جغرافیا و چشم انداز فرهنگی ایوان مدائن

چشم اندازهای فرهنگی، در حکم آینه‌ها و کتاب‌هایی‌اند که با دیدن و مطالعۀ آنها، می‌توان به اطلاعات گرانبهایی در زمینه‌های اجتماعی، تاریخی، جغرافیایی، زبان‌شناسی، سیاسی، فرهنگی، معماری و هنری حاکم بر روزگار تالیفشان دست یافت. سئوال اساسی این نوشته آن است که خاقانی، بعنوان یک شاعر، در تفسیر «ایوان مدائن» بعنوان باشکوه‌ترین و بزرگ‌ترین چشم‌انداز فرهنگی بازمانده از عصر ساسانیان تا چه اندازه‌ای، موفّق عمل کرده است؟ این مطالعه به روش اسنادی تحلیلی و به شیوۀ کتاب‌خانه‌ای انجام پذیرفته است. یافته‌های این پژوهش، نشان می‌دهد خاقانی با باز نگری در این «آینۀ عبرت»، و بیان جنبه‌های قابل رویت و غیر قابل رویت این چشمانداز فرهنگی، اطلاعات با ارزش زیادی را برای مخاطبان شعرش بازگو کرده است. این مطالعه، می‌تواند خاقانی را در مَقام یک جغرافیدان فرهنگی، ایوان مدائن را در ردیف یک چشم‌انداز فرهنگی و قصیدۀ ایوان مدائن را در حکم یک سند با اهمیّت تاریخی در بحث چشم‌انداز فرهنگی و ادبیّات را بعنوان یک همتای احساسی برای دانش عینی جغرافیا، مطرح کند.

Geography and cultural Landscape of Eyvan-e-Madaen

IntroductionGeography is like a bridge between the past and the future, as a crossroads between the natural and social sciences. In recent years, geographers have become increasingly interested in literary texts as a means of exploring the concept of landscapes. The study of a landscape as a text places the interpretation of a landscape at the center of interdisciplinary studies and uses concepts such as objectification, representation, awareness and ideology, and the interrelationships between these concepts.Data and methodsDynamic and timeless interpretation of visible and invisible aspects as well as forgotten and overlooked aspects of a perspective can show changes and developments in social, political, intellectual, architectural, as well as choices, behaviors, and attitudes of a human group in different periods and its impact on the place, environment and geography.By case studying the ode &Ivan Madain&, several dynamic and interpretable images of this cultural landscape are presented instead of a fixed and stereotypical image, and many facts from the interpretation of this cultural perspective are obtained. In the present study, the research method was documentaryanalytical in terms of purpose and nature.Discussion and conclusionThe components of the cultural landscape can be divided into two categories: the visible components and the invisible components. Some of the components of cultural landscapes leftover from this magnificent building of the Sassanid period can be seen and reported for Khaghani Shervani; such as the iron ring that existed inside the porch roof until 1812, and this ring was taken out of the roof by the local Bedouins, thinking that it was a precious metal. Invisible aspects of these cultural landscapes are linguistic species that can identify the geographical area of the language of the peoples who spoke it. Khaghani mentioned the name &Tigris& several times in this poem. Tigris is an ancient Persian word that was originallly &Tighreh& and due to linguistic changes, has become the modern form of the Tigris.ConclusionIn describing Iwane Kasrā, Khaghani did not limit himself to cultural concepts. In addition to ecological interpretation, he has studied the elements of indigenous architecture, historical past, cultural entanglement, culture, and conditions of different eras. As a cultural geographer, he has pointed out both the visible aspects of this magnificent Sassanid building and the invisible aspects of this cultural landscape. Throughout his poems, he has presented a different way of looking at the world that is not limited to a tasteful, empirical, and emotional perspective. Thus, it can be argued that literature has more to do with providing an emotional counterpart to the objective knowledge of geography, and the cultural perspectives described in the literature, which have emerged from the combination of literature and geography, are the best place and possibility for thinking.