هم‌سنجی دو پرده سلام نوروزی از عصر فتحعلی شاهی و ناصری با نظر به اصول هم‌ترازنمایی و برجسته‌سازی گشتالت

هم‌ترازنمایی و برجسته‌سازی دو اصل عمده از نظریه گشتالت هستند چون ذهن انسان در مواجهه با هر ترکیب تجسمی طبق قانون هم گونی گشتالتی با هم ترازی یا برجسته‌سازی، ادراک را تسهیل می‌نماید. پرده‌های سلام نوروزی عصر قاجار که با هدف بزرگ‌نمایی مقام شهریاری خلق شده‌اند، مورد مناسبی برای آزمون‌پذیری این منظر هستند زیرا در این پرده‌ها تجلیل جایگاه فتحعلی شاه و ناصرالدین شاه مقصود اصلی نقاش بوده است. بر این اساس، پرسش پژوهش حاضر آن است: از منظر اصول هم‌ترازنمایی و برجسته‌سازی گشتالتی، دستیافت به هدف بزرگ‌نمایی مقام پادشاه در پرده‌های سلام نوروزی عصر فتحعلی شاهی و ناصری چگونه تامین شده است؟ فرضیه آنکه هر دو اثر با تاکید بر برجسته‌سازی و ویژگی‌های خاص پادشاهی، نسبت به مبالغه در مرتبه شاهنشاهی اقدام کرده‌اند. نتیجه به روش تحلیلی تطبیقی و با بهره‌گیری از مطالعات اسنادی نشان می دهد هریک از این دو پرده نقاشی از مسیرهای دیگرگونی نسبت به بازنمایی جایگاه سلطان اقدام نموده‌اند: نمونه فتحعلی شاهی بر اصل هم ترازنمایی تاکید بیشتر دارد تا اندک برجسته سازی به کارآمده در کلیت تصویر با شدت بیشتری نمود بیابد؛ درمقابل نمونه ناصری سراسر بر اصل برجسته سازی استوار شده و یکسره نسبت به متمایز ساختن مقام پادشاه اقدام نموده است بنابراین هریک از دو ترکیب تصویری با تناسب متفاوتی بر اسلوب گشتالتی تکیه زده‌اند تا جایگاه اهورایی پادشاه را القا نمایند.

A Study of Two Salam-e Nowruzi Paintings of Fath-Ali Shah and Naser al-Din Shah in Qajar Era from the Perspective of Leveling and Sharpening Principles of Gestalt

ُThis article attempts to study one of the Salame Nowruzi canvases of FathAli Shah attributed to apprentices of Abdallah Khan (preserved in Robert Finan collection) in comparison with the Salame Nowruzi canvas of Naser alDin Shah by Sani ol Molk (preserved in Golsetan Palace). Salame Nowruzi canvases of FathAli Shah are usually defined in fourpiece format. The reason for choosing Robert Finan rsquo;s case was that most studies have shown that the entourage on the side tablets of the main frame is pictured in a similar attire as the king in most cases of Safe Salam of FathAli Shah. However, in some other cases such as the one under study here, the entourage is dressed differently reducing their similarity to FathAli Shah. Nonetheless, the results of the studies show that Safe Salam canvas of FathAli Shah repeats leveling by emphasizing the similarity of the king and the entourage in shape, color, and spatial orientation, particularly in the central frame. It is as if the presence of the king is repeated in others and only spatial location in the picture and the larger size to some extent have differentiated him from others. Indeed, contrary to the first hypothesis, the painter attains a kind of contrast by relying on leveling to a large extent and sharpening to a lower extent in order to achieve his main objective which is glorification of the king. On the other hand, similar to the first hypothesis, the painter attempts to highlight Sultan by emphasizing the difference of the king in shape, color, and size which are defined in the form of very large dimensions, countenance, exclusive attire, and the gold color in Safe Salam of Naser alDin Shah. These differences are accentuated through distinguished location, placement on the peacock throne and of course different spatial orientation with fullface view. Moreover, the large size of Sultan is confirmed not only by the presence of the sons beside the throne but also the special layout format in the Naseri Salame Nowruzi canvas which is defined in sevenpiece format. The difference is emphasized vis agrave;vis other factors; however, when considered separately, it will appear as to fade the large dimensions of FathAli Shah when compared in Safe Salam. Therefore, although leveling in the case of FathAli Shah and sharpening in the case of Naser alDin Shah become more influential, both are successful in exaggerating the status of the king by establishing a kind of difference between Sultan and the entourage. In addition to the testability of Gestalt view, it shows that the painters in the periods under the rules of FathAli Shah and Naser alDin, despite sharing a specific objective that is the glorification and adoration of the status of king, each achieved their objective by following different approaches in their representations. The painters of the period under the rule of FathAli Shah, Abdallah Khan and his followers, highlighted the nuances by emphasizing leveling, whereas the painter of the period under the rule of Naser alDin Shah, Sani ol Molk, focused on the differences and attempted accentuation altogether from the beginning.