourth step: all the obtained samples were compared and the sample cause was discovered; (e)and discovering and consequently understanding the meaning of the work was the fifth and last step: explaining the way of denoting eidos (exemplary cause) in the image (material cause) was discovered and interpreted accordingly. The motifs and similar forms of this tree have roots in the religion of Mazd-yasna, and accordingly, in Pahlavi and Islamic traditions.
تبلیغات
