نشانه‌های هویت‌شناسانه در تصویرگری‌های شاهنامه برای کودکان

در بازنویسی‌های مصور از شاهنامه برای کودکان، سبک‌های متفاوتی از تصویرگری ملاحظه می‌گردد. این سبک‌ها که طیف گسترده‌ای را در برمی‌گیرند، با بهره‌گیری از نشانه‌های بصری، به تقویت یا گاه تضعیف مفاهیم زبانی پرداخته‌اند. یکی از کارکردهای نشانه‌های دیداری در روایات، شخصیت‌پردازی یا شناساندن هویت‌ قهرمانان است. این علامات به خواننده کمک می‌کنند تا شخصیت داستان را با توجه به ویژگی‌هایی که متن و گاه برون‌متن از وی یاد کرده‌اند، بشناسد. نشانه‌ها شامل قراین متنی، ابزار، مَرکَب، پوشش، رنگ، حالات چهره، اندازه شخصیت، محل قرارگیری او در صحنه، و سایر نشانه‌های مرتبط با وی هستند. در این مقاله علائم هویت‌شناسانه‌ در تصویرگری‌های شاهنامه برای کودکان با توجه به نظام نشانه‌شناسی پیرس طبقه‌بندی و تحلیل می‌گردند. سه‌گانه پیرس (شمایل، نمایه، نماد) میزان فاصله دال از مدلول را می‌نمایاند. نشانه‌های شمایلی دارای بیشترین حد مشابهت با مدلول هستند و نشانه‌های نمادین دارای کمترین. نشانه‌های نمایه‌ای در میانه قرار می‌گیرند. از رهگذر این بررسی، به اهمیت تصویر به عنوان امری روشنگر در افزایش درک شناختی کودکان پی می‌بریم و درمی‌یابیم این نشانه‌ها در عین این که موتیف‌هایی برای بازشناسی شخصیت‌های داستان هستند، بازتاب ویژگی‌های اجتماعی و فرهنگی نیز به شمار می‌آیند و تصویرگران همواره مخاطب کودک و پندارهای فرهنگی و تجربه‌های پیش‌آموخته او در درک تصویر را اساس تصویرگری متون قرار نداده‌اند؛ بلکه پسند عمومی و سبک فردی را لحاظ کرده‌اند. از میان سه سبک بررسی‌شده (واقع‌گرا، انتزاعی، و نگارگرانه) سبک واقع‌گرا دارای بیشترین، و سبک نگارگرانه دارای کمترین نشانه‌های شمایلی و نمایه‌ای جهت شناسایی هویت شخصیت‌های داستان هستند.

Identity Signs in Illustrations of Shahnameh Stories Retold for Children

Different styles of illustration can be found in retellings of Shahnameh for children. These styles cover a wide range from realistic to the abstract. They have used visual cues to reinforce or sometimes weaken linguistic concepts. One of the functions of visual cues in the narratives is to characterize or identify the heroes. In this paper, the aforementioned ontological signs are classified and analyzed according to Peirce’s semiotic system. The Pierce trilogy (icon, index, symbol) shows the amount of distance between the signifier and the signified. Iconic symbols have the highest degree of similarity to the signifier, and symbolic signs have the least. The index marks are in between. In this study, we understand the importance of imagery as an enlightening factor in enhancing children’s cognitive understanding. We also find that these signs, while being motifs for recognizing the characters in the story, also reflect social and cultural characteristics, and the illustrators have not always based their work on the child on and his or her prelearned experiences of image perception; rather, they have taken into account popular preferences and individual style. Of the three styles examined (realistic, abstract, and miniature), realistic style has the most, and miniature style has the least iconic and indexical signs to identify the characters in the story. Symbolic signs are seen in almost the same proportion in all three styles. In terms of the relationship between the text and the image, there is generally an increasing relationship.   Extended Abstract   1. Introduction Different styles of illustration have been used in retellings of Shahnameh for children. Identity signs are created through visual sings inspired by the text or through the signs constructed by the illustrator, which are closely or remotely connected with the stories. A sign is composed of three parts: the sign itself, the sign in relation to its object, and the sign as it is redefined as the representation of an object. Identity is made up of a collection of social, cultural, psychological, philosophical, biological and historical characteristics that signify the nature or essence of a group and distinguish it at a specific time or place from other groups or members belonging to them.   2. Theoretical Framework According to Pierce, the relationship between the signifier and the signified is classified depending on the extent to which they are natural or arbitrary. In the present study, the text is regarded as the signifier, and the image, which is the consequence of the text, is the signified. The identity signs in the present study are the motifs and repeated elements for recognizing the characters in the story.  3. Methodology The present study is qualitative and is based on deduction and induction. First, the identity signs were extracted from the case studies and then classified based on Pierce’s theory of semiotic systems.   4. Findings The identity signs in the case studies here can be grouped as symbols, indexes and icons. Symbolic signs had both explicit and implicit meanings. The explicit meanings can be regarded as index signs that complete their signifier. The implicit meanings are symbolic signs and ought to be interpreted. Index signs include reactions, movements and figuration. They are made up of conceptual grammar and narrative grammar. In conceptual grammar individuals are identified through the fixed features of their faces. The signs and movements are used in narrative grammar to interpret individuals. In realistic works the largest amount of iconic signs and in miniatures the least amount of iconic signs can be seen. One problem with the illustrations in retellings of Shahnameh is that iconic signs are not in harmony.   5. Conclusion Historically the first works retold for children followed the tradition of lithograph books, i.e., providing books for audiences who are not welleducated. In these works, explanatory notes are offered next to the images (symbolic sign), which along with realism in presenting figures and movements (index and iconic signs) try to reveal the identity of the character to the audience. With the rise of modernism and abstract illustration, implied and conceptual signs find their ways into illustrations more frequently, while iconic signs that are based on the similarities between the signifier and the signified are rarely used. Even though the course of history and changes in artistic taste play a role in the types of signs, the most influential factor seems to be style. Therefore, audiences’ taste, illustrators’ personal style and oral traditions are the most important factors that determine the types of signs used in illustrations. Select BibliographyAnsari, M. B. 1387 [2008]. “Daramadi bar Neshanehshenasi va Neshanehshenasie Anasore Namayesh.” Sahneh 54: 4651.Bouzari, A. 1390 [2011]. “Negahi beh Shahnamehaye Mosavvare Kudakaneh”. Ketabe Mahe Kudak va Nojavan 170: 104120.Chandler, D. 1397 [2018]. Mabanie Neshanehshenasi. M. Parsa. Tehran: Surehye Mehr.Elkins, J. 1385 [2006]. “Nazaryehshenasie Pierce Baraye Tarikhe Honar Che Sokhani Darad?” F. Sojudi (trans). Golestane Honar. 3: 1830.Kress, G. and Van Leeuwen, T. 1395 [2016]. Khaneshe Tasavir: Dasture Tarahie Basari. S. Kabgani. Tehran: Honare No.Marzolph, U. 1393 [2014]. Tasvirshazie Dastani dar Ketabhaye Chape Sangiye Farsi. Sh. Mohajer. 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