واکاوی مضامین پنهان در تصاویر نسخه خاوران نامه ابن حسام و متن نهج البلاغه و گفتمان های مؤثر در شکل گیری این نسخه (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
در این تحقیق، خاوران نامه ابن حسام خوسفی، اثری معتبر از دوره تیموریان و ترکمانان که تحت تأثیر مکتب نگارگری شیراز بوده، مورد بررسی قرار گرفته است. تمرکز اصلی تحقیق بر تفاوت های نمایش سیمای حضرت علی (ع) در نهج البلاغه و تصاویر خاوران نامه است. در این مطالعه به منظور جواب به این پرسش ها که چرا و چگونه این تفاوت ها ایجاد شده و چه تأثیری از دین و سیاست در این تصویرسازی ها مشاهده می شود، از تحلیل کتابخانه ای، اسنادی، و تحلیل گفتمان انتقادی استفاده شده است.با استفاده از رویکرد تحلیل گفتمان و تحلیل های میشل فوکو، تحقیق به بررسی تأثیرات گفتمان های دینی، سیاسی و نگارگری قرن نهم هجری بر شکل گیری این نسخه پرداخته است. یافته ها نشان می دهد که چگونه تصاویر خاوران نامه به برساخت مفهوم یک قهرمان جنگ طلب منجر شده که با چهره تیمور و جانشینانش همخوانی دارد. این پژوهش نه تنها به فهم عمیق تری از تأثیرات متقابل هنر، دین و سیاست در دوره تیموریان کمک می کند، بلکه به بررسی نقش نگارگری در شکل گیری مفاهیم تاریخی و مذهبی می پردازد. این تحقیق علل مغایرت تصاویر و ابیات با سیمای آن حضرت در نهج البلاغه را از نظر گذرانده و علل و نحوه غیاب حلقه ی مفقوده (صلح، عدالت و مهربانی) در چهره ایشان را بررسی کرده است.Analysis of the Hidden Themes in the Illustrations of the Khavaran Version of Ibn Hussam's Book and the Text of Nahj al-Balagheh and the Effective Discourses in the Formation of this Version"
This research is dedicated to an in-depth examination of "ḴĀVARĀN-NĀMA," authored by Ebn Ḥosām Ḵᵛāfi, a prominent literary work from the Timurid and Turkmen periods that reflects the influence of the Shiraz school of illustration. As a valid piece of religious writing from the time, "Nahj al-balāgha" and "ḴĀVARĀN-NĀMA" are the main topics of our investigation. We want to find differences in how they describe Imam Ali ibn Abu Talib. Using critical discourse analysis framework, the study endeavors to shed light on the complex relationship existing between text, image, and social culture during the 9th century AH. This investigation is centered on analyzing the reasons behind, and the ideological underpinnings of the differences in the representation of Imam Ali, with a particular emphasis on the influence that comes from the political and religious spheres. The study employs Michel Foucault's theories and the critical discourse analysis to examine the differences between the text and the visual representations in "ḴĀVARĀN-NĀMA" and "Nahj al-balāgha". Four main discourse ideas—the subject, the institution, the power, and the knowledge—are at the core of this analysis. This research phase contributes to the scrutiny of the formation of religious imagery in "ḴĀVARĀN-NĀMA," emphasizing the religious, political, and illustrative dimensions of the 9th century AH. The illustrations in "ḴĀVARĀN-NĀMA" by the esteemed artist Farhad Naghash are acknowledged as a significant facet of Iranian illustrative art. Integrating storytelling, poetry, and illustration, Naghash's works are not only esteemed for their artistic merit but also recognized as exemplars of the symbiosis between Iranian art and literature. A pivotal query addressed in this research pertains to the extent to which the images in "ḴĀVARĀN-NĀMA" can embody the concept of a bellicose hero and the congruence of this concept with the portrayal of Timur and his successors. The findings of the research indicate that during the Timurid period, three distinct types of discourse—religious, political, and illustrative—collaborated to produce a novel subject matter that revolves around a martial hero who occasionally disagrees with heroic figures from Iran and Shia. The heroic persona, which is characterized by nonviolent pursuits toward objectives, is portrayed from a variety of perspectives. This conceptualization is more in line with the imagery in "ḴĀVARĀN-NĀMA," which depicts Timur and his successors. It is important to note that this imagery should not be incorrectly attributed to Imam Ali. This study, which stands out for its creative approach to the artistic and sociocultural implications of "ḴĀVARĀN-NĀMA," highlights the significance of the work in Iran's cultural and artistic history during the Timurid and Turkmen periods. In addition to providing novel insights into the influence and impact of illustration and literature during that period, provides new perspectives on the importance of the work.
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