واکاوی پیوند متن و تصویر در منطق الطیر عطار(مطالعه موردی: نسخه خطی 1261ق)
آرشیو
چکیده
بیان مسئله: منطق الطیر اثر منظومِ عطار، دربردارنده محتوای فرازمینی و تجلی روحیات و گرایش های عرفانی است. در طی ادوار مختلف نسخه هایی از منطق الطیر تولیدشده است. یکی از نسخه های خطی مصور بسیار محدود این اثر، در دوره قاجار تولید و امروزه در کتابخانه ملی ایران نگهداری می شود و تاکنون تصاویر آن موردنقد و تحلیلِ پژوهشی قرار نگرفته است. هدف پژوهش: بررسی ریشه های خلق تصاویر نسخه خطی 1261 ق منطق الطیر (محفوظ در کتابخانه ملی با شماره بازیابی 19039)، در راستای بازنمایی و ضریب تأثیر گفتمان بصری تولیدی از روایت مکتوب و بررسی میزان وفاداری تصویرگر به پیشامتن، مبنی بر نقد تکوینی. سؤال پژوهش: سؤال کل گرایانه پژوهش بر این محور قرار دارد که تصویرسازی های نسخه 1261 ق تا چه میزان به حفظ اصالت و یا تغییر گفتمان روایی در گفتمان بصری منطق الطیر توجه داشته است؟ و دراین بین به صورت جزگرایانه، میزان تأثیر پیشامتن بر متن نهایی، صحنه پردازی های تصویری ویژگی های ظاهری شخصیت های موجود در این نسخه چگونه بازنمایی شده است؟ روش پژوهش: با بهره گیری از روش توصیفی-تحلیلی و مبنی بر چارچوب نظری نقد تکوینی به بررسی جامعه موردمطالعه (10 تصویر) پرداخته شده است. نتیجه گیری: تصویرسازِ ناشناسِ این اثر از اصول تصویری دوره خود (دوره اول قاجار) آگاهی کامل داشته و از تمامی نکات ویژگی های این دوره در تصویرسازی هایش استفاده نموده است. از سویی دیگر، تصاویر داستان به طورکلی با متن اشعار مطابقت دارد، اما تصویرگر در شخصیت پردازی و تعداد شخصیت ها، فضاسازی و به تصویر کشیدن حالات روحی و جسمی شخصیت ها به طور کامل به متن پایبند نبوده و دراین بین هنجارهای سیاسی، اجتماعی، فرهنگی و هنری و سبک شخصی هنرمند، مؤثر بوده است. کلیدواژه ها: منطق الطیر، نقاشی دوره قاجار، نقد تکوینی، پیشامتن، متنAnalyzing the link between text and image in Attar's Mantegh Alteyr (case study: manuscript 1261 AH)
Problem Statement: Sheikh Farid al-Din Abu Hamid Muhammad Attar of Nishabur is one of the eminent and illustrious mystics, Sufis, and poets of Persian literature. The most important sources for our understanding of Attar are his own works. In the Mukhtarnama (a collection of his quatrains), Attar’s definite and authenticated works include Mukhtarnama , Asrar-nama , Maqamat al-Tuyur ( Mantiq al-Tayr ), Musibat-nama , Tazkirat al-Awliya , and his Divan of ghazals and qasidas. Among these, Mantiq al-Tayr is considered Attar’s most famous work and is regarded as one of the rare masterpieces of mystical literature. However, illustrated versions and existing images from this book are extremely rare.The manuscript examined in this study is a copy of Mantiq al-Tayr , transcribed in 1261 AH (1845 CE), containing 4,603 verses in Persian along with ten paintings from the Qajar period. The images are organized as follows: Praise of the Prophet Muhammad, Seal of the Prophets (peace and blessings be upon him and his progeny), The virtues of the Commander of the Faithful, Ali (may Allah ennoble his face), The story of Bilal, The hoopoe encouraging all the birds to embark on the journey, The story of Sheikh San'an traveling to Rome and falling in love with a Christian maiden, The tale of drinking a cup from the hand of the Christian maiden, The story of Sheikh San'an tending swine, The story of Sheikh San'an returning to the Christian maiden and her conversion to Islam, The story of the daughter of Khosrow and the servant, The narrative of the birds' quest.Until now, no research has been conducted regarding the origins of the illustration production in this particular manuscript. Therefore, the central issue of the present study is to respond to the question: to what extent were these illustrations influenced by the poems, and to what degree did the anonymous illustrator adhere to the specific points mentioned in the poems when creating the images? In various historical periods, only a few attempts at illustrating this mystical work have been undertaken, each reflecting the social and spiritual concerns of its era, thereby influencing which parts of the stories were prioritized for visual depiction. With respect to the illustrations in this manuscript, it becomes easier to understand which narratives drew particular attention during the Qajar period.In the present research, a detailed examination of the pre-text (the poems) in terms of textual analysis (the illustrations) has been conducted, along with a focused study of visual characteristics such as color usage, scene composition, and character portrayal. Research Objective: The objective of this study is to explore the origins behind the creation of the illustrations in the 1261 AH manuscript of Mantiq al-Tayr (preserved in the National Library under retrieval number 19039), with the aim of investigating the representation and the degree of visual discourse generated from the written narrative, and examining the extent of the illustrator’s fidelity to the pre-text based on the framework of genetic criticism. Research Question: The overarching research question is centered on the extent to which the illustrations of the 1261 AH manuscript preserved the authenticity or altered the narrative discourse of Mantiq al-Tayr in their visual representation.In a more detailed approach, the study further investigates how the pre-text influenced the final illustrations, the nature of scene compositions, and the depiction of the external features of characters within this manuscript. Research Methodology: The study employs a descriptive-analytical method and, based on the theoretical framework of genetic criticism, examines the selected corpus (ten images). Conclusion: Throughout different historical periods, a few illustrated versions of Mantiq al-Tayr have been produced. The present research focused on the illustrated 1261 AH manuscript created during the Qajar period. In order to understand the representation of the images in this manuscript and to evaluate the illustrator’s fidelity to the pre-text (the poems), the theory of genetic criticism was adopted.Based on the findings, it can be stated that the anonymous illustrator of this manuscript was familiar with the visual principles of his time (the early Qajar period) and incorporated the features and stylistic characteristics of this era into his illustrations. Moreover, by examining the images and their corresponding poems, it becomes evident that while the illustrations are generally consistent with the narrative content of the poems, the illustrator did not remain fully faithful to the text in certain aspects, particularly in character portrayal, the number of figures, scene setting, and the depiction of emotional and physical states of the characters.The visual elements that contributed to the differences between the pre-text and the visual text, considering the era of creation, include the following:Observance of symmetry and mirror imaging in composition,Division of spatial settings into two parts, upper and lower sections, and separation into foreground and background planes in terms of depth,In the illustrations, multiple figures with lower status are positioned in the background, whereas individuals of higher rank are placed in the foreground, reflecting the ambition and power dynamics typical of depictions of kings in this period. Despite the mystical nature of the narratives, this hierarchical visual convention has been maintained, with spiritually superior figures placed prominently in the foreground,In keeping with the common practice of this period, most figures are inclined to the right side, and in this manuscript, the main figure in each illustration is located on the right side,In the early illustrations, especially in interior scenes, although window frames are depicted, the background skies are rendered simply to emphasize the characters, while the foregrounds are illustrated with greater detail,Early Qajar painters, influenced by aesthetic ideals of literary beauty, portrayed poetically inspired faces and physiques with a human-centered perspective, thereby reinforcing their connection to literary traditions. The anonymous illustrator of this manuscript, being aware of these aesthetic principles, also adhered to them, thus maintaining harmony with the literary text,Use of curtains and windows in the images to suggest depth,Symmetrical compositions conveying a sense of calm and balance,Suggestion of third-dimensional space through the depiction of carpets, frames, and background landscapes,Fine detailing in the rendering of small elements,Use of cool-warm color contrast: cooler hues (such as blues) are employed in the upper parts of images to enhance the sense of depth, while warmer tones dominate the foregrounds,Limited and repetitive color selection, indicating the illustrator utilized a consistent color palette across all illustrations,Employment of various shades of cool blue to evoke a sense of ambiguity and dreaminess,Application of simple and minimal decorative motifs, such as flowers, buds, and boteh-jeqeh , on clothing and carpets, reflecting the manuscript's mystical and spiritual themes.
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