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درآمدی بر نمایش احساسات در نگارگری ایران | ||
| پژوهش نامه گرافیک نقاشی | ||
| دوره 7، شماره 12، شهریور 1403، صفحه 55-68 اصل مقاله (1.01 M) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/pgr.2024.46836.1259 | ||
| نویسندگان | ||
| ادهم ضرغام* 1؛ الناز دستیاری2 | ||
| 1دانشیار گروه نقاشی و مجسمه‌سازی، دانشکدگان هنرهای زیبا، دانشگاه تهران، تهران، ایران، نویسنده مسئول. | ||
| 2دکتری پژوهش هنر، مطالعات عالی هنر، دانشکدگان هنرهای زیبا، دانشگاه تهران، تهران، ایران. | ||
| چکیده | ||
| نظریه ی بیانی در هنر بروز احساسات و عواطف هنرمند در اثر را مد نظر قرار می‌دهد. همانطور که از بررسی نگارگری ایرانی برمی‌آید، برخی از آثار نقاشی ایرانی خصوصیاتی را به نمایش میگذارند که زمینه را جهت بررسی و مطالعه‌ی جایگاه احساسات فراهم میآورند. در این راستا این سوال مطرح میگردد که احساسات چه نقشی در شکلگیری آثار نگارگری ایرانی ایفا میکند؟ هدف این پژوهش، تبیین احساسات در شکلگیری و آفرینش در نگارگری ایرانی است. روش تحقیق پژوهش حاضر توصیفی-تحلیلی بوده و جهت تجزیه و تحلیل اطلاعات از روش کیفی استفاده شده است. در پژوهش حاضر اطلاعات به صورت کتابخانهای جمعآوری شدهاند. برای پاسخ به پرسش پژوهش، سه نگاره با عناوین «تشیع جنازه‌ی اسفندیار» از شاهنامه‌ی بزرگ ایلخانی، «سوگواری بر مرگ تیمور» از ظفرنامه‌ی تیموری و «شیخی با ردای قهوهای» اثر رضا عباسی انتخاب و مورد بررسی و مطالعه قرار گرفتهاند. سه نگاره‌ی مذکور متعلق به سه مقطع زمانی متفاوت از نگارگری ایران است و به ترتیب دوران عدم شکلگیری قواعد نگارگری، دوران تثبیت ویژگیهای نگارگری ایران و تغییر برخی از مؤلفههای نگارگری ایران را به نمایش میگذارند. با بررسی و مطالعه‌ی سه نگاره‌ی یاد شده معلوم میگردد که در آفرینش آثار نقاشی ایرانی بروز احساسات مؤلفه‌ی اصلی قلمداد نمیشود و بینش هنرمند بر بروز عواطف ارجحیت دارد و دارای اولویت است. همچنین میتوان مواردی نظیر نظیر ارتباط با متن، وجود سفارشدهنده و حمایت دربار را در این امر دخیل دانست. | ||
| کلیدواژه‌ها | ||
| کلیدواژه ها: نگارگری ایران؛ نمایش احساسات؛ نظریه‌ی بیانی هنر؛ شاهنامه‌ی بزرگ ایلخانی؛ ظفرنامه‌ی تیموری؛ رضا عباسی | ||
| عنوان مقاله [English] | ||
| An Introduction to the Representation of Emotions in Persian Paintings | ||
| نویسندگان [English] | ||
| Adham Zargham1؛ Elnaz Dastyari2 | ||
| 1Associate Professor, Department of Painting and Sculpture, College of Fine Arts, University of Tehran, Tehran, Iran, Corresponding Author. | ||
| 2PhD of Art Research, College of Fine Arts, University of Tehran, Tehran, Iran. | ||
| چکیده [English] | ||
| The expressive theories emphasise the manifestation of emotions and inner states. Based on this approach, the artist seeks to communicate their feelings to the audience using visual elements such as line, surface, texture, and colour. According to expressive theories, art is the expression of emotions and the release of feelings. Essentially, art disseminates and transmits emotions. Benedetto Croce and George Collingwood are among the theorists who have articulated theories in this realm. Therefore, the artist seeks to manifest their emotions while creating an artwork. It is worth noting that the creation process is not a sudden outburst or release of emotions but often occurs gradually. As evidenced by examining Persian paintings, some Iranian paintings possess characteristics that provide a foundation for studying the role of emotions. This research aims to explore the feasibility of expressive theories of art for Persian painting and to determine the role and significance of emotions in creating these artworks. In this regard, the present study raises the question of what role emotions play in creating Persian paintings. To answer this question, three paintings from different historical periods have been selected: "The Funeral of Isfandiyar" from the Great Ilkhanid Shahnama, "Mourning on the death of Timur" from the Timurid Zafarnama, and "The Old Man with a Brown Robe" by Reza Abbasi which belonged to the Ilkhanid, Timurid, and Safavid eras respectively. In the Great Ilkhanid Shahnama, for the first time, the subjects chosen from the text, do not merely translate literature into painting but artists strive to depict interpretations of the events of their time beyond the text. Additionally, the painting scenes in this Shahnama reflect the events, occurrences, and intrigues of the Mongol court. Examination of the paintings in the Great Ilkhanid Shahnama reveals a noticeable lack of uniformity and coordination in the miniatures. The Great Ilkhanid Shahnama somehow represents the Mongol era. In this Shahnama, the artist subtly relates the stories and narratives of the Shahnama to the prevailing conditions of the Ilkhanid era. In general, this Shahnama emphasises the legitimacy of the Ilkhanid dynasty, depicting their deep confidence even as they approached their collapse. During the creation of the miniatures in the Great Ilkhanid Shahnama, Iran was politically tumultuous. What stands out in this version of the Shahnama is the artists' enthusiasm for depicting human emotions and human states, particularly in expressing heroic themes and mourning scenes. The painting "Mourning on the death of Timur" is from the Timurid Zafarnama. The Timurid Zafarnama is a historical book narrating the life of Timur from its beginning until his death, previously compiled by Nizam Shahi and titled Zafarnama, based on the daily notes of Timurid chroniclers. This version contains 24 paintings depicting feasts, battles, and court ceremonies. The paintings in this book reflect the characteristics and style of Kamal ud-Din Behzad's works in terms of human posture design, composition, and the structure of rocks. The painting "An Old Man with a Brown Robe" is by Reza Abbasi. During the reign of Shah Abbas, the capital was moved from Qazvin to Isfahan, and a new class of wealthy merchants emerged in the city, forming part of the art patrons who displayed new tastes and preferences. Therefore, artistic production became independent of the court, and artists gradually distanced themselves from the tradition of book illustration. Consequently, the aesthetic system of Persian painting transformed during the Isfahan School. During this period, Reza Abbasi developed a style characterized by precise line work and delicate designs that varied in line thickness and adequately represented volume. Reza Abbasi distanced himself from the court for a time, although he returned and spent 24 years at court. In the first twenty years of his artistic life, his works were filled with light, speed, and optimism. However, after leaving the court, Reza Abbasi's works changed, becoming more chaotic and crowded. It seems that examining these three works provides a foundation for determining the role of emotions in Persian painting. Investigating artworks using theories is necessary to understand how Persian artist incorporated emotions into their works. This study aims to analyse Persian painting from the perspective of expressive theories in art and determine the role of emotions in creating these artworks. The research method was descriptive-analytical, and the data were collected using library and internet studies to answer the research question. This study explored the role of emotions in creating Persian paintings. In this regard, the artworks were analysed from the perspective of expressive theory. The selected case studies included three paintings: "The Funeral of Isfandiyar" from the Great Ilkhanid Shahnama, "Mourning on the death of Timur" from the Timurid Zafarnama, and "An Old Man with a Brown Robe" by Reza Abbasi from the Safavid period. These paintings were chosen because their subjects provide a suitable basis for examining the research question. The first painting belongs to a period in Iranian art history where the rules and frameworks of painting had not yet fully formed and stabilised. The second painting corresponds to a time when the rules of Persian painting had been established. For the third one, it appears that the established rules of painting gradually underwent changes. Initially, the expressive theory of art was addressed, and then a qualitative method was used for data analysis. It seems that these paintings from three different periods display similarities and differences. The study of these similarities and differences reveals that the two paintings "The Funeral of Isfandiyar" and "An Old Man with a Brown Robe", which diverge slightly from the established rules of Persian painting, generally exhibit more similarities. One of the most related similarities between these two paintings, which deviate slightly from the established rules of Persian painting, is the more tangible depiction of emotions. Conversely, the painting “Mourning on the death of Timur" shows differences compared to the other two works. These differences and similarities can be examined in aspects such as visual elements (components such as line, surface, and composition), the context of artwork creation (factors such as relationship to the text, court patronage, commissioning, and influence from other countries' art), human figures, and the artist's individual feelings and experiences. According to the examination of paintings, some examples allow viewers to investigate how emotions are depicted. Studying how Persian paintings were created reveals that the artist's specific vision takes priority, and the personal emotions and experiences of the artist play a minor role. Factors such as text illustration, the importance of the commissioner, and court patronage contribute to this. Ultimately, it can be concluded that whenever Persian paintings deviated from their established principles and rules, emotions, within the framework of Iranian miniature painting characteristics, played a more prominent role. Additionally, Persian paintings were not based on the representation of reality and the visible world. Even though some paintings depicted emotions, showing emotions was not a priority for artist. | ||
| کلیدواژه‌ها [English] | ||
| Keywords: Persian Painting, Expression Emotions, Aesthetic Expressivism Theory, Great Ilkhanid Shahnama, Timurid Zafarnama, Reza Abbasi | ||
| مراجع | ||
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