... شبی چون شَبَه روی شسته به قیر (بررسی ارتباط موضوعی متن و تصویر در داستان بیژن و منیژه)

مساله پیوستگی و تعامل میان متون ادبی با تصاویر از جملۀ موارد مورد توجه نگارگران از دیرباز بوده‌است. اگرچه نگارگران در بیش‌تر موارد رعایت اصل امانت‌داری به متن را مورد توجه قرار داده‌اند، اما گاه این نگاره‌ها توام با اغراق در تصویرگری مناظر حماسی یا غنایی شده‌است. شاهنامۀ قرچقای‌خان از جملۀ شاهنامه‌های مصور دورۀ صفوی است که کمتر شناخته و معرفی شده‌است. در این پژوهش که با هدف شناساندن ویژگی‌های این شاهنامۀ ارزشمند انجام‌گردیده، تلاش شده‌است تا یکی از مشهورترین داستان‌های حماسی غنایی شاهنامۀ فردوسی یعنی داستان بیژن و منیژه از منظر تعامل و پیوستگی تصاویر این داستان با متن منظوم شاهنامۀ فردوسی بررسی گردد. این‌که ویژگی‌های تصویری نگاره‌های داستان بیژن و منیژه در شاهنامۀ قرچقای‌خان کدام بوده و عناصر داستانی چگونه در این نگاره‌ها به تصویر درآمده‌اند؟ موضوع این پژوهش ‌است. روش کار در این تحقیق توصیفی و تحلیل تصاویر بر مبنای چهار مولفۀ اصلی موجود در این نگاره‌ها یعنی: تصویرگری رخداد، شخصیت‌ها و جایگاه آن‌ها، صحنه‌پردازی، فضاسازی و شعر مکتوب می‌باشد. نتیجۀ این پژوهش ضمن آن‌که حکایت از هماهنگی کامل این عناصر با روایت ادبی دارد، نشان‌گر توجه هنرمندان به جلوه‌های غنایی این داستان است که خود از وجوه ابداعی و ارزشی شاهنامۀ قرچقای خان به شمار می‌رود.

A Study on the Thematic Relation Between the Text and Illustrations in the Qarachqay-Khan Shahnameh

Abstract:Interaction between the literary texts and illustrations has been considered as an important issue for miniaturists from a long time ago. Although miniaturists were mostly dedicated to the text in their work, sometimes it happened that illustrations were accompanied with exaggeration in epic and lyrical scenes. The QarachqāyKhān Shahnameh, as a case in point in this respect, is a renowned Safavid illustrated book of kings not considered seriously. The present research aims at studying the visual features of one the most wellknown epiclyrical stories in the Ferdowsi’s Shahnameh, Bijan and Manijeh, from the viewpoint of interaction between the images of this story with the text of the book. Bijan and Manijeh in the Shahnameh is a romantic narrative mostly been illustrated by miniaturists and illustrators, especially the episode in which Bijan is entrapped in a deep well and freed by Rostam, the epic hero of Shahnameh. In spite of the domination of epic elements in Shahnameh illustration, the mentioned story during the Safavid era is displayed by adopting new visual approaches in showing feelings and expressions, moments, and different aspects of nature and life. There are five separate images in relation to this story in the QarachqāyKhān Shahnameh. Regarding the traditional connection between Persian miniature painting and literary texts in Iran, the present research is to study the dominant visual elements in the illustrations of Bijan and Manijeh story in QarachqāyKhān Shahnameh, as well as to examine the quality of illustration such elements in the related images of the narrative. The main question to consider in this respect would be as follows: What are the visual features of Bijan and Manijeh images in the QarachqāyKhān Shahnameh and how are the story elements been illustrated in such images? Adopting a descriptive method, the research will analyze the images on the basis of four main elements, including the illustration of events, characters and their role, setting, and the written poem (visual verse). To achieve better results, the essay has been divided into two parts. The first part is introducing the story of Bijan and Manijeh in Shahnameh besides its narrative elements, and the second one will analyze the illustrations and their manifestation in QarachqāyKhān Shahnameh. The results of the research, besides indicating perfect harmony among such elements and the text, show as well the illustrators’ attention to the lyrical aspects of the story, which could be regarded as an innovation in this Shahnameh. Furthermore, the present study shows the subtler aspects of life, such as displaying men and women’s relations, mutual affection, and feminine beauty. Regarding the romantic theme of the story, images have gone beyond the common features of a brave, elegant warrior, as seen in most illustrations of such books. The presence of Rostam and his heroic enterprises is also a part of this romantic story, being in conformity with the conclusion of the story.