دانشگاه شاهد فصلنامه نگره 2676-7244 21 79 2026 09 23 Analyzing the Hypertextual Relationships Between the Safavid Kilim in the Louvre Museum and Persian Paintings from the 8th–10th Centuries AH تحلیل روابط بیش‌متنی میان گلیم صفویه محفوظ در موزۀ لوور با نگاره‌های قرون 8-10 ه.ق 160 185 4793 10.22070/negareh.2025.19666.3435 FA رضوان احمدی پیام استادیار، گروه فرش، دانشکده هنر، دانشگاه سمنان، سمنان،‌ایران. 0000-0002-9501-9534 مریم دارایی مدرس، گروه فرش، دانشکده هنر، دانشگاه سمنان، سمنان، ایران 0000-0002-9501-9534 Journal Article 2025 10 03 Introduction: The production of artworks across different historical periods often involves the adaptation and transformation of enduring cultural and artistic features. Examining similarities and differences among artworks as visual texts can reveal the relationship between source works and later adaptations. Gérard Genette’s theory of hypertextuality provides an appropriate framework for analyzing relationships between texts that belong to different temporal and spatial contexts. According to historical evidence, the Safavid era (907–1152 AH) represents the peak of Iranian carpet weaving. Among the surviving examples from this period is a handwoven semi-pictorial kilim fragment with a Lachak-Toranj (corner-and-medallion) design, attributed to Kashan and preserved in the Louvre Museum. The composition of this kilim appears to be associated with themes derived from Persian literary traditions. Considering the widespread artistic activities of Safavid designers across different fields, it can be suggested that illustrated manuscripts may have served as visual sources for carpet designers and weavers. This research examines the relationship between this Safavid kilim and Persian miniature paintings, focusing on the types of hypertextual relationships that connect the kilim as a hypertext to its possible visual hypotext. The significance of this study lies in understanding how previous literary and visual traditions contributed to the formation of a new artistic text through the transformation of motifs and compositional structures. Purposes & Questions: The purpose of this article is to identify the influence of earlier pictorial works, particularly Persian miniature paintings from the 8th–10th centuries AH, on the Safavid kilim based on Gérard Genette’s theory of hypertextuality. The study seeks to clarify the manner in which visual elements from Persian miniature paintings were adapted and transformed in the design of the kilim. The main research question is: What types of hypertextual relationships exist between the Safavid kilim (as the hypertext) and the Persian miniature paintings examined in this study (as the hypotext)? Methods: This research employs an analytical-comparative method based on Genette’s theory of hypertextuality. Data were collected through library research. The research population consists of Safavid pictorial kilims with thematic and visual relationships to earlier artworks. A semi-pictorial Lachak-Toranj kilim from the Safavid period preserved in the Louvre Museum was selected as the main sample through purposive sampling. To identify possible hypotext, illustrated Iranian literary manuscripts produced before the probable date of the kilim’s creation and containing related themes were examined. Accordingly, nine illustrations from manuscripts of Ferdowsi’s Shahnameh and the Nizami’s Khamsa and Jami’s works were selected. These illustrations include narratives related to Bahram-Gur and Rostam’s dragon-slaying episodes, as well as the meeting of Layla and Majnun, dating from the 8th to the 10th centuries AH. Data analysis was conducted through thematic analysis. First, the selected works were examined according to their themes, motifs, and compositions. Then, based on Genette’s theory, the relationships between the Safavid kilim and the selected hypotext were analyzed, and the dominant types of hypertextual relations were identified. Findings & Results: The findings indicate that three of Genette’s six types of hypertextual relationships—transposition, parody (transformation), and forgery (serious imitation)—can be identified between the Safavid kilim as the hypertext and the nine selected hypotext. Transformational processes are more evident in the central Toranj than in the Lachaks, whereas visual similarities are stronger in the four Lachak sections than in the central medallion. The Lachaks of the studied kilim clearly refer to the romantic meeting of Layla and Majnun. In contrast, the central Toranj demonstrates greater distance from the selected hypotext because of the changes introduced by the designer and does not correspond to a single narrative source. Instead, it combines elements such as a mounted warrior, a dragon, and their interaction to suggest the coexistence of good and evil. Through the symbolic association of two Iranian mythological and heroic figures, the composition emphasizes a nationalistic dimension related to the ideological context of the Safavid period. The results further demonstrate that the relationship between the Safavid kilim and Persian miniature paintings is not limited to direct visual imitation. Rather, it represents a process of reinterpretation in which inherited motifs and narrative elements are reorganized according to the requirements of a different artistic medium. This process highlights the creative role of the designer in selecting, modifying, and combining previous visual patterns to create a new composition. Therefore, the Safavid kilim can be understood as a visual text formed through a dialogue between earlier pictorial traditions and the artistic language of carpet weaving. مقدمه: تولید آثار هنری جدید در ادوار مختلف، با الگوبرداری از شاخصه‌های پایدار فرهنگی و هنری در حوزه‌های مختلف هنر امکانپذیر است. شناسایی اقتباس‌ها و تمایزها میان حوزههای مختلف هنر، مبتنی بر یک نگاه علمی قابلفهم، میتواند جایگاه متون مرجع و متون اقتباس‌شده از آن‌ها را نسبت به یکدیگر تعیین نماید. با اتکا بر نظریه بیش‌متنیت ژرار ژنت، می‌توان کیفیت برگرفتگی متون با موقعیت‌های مکانی و زمانی مختلف نسبت به یکدیگر را ارزیابی کرد. اهداف و سؤال‌ها: هدف مقاله حاضر، شناسایی وجوه بصری گلیم نیمه‌تصویری (قرن یازدهم ه.ق) در تعامل با آثار تصویری مبتنی بر نگارگری‌ها (قرون 8-10ه.ق) با اتکا به نظریه بیش‌متنیت ژنت است و به این پرسش پاسخ می‌دهد: چه روابط بیش‌متنی میان گلیم صفوی و نگاره‌های موردپژوهش وجود دارد؟ روش‌ها: این پژوهش تحلیلی- تطبیقی، مبتنی بر اطلاعات کتابخانه‌ای است. تبیین و طبقه‌بندی یافته‌ها نیز به روش تحلیل مضمون و نمونه‌گیری هدفمند است؛ بیش‌متن (لچک و ترنج گلیم صفویه) و پیش‌متن‌های نُه‌گانه از نگارگری با مضامین نبرد بهرام گور و رستم با اژدها و دیدار لیلی و مجنون معرفی و مقایسه شدند. یافته‌ها و نتایج: نتیجه آن‌که از شش گونه برگرفتگی مطرح‌شده از سوی ژنت، گونه‌های تراسپوزیسون، تراوستیسمان، پارودی (تراگونگی) و فورژری (همانگونگی) در میان بیش‌متن و پیش‌متن‌ها مشهود است. تراگونگی‌ها عمدتاً در ترنج مرکزی دیده شد و همانگونگی در لچک‌ بیش از ترنج مشهود بود. براین اساس، لچک گلیم متنی است که آشکارا به دیدار عاشقانه لیلی و مجنون اشاره دارد. اما ترنج متنی است که به‌واسطۀ تغییرات اعمال‌شده از سوی طراح، صرفاً به یک پیش‌متن با مضمون مشخص اشاره ندارد. طراح با استفاده از مؤلفۀ سوار جنگجو، اژدها و درآمیختگی آن‌ها، مفهوم تقابل خیر و شر را القا کرده و از شاخصه‌های دو شخصیت اساطیری و پهلوانی ایرانی (بهرام گور و رستم) به‌منظور تأکید بر ساحت ملی‌گرایانه صفویان بهره‌برداری کرده است.

https://negareh.shahed.ac.ir/article_4793_b28d8e3ccb1ff9d46fa2d9e70222c9e7.pdf