تحلیل نگارۀ «کشتن اسفندیار ارجاسپ را در رویین دژ» اثر میر خلیل مصور، با استفاده از نظریۀ شمایل شناسی اروین پانوفسکی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
هندسه در نگارگری ایرانی همواره نقشی کلیدی در ایجاد پیوند میان فرم و محتوا ایفا کرده و بستری برای انتقال مفاهیم چندلایه فراهم آورده است. این پژوهش به تحلیل نگاره ی «کشتن اسفندیار ارجاسپ را در رویین دژ»، اثر میر خلیل مصور، می پردازد؛ اثری که با بهره گیری از اصول هندسی، تمهیدات تجسمی و عناصر بصری، فضایی حماسی و روایتی چندلایه را بازنمایی می کند. سؤال اصلی پژوهش این است که چگونه میر خلیل توانسته با بهره گیری از هندسه، فضاسازی و ترکیب بندی های هنری، نگاره ای خلق کند که روایت حماسی را با مفاهیم نمادین، تاریخی و اسطوره ای درهم آمیزد. این پژوهش با رویکرد کیفی و روش توصیفی-تحلیلی، مبتنی بر مطالعات کتابخانه ای و اسنادی، به تحلیل سه سطحی اثر از منظر نظریه شمایل شناسی اروین پانوفسکی می پردازد. یافته ها نشان می دهد که میرخلیل با بهره گیری از نقوش هندسی، تناسبات ریاضی و خطوط هدایت گر، ساختاری منسجم ایجاد کرده است که هماهنگی میان داستان و تصویر را به خوبی تقویت می کند. در این نگاره، استفاده از تمهیدات تجسمی، همچون تعادل در ترکیب بندی، چیدمان پویای شخصیت ها و تعامل بصری میان عناصر، نه تنها به ارتقای زیبایی شناسی کمک کرده، بلکه روایت بصری داستانی حماسی را به لایه های عمیق تر معنا پیوند داده است. این نگاره، با فضاسازی دقیق و تأکید بر مفاهیمی همچون پیروزی نیکی بر بدی، علاوه بر بازتاب ارزش های فرهنگی و اسطوره ای دوره تیموری، نمونه ای از هم افزایی میان هنر نگارگری و ادبیات حماسی ایران است. تحلیل این اثر، نه تنها بر اهمیت مکتب هرات در تاریخ هنر ایران تأکید دارد، بلکه الگویی برای مطالعه ساختارهای بصری و تمهیدات تجسمی در دیگر نگاره های شاهنامه بایسنقری ارائه می دهد.Analysis of the Painting "Isfandiyar kills Arjasp to Rescue his Sisters" by Mir Khalil Musavvir, Based on Erwin Panofsky's Iconological Approach
Persian miniature painting, with its intricate integration of form, narrative, and symbolism, has long been revered as a medium that transcends mere decoration to serve as a profound conduit for cultural, historical, and philosophical expression. The painting “Isfandiyar kills Arjasp to Rescue his Sisters” by Mir Khalil Musavvir exemplifies this tradition, showcasing the innovative interplay of geometry, spatial organization, and narrative composition that characterizes the illustrious Herat School during the Timurid period. In this study, a qualitative, descriptive-analytical method—supported by extensive library and archival research—is employed to undertake a detailed iconological analysis of the painting. Utilizing Erwin Panofsky’s three-tiered framework, which comprises pre-iconographical description, iconographical analysis, and iconological interpretation, the research aims to unravel the multilayered meanings embedded within the artwork’s visual structure.In the initial phase of analysis, the painting is examined through its pre-iconographical elements, where geometric motifs and guiding lines are meticulously deployed to structure the narrative. Mir Khalil Musavvir’s use of geometric patterns, such as the emblematic “Hasht-o-Sabounak” (eightfold star), not only establishes a visual order but also directs the viewer’s attention to crucial narrative moments. The calculated employment of mathematical proportions and spatial distribution creates an inherent balance, ensuring that each element of the composition contributes to an overall sense of harmony. These formal devices serve as the groundwork for the painting’s visual language, demonstrating how precise artistic technique can effectively communicate complex narrative ideas.Following this, the iconographical analysis delves into the symbolic significance of the identified visual elements. In this stage, the geometric constructs and spatial arrangements are interpreted as symbols resonant with themes of heroism, justice, and divine order. The interplay between architectural forms and human figures is deliberately orchestrated to reflect the dualistic nature of the narrative where order contends with chaos, and virtue faces the forces of evil. The dynamic positioning of figures, coupled with the rhythmic repetition of geometric patterns, evokes notions of cosmic balance and perfection. This deliberate design mirrors broader philosophical ideas of the Timurid era, where art was not merely decorative but served as an allegory for ethical and metaphysical principles.At the deepest level of analysis, the iconological interpretation situates these visual and symbolic elements within the broader ideological and cultural context of the period. The Timurid era witnessed a fusion of pre-Islamic Iranian traditions with Islamic thought, a synthesis that is vividly reflected in the artistic innovations of the Herat School. The painting’s structured spatial organization and meticulous geometric precision are indicative of a worldview that values order, balance, and the harmonious interplay of opposing forces. In this context, the heroic act of Isfandiyar transcends its immediate narrative function to become a representation of cosmic justice, where the triumph of good over evil is both a literal and a symbolic reality. This layer of interpretation transforms the artwork into a visual discourse on the nature of destiny, ethical dualism, and the eternal struggle between light and darkness.Moreover, the painting stands as a testament to the innovative spirit of the Herat School, which redefined narrative representation in Persian miniature art. The integration of geometric principles with narrative content highlights a sophisticated understanding of visual rhetoric, where every line, shape, and color is imbued with layered meaning. This methodological approach not only enhances the aesthetic appeal of the work but also deepens its interpretative potential, inviting viewers to engage with the narrative on multiple levels. Through the harmonious synthesis of precise spatial organization and dynamic compositional elements, Mir Khalil Musavvir has created an artwork that transcends a mere retelling of an epic event, offering instead a rich tapestry of interwoven symbols and themes that speak to the cultural and philosophical values of his time.The comprehensive findings of this study underscore the pivotal role of geometry and spatial organization in Persian miniature painting as essential tools for conveying complex narrative and symbolic content. By employing Panofsky’s iconological framework, the analysis demonstrates how the strategic interplay of formal elements within “Isfandiyar kills Arjasp to Rescue his Sisters” not only articulates a heroic narrative but also encapsulates the broader ideological and cultural aspirations of the Timurid period. The painting emerges as an exemplar of artistic ingenuity, where the marriage of aesthetic precision and narrative depth allows for a multifaceted exploration of themes such as cosmic order, ethical dualism, and the reconciliation of human endeavor with divine will.Ultimately, this study contributes to a deeper understanding of both Mir Khalil Musavvir’s artistic mastery and the symbolic language of Persian miniature painting. It provides a methodological blueprint for future research in the field, encouraging a holistic examination of art that considers formal, narrative, and cultural dimensions in tandem. By revealing how geometric and compositional strategies can be harnessed to convey layered narratives, the analysis not only enriches our appreciation of this particular artwork but also affirms the enduring significance of the Herat School in the evolution of Iranian art. As such, “Isfandiyar kills Arjasp to Rescue his Sisters” is not merely a depiction of an epic battle but a visual manifesto of the cultural, philosophical, and aesthetic ideals that continue to resonate in the Iranian artistic tradition.These findings not only broaden the scholarly understanding of Persian miniature techniques but also offer a vital lens for reexamining artworks within the Shahnameh corpus. By elucidating the relationship between geometric structuring and narrative dynamism, this study invites further exploration into the convergence of artistic tradition and cultural ideology in Timurid art. The integration of visual rigor with symbolic depth demonstrates art’s power to express enduring societal values, inspiring contemporary interpretations of Iran’s rich heritage. Overall, this approach significantly enriches the discourse on Iranian visual culture and artistic innovation in modernity.
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