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مطالعه رویکرد بیش‌متنیت دراقتباس و تاثیر پذیری خط نسخ ایرانی مطالعه موردی دعای کمیل بخط میرزا احمد نیریزی و عبدالصمد حاج صمدی | ||
| جلوه هنر | ||
| دوره 16، شماره 3 - شماره پیاپی 44، آذر 1403 | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/jjh.2024.45062.2053 | ||
| نویسندگان | ||
| رقیه دیزج چراغی* 1؛ شهریار شکر پور2 | ||
| 1دانشجوی دکتری هنرهای اسلامی، دانشکده هنرهای صناعی، دانشگاه هنراسلامی تبریز، تبریز، ایران، نویسنده مسئول. | ||
| 2دانشیار گروه هنرهای اسلامی، دانشکده هنرهای صناعی، دانشگاه هنراسلام تبریز، تبریز، ایران. | ||
| چکیده | ||
| میرزا احمد نیریزی را که از بزرگ‌ترین نسخ‌نویسان تاریخ است، بانی نسخ ایرانی می‌دانند. درپی افول این خط در دوره معاصر استاد صمدی با مشق از آثار گذشته بخصوص خط نیریزی جان تازه‌ای بدان بخشیده و در رواج دوباره آن بسیار کوشیده است. کتابت دعای کمیل ازجمله افتخاراتی است که در کارنامه هر دو خوشنویس ثبت‌شده است. اقتباس، تأثیرپذیری و نظیره نویسی از آثار اساتید بزرگ مبحثی پایه در خوشنویسی بشمار می‌رود که علاوه برتکرار و مشق، امکان خلق ایده‌های جدید را فراهم می‌آورد. این تأثیرپذیری از آثار گذشتگان با بهره‌گیری از مشاهده، تشابه یابی و اعمال تغییرات را اقتباس گویند که روابط متنی را پدید می‌آورد و شناخت آن مستلزم نقب به مطالعات ترامتنی است. رویکرد ترامتنیت ژنت تمامی روابط موجود میان متن‌ها را بررسی می‌کند که در این میان بیش‌متنیت با تحلیل متون هنری تناسب بیشتری دارد. در بیش‌متنیت تأثیر یک متن بر متن دیگر موردبررسی قرار می‌گیرد که شامل برگرفتگی متن دوم از متن اول است. هدف از این پژوهش، مطالعه‌ای نظام‌مند‌است که منجر به شناخت روابط بیش‌متنی دعای کمیل به خط این دو استاد گردد. سؤال اصلی پژوهش براین مبنا استوار است که بیش‌متنیت چگونه و به چه میزان در این آثار به کار گرفته‌شده است؟ روش پژوهش توصیفی- تحلیلی بوده و اطلاعات از طریق منابع اسنادی و مشاهده صورت پذیرفته و به‌صورت کیفی تجزیه تحلیل‌شده است. بر طبق یافته‌ها اثر دوم حاصل تأثیرپذیری از اثر اول است لذا بیشمتن از پیشمتن محسوب می‌شود که به شکل جدی به تغییر سبک و تکثیر متن پرداخته است لذا در گروه جایگشت (ترانسپوزیسیون) قرار می‌گیرد. | ||
| کلیدواژه‌ها | ||
| کلید واژه ها: نسخ ایرانی؛ بینامتنیت؛ میرزا احمد نیریزی؛ عبدالصمد حاج صمدی؛ ژرار ژنت | ||
| موضوعات | ||
| هنرهای تجسمی و کاربردی | ||
| عنوان مقاله [English] | ||
| The Study of the Hypertextual Approach in the Adaptation and Influence of Iranian Naskh Calligraphy (Case Study of Komiel's Prayer in the Calligraphy of Mirza Ahmed Nirizi and Abdossamad Haj Samadi) | ||
| نویسندگان [English] | ||
| Roghayyeh Dizajcheraghi1؛ Shahriyar Shokrpour2 | ||
| 1Ph.D. Student of Islamic Arts, Tabriz Islamic Art University, Tabriz, Iran, Corresponding Author. | ||
| 2Associate Professor, Department of Islamic Arts, Faculty of Islamic Crafts, Tabriz Islamic Art university, Tabriz, Iran. | ||
| چکیده [English] | ||
| Statement of the problem: The Iranian Naskh calligraphy tradition has long been recognized as an integral part of Persian artistic heritage, embodying both aesthetic precision and cultural significance. One of the most prominent figures in the history of Iranian Naskh is Mirza Ahmad Nirizi, whose exceptional contributions in the 18th century established him as a master calligrapher. His profound influence on the art form was not just limited to his lifetime but extended far beyond, shaping the work of subsequent calligraphers and solidifying his legacy. The impact of his art continues to resonate today, particularly as evidenced by the revival efforts made by modern calligraphy masters such as Abdul Samad Haj Samadi. By delving into the works of great predecessors like Nirizi, Master Samadi has played a crucial role in breathing new life into the art of Naskh calligraphy. Nirizi’s calligraphy is characterized by its meticulous detail, balanced proportions, and an unmistakable elegance that elevated Naskh to new heights. His work, including the calligraphy of the Komeil's Prayer Book, set a benchmark for quality and precision that has inspired generations. However, despite its historic prominence, the art of Naskh experienced a period of decline in contemporary times. It was during this period of decline that Abdul Samad Haj Samadi emerged as a pivotal figure, dedicating his career to the reinvigoration of this art form. Through theoretical studies and extensive practical exercises, Samadi sought to restore the prestige of Naskh by drawing heavily on the techniques and styles established by earlier masters, especially those of NiriziA crucial aspect of calligraphy is the practice of imitation and rehearsal. This practice, which involves closely studying and replicating the works of esteemed predecessors, serves a dual purpose. On the one hand, it helps preserve the historical essence and technical prowess of the art form; on the other hand, it fosters a platform for innovation and adaptation, paving the way for new creative expressions. This process of adaptation is where textual relationships come into play, forming connections between the source text (or artwork) and the new interpretation. The recognition and analysis of these relationships are essential for understanding how calligraphic works are influenced by one another. To systematically examine the connections between original works and their later adaptations, the framework of trans textual studies, as proposed by literary theorist Gérard Genette, provides valuable insights. Genette's concept of trans textuality explores the different types of relationships that can exist among texts, which he categorizes into five main types: intertextuality, paratextuality, metatextuality, hypertextuality, and architextuality. Among these, hypertextuality is particularly relevant when analyzing art, as it focuses on how one text (or artwork) is derived from and influenced by another, encompassing the transformation or imitation of the original. In the context of Iranian Naskh calligraphy, hypertextuality allows for a structured study of how modern works are informed by their historical counterparts. This research specifically focuses on the Kamil's Prayer Book, an exemplary work that has been calligraphed by both Mirza Ahmad Nirizi and Master Abdul Samad Haj Samadi. The objective is to understand the extent and nature of hypertextual relationships between these two renditions and to identify how Samadi’s adaptation reflects the influence of Nirizi’s original work. Research Question: The primary research question posed in this study is: How and to what extent is hypertextuality evident in the calligraphy of these works? Research Methodology: To address this question, a descriptive-analytical method was employed, involving the collection of data through documentary sources, direct observation, and imaging of sample pages from the two prayer books. The analysis concentrated on specific elements such as the arrangement of text, spacing between lines, the shape and size of letters, punctuation marks, and diacritical movements. The statistical sample for this research consists of two copies of Komiel's Prayer Book. The first copy, penned by Nirizi, is housed in the Malek National Museum, while the second copy, created by Master Samadi, has been published and is available for study. Given that the structure and layout remain consistent throughout both books, the analysis focused on the first pages as representative samples. Findings: The findings of the study reveal that Samadi's rendition of Komiel's Prayer Book exhibits clear evidence of hypertextual influence from Nirizi's original work. This influence is particularly pronounced in the overall composition, the spacing between lines and words, the formation of letter characters, and the placement of punctuation. By examining these aspects, it becomes evident that Samadi did not merely replicate Nirizi’s work but adapted it, making significant modifications to enhance the readability and aesthetic appeal of the text. One of the most striking similarities between the two works is the overall page layout, which reflects Nirizi’s meticulous approach to balancing text and white space. This balance creates a sense of harmony that is essential in classical Naskh calligraphy. Samadi’s version mirrors this balance, demonstrating his adherence to the traditional standards set by Nirizi. However, Samadi introduces subtle changes to the spacing between words and lines, optimizing the layout for contemporary readers. These adjustments indicate a deliberate effort to maintain the integrity of the original while making it more accessible. In terms of letter formation, both calligraphers display exceptional skill in shaping the distinct characters of the Naskh script. Nirizi’s letters are known for their graceful curves and precise proportions, elements that Samadi faithfully incorporates into his work. Yet, Samadi’s approach also reflects a degree of modernization. For example, while maintaining the traditional forms, he may slightly elongate certain letters or adjust the angle of specific strokes to improve visual flow. These modifications contribute to the creation of a new version that retains the essence of the original but stands as an independent piece of art. Punctuation and diacritical marks, which play an important role in the clarity and recitation of religious texts, are also areas where hypertextual relationships are evident. In Nirizi’s work, the punctuation is thoughtfully placed to guide the reader through the prayer, emphasizing key pauses and inflections. Samadi adopts this approach but introduces enhancements that cater to modern reading practices. For instance, he may add or adjust diacritical marks to ensure that the text is both visually appealing and functionally effective for recitation. The analysis also reveals that while Samadi’s work is heavily influenced by Nirizi’s masterpiece, it embodies a sense of innovation that is characteristic of hypertextual adaptation. This adaptation is seen not only in the technical aspects of calligraphy but also in the overall presentation. The changes made by Samadi are not merely cosmetic but are rooted in an understanding of the evolving needs of contemporary audiences. This blend of tradition and modernity exemplifies the dynamic nature of calligraphy as an art form, demonstrating how historical influences can inspire new creations. The concept of hypertextuality, as applied in this study, sheds light on the intricate relationships between historical and contemporary works of art. By tracing the connections between Komeil's Prayer Book by Nirizi and its modern counterpart by Samadi, it becomes clear that calligraphy is not a static art form but one that evolves through the continuous interplay of imitation and innovation. This process underscores the importance of studying historical works not only as artifacts of the past but as living sources of inspiration that continue to shape the future of art. Research results: In conclusion, the research highlights the significant role that hypertextual relationships play in the evolution of Iranian Naskh calligraphy. Through a systematic analysis of the Komeil's Prayer Book by Mirza Ahmad Nirizi and Abdul Samad Haj Samadi, it becomes evident that adaptation and influence are integral to the development of new works. Samadi’s approach exemplifies how a calligrapher can honor the legacy of a master like Nirizi while infusing personal creativity to produce a work that resonates with contemporary audiences. This study not only contributes to a deeper understanding of the historical and modern intersections in calligraphy but also reinforces the value of hypertextual analysis as a tool for appreciating the complexity and continuity of this esteemed art form. | ||
| کلیدواژه‌ها [English] | ||
| Keywords: Iranian Naskh Calligraphy, Intertextuality, Mirza Ahmad Nirizi, Abdul Samad Haj Samadi, Gerard Genette | ||
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آمار تعداد مشاهده مقاله: 113 |
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