مطالعه بصری جایگاه حضرت علی(ع) در نگاره‌های فتح خیبر (نسخ مجمع‌التواریخ تیموری،خاوران‌نامه ترکمان، فالنامه،آثارالمظفر،روضه‌الصفا،حبیب‌السیر و قصص‌الانبیا دوره صفوی)

فتح خیبر، روایتی دینی-تاریخی، اسباب استمرار و حیات ارزش‌های ایدئولوژیک، باورها و احساسات دیرینه قومی- مذهبی یک ملت را فراهم آورده است. هدف، تحلیل و خوانش ترکیب بصری جایگاه علی (ع) در هفت نگاره فتح خیبر در نسخ مجمع‌التواریخ، خاوران‌نامه، آثارالمظفر، روضه‌الصفا، حبیب‌السیر و قصص‌الانبیا از دوره تیموری تا صفوی است. ازاین‌رو جایگاه  بصری حضرت علی(ع) در نگاره‌های فتح خیبر در نسخ مجمع‌التواریخ، خاوران‌نامه، آثارالمظفر، روضه‌الصفا، حبیب‌السیر و قصص‌الانبیا چیست؟ رویکرد پژوهش، کیفی بوده و روش پژوهش، توصیفی-  تحلیلی است. جمع‌آوری اطلاعات با مطالعات کتابخانه‌ای بوده و جامعه آماری به صورت هدفمند، هفت نگاره با موضوع فتح خیبر، از میان نسخ مصور سه دوره تیموری، ترکمان و صفوی انتخاب شده است. نتایج و یافته‌ها نشان می‌دهد  تمهیدات عینی و مستتر در نگاره‌ها و عناصر بصری مطرح، تاثیرات روایی و اسطوره‌ای، در بازنمایی تصویری روایت خیبر به کار گرفته شده است که علت اصلی آن را می‌توان، نفوذ درجات گوناگون علایق و تفکرات شیعی پنداشت. هر کدام به نحوی در ارتباطی ناگسستنی با زمانه خویش، بیانی ارادتمندانه توام با نمایشی از تقابل پیروزمندانه جبهه حق علیه باطل در حالتی اعجازگونه از نصرت الهی را به تصویر کشیده و در تمام موارد مرکزیت حضرت علی (ع)، قهرمان یکتای صحنه نبرد، حفظ شده است.

a visual study of the position of imam ali (as) in the paintings of the khyber conquest : copies of the timurid majma ’al-tawarikh, turkoman khavarannameh, falnameh, al-muzaffar works, rawdah al-safa, habib al-sir, and qasas al-anbiya in the safavid period

the battle of khaybar is a recurring illustrated religious-historical narrative. this event is represented in different forms of myth, epic, and narrative, which included topics beyond its appearance, the cause of continuity, and life of ideological values, beliefs, and long-standing ethnic-religious feelings. in addition, there was the feeling of chivalry, heroism, and endless victory of the right against the void in the story. the artist of this art has recreated the story of the battle of khaybar by considering the trend of influence and spread of shiite thought among iranians, which occurred and manifested twice after mixing the ideology and method of sufis and its related philosophy and mysticism. this article aimed to analyze the visual composition of the position of imam ali (pbuh) in the seven related books of the battle of khaybar, such as majma al-tavarikhtavarikh, khavaran name, asar al-muzaffar, rawżat aṣ-ṣafāʾ, habib al-siyar, and qisas al-anbiya from the timurid to safavid era. therefore, the related question of the research focused on the position of imam ali (pbuh) in the seven related books of the battle of khaybar, such as majma al-tavarikh, khavaran name, asar al-muzaffar, rawżat aṣ-ṣafāʾ, habib al-siyar, and qisas al-anbiya? this research was qualitative, which employed a descriptive-analytical method. the required data were collected by a library method, and the statistical population was selected using the purposive method, which was the seven related books of the battle of khaybar among illustrated books of timurid, turkmen, and safavid periods. the findings revealed that objective and implicit arrangements in the related books, as well as their visual elements, narrative and mythological effects, were used in the visual representation of  the battle of khaybar narrative. the main reason for this representation could be the influence of different degrees of shiite interests and thoughts. each mentioned book depicted the inseparable connection with their time with a sincere expression combined with a display of the triumphant confrontation of the front of right against the void in a miraculous state of divine victory. in addition, the centrality of imam ali (pbuh), the unique hero of the battlefield was preserved in all cases. the placement of the character of imam ali (as) as the only hero of khaybar could be followed in the seven books with a worthy image and gesture very similar to a strong warrior relying on a supernatural force. in all seven cases, the visual narrative focused on and stopped the moment when imam ali (pbuh) opened the door of khaybar. this event is narrated as if the viewer remembers the extraterrestrial human glory at the peak after turning the gaze and reading the story of the battle of khaybar. the writer does not leave the audience after going through the turmoil and battlefield anxiety and make them assured and believed under the shelter of the unique power of the conqueror of khaybar. with this regard, the devotion and love for imam ali(pbuh), are expressed with a realistic representation and sometimes with a symbolic expression by the ruler and artist.