مطالعه تطبیقی نقش‌مایه موجود ترکیبی زن- پرنده در هنر ایران عصر سلجوقی با هنر تمدن‌های بین‌النهرین، یونان، هند و آسیای جنوب‌شرقی

نقش مایه موجود ترکیبی زنپرنده به‌عنوان مخلوقی افسانه ای در طیف وسیعی از آثار هنری دوران اسلامی قابل‌ مشاهده است. در دوران سلجوقی، این نقش مایه علاوه بر نقش بستن روی سطوح گوناگون به‌صورت دوبعدی، در آثار برنزی و سفالین پیکرگون نیز به نمایش درآمده است. زنپرنده اغلب به‌صورت تک و گاه به‌صورت جفت به تصویر کشیده شده و در برخی متون از آن ها به‌عنوان حامیانی فرا انسانی یا دربردارنده‌ نیروهای خوش‌یمنی یاد شده است. با توجه به این که در بسیاری از پژوهش های معاصر در داخل و خارج از ایران، از این نقش با عنوان هارپی یاد شده، پرسش اصلی بدین شرح است که چه نسبتی میان مفهوم نقش زنپرنده در دوران سلجوقی و نمونه های مشابه آن در تمدن های بین‌النهرین، یونان، هند و آسیای جنوب ‌شرقی وجود دارد. در این راستا پژوهش با تکیه بر منابع مکتوب و با روشی توصیفی تحلیلی به تجزیه‌وتحلیل کیفی داده‌ها می پردازد. چهارچوب نظری مقاله با اتکا بر تئوری بینامتنیت شکل گرفته و هدف اصلی آن تبیین نسبت میان مفهوم نقش مایه زنپرنده سلجوقی با پیش‌متن های موجود است. نتایج نشان می دهد که مفاهیم نهفته در این نقش‌مایه، برآمده از پیش متن های بین النهرینی و هندی بوده و کمتر با نمونه های مشابه یونانی ارتباط دارد؛ بنابراین استفاده از عنوان هارپی برای زنپرنده سلجوقی، اشتباه به نظر می رسد.

A Comparative study of the Bird-Woman motif in Iranian Art in the Seljuk era with the Art of Mesopotamia, Greece, India, and Southeast Asia civilizations

The BirdWoman hybrid creature can be seen as a mythical creature in a wide range of artworks from the Islamic era. In the Seljuk period, in addition to engraving on various surfaces in two dimensions, this motif has also been displayed in bronze and figural pottery works as threedimensional sculptures. The BirdWoman is often depicted as a single and sometimes in pairs, and in some texts they are referred to as superhuman supporters or containing propitious forces. Considering that in many contemporary type of researches inside and outside Iran, regarding to this motif in the Seljuk period, it has been referred to as harpy, the main question of this research is what is the relation between the concept of The BirdWoman motif in the Seljuk period and similar examples in the civilizations of Mesopotamia, Greece, India, and Southeast Asia. In this regard, the research relies on written sources and descriptiveanalytical method to qualitatively analyze the data.The theoretical framework of the article is based on the theory of intertextuality and its main purpose is to explain the relation between the concept of the Seljuk BirdWoman motif with existing pretexts in the civilizations of Greece, Mesopotamia, India, and Southeast Asia. Similar examples are found in written sources during this period in the books of the Ajayeb almakhluqat and the Munis alahrar, which are creatures called the Zagh Abu Ujwa and the Bahri. The first refers to the combination of a Zagh’s body with a man’s head, and the second refers to a bird (probably a Falcon) body with a man’s head. Therefore, since the subject of this article was a BirdWoman hybrid, they were not addressed further but it can indicate this diversity in meaning. On the other hand, the realm of similar specimens of this creature is so vast that it makes searching and finding a single source for this theme more difficult and, of course, necessary. In Indian and Southeast Asian civilizations, for example, there are pairs of birds called Kinnara and Kinnari that have human faces and are sometimes depicted next to a sacred tree. In Mesopotamian civilization, which is the oldest historical model of the BirdWoman combination, we find pottery tablets with the body of a woman standing on two lions, which represent the wings and claws of a bird. In order to read this combined motif, which does not belong only to Iranian art, we need to refer to the art of other civilizations in order to clarify its meanings and concepts through their relationship with each other. It is also possible to achieve the main goal of this study, which is to explain the relationship between the concept of Seljuk BirdWoman motifs and the contexts of the civilizations of Greece, Mesopotamia, India and Southeast Asia. The results show that the concepts underlying this theme are derived from Mesopotamian and Indian texts and  have less to do with similar Greek examples; It seems wrong to use the title harpy for a Seljuk BirdWoman.