بررسی تطبیقی شکل و صور تزیینی صورت‌های فلکی در سه نسخه صورالکواکب عبدالرحمان صوفی

اخترشناسی از قدیمی‌ترین دانش‌های بشری است. «ابوالحسن عبدالرحمن صوفی رازی فَسوی» ستاره‌شناس برجسته ایرانی سده چهارم است که در دوران دیلمیان در فارس می‌زیست. وی کتاب صورالکواکب را که نسخه تصحیح شده‌ای از المجسطی بطلمیوس بود، بر اساس مشاهدات رصدی خودش تالیف کرد. هدف از این پژوهش، شناسایی انواع صورت‌های فلکی مصور، تجزیه و تحلیل ساختار تصویری و صور تزیینی و واکاوی وجوه افتراق و اشتراک آن‌ها در سه نسخه مصور صورالکواکب عبدالرحمان صوفی مربوط به قرن‌های 6، 9 و 12 هجری قمری می‌باشند. پرسش‌های پژوهش عبارتند از: 1) ویژگی‌های بصری در سه نسخه مصور صوالکواکب در جهت نمایش اشکال و بروج دوازده‌گانه کدامند؟ 2) شکل و صور تزیینی صورت‌های فلکی مصور دارای چه وجوه افتراق و اشتراکی هستند؟ این پژوهش براساس هدف، بنیادی و از نظر ماهیت توصیفی-تحلیلی با مطالعه تطبیقی است. داده‌ها با جستجو در منابع کتابخانه‌ای و از طریق مشاهده‌ نسخ، به دست آمده‌اند. ابزار نمونه‌گیری‌، شناسه، فیش، مشاهده و ابزار پویش‌گری نوین است. شیوه نمونه‌گیری مبتنی بر هدف غیراحتمالی است. جامعه پژوهش متشکل از تصاویر بروج دوازده‌گانه از نسخه‌های صورالکواکب عبدالرحمان صوفی موجود در موزه برلین، شامل 54 تصویر، نسخه موجود در موزه‌ متروپولیتن شامل 257 تصویر و نسخه موجود در موزه متروپولیتن شامل 78 تصویراست. هم‌چنین، روش تحلیل نمونه‌های منتخب کیفی است. نتایج پژوهش گویای آن است که، از ویژگی‌های بصری مشترک در هر سه نسخه، استفاده از عنصر خط در بازنمایی تصاویر است؛ به گونه‌ای که در هر سه نسخه به کیفیت و تندی و کندی خط و نیز بهره‌گیری از آن در نمایش عمق نمایی بهره گرفته شده است. اگر چه در بعضی صفحات کادر حالت معمول را دارد؛ اما هنرمندان در این ترکیب به فرا رفتن تصویر از کادر توجه نموده‌اند. هم‌چنین، نوع فضاسازی با ترکیب متن و تصویر همراه است که در صفحات مربوط به برج‌ها با غلبه تصویر در نیمه بالا یا پایین صفحه ترکیب‌بندی شکل گرفته است.

a comparative study of constellation shapes and decorative imagery in three versions of abd al-rahman al-sufi’s kitāb suwar al-kawākib

astrology, one of humanity's oldest sciences, has a rich history of exploration abolhassan abdurrahman sufi razi fasavi is a prominent iranian mathematician and astronomer of the 4th century who lived in fars during the dilmian period. he authored the book sural al-kawakb, a corrected rendition of ptolemy's al-majsati, which was rooted in his personal astronomical observations. the objective of this research is to identify the types of illustrated constellations, analyze the image structure and decorative images,and analyze their differences and commonalities in three illustrated versions of abdurrahman sufi's constellations, related to the 6th, 9th, and 12th centuries of the lunar calendar.the research questions are as followed:1. what are the visual characteristics present in the three illustrated constellationsversions that depict the shapes and symbols of the twelve zodiac signs?2.what discrepancies and commonalities exist within the decorative forms of theillustrated constellations?this research adopts a fundamental, descriptive-analytical approach with a comparativestudy framework. data collection entails library research, direct observation of copies,and utilization of modern tools such as digital equipment, photography, and scanning.alzahra scientific quarterly journalvol. 15, no. 3, fall 2023 ,serial no. 40vol. 15, no. 3 , fall 2023 serial no. 4012the study's population encompasses three illustrated versions of abdur rahman sufi'sconstellations, specifically:1. version numbered 64615782, consisting of 54 images, held in the berlin museum.2. version 13.160.10, containing 257 images, housed in the metropolitan museum.3. version 1975.192.2, comprising 78 images, also housed in the metropolitan museum.the non-probability purposive sampling method is employed, complemented by qualitativeanalysis of selected samples. findings unveil a shared visual attribute in all threeversions: the deliberate use of line elements in image representation. this includes a deliberatemanipulation of line quality, speed, and rhythm to convey visual depth. anothershared feature is the emphasis on the role of the frame in visual presentation. astrologyis the study of changes, physical and chemical characteristics of the position and movementof celestial objects such as stars, planets, galaxies and celestial events such asthe aurora borealis and cosmic radiation originating outside the earth's atmosphere. inearly civilizations, astronomers carefully studied the night sky with simple astronomicalinstruments.abolhassan abdurrahman sufi razi fasavi, the leader of islamic renaissanceera, namedby adam metz, changed the way we look at the stars in the sky and is recognized as one of the most influential astronomers in the world. he devoted his life to advancing our comprehension of the stars and constellations. he wrote the book sural al-kawakb,which was a corrected version of ptolemy's al-majsati, based on his observations, and described the position, color and magnitude of 1081 celestial objects in astronomy, constellations denote a grouping of stars that are proximate, forming distinct shapes akin toobjects or creatures in the human mind. abd al-rahman sufi is the pineering individual who depicted the constellations and the twelve constellations in a written and precise manner, and his drawings in the book sur al-kawakb became a global visual referencein the creation of the celestial spheres. in this book, he discusses the forty-eight constellations known as the fixed stars, which, according to the medieval conception of the universe, resided in the eighth of the nine spheres around the earth. the constellationseach appear twice in the mirror image seen from earth and from the sky. the work of abd al-rahman sufi called sour al-kawakb is one of the scientific masterpieces of astronomy of the islamic period, which he wrote in the fourth century of hijra under the aliasazd al-dawlah. ” sur al-kawakb” by abd al-rahman sufi is one of the treatises on astronomical sciences ofthe islamic period, which was very important in the history of astronomy. this book hasbeen illustrated by artists in different epochs of painting history. in this study, we delveinto the illustrated versions of abd al-rahman sufi's constellations from the 6th, 9th, and12th centuries ah, scrutinizing constellation types, image structure analysis, decorativeelements, disparities, and commonalities.in order to analyze the twelve zodiac signs, indicatorsinclude visual elements in the image, visual elements in the text, the type of spacecreation (location of the role), the emphasis element in the image, the type and quality ofthe frame, the dominant element in the illustrated page, the characteristics and the waythe image is executed, as well as the way it is represented. the image in the twelve signswas examined in three versions. therefore, in response to the research questions, theresults show that one of the common visual features in all three versions is the use of theline element in the representation of images in such a way that in all three versions, the quality and speed and slowness of the line and its use in showing depth.this attribute is most prominent in the second version (metropolitan). another visual aspect involves the frame's role in visualizing the subject. artists accorded the frame adistinct role in illustration.although in some pages the frame has the conventional shape,a comparative study of constellation shapes and decorative imagery in three versions of abdal-rahman al-sufi's kitāb suwar al-kawākib13the artists imbued the image with a sense of breaking free from the frame, aligning with contemporary painting attributes. this feature is observable in selected illustrated pages in both the second and third editions.color tones also constitute a visual feature across all versions. notably, the second version's crab depictions employ un-conventional colors, including blue. in addition to this, the visual artists have also paid attention to three versions of the texture to show the mane and the end of the tail in the images of burj asadin summation, in version number one, the twelve-fold sign is the dominant visual element of the line compared to the other two versions. the type of space creation is associated with the combination of text and image, which is formed in the pages related to towers with the dominance of the image in the upper or lower half of the composition page.in the second version, similar to its counterparts, the emphasis centers on the line element, utilized by painters to imbue volume. in this version, unlike the other two versions, the page is dominated by the image and has no frame. the text in this version is limited to a small frame and often drawn at the top of the page. the dominant color is brown, and gold is used to show the position of the stars, and the circles are surrounded by red. the illustration of this version is realistic in showing animals and unrealistic in showing human figures. in the third edition, distinct from the other two, color serves to dimension and adorn body parts, clothing, textures, and other image elements. this version, like the first version, has a frame, its characteristic feature is that the image elements are broken and overflowing from the frame.despite the image's prominence, writing complements the version, aligning closer with nature and reality compared to the preceding editions. while some frames maintain their traditional appearance, artists purposefully allow images to overflow the frame, coupling text and image to create spatial compositions, particularly evident in pages linked to towers.