چیستی و چرایی تاثیر ادبیات عرفانی بر نگارگری ایرانی (با رویکرد نشانه‌شناسی)

بیان مسئله: رویکرد تدریجی صوفیانه نسبت‌به اسلام باعث شد از قرن ششم هجری به بعد گفتمان عرفانی در ایران به یکی از گفتمان‌های غالب فرهنگی تبدیل شود. عرفان و تصوف پیش و بیش از هر چیزی در ادبیات فارسی تجلی یافت. ادبیات عرفانی فارسی به‌تدریج جهان‌بینی بخش عظیمی از جامعه ایرانی را شکل داد و توانست سایر هنرهای ایرانی، ازجمله نگارگری را تحت تاثیر قرار دهد و در خدمت خود نگه دارد. ادبیات عرفانی به‌صورت خاص در تکنیک‌های زیبایی‌شناسیِ هنر نگارگری ازجمله نشانه‌های دیداری و دلالت‌های آنها بسیار موثر واقع شد. مطالعه نگارگری ایرانی اسلامی به‌مثابه متن فرهنگی هنری می‌تواند مخاطب را به مجموعه‌ای از رمزگان نشانه‌ای رهنمون کند که در بستر عرفان اسلامی شکل گرفته‌اند.روش: در این پژوهش با هدف تحلیل ارتباط ادبیات عرفانی و نگارگری ایرانی با رویکرد نشانه معناشناسانه کوشش شد تا نشان داده شود که تاثیر ادبیات عرفانی بر نظام دلالتگر نگارگری ایرانی چه کیفیتی دارد و ویژگی‌های آن چگونه در نشانه‌های دیداری نگاره‌ها متجلی شده است. برای این منظور مجموعه‌ای از نگاره‌ها مطالعه شد که از آن میان به شش نگاره در این مقاله استناد شده است.یافته‌ها و نتایج: در میان انواع نشانه‌ها، واکاوی شاخص‌ترین نشانه‌های دیداری مانند پرسپکتیو، چهره‌پردازی، رنگ، نور، قاب‌بندی و صورخیال در نگاره‌های ایرانی نشان می‌دهد که این نشانه‌های دیداری غالباً بر مضامینی عرفانی، مانند وحدت در کثرت، کیفیّت نفس و روح انسانی، معنویّت و نظام احسن حاکم بر جهان، حرکت انسان متعالی از جهان مادّی به جهان معنوی و جاودانگی دلالت می‌کنند. اشتراک مدلول‌های دو نظام متفاوت ادبیات و نگارگری برخاسته از فرهنگ غالب و مشترکی است که این دو نظام، از یکسو در بستر آن شکل گرفته‌اند و ازسوی دیگر در تثبیت و شکل‌گیری آن موثر بوده‌اند.

What and Why of the Impact of Mystical Literature onIranian Miniature (With a Semiotic Approach)

AbstractThe gradual Sufi approach to Islam made mystical discourse one of the dominant discourses after the sixth century AH. Mysticism and Sufism have been manifested more than anything else in Persian literature. Persian mystical literature gradually formed the ideology of a large part of the Iranian society and influenced other Iranian arts, including miniature. The study of Iranian miniature, as a culturalartistic text, leads the audience to a set of symbolic codes that have been formed in the context of Islamic mysticism. In this regard, the aim of the present study is to analyze the relationship between mystical literature and Iranian miniatures. Therefore, through the semiotic approach, the impact of mystical literature on the signifying system of Iranian miniature has been shown. Furthermore, we have examined how characteristics of mystical literature are manifested in the visual signs of the paintings. We have performed a content analysis with an intertextual semiotic approach using a descriptivecomparative method, and explained the relationship between mystical literature and Iranian miniature, by using semiotics, analyzing, and comparing verbal and visual signs in the mystical literature and miniatures. Analysis of visual signs such as perspective, face painting, color, light, framing and imaginary images in Iranian miniatures in this study shows that the significance of these visual signs is about mystical themes such as unity in diversity, the quality of the human soul and spirit, spirituality and the best system that rules the world, the movement of the transcendent man from the material world to the spiritual world, and immortality.  IntroductionDuring the Islamic period, numerous mystical works were created in prose and verse in the Persian language due to the gradual dominance of Islamic mysticism. These works greatly influenced other arts such as calligraphy, painting, and architecture. The themes of mystical literature are the subject of many Iranian miniatures. The influence of mystical philosophy is more important than the thematic commonalities. The Iranian miniaturist and mystic poet have the same point of view about the world. In other words, Iranian painters follow the ideas of mystical literature through the language of images and depict the mystical world of literature via images. Also, in terms of time, Iranian painting was developed shortly after the peak of the flourishing of Persian mystical literature in the 7th and 8th Islamic centuries AH.Different schools of Iranian miniature, in spite of technical differences from each other, are influenced by Persian literature. We can observe the general spirit derived from Persian literature in many Iranian miniatures. In Iran, since the Safavid era, the dependence of painting on literature has decreased. During this period, the familiarity with western painting brought new subjects and methods to Iranian painting. Finally, during the Qajar period, with the decadence of Persian literature, Iranian painting also declined. So, the painters focused on the objectivematerialistic world instead of the abstractivemystical world of Persian literature. According to these explanations, the understanding of Iranian painting (until the Qajar period) irrespective of mystical literature is impossible.Semiotics is one of the most important tools that explains the relationship between painting and literature. One of the tasks of semiotics is to investigate signs and signifying phenomena in different fields of literature, photography, miniature, advertisements, etc. Charles Sanders Peirce, one of the founders of semiotics, believes that a sign is something that is used instead of something else. Peirce’s semiotics is based on interpretation. In his opinion, every sign must always be accompanied by an explanation and reasoning so that it can be considered a sign. Peirce believes in interpretation as a result of the signification of signs. The first effect of the signification of a sign is the feeling that it creates in the audience. This socalled emotional interpretation is sometimes a consequence of signification (Peirce, 2002, p. 52). According to semiology followers, the text (including words, images, sounds, and writing) is a system of signs. The most prominent commonality of literature and painting is their signification. Mystical literature and Iranian painting are two different artistic signifying systems with different signs, but common referents. So our research is a study of signs.The spiritualphilosophical interpretation of visual signs in miniatures can open a new bridge between miniature and mystical literature. Through this bridge, the audience can know more about these two arts and share a part of what the mystic artists have experienced in their solitude.This research is about how the characteristics of mystical literature have been manifested in the visual elements of painting and influenced their meanings. Therefore, we want to analyze the impression of mystical literature on Iranian paintings through visual signs to gain a deeper and more complete understanding of the works of mystical literature and their influence on painting.  Review of the LiteratureSeveral studies have been conducted regarding the relationship between Persian literature and Iranian painting, and the semiotics of image and literature. Hamidreza Shairi did not directly focus on the Iranian miniature. But in his works such as Analayse semiotique du discours (2019), Commentary on the philosophy of illumination, Visual semantics: Theory and analysis of artistic discourse, he has tried to present the appropriate principles of image analysis based on semiotics. Mohammad Hatefi in his thesis entitled ‘Review and analysis of the Semantics: the relationship between text and image in literary texts’ (2012) and other articles, while presenting the principles of image semiotics, has presented examples of the analysis of literary works from this point of view.Among the works that have dealt with the relationship between Iranian literature and painting, ’PersianTajik poetry In XIVXVII Centuries Miniatures’ written by Ashrafi (1988) is one of the most complete and important works. Alimohammadi Ardakani in his book ‘Synchronization of Qajar literature and painting’ (2013) has studied the relationship between Qajar era paintings and Persian literature. Ishaghpour in ‘La miniature persane: Les Couleurs de la lumière: Le miroir et Le jardin’ (2000) has mentioned the mystical figures of Iranian paintings. Nasr, in his short article ‘The world of fantasy and the concept of space in Iranian miniatures’ (1994) emphasizes that the miniaturists have drawn beyond the materialistic world and got inspired from the religious and holy atmosphere in the society. Yazdani, in her book ‘The philosophy of Eshragh and painting’ (2018) introduced some characteristics of Iranian painting stem from Eshragh philosophy. Bolkhari in ‘Mystical foundations of Islamic art and architecture’ and other works has explained the role of mysticism in Iranian painting, especially by focusing on the two elements of light and color. Among other studies on this issue, we can refer to the works of Khalifeh Banarvani (2012), Esamati and Rajabi (2012), Mohammadi Vakil (2009), Azhand (2008), Zabolinezhad (2008), Zarrini (2008), Bozorg Bigdeli (2007), Azari Dehkordi (2006), Alboghobeish (2018), Karimi (2016), and Kevorkian and Sicre (1998).