تحلیل ویژگی های بصری نگاره های نسخه خطی مثنوی معنوی محفوظ در کتابخانه مجلس شورای اسلامی ایران (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
شکل گیری نگارگری ایران در بستر شعر، عرصه ای برای هماهنگی در بیان و همسویی درونی با ادبیات فراهم آورده است. شناخت و فهم تعابیر نگارگری به ویژه در بیان موضوعاتی با مفاهیم عرفانی که به دلیل انتزاعی بودن و انتقال بیان پیچیده تر کمتر مورد توجه نگارگران واقع شده موضوعی قابل ملاحظه قلمداد می شود. در این میان یکی از نمونه های مصور عرفانی- تعلیمی نسخه ای ناشناخته از مثنوی معنوی متعلق به قرن11-12ه.ق با پنج نگاره و به کتابت اولیاء کازرونی موجود در کتابخانه مجلس شورای اسلامی است که در مقاله حاضر به آن پرداخته شده است. هدف این پژوهش شناخت ویژگی های تصویری و کیفیت بیان هنری و محتوایی نگاره های این نسخه بوده است. روش جمع آوری اطلاعات از طریق دسترسی مستقیم به اسکن نسخه و منابع کتابخانه ای صورت گرفته است و با شیوه توصیفی-تحلیلی به دنبال پاسخ به این سوال بوده که ویژگی های بصری نگاره های نسخه مثنوی معنوی کدام است و به چه نسبتی در ایجاد بیان هنری و کیفیت محتوایی به کار گرفته شده اند؟ دستاورد نتایج بیانگر آن بوده که عناصر و عوامل بصری همچون حاکمیت فضای رنگی تیره و تاًکید رنگ های گرم، ترکیب بندی پلانی و زیگزاگی، جهت گیری فعال تپه ها و بناها به سمت بالا، استفاده از پلان های متعدد برای نمایش صحنه های مختلف داستان و ترسیم عناصری جایگزین با عناصر متن داستان، ویژگی هایی هستند که در جهت انتقال مفهوم داستان به کار رفته اند. همچنین نحوه رنگ پردازی و خصوصیات ظاهری پیکره ها و حالات و حرکاتشان ویژگی های سبکی منحصر به فردی داشته و نشان دهنده یک شیوه محلی از دوره صفوی است.Analysis of Visual Features of the Illustrations of Masnavi Ma'navi Manuscript Preserved in the Library of the Islamic Parliament of Iran
One of the basic characteristics of Iranian painting in the Islamic period has been its close connection with Persian literature. Knowing and understanding the interpretations of painting is considered a significant issue, especially in the expression of issues with mystical concepts, which are less interesting to painters due to their abstract nature and the transmission of more complex expressions. The artist-painter has used various literary themes and his visual expression as a tool to express various topics from epics to romantic and mystical lyrics. Among the mystical texts, "Mathnavi Manavi" is a work in the field of mystical and educational thoughts written by Maulana Jalaluddin Muhammad Balkhi Rumi (604-672 AH) through numerous stories and anecdotes. In comparison to other mystical texts, while expressing the highest epistemological concepts, Masnavi also had the aspect of storytelling, which was equally prominent. Nevertheless, the themes of the spiritual masnavi were less depicted in the history of Iranian painting, and few illustrated versions of it were obtained, which mainly belonged to the Safavid period and its later periods. One of these masnavis is a copy numbered 2645 preserved in the Islamic Council Library, which is kept in the Naqsh Nafis section and has remained neglected and abandoned in the eyes of researchers. The purpose of this research was to identify the said manuscript and toassess the quality of artistic expression and content of its paintings. The method of collecting information was done through direct access to scanning copies and library resources, and with a descriptive-analytical method and based on visual analysis, and sought to answer these questions: 1- How were the visual features? The illustrations of Masnavi Manavi's version? 2- To what extent are these features used in creating artistic expression and content quality?
This version has six books, like other versions of Masnavi, and at the end of each book, the end of the book is indicated. At the end, it is mentioned that it was written by the saints of Kazeruni. Also, some additional pages have been added to the first version, which has a signature with the date 1111 AH, which shows that this version was written earlier than the above date.
The mentioned version has five illustrations, the name of the artist is unknown, and the illustrations do not have a number or signature. Each of the pictures depicts the last story of each notebook, and for this reason, they are placed at the end of each notebook. The paintings depict Masnavi stories in the following order: 1- the story of "the enemy spitting on Amir al-Mu'minin Ali (ع)"; What comes from the title and the beginning of the text of the story is not represented, which is the story of the enemy spitting on Ali in the battlefield, and according to Shaan Ali, the painter tried to depict a symbolic manifestation of the Prophet in all the details of the elements and visual factors of the scene. May Ali's greatness and position be.2- The story of "the astonishment of the pilgrims at the merits of that ascetic whom they found alone in the Bedouin"; In this story, Rumi describes the virtues of an ascetic. Placement and reference to visual elements and factors in the stage space has a specific orientation which was first pointed out to the ascetic by a group of pilgrims and through the ascetic and the depiction of God's house, the audience's attention is drawn to the sky and the stormy rain-making clouds that rained with Paying attention to the merits of the ascetic in that burning area. 3- the story of "the story of the lover who found the beloved in an unknown garden"; Illustrated at the end of the third book and the beginning of the fourth book of Masnavi. This painting seeks to show the solitude of the lover and the beloved, and the reminder of God's presence by the beloved. The visual elements and factors are illustrated in such a way as to show the existence of God and His presence in all places as a content aspect of the story. In the first case, the eye is directed towards the dome through the inclined movement of the wall. In the second case, the audience has penetrated into the garden and turned their attention towards the solitude of the lover and the beloved and towards the dome. At the end of both situations, the eyes are directed towards the dome, and the only presence of the dome is a metaphor of the mosque with the branches of the trees in the wind and the wavy clouds, which is a sign of God's presence in the scene. 4- The story of "Ayaz and ordering the king to break the gem" is depicted in the fifth book of the Masnavi. In this painting, the general story is shown, where the king is sitting in a palace among a group of emirs and Ayaz is talking with him in the center of the scene. The postures and gestural movements of the figures make the eye move throughout the scene and provide an active dialogue space between the ministers and the king. On the other hand, none of the people, except Ayaz, looks at the king, which shows that they have not obeyed any of the ministers except Ayaz. 5- The story of "a person bequeathing his will to his three children, whose property goes to the child who is younger than the rest" is from the sixth book of Masnavi. This picture shows a symmetrical and decorated view of the interior space with geometrical motifs and large errors, in which the judge and the testator are talking to each other while holding the will, and their companions are paying attention to them. The blurring on the left and right sides of the image has created a static atmosphere, and the way the hands move has shown the heavy conversation between the judge and the man in the middle of the scene. Achievements such as the appearance characteristics of the figures, such as hanging and thin and long mustaches of men, big heads with small shoulders and legs, moving arms and legs, hand to chest and drawing a profile face are the characteristics of the painter's style and ..., were arrangements that the artist has consciously used visual qualities to induce the content of the story. The use of selected elements to refer to the content of the story, such as composition, the use of warm colors, especially red color in the middle of the dark space, light and pea-colored foreground in the planned scenes, the positional perspective, and the appearance characteristics of people, including the head. Big with a long and pointed beard and wearing blue clothes for people with a mystical face, sitting on four knees or with one leg extended for important people, using multiple plans to show different scenes of the story, quality has been used to refer to the content aspect of the story. In other words, by using visual elements, the artist has created a pattern of artistic expression to depict the subject and content of the story.
The stylistic examination of the pictorial characteristics of this version has shown that despite the uniformity and common features of the pictures, there was a combination of the characteristics of different schools. The paintings are depicted like Safavid figures from a very close view. Also, in the examination of the paintings, things such as the way of clothing, the shape of the body and its various parts, the face painting and the composition of the paintings, the way of vegetation and landscaping, the way of building, the coarseness of the motifs, etc., are a display of local style and Influenced by different styles of the Safavid period, including Qazvin, Shiraz, Tabriz, and the Turkmans, which is a sign of the fusion of styles that did not show the official court school, and probably the paintings were made in the local style in cities such as Turkman or Shiraz in the Safavid period.
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