تاثیر نگارگری عصر صفوی در بازسازی داستانهای اساطیری ایران « تهمورث دیوبند به روایت شاهنامه طهماسبی »

بشرهمواره برای بیان اسطوره هایش ازشیوه های گوناگونی چون نگارش ونقاشی سود جسته است ومتون ونگاره های بسیاری از خود به یادگارگذاشته است. آثار بیشماری که در جای، جای جهان، از کهن ترین دوران حیات بشری، به صورت نظم و نثر و نقش به جای مانده است، تلاشی برای بیان اسطوره هاست که گاه با توجه به تغییر در شیوه های بیان و نیز گذر زمان، تحولاتی را نیز بر اساطیر وارد کرده است. تاریخ اساطیری ایران نیز بازگو شده بر مبنای چنین شیوه هایی است که در طول هزاره های گذشته ؛ روایات شفاهی، متون، نگاره ها، حکاکی ها و نقاشی های بسیاری را به خود اختصاص داده است. از میان اسطوره های بیشمار ایرانی ، داستانی نیز درباره ی تهمورث است. اسطوره ی این پادشاه دیوبند ایرانی، در بسیاری از متون و گاه نقاشی های گذشته درج شده است که شاید شاخص ترین این نقوش ، نگاره تهمورث در شاهنامه طهماسبی باشد. تحلیلی بر این نگاره نشان می دهد که هر چند نحوه شکل پذیری اسطوره در این نقاشی، مبتنی بر اشعار فردوسی است، اما ساخت کلی این نقوش مفاهیمی دربر دارد که به شناخت اساطیری داستان از منظر دیگری پرداخته است و نقاش این عهد بنیان اساطیری ویژه ای را برای روایت رقم زده است.دراین پژوهش به شیوه کتابخانه‌ای و براساس منابع سعی شده‌است تا تحلیلی روشن از شناخت اسطوره‌ای نگارگر این نقش ارائه‌شود.

The Impact Of Safavid Miniature In The Reconstruction Of Iran Mythology“Tahmuras Prestigious Dewband Madrasa Tradition The Shahnameh Tahmasbi”

1. IntroductionThe mythical history of Iran abounds with stories and narratives that become blurred in myth and reality. Anecdotes about the first human being, the creation of the Earth, the battles of Ahura and Ahriman, Hooshang and Kayoumars, Jam and Zahak and Fereydoun are parts of this mythical history which have been addressed in various sources. Among these narratives, the myth of Tahmures Zinavand is a prominent one. Tahmures was one of the Iranian mythical personalities known in various sources as Divband (one overcoming demons). His story has been narrated in the Avesta (Ram Yasht / paragraph 12) and (Zamyad Yasht / paragraphs 28 and 29). This anecdote has also been narrated in Mēnōgī Khrad (Spirit of Wisdom); Porsesh 26 (paragraphs 2123), Dēnkarde Haftom (The Seventh Dēnkard) (Chapter 1 / Paragraph 19), Pazand Aogәmadaêčâ (paragraphs 9194), M.O. 29 Manuscript (the story of Tahmures and Jamshid / paragraphs 733), Bundahishn and Shahnameh. There is also a narrative of Tahmurs in poetry in Darab Hormozdyar Narratives (vol. 1, pp. 311315). All of these sources have narrated the story of Tahmures with a few differences. In addition, Muslim historians such as Tabari, Yaqubi, Dinvari and Masoudi have narrated this myth in their works.The narration of myths continued for centuries. There was a long period of political stability and social security in Iran during the Safavid era and the reign of Shah Ismail, when important social and political developments were considered to be a turning point in the Iranian history. These circumstances led to the rebirth and further growth of different aspects of Iranian culture and art under the support of Safavid kings. Painting was one of the arts of this period that flourished a lot in the three schools of Tabriz II, Mashhad, and Qazvin. One of the most important functions of painting at this time was the recounting and rearranging of mythical and epic stories that had gained particular importance during the Safavid dynasty. The illustrated Tahmasbi Shahnameh and the mythical paintings of this valuable work indicate this importance and narrate Iranian myths such as Tahmures Zinavand. 2. MethodologyThis article is a comparative study of the verses of the Shahnameh, several Pahlavi texts and the Avesta’s data to analyze the narration of Tahmures Divband and reconstruct this myth in the painting art of the Safavid era. The remarkable point is the development of the myth narrative in this reconstruction. 3. Discussion Ferdowsi’s Shahnameh, which is the largest work of Iranian mythologicalepic poetry, has narrated, in short verses, the story of Tahmures, from which the painters of the Safavid era were inspired to draw pictures of that narrative. The reflection of this anecdote in Safavid paintings is interesting given the various narratives of Tahmures in the sources. However, the crucial point concerns the influence of the artist and myth on and by each other, how myth affects the painter’s mentality, and how the painter of this era has influenced the reconstruction of a mythological story. The present study seeks to answer these questions with regard to Tahmures’ image in Tahmasbi Shahnameh. 4. ConclusionUnderstanding myth over time by any reader or listener leads to a ’recreation and rearrangement’ of the myth. In fact, through his knowledge of a myth and when transferring it, anyone creates a narrative in his mind, thereby recreating the story. Thus, painting, which is a means of expressing myths, is actually a mythological creator, and an artist conveys many concepts to the viewers through motifs in his work. It seems that myths undergo changes due to changes in human societies with the passage of time, and thanks to a painter’s genius. The interplay of mythological narratives on the painter’s mind and the artist’s creativity in recounting the myth leads to a narrative that differs from the mythical text.It was in this way that Tahmures Divband myth in Tahmasbi Shahnameh turned out to be different from Ferdowsi’s poems. In this image, the King’s battle with demons is more prominent than poetry, and the artist not only has mentioned the Tahmures demon battle, he has also created other manifestations of the battle, such as spiritual creations in the fight against the Devil. Therefore, the drawing of Tahmures’ battalion with such symbols, without an explicit reference in the text, is rooted in the artist’s mythical consciousness that led to the expression of this myth and, in combination with a creative mind, gave a new prospect to the narrative. .