تبارکاوی یک صحنه‌ی اسطوره‌ای-تاریخی: فانتزیِ مهمانی زلیخا

داستان یوسف یکی از داستان‌هایی است که در تاریخ هنر و ادبیات ایران بسیار مورد نوگویی قرار گرفته است. مجلس مهمانی زلیخا یکی از نقاط اوج داستان بوده و مکرراً در تاریخ نقاشی ایران تصویرگری شده است. این صحنه‌ی دراماتیک، به مثابه یک فانتزی اجتماعی در بازنمایی جنسیت در ادبیات پساقرآنی و خاصه در ایران بسیار مورد توجه و به نحو مبالغه‌آمیزی بسط یافته است. بنابراین می‌توان چرایی این اهمیت و کارکرد دیداری آن را به پرسش کشید. این مقاله با یک روش توصیفی و تحلیِل ترکیبی، می‌کوشد این صحنه را در یک رویکرد روانکاوانه‌ی اجتماعی و در ساحت ناخودآگاه جمعی، مورد تبارکاوی-که یک ترکیب روش‌شناختی از اسطوره‌کاوی، روانکاوی و تحلیل گفتمان فراهم می‌آورد- قرار دهد. نتایج حاکی از آن بودند که صحنه‌ی اسطوره‌ای آفرینش در بندهش، تبار مجلس مهمانی زلیخا و همچنین نرسه و جهی شخصیت‌های کهن‌الگوییِ یوسف و زلیخا با همان کارکردها و ویژگی‌ها هستند. نقاشی‌های این صحنه، با داشتن یک سناریوی متراکم و چندگانه، مورد فرافکنی و فانتزی سوژه-مخاطب جمعی قرار گرفته و در نتیجه گردش چندجانبه‌ی امیال و نیز اضطراب او را به شکلی ناخوداگاه موجب می‌شود. از این منظر، یوسف پیش‌الگوی کاملی به جهت داشتن منبع قدرت (فره) و زیبایی (امر جنسی) محسوب شده است.

gene-analysis of a mytho-historical scene: fantasy of zulaykha`s party

some historical stories, especially because of their religious themes, appeal to the ordinary people in some societies and have been retold in different ways during the time. one of these stories is the story of prophet yusuf, which has been frequently considered not only in the history of the qur’an interpretational tradition by commentators and authors in the field of ethics but also in the history of iranian poetry, art, and literature. the two important scenes of this story are yusuf escaping from zulaykha and also zulaykha`s party which are considered the two tempting climaxes of yusuf’s story as well. these two scenes refer to moral aspects, on the one hand, and to sexuality on the other. these dramatic and figural scenes have been repeatedly represented in the history of iranian painting, especially in the safavid and qajar eras. there are many paintings in the qajar era also seemingly referring to and evoking this scene for audience. as a social fantasy, discussed in this paper, the naranjborii majlis or zulaykha`s party somehow discards moral aspects for the sake of sexuality. this scene, not mentioned in the torah at all and briefly mentioned in the qur’an, is highly taken into consideration by commentators, poets, writers, painters, and the ordinary people in post-qur’anic literature in all historical periods, especially in iran. therefore, one can question this importance and look for its historical and cultural roots; the visual functions of it can be questioned as well. this essay, with a descriptive and synthetic analytical method, tries to gene-analyze this scene in a social and psychoanalytical approach regarding the collective unconscious of iranian people. gene-analysis in this paper provides a theoretical and conceptual framework alongside a methodological and targeted combination of myth-analysis, psycho-analysis, and discourse analysis, with the help of which one can find the mythological origin of this scene and comparatively analyse them in terms of discourse, and expectedly, in terms of psychoanalysis, to know about the conscious and unconscious psychological investment of the collective subject. the results justified that the creation myth scene in bondahish, one of the holy books in zoroastrianism in the late sassanian era, is the figural model of zulaykha’s party, also nerse and jahi are the archetypal characters of yusuf and zulaykha with the same roles and characteristics. the paintings of zulaykha`s party can present dense and multiple and at the same time contradictory scenarios and can also be a suitable scene for the collective subject`s projection and fantasy; consequently, it causes the multi-faceted circulation of desires and anxiety in an unconscious way. what is considered to be the most significant point of this study is that yusuf is deemed an attractive prototype for kings, beautiful men and women; like fath ali shah, due to the correlation of power (holiness) and beauty (connected with sexuality). finally, what can be inferred from this paper is that, this scene due to some indigenous reasons, rooted in iranian culture and history, has been repeatedly represented in the history of iranian painting.