تحلیل رابطۀ معنایی عناصرگل و مرغ در نگارگری دوره قاجار با عرفان مولانا

بیان مسئله: در دوره قاجار با گرایش افکار مردم و هنرمندان به ادبیاتِ عرفانی، نقاشان با تاثیر از این فضا و با استفاده از نمادها (عناصر طبیعت)، به خلق تصاویر نابی از این مضامین پرداختند. مولانا نیز در انتقال اندیشه‌های ماورایی و عرفانی خود با کاربرد نمادین از عناصر طبیعت، پرنده را نمادی از روح و جان انسان (عاشق)، گل را نمادی از بهشت و خداوند (معشوق) و باغ را عالم ماوایِ روح برای رسیدن به یگانگی می‌داند. هدف از این پژوهش تحلیل رابطه معنایی عناصر طبیعتِ موجود در نقاشی گل و مرغِ عصر قاجار با تصاویر خلق‌شده عرفانی از این عناصر در اندیشه و شعر مولاناست. پرسش اصلی پژوهش این است که «چه رابطه معنایی را می‌توان بین نقاشی گل و مرغ در دوره قاجار و عرفان مولوی جست‌وجو کرد».روش: این پژوهش به‌روش توصیفی‌تحلیلی براساس آثار گل و مرغ دوره قاجار و مطالعه تطبیقی با اشعار عرفانی مولانا انجام شده ‌است.یافته‌ها و نتایج: همانگونه که مولانا به نماد پرنده از منظر تجلی روح، عاشق و سالک می‌نگرد و نماد گل سرخ را تمثیلی از تجلی عشق، بهشت پایدار، جلوه و مظهر خدا می‌شمرد، در دوره قاجار نیز عناصر نقاشی ایرانی (گل و مرغ) به‌صورت نمادین و سرشار از رمز و حضور معنا با همان مفاهیم موجود در اشعار مولانا به تصویر درآمده‌اند.

investigating the semantic relationship between the flower and bird (gol-o morgh) elements in the qajar period miniature with rumi’s mysticism

during the qajar period, with the tendency of people and artists towards mystical literature, painters, by influencing this space and using symbols (elements of nature), created pure images of these themes. rumi, in conveying his transcendental and mystical thoughts by using the symbolic elements of nature, considers the bird as a symbol of the human’s soul (lover), the flower as a symbol of heaven and god (beloved), and the garden as the sheltering world of the soul to achieve unity. the purpose of the present study is to analyze the semantic relationship between the elements of nature in the flower and bird paintings of the qajar period with the mystical images created by these elements in the thought and poetry of rumi. the main question of the research is: what is the semantic relationship between the flower and the bird’s paintings in the qajar period and rumi’s mysticism? this research is descriptive-analytical and has been done based on the flower and bird works of the qajar period and a comparative study with rumi’s mystical poems. therefore, as rumi looks at the symbol of the bird from the perspective of the manifestation of the soul and lover and considers the symbol of the rose as an allegory of the manifestation of love, lasting paradise, and the manifestation of god, also, in the qajar period, the elements of iranian paintings (the flower and the bird) symbolically and full of secrets and the presence of meaning are depicted with the same concepts that are mentioned in rumi’s mystical poems.  introductionthe romantic relationship between the flower and the bird in these paintings is a mystic symbol of the relationship between humans and god, which is also manifested in the mystic thought and literature of persian poetry and prose and is a symbol of the mystic’s love for the divine essence. the bird has appeared in the form of a nightingale that found his lost peace again in the arms of his beloved flower (god). the flower bush in the painting of flower and bird is a symbol of scenic trees, and aromatic and mesmerizing flowers of paradise, where birds (a symbol of believers) have reached peace among its branches and have enjoyed the infinite blessings of god.rumi expresses his heavenly thoughts, moods, and inner experiences using elements of nature such as different kinds of flowers and birds in terms of symbols to create vivid, dynamic, and artistic images in the reader’s mind. considering that many images of flowers and birds of the qajar era are rooted in literary concepts and semantic symbols, painters have aesthetically embodied these two symbols in pictures full of code and meaning. the present research aims to analyze the semantic relationship of the elements of nature in the painting of flowers and birds of the qajar era with mystical images created from these elements in the thought and poetry of rumi. the main question of this paper is: “what semantic relationship can be found between the works of flowers and birds of the qajar era and rumi’s mysticism?”. according to the literature on the theme of the flower and bird, so far, the theme of the symbol in the paintings of the flower and bird of the qajar period mixed with mystical literature has not been studied so that their semantic relationship can be discovered and expressed aesthetically.