بازخوانی اسطوره‌های نگاره‌های کشته شدن سیاوش در شاهنامه‌های شاهزادگان تیموری(ابراهیم سلطان، بایسنغری و محمد جوکی)

سیاوش، محوریترین حلقه زنجیره ی اسطوره های ایرانی است. اسطورهی سیاوش بنا به دلایل فرهنگی و باورهای ملی همواره مورد توجه بوده، ضرورت پرداختن به ابعاد گوناگون این موضوع و نگاه تحلیلی و تطبیقی در مورد نگاره های مبتنی بر آن ضروری است. این پژوهش به مولفه های وجودی سیاوش و همچنین مفاهیم نمادین نگاره های کشته شدن سیاوش در شاهنامه های شاهزادگان تیموری(ابراهیم سلطان، بایسنغری و محمد جوکی) براساس نظریه اسطوره_آیین (ساموئل هنری هوک) پرداخته است. پرسش بنیادین پژوهش که ویژگیهای اصلی نگاره های شاهنامه های شاهزادگان تیموری براساس نظریه اسطوره_آیین کدام است؟ و عناصر بصری در نگاره های شاهنامه های شاهزادگان تیموری در داستان کشته شدن سیاوش، شخصیت اسطورهایاش را چگونه مطرح میکند؟ است. برای پاسخ به این پرسش ویژگیهای اصلی نگاره ها براساس نظریه اسطوره_آیین بررسی شده. پژوهش حاضر، رویکردی تحلیلی و ماهیتی‌ توصیفی- تاریخی دارد که به لحاظ هدف، کاربردی است و بر اساس مستندات بررسی می‌شود و به نقش اسطورهای سیاوش و نشان دادن اشتراکات و افتراقات نگاره های مشترک و شاخصههای بصری و هنری در شاهنامه های مصور یاد شده پرداخته شده است. همچنین چرایی اهمیت و توجه هنرمندان نگارگر ایرانی به شاهنامه و مولفه های وجودی آن در نگارگری مورد تحلیل قرار گرفته اند. در بازخوانی روایت تصویری اسطوره سیاوش، براساس رویکرد اسطوره- آیین به این نتیجه می رسیم که مرگ سیاوش هدفدار است، او نمیمیرد، بلکه بارها و بارها به صورت سروش، همراه با مهر، متجلی میگردد. اسطوره_ آیین میتواند در مطالعه جایگاه اسطوره در مناسک سیاوشان بابی نوین در مطالعات هنری شاهنامه به ارمغان آورد.

mythological reinterpretation of siavash’s killing in shahnamehs of timurid princes(ebrahim sultan, baysangri and mohammad joki )

siavash is the most central link in the chain of iranian myths. her mysterious character, from birth to death, contains all the high human, heroic and ritual elements in the legends of the shahnameh. in this research, the existential components of siavash in painting as well as the symbolic concepts of common paintings of shahnamehs of timurid princes (ibrahim sultan, baisangari and mohammad joki) have been discussed based on the theory of myth-ritual (taken from the theory of samuel henry hook). it is an attempt to recognize, why and how the role of myth, man, nature and also the process of the return of the hero in the process of discovering and representing the art of the past. the creation of these works speaks of the power and creative thought of man and the historical truth. this research has an analytical approach and a descriptive-historical nature, which is fundamental in terms of its purpose and is reviewed based on documentation. he has dealt with the mythological role of man and showing the commonalities and differences of common images and visual and artistic characteristics in the mentioned illustrated shahnamehs. also, why the importance and attention of iranian painters to the shahnameh and its existential components in painting have been analyzed. . since the myth of siavash has always been of interest due to cultural reasons and national beliefs, it is necessary to deal with the various aspects of this issue and to have an analytical and comparative look at the paintings based on it. myth - ritual can bring in the study of the place of myth in the rites of siavashan babi navin in the art studies of shahnameh. siavash’s death is purposeful, he does not die, but is repeatedly manifested in rituals in the form of sorush along with mehr. siavash is the most central link in the chain of iranian myths. her mysterious character, from birth to death, contains all the high human, heroic and ritual elements in the legends of the shahnameh. in this research, the existential components of siavash in painting as well as the symbolic concepts of common paintings of shahnamehs of timurid princes (ibrahim sultan, baisangari and mohammad joki) have been discussed based on the theory of myth-ritual (taken from the theory of samuel henry hook). it is an attempt to recognize, why and how the role of myth, man, nature and also the process of the return of the hero in the process of discovering and representing the art of the past. the creation of these works speaks of the power and creative thought of man and the historical truth. this research has an analytical approach and a descriptive-historical nature, which is fundamental in terms of its purpose and is reviewed based on documentation. he has dealt with the mythological role of man and showing the commonalities and differences of common images and visual and artistic characteristics in the mentioned illustrated shahnamehs. also, why the importance and attention of iranian painters to the shahnameh and its existential components in painting have been analyzed. . since the myth of siavash has always been of interest due to cultural reasons and national beliefs, it is necessary to deal with the various aspects of this issue and to have an analytical and comparative look at the paintings based on it. myth - ritual can bring in the study of the place of myth in the rites of siavashan babi navin in the art studies of shahnameh. siavash’s death is purposeful, he does not die, but is repeatedly manifested in rituals in the form of sorush along with mehr. keyword:mythology, siavash, painting, baisanghari’s shahnameh, ibrahim sultan’s shahnameh, mohammad joki’s shahnameh. juxtaposing each other according to the similarities and differences and highlighting the mythical character of siavash between three works in three different shahnamehs according to the myth-ritual approach leads us to different results. the set of material and spiritual heritages that remain from a historical period or artistic school and are mixed with knowledge have put together the foundations for the continuation of civilization because without knowledge, civilization goes backwards. in response to the research questions: it can be stated that, as is evident, based on the myth-ritual theory, rituals precede mythology. myths were created only to explain the origins of rituals.considering the connection between &man and nature& and &art and myth&, it leads to more courage of the artist to create the work and permanence of the story, and everything from these connections and the mythological role of man and its visual characteristics. he created a pattern in his mind, displayed it in the form of an image with the support of kings and powerful people and paid attention to it. it helps in rereading the visual narrative of siavash myth based on the theoretical approach of myth-ritual (samuel henry hook); siavash’s death is purposeful, he does not die, but appears again and again in the form of soroush, along with mehr, the god of covenants. in fact, myths never disappear and continue to flow in new forms in the souls of nations.