مطالعه تطبیقی منظومه‌های غناییعاشقانه ادبیات ایران در کاشی‌نگاره‌های دوره قاجار مطالعه موردی: کاشی‌نگاره‌های خانه دکتر محسن مقدم

منابع غنی ادبیات ایران در بر دارنده زیباترین تعابیر و توصیفات درباره «عشق» بوده است و ادبیات منظوم غنایی-عاشقانه سهم بسیاری در رشد دیگر هنرها ازجمله نگارگری داشته است. در دوره قاجار با رواج هنر کاشی‌کاری هفت رنگ و کاشی‌نگاری، بسیاری از کاخ‌ها و خانه‌های با شکوه بستر نمایش این هنر شد. این آثار در شکل جدید خود به تصویرسازی از چهره شاهان و درباریان قاجاری پرداخت ولی همچنان به ادبیات منظوم غنایی-عاشقانه وفادار ماند و به تصویرگری صحنه‌های برجسته ادبیات ایران ادامه داد. یکی از خانه‌هایی که این آثار را در خود دارد، خانه دکتر محسن مقدم است که کمتر به آن پرداخته شده است. در کاشی‌نگاره‌هایی با این مضمون 7 اثر یافت شده است که پنج داستان را روایت می‌کند. پژوهش حاضر به مولفه‌های ساختاری و مضامین ادبیات غناییعاشقانه پرداخته و این مولفه‌ها را در مطابقت با صحنه‌های تصویر شده در کاشی‌نگاره‌ها بررسی کرده است. دست‌یابی به‌یک الگو برای کشف روابط ساختاری در متون ادبیات منظوم غناییعاشقانه و کاشی‌نگاره‌هایی که با این مضمون تصویر شده‌اند، دیگر هدفی بود که به آن پرداخته شد. در این بررسی نتیجه گرفته‌ایم که مولفه‌های ساختاری منظومه‌ها تاحد زیادی قابل تعمیم به روایت‌های کاشی‌نگاره‌هاست. چه اینکه هنر کلامی‌و هنر تصویر در تاریخ ایران پیوندهای بسیار نزدیکی از دیدگاه‌های ساختاری و مضمونی با یکدیگر داشته‌اند.

Comparative Study of Lyrical and Romantic Literature Poetry of Iran Existing in Tile Paintings of Qajar Era (Case Study: Tile Paintings of Mohsen Moghadam’s House)

The rich sources of Iranian literature contain the most beautiful interpretations and descriptions of "love," and the literary poetry of lyricalromantic has contributed greatly to the growth of other arts, such as miniature. In the Qajar era, with the prevalence of tile art of seven colors and tile paintings, many palaces and houses became the magnificent context of showing this art. In his new form, these works depicted the portrait of the Qajar kings and courtiers, but remained faithful to the literary poetry of lyricalromantic and continued to illustrate the outstanding scenes of Iranian literature. One of the houses that containing these works is Dr. Mohsen Moghadam’s house, which has been dealt with less. In the tile paintings series with this theme, there are 7 works that narrate the five stories. The present research deals with the structural components and themes of lyricalromantic literature and examines these components in accordance with the scenes depicted in the tile paintings. Achieving a pattern for discovering intertextual relationships in the lyricalromantic poetic literature and tile paintings describe in this theme was no longer a goal. In this study, we concluded that the structural components of the poems are largely extensible to the narratives of the tilepaintings. How did verbal art and visual art in the history of Iran closely link to each other from the structural and thematic point of view. The interdependence of the arts in Iranian history is evident in the depiction of romantic, lyrical, epic and religious literature. It seems that the research done in the study of the three main axes of painting, fictional literature and tile painting. The present study was carried out by descriptiveanalytical research method and gathering information by field studies, observations and presence in Dr. Moghadam’s home and library studies in architectural tile painting in Qajar period. According to the approach of this research, first we will discuss the formation of the art of tile painting, and then we will discuss the themes and structures of lyricalromantic poetic literature and express different principles and perspectives in this subject. Qajar Tile Painting is a continuation of the Safavid and Zandieh tile art. As Europeans entered Iran during the Safavid era and later in the Qajar period, the twodimensional method of painting progressively shifted to depth representation. But literary themes are still abundantly found in tilepaintings and are one of the main arts related to literature. During this period, the tiling function was not limited to the construction of mosques, tombs and shrines, but also included palaces and mansions and decorative gates of cities and public institutions. One of the most prominent literary genres in Iranian literature is "Ghanaei"(lyrical) poetry, which has been compiled in various formats, especially in Ghazal and Masnavi. Lyric is a poem that expresses the poet’s personal emotions and feelings. One of the most common types of lyrics is love poems. These stories are not just about a romantic adventure, rather, they are expressions of human emotions, mental and inner issues, and represent theological arts, and ultimately, literary pleasure. As mentioned before, the tile painting is depicted with a specific scene featuring that include interesting visual and story elements and It deals with a prominent feature of the story. These images capture the mental themes of romantic literature that have influenced people’s mental and oral history for many years and therefore, it also has folk values that can be addressed in next researches. The antique museum of the University of Tehran and, in fact, the antique house, including the luxurious houses of the Qajar era, belonged to one of the courtiers of the time, Mohammad Taghi Khan Ehtesabol Molk. There are four main portions of the building tile painting: 1 Lord’s tower 2Qajar porch 3North porch 4East wall of the inner courtyard. The present study, with a comparative study approach, has studied the essential components in narrative literature, especially lyricromance poem with the themes depicted in tile paintings. Painting and subsequent tile painting have given special illustrations of a romantic poem indepth of the text and where the narrative story has reached its peak. This further illustrates the timeliness of the literature and the location of the tile painting. Tips like "story theme, action and event, characterizations, time and place, subject, text in structure, attitude, representation" are eight templates that can be generalized to fictional poems. We found that the painter was very influenced by literary texts and only acted more freely in presenting forms.