تحلیل شمایل‌شناشانه سکه‌های تشریفاتی آل‌بویه براساس نظریه اروین پانوفسکی

نقوش سکه‌ها با فرهنگ و هنر زمانه خود ارتباط تنگاتنگی دارند؛ می‌توان به مدد آن‌ها وضعیت اقتصادی، مذهبی و فرهنگی ایالت و محل ضرب سکه را دریافت و محققان را در فهم علل تداوم سنت‌ها و آداب حاکم بر یک جامعه یاری رساند. اروین پانوفسکی در هر تصویر سه لایه مختلف معنایی قائل است که می‌توانند با عرصه‌های فرهنگی، اعتقادی و ملی مسلط بر اندیشه تولیدکنندگان آن در ارتباط باشند. هدف اصلی این پژوهش استخراج زمینه های فرهنگی موجود در مسکوکات آل‌بویه متکی بر نظریه شمایل‌شناسانه پانوفسکی است. این پژوهش به دو پرسش اساسی پاسخ می دهد: سکه‌های تصویری آل‌بویه چگونه با سه لایه معنایی؛ پیشاشمایل‌نگارانه، شمایل‌نگارانه و شمایل‌شناسانه پانوفسکی انطباق می‌یابند؟ و در بررسی لایه‌های معنایی یادشده، الگوهای فرهنگی ایرانی و علل کاربست آن‌ها شامل چه مواردی است؟ روش تحقیق تحلیلی – توصیفی و گردآوری اطلاعات به شیوه کتابخانه‌ای است. نتایج حاکی از آن‌است که سکه‌های تصویری آل‌بویه در سه مرحله مجزا قابل بررسی هستند؛ در لایه نخست(پیشاشمایل نگارانه) مولفه‌های بصری در سکه‌ها (نقوش و ترکیب بندی آن‌ها)، در لایه دوم(توصیف شمایل‌نگارانه) محتوای مفهومی نقشمایه‌ها و ترکیب آن‌ها با هم و در لایه سوم معنایی(تفسیر شمایل شناسانه)، تحولات فرهنگی و تاریخی موثر در تولید و شکل‌گیری نقوش موجود بر آن‌ها تحلیل شد. داده‌های به‌دست آمده از بررسی لایه‌های دوم و سوم این احتمال را قوت بخشید که عمدتا نقوش و شیوه ترکیب‌بندی آن‌ها بر سکه‌ها از ایران قبل از اسلام وام‌گیری شده‌اند. براساس مستندات این اقتباسات از عوامل مختلفی همچون تمایل ایرانیان به اصول مملکت‌داری پیشین، علاقمندی بویهیان به احیای سنت‌های پیش از اسلام، اصالت ایرانی اُمرای آل‌بویه و کسب مشروعیت حاکمان از سوی مردم و خلفای عباسی تبعیت می‌کنند.

iconological analysis of buyid dynasty ceremonial coins based on the theory of erwin panofsky

arts and crafts are a good context for displaying cultural, historical and social structures in different eras. coins were produced by order of the rulers of each period and the various visual components contained in them played an effective conceptual role. the motifs engraved on the coins are closely related to the culture and art of their time; they can be used to find out the economic, religious and cultural status of the state and the place where the coins were minted and helped researchers to understand the reasons for the continuity of traditions and customs that govern a society. the iranianislamic rule of albuyid ruled over parts of iran for more than a century and coins affected by their nationality have changes that emphasize the need for the present study. they claimed to be descendants of the sassanids and they made many efforts to revive the ancient methods and the deep connection of iranian art in these centuries. given the importance of the albuyid government of iranian origin in the first centuries of the advent of islam, it is necessary to explain the semantic systems governing their pictorial coins with a multiconceptual approach. one of the approaches to the study of image is iconography; presented by erwin panofsky. panofsky’s theory encompasses the three levels of preiconography, iconography analysis, and iconological interpretation. erwin panofski gives three different layers of meaning in each image that can be related to the cultural, religious and national spheres that dominate the thought of its producers. the main purpose of this study is to extract the cultural contexts of the coins of the albuyid dynasty as an iranianislamic rule in the early centuries of the advent of islam based on panofsky’s iconological theory. this article seeks to answer the following questions:1 how do albuyid coinages conform to the panofsky’s preiconography, iconography and iconological three layers?2 in examining the mentioned semantic layers, what are the iranian cultural patterns and the reasons for their use?in the leading article, the research method is iconic; in the first step, how to match the motifs on the pictorial coins with three semantic layers, preiconography, iconography and iconological, are examined. then, based on panofsky’s triple semantic study, the reasons for adaptation of the patterns of iranian culture on the pictorial coins are analyzed. the research data obtained from the study of library resources have been analyzed in a descriptiveanalytical manner. the statistical population consists of coins from the albuyid period, the images of which are mainly collected from information sources and books. the number of samples in question is 6 pictorial coins related to the albuyid period, which have been selected nonrandomly. the analysis in this research has been done qualitatively.the results indicate that erwin panofsky’s iconological theory offers a new and effective way in presenting and understanding the content due to the noticeable time interval with the image coins of the albuyid period. panofsky relates the three different layers of meaning in each image to the cultural, doctrinal and national realms that dominate the thought of its producers. in the adaptation of albuyid pictorial coins with three layers of semantics, panofsky’s preiconography, iconography and iconological, pictorial samples were studied; visual components in coins (patterns and their composition) in the first layer (preiconography), hidden concepts in each motif and their placement relative to each other in the second layer (iconography description), and cultural and historical factors affecting production and the formation of patterns on coins in the third semantic layer (iconological interpretation) were analyzed.the data obtained from the study of the second and the third layers reinforced the possibility that mainly the patterns and the way they were combined on coins were borrowed from preislamic iran. these adaptations also follow various factors such as the tendency of the iranians to the principles of former governance, the revival of preislamic traditions, the iranian origin of the albuyid rulers and the acquisition of legitimacy in a limited time by the people and the abbasid caliphs. with the arrival of islam in iran and the tendency of the iranians towards it, the teachings of the new religion caused significant and effective changes in its culture and artistic manifestations. some of the preislamic iranian cultural concepts that have valuable cultural bases maintained their vitality alongside new religious teachings. the role of the governments in power in preserving the cultural components of preislamic times has been very prominent; just as the albuyid rulers in their administration of the territory were led to put the iranianislamic method at the forefront.