تأثیرپذیری نگاره های بزمی گورکانی از سنت بزم نگاری ایرانی در سده دهم ه.ق (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
با تثبیت حکومت صفویان در سده دهم، بسیاری از جشن ها و آیین های باستانی ایرانیان با حمایت دربار و اقبال عمومی رونق دوباره یافت. در همین دوره به دلیل علاقه سلاطین گورکانی به بسط و گسترش زبان و فرهنگ ایرانی در هند و همچنین حضور برخی از شاخص ترین هنرمندان ایرانی در دربار گورکانی، شرایط برای انتقال بسیاری از سنت های ایرانی، به ویژه جشن ها به هند فراهم شد. این پژوهش با هدف شناخت تأثیرات بزم نگاره های ایرانی بر نگاره های بزمی هند می کوشد تا به این پرسش پاسخ دهد که عناصر و ویژگی های موجود در مجالس جشن و شادمانی در ایران چه تأثیری بر نگاره های بزمی مکتب گورکانی داشته اند؟این مطالعه برپایه استدلال های تطبیقی-مقایسه ای انجام گرفته است. یافته ها بیانگر آن است که عناصر تصویری بزم نگاره های اوایل دوره گورکانی به دلیل نسخه برداری مستقیم از آثار ایرانی، بسیار متأثر از بزم نگاره های صفوی است. تا جایی که در انتخاب مکان برپایی جشن ها یا چگونگی چینش افراد، سنت رایج در دربار صفوی مورد توجه قرار می گرفت؛ اما به تدریج با استقلال نگارگری هند و نفوذ سنت های بومی، عناصر تصویری ایرانی کم رنگ و درنهایت با عناصر هندی جایگزین شد.A Comparative Study of the Traditions Related to the Celebrations in Safavid and Gurkani Paintings in the 10th Century
With the establishment of the Safavid reign in the 10th century and the reestablishment of security and relative prosperity in the society, many of ancient Persian ceremonies and celebrations boomed out again with the support of the court and the public demand. In the same era, due to the the Gurkani Sultans' interest in expanding the Iranian language and culture in India, as well as the presence of some of the most prominent Iranian artists at the Gurkani court, conditions for the transfer of many Iranian traditions, especially celebrations to India were provided. The purpose of this study is to find out the effects of the Iranian paintings on the Indian paintings and to answer the question: How much the Gurkani painting school has been affected by the Iranian tradition of painting? This study use a descriptive-analytical research design with respect to the library resources. The findings of this study indicate that due to the direct copying from Iranian works the pictorial elements of the early Gurkani paintings are much more influenced by the Safavid arts; however, gradually, with the independency of Indian painting and the influence of indigenous traditions, Iranian pictorial elements have been dimmed and eventually replaced with Indian elements.
Introduction
The origins of Iranian-Indian cultural ties date back to the Aryan exodus. This cultural relationship intensified and accelerated during the Safavid and Mongol eras. Some artists who were unhappy with the court had the chance to travel to India during the reign of Shah Tahmasp I because of his disregard for artists and Homayoun Shah's tendency. Under Homayoun Shah's and Akbar shah's patronage, immigrant artists from the Iranian miniature school played a pivotal role in developing the Indo-Iranian style (Rostami, Banaei, Siradeghi: 2021: 1). The presence of renowned painters such as Mir Musavvir, Mir Sayyid Ali, and Abd al-Ahmad in the royal workshops of Gurkani, as well as the supervision and teaching of other local artists, resulted in the creation of paintings that demonstrates many of the prevalent habits and traditions of that era, including representations of festive royal gatherings based on Safavid court traditions.
The social and cultural characteristics of the two societies of Iran and India in the 10th century AH might be better comprehended via comparative examinations of the common festival rituals of the Safavid and Gurkani periods. The purpose of this study is to evaluate and investigate the similar aspects of banquets paintings in the Safavid and Gurkani eras, which included the place of the celebration, the individuals present in the assembly, and the welcome and entertainment in two schools' banquets.
1.1. Research methodology
This historical research is carried out in a descriptive-analytical method using first-hand library and museum sources.
Discussion
The emergence of the strong Safavid administration in Iran and the establishment of Tabriz as the country's capital in the 10th century AH gave the conditions for restoring many old customs and traditions, including the customary ancient festivities. Safavid era festivities were always lavish and adorned with magnificence, and the Safavid kings made every effort to make the celebrations as grand as they could be.
In 955 AH, however, when Shah Tahmasp I altered his attitude to promoting the arts, the situation deteriorated so that numerous festivities and feasts were neglected. Meanwhile, the artists responsible for documenting these court proceedings lost their protection and support. This episode prompted many of them to quit the Safavid court, migrate to India for practical reasons, and accept the invitation of Gurkani sultans such as Homayoun Shah, who had garnered a great deal of popularity and interest in that school during his time at the Safavid court (Rogers, 2003:41-43).
Numerous aesthetic accomplishments of the Tabriz school of miniatures and widespread Safavid court practices, such as banquets, were transferred and expanded to the developing school of Gurkani miniatures due to the presence of these artists and their supervision of the layout workshops throughout the Gurkani period.
Gurkani culture was a blend of Indo-Iranian culture, emphasizing Iranian elements due to Gurkani sultans' interest in Iranian traditions and practices and the continual and colorful presence of Iranians in Gurkani courts. During the reign of Homayoun, whose efforts were concentrated on expanding Iranian culture at the court, he utilized Persian more than any other language and endeavored to popularize it (Afzal Toosi, Houshmand Nonfared: 2016: 30). The growth of Iranian festivals in the Gurkani court hastened this process, making it the ideal chance to transmit and impact Iranian customs in India.
Given that most of their rites and customs were carried out in the Iranian manner, celebrations and festivals always played a significant part in the Gurkani court. On the other hand, these events served as a display of the kings' riches and authority. The exhibition of jeweled thrones followed these festivities: gold pendants, silk, painted tents, different competitions and entertainments, and the distribution of royal presents, all of which served as a symbol of the ruler's authority and authority riches (Bharadwaj, 2015:3).
Conclusion
Territorial, racial, and religious obstacles can be disregarded in favor of cultural and creative exchanges that bind nations together. This art throughout the Safavid and Gurkani periods led to numerous similarities between the two schools, despite the ethnic and religious distinctions and distinct personalities of each school.
After evaluating and examining two miniatures of feasts from the Safavid and Gurkani schools in the 10th century AH, the similarities and differences between the festivities of the Safavid and Gurkani eras were apparent. Among the most notable is the confluence of architecture and nature, which the artist illustrates by depicting palaces with the most exquisite embellishments amid a garden with towering trees and branches covered with blooms, evoking the origin of life and delight.
This characteristic is unique to Iranian miniature art and architecture and has been replicated by the Gurkani school under many factors. However, it is not as attractive and captivating as Iranian art, and this is due to the artist of the Gurkani school's lack of attention to refinement and decorative elements. Regarding the positioning of participants at the court banquets, both paintings have a similar aspect: the king's throne was surrounded by people stationed around it according to their status in the court. Nevertheless, what differentiates Gurkani miniatures from the banquet's paintings of Safavid paintings is the vivid participation of ladies and princes in court gatherings, a subject not only absent from the Safavid court but also from the paintings. Reception and entertainment during the celebration are the third characteristics of Safavid and Gurkani banquets. Based on the descriptions and the miniatures, it is clear that the food and drinks in both courts have a similar structure and quality, differing only in the names of the meals, demonstrating the close taste of the inhabitants of these two kingdoms. Moreover, entertainment equipment, like musicians and dancers, were highly essential in both courts and miniatures of that era since the presence of musicians with almost identical instruments was evident in almost all banquet paintings from both schools. However, the advantage of Safavid miniatures over Gurkani paintings is the order and placement of the musicians as an essential element of all banquets, something that has not been given much consideration in Gurkani paintings save in a few cases. Based on the findings, it was concluded that Gurkani's early banquet paintings imitated many of the characteristics of Safavid banquets under the influence of Iranian banquet paintings. On the other hand, this cultural exchange has been sped up by the participation of some of the most well-known Iranian artists in the Gurkani book design workshop. However, as time went on and Indian miniaturists applied their inventions, banquet paintings increasingly drifted away from Iranian style and toward India's local heritage, beginning in the late 11th century AH.
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