تحلیل روابط بیش‌متنی میان گلیم صفویه محفوظ در موزه لوور با نگاره‌های قرون 8-10 ه.ق

Producing works of art in different eras is possible by modeling sustainable cultural and artistic features in different fields of art. Identifying adaptations and distinctions between arts as visual texts based on a scientific point of view can determine the position of reference texts and adapted texts in relation to each other. By relying on Gerard Genette's theory of hypertextuality, it is possible to evaluate the quality of overlapping texts with different spatial and temporal positions relative to each other. According to the documents and evidence, the peak of Islamic carpet weaving in Iran dates to the Safavid era (907-1152 AH). An example of them is a handwoven fragment with a Lachak-Toranj (corner and medallion) pattern, which is attributed to Kashan and is kept in the Louvre Museum. Design of the above said Kilim has an image composition that seems to be related to the themes of Persian literature. Considering the pervasiveness of the activity of Safavid era designer artists in all artistic fields, this hypothesis is strengthened that visual works of art such as illustrations of literary copies could be considered as a suitable model for the designer or weaver of such works.
The main issue in this article is the quality of the Iranian semi-pictorial Kilim belonging to the Safavid era, which is taken from the works of art before it in the field of painting and the typology of the relationships governing them. The purpose of this article is to identify how the Safavid kilims are influenced by the pictorial works before it, focusing on paintings (8th-10th centuries AH) based on Gerard Genette's theory of hypertextuality and to answer following question; What kind of hypertextual relationships do Safavid Kilim (hypertext) and the paintings studied in this article (pre-texts) have?
The research method in this article is analytical-comparative and with an approach to Genette's theory of hypertextuality. Data collection was done using library method, and the statistical population is Safavid pictorial kilims with an approach to the theme and corresponding images. Therefore, a study sample of Safavid Kilim containing images based on specific themes in Lachak and Toranj was purposefully selected. Also, in the selection of possible pre-texts related to the under-study kilim, pictures from illustrated Iranian literary versions with thematic affinity (themes reflected on the Kilim) and time (before the possible date of the Kilim's production) were considered non-randomly. For this reason, the semi-pictured Lachak-Toranj kilims of Safavid era preserved in the Louvre Museum and the Nine-Nagare belongs to the versions of Ferdowsi's Shahnameh and Nizami and Jami's Khamsa, focusing on the dragon-slaying narratives of Bahram-Gor and Rostam and the meeting of Layla and Majnoon from the centuries 8th to 10th AH were selected purposefully with the aim of introduction and comparability in the homogenous class by approaching the key cases. Data analysis in this article is thematic analysis; First, the study samples were analyzed in terms of theme, motif and composition. Then the classification information from the previous section focused on Gérard Genette's hypertextual theory was analyzed, and the relation of hypertext overlap (Safavid era Kilim) to each of the selected pre-texts was presented. In the following, the strongest type of overlap and function among the studied texts and the closest possible pre-texts to the text were determined.
The importance of the current article lies in the fact that the analysis of handwoven excerpts as a hypertext from almost thematic and technical artistic fields as a pretext can refer to the literary and visual originality of the artworks produced with a look at the past. The necessity of doing this article is that by adjusting the motifs and their composition in the Safavid kilim with their counterparts in the paintings of previous periods, one can understand the level of effort and artistic taste of the painters as carpet designers in creating a new text. The results indicate that out of the six types of Genette's overlapping relations, the four relations of transposition, travesty, parody (transformation) and forgery (serious imitation) are established among the hypertext (central Toranj and Kilim's Lachaks) and nine pretexts. Transformations were seen more in the central Toranj than in the Lachaks, and the homogeneity was more evident in the four Lachaks than in the Toranj. Therefore, Lachaks of under study Kilim is a text that clearly refers to the romantic meeting of Layla and Majnoon. But the Toranj (center) is a text that is far from the selected pre-texts due to the changes applied by the designer and does not refer to a single theme. It has used the component of the rider of the warrior, the dragon and their intertwining to induce the coexistence of the concept of good and evil, and by mentally associating two Iranian mythological and heroic figures, emphasizes on the nationalistic sphere assigned by the governing body.