نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانش آموخته دکتری تاریخ تطبیقی و تحلیلی هنر اسلامی، گروه مطالعات عالی هنر، دانشکده هنرهای تجسمی، دانشکدگان هنرهای زیبا، دانشگاه تهران
2 دانشیار گروه نقاشی و مجسمه سازی، دانشکده هنرهای تجسمی، دانشکدگان هنرهای زیبا، دانشگاه تهران، ایران
3 استاد تمام گروه مطالعات عالی هنر، دانشکده هنرهای تجسمی، دانشکدگان هنرهای زیبا، دانشگاه تهران، ایران
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسندگان [English]
The Mantiq al-Tayr preserved in the Metropolitan Museum is one of the most important manuscripts of the Timurid period. This manuscript is of great importance due to the presence of paintings attributed to Behzad. In order to investigate and study the explicit and hidden connection between mystical and jurisprudential texts and painting, the Mantiq al-Tayr and the painting "The Cry of a Son over the Death of His Father" from among the various manuscripts have been selected. The necessity of this research is to provide a research example in finding semantic implications between the painting and the written texts inside the painting, in order to unravel the research problem scientifically. Therefore, the aim of this research can be considered to identify the connection between the Quranic inscriptions and the remembrances inspired by it with the totality of the story of the painting. The present research seeks to provide solid and reliable answers to the following two questions: First - What is the connection between the calligraphic inscriptions of verses, remembrances, and stories? Second - For what reasons did the artist refrain from writing the exact verses of the Holy Quran and use the remembrances inspired by the Quran? The present research is qualitative and has analyzed the painting in question with a descriptive-analytical and interpretive approach. The Case study of the present study was selected non-randomly from among the paintings attributed to Behzad in the aforementioned version. In examining the phrase "The grave is a door through which all people enter", it was determined that the sentence is of the nominal type and, as we know from the perspective of Arabic grammar, nominal sentences (sentences without a verb) have greater power, extension and consistency than verbal sentences (sentences with a verb). The artist used this inscription at the entrance to the cemetery to remind his audience that the end is near and to take advantage of the moments of life to compensate. The author believes that considering the teaching of Arabic grammar in schools and madrasas and the relative mastery of most people in the Timurid and Safavid periods in Arabic, it is very likely that the tradition of using nominal sentences in Muslim places and buildings (inscriptions/bibliography) was widespread by architects and builders due to the aforementioned superiority and superiority, and that painters have also reflected it. In fact, both the architect and the painter seek to have a greater impact on their audience by using nominal sentences.
Also, the phrase "The grave is a door through which all people enter" is a nominal type that has greater power, extension, and permanence than verbal sentences (sentences with a verb). Therefore, the artist used this inscription at the entrance to the cemetery to remind his audience that death is near and to seize the moments of life to make amends. It seems that since the artist is unable to show God directly in the painting, he uses positive elements such as calligraphic inscriptions of remembrances and verses (mainly third person and remembrances that address God) to guide the presence of God in the painting. It is as if the main function of the art of calligraphy in Islamic art is often dependent on this, to positively remind us of the presence of God everywhere; this is the main and fundamental function of this art and it is observed that it has maintained this function in painting as well. Calligraphic inscriptions of remembrances and verses that are in the third person singular and in those verses the way God narrates the verses is in the third person (the omniscient narration); in fact, in this third person narration, the audience hears the voice of someone (God) who is an observer from the outside and sees the whole story (the painting). In other words, in verses that are in the third person singular and are used without interference, the audience is faced with a third person singular narration (the omniscient) of the verses and an observer (God) who sees the entire scene. The writer of these lines believes that the effectiveness of the verses and mentions in the third person singular is much greater for the reasons mentioned above. The results of the study indicate that by drawing verses and remembrances in the painting, the artist achieves a visual remembrance whose admonition aspect remains intact as long as the painting exists. In the most idealistic way possible, the artist seeks to make his audience feel a sense of longing and longing for God and find within themselves a special existential state towards God, and therefore to initiate and create a living and existential relationship between God and the audience of the work.
کلیدواژهها [English]
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