مطالعة نگارة کشته شدن ارجاسب در رویین دژ به دست اسفندیار از منظر روایت‌شناسی

رویکرد روایت‌شناسانه، امکان بررسی آثاری که در حوزة هنرهای تجسمی خلق شده‌اند را فراهم می‌آورد. این رویکرد، جستاری بینارشته‌ای است که در زمینه‌های گوناگون گسترش یافته و به کار برده می‌شود. این گونه به نظر می‌رسد که آثار نگارگری دارای خصوصیات و ویژگی‌هایی هستند که می‌توان آن‌ها را از دیدگاه روایت‌شناسی بررسی کرد. پژوهش حاضر می‌کوشد تا به تحلیل روایت‌شناسانة نگارة کشته‌شدن ارجاسب در رویین دژ به دست اسفندیار، از شاهنامه بایسنقری بپردازد و در این راستا، بان پرسش روبه‌رو است که به چه صورت می‌توان نگارة کشته‌شدن ارجاسب در رویین دژ به دست اسفندیار را از منظر روایت‌شناسی بررسی کرد؟ روش پژوهش، توصیفی-تحلیلی است و داده‌ها به روش اسنادی گرد آوری و یادداشت‌برداری شده و  برای پاسخ‌گویی به پرسش پژوهش ساماندهی شده اند. یافته‌های پژوهش نمایانگر آن است از دیدگاه مدل کنشگران، می‌توان کنشگر فاعل (اسفندیار)، کنشگر گیرنده (خواهران اسفندیار)، کنشگر شئ ارزشمند (آزادی خواهران اسفندیار) و کنشگر بازدارنده (ارجاسب) را در نظر گرفت. همچنین، می‌توان به پارة ابتدایی: رفتن اسفندیار به قصر، پارة میانی: آزاد کردن خواهران و پارة انتهایی درگیری و کشتن ارجاسب را اشاره‌ کرد. زوی هم رفته، این اثر دارای ویژگی‌هایی است که امکان تحلیل روایت‌شناسانه را فراهم می‌آورد.

the study of the painting of arjasb being killed in roeen castle by esfandiar from a narratological point of view

the works that are placed in the field of visual arts can be examined and studied with a narratological approach. in the realm of visual arts, persian painting includes characteristics that make it possible to use the approach of narratology. one of the most important and interesting features of persian painting works is the strong connection these works have with text and literature. especially by examining the history of persian painting, it becomes clear and more clear that ferdowsi’s shahnameh has played a significant role in the formation of painting works, and in many aspects, the works of persian painters are indebted to the epic poems of the shahnameh. it seems that the persian painter has turned the poems and meanings in the literature into visual elements and expressed them in this way. one of the prominent works in persian painting is baysunghur shahnameh, which was illustrated during the time of baysunghur mirza. one of the most interesting pictures in this version is the picture of the arjasb being killed in roeen castle by esfandiar. it is necessary to examine painting works from the perspective of theories; therefore, the aim of the present study is to analyse this painting from a narratological point of view, and in this regard, it faces the question of how to analyse the narratological painting of arjasb being killed in roeen castle by esfandiar? the research method of the present study is descriptive-analytical. in this research, the narratological analysis of the painting of arjasb being killed in roeen castle by esfandiar, has been investigated. therefore, firstly, the approach of narratology is examined and then the work is analysed based on the structure of this theory. in this research, the information has been collected in a library and organized in order to answer the research question. narratology is the study of the system governing narratives and revealing the internal relations and relationships governing the narrative. in the current study, the picture of arjasb being killed in roeen castle by esfandiar has been analysed. the mentioned painting includes the plot and characters such as arjasb, esfandiar and his sisters. arjasb kidnaps esfandiar’s sisters using trickery and captures them in his palace. in order to save his sisters, esfandiar disguises himself as a merchant and enters arjasb’s palace. after a fight with arjasb, esfandiar kills him and frees his sisters. distinguishing between the text and the outside of the text is one of the fundamental principles of the analysis of narratives. in this regard, it is necessary to pay attention to these things: considering the material that constitutes the narrative, paying attention to the internal organization of the text and not outside the text (that is, the relationship between the text and its context) and answering the question, how does the text work? when the distinction between inside and outside of the text is considered, another distinction can be considered between the levels of analysis inside the text. this classification consists of the world of the story, the act of narration and the objectification of the text. the world of the story refers to the content. this content includes time and place, story, fictional characters, etc. in the painting in question, the plot is esfandiar going to roeen castle, freeing his sisters and finally killing arjasb. the main characters depicted in this work are esfandiar, and his sisters. the place where the story takes place is roeen castle, where esfandiar went to free his sisters from arjasb. based on the existence of multidimensional space in persian painting, several different times are shown together in this work, which shows esfandiar’s entry into the palace to his battle with arjasb and killing him. as it is seen in persian painting, in this painting the subject is drawn from the top view angle and the painter has connected the outer and inner spaces with each other by using geometrical relationships and color. in this painting, relationships and geometric composition play a key role in unifying this work and influencing the audience. in fact, this feature can be seen in paintings with building elements, especially in the herat school. as mentioned earlier, the main subject is depicted on the upper and right side, and because the main subject of this work is the killing of arjasb by esfandiar, the painter uses oblique lines to direct the audience’s gaze to the main subject. with the use of diagonal lines that form the ruling lines of the painting, in addition to defining a suitable place for esfandiar’s two sisters in the work, the artist has given special importance to the main topic, the conflict between esfandiar and arjasb. it also shows the predominance of oblique composition due to the unstable position of arjasb. while the painter has tried to show esfandiar’s firm determination by using the vertical doors that appear frequently. in this work, the type of use of the crossbars above the head acts as an arrow and directs the viewer’s vision to the battle site. the chevron shape of each door (like the shape of a very elegant and innovative bridge) implicitly directs the viewer’s eyes towards the climax of the incident (the battle scene). each of the surfaces, while having complete purity and brevity, also carries its own appropriation of color and establishes a harmonious bond with each of the shapes placed next to and around it. the whole image is in balance with the subject and has mobility, and a unique combination of lines, patterns, colors and surfaces has been created in relation to an epic subject. the researches of vladimir propp and later algirdas julien greimas had important achievements for the analysis of narratives. in this regard, we can mention the activist pattern. in the activist pattern, six cases are mentioned: the sending or stimulating actor, the receiving or benefiting actor, the active actor, the valuable object actor, the inhibiting actor and the helping actor. in this painting, esfandiar is the active actor who takes action and goes to arjasb’s palace. since the actor can also include an abstract word, the freedom of the esfandiar’s sisters can be considered as a value object, which is the goal of the active actor. also, the esfandiar sisters themselves can be considered as receiving actors or beneficiaries who