خوانش نگارۀ «نجات یوسف از چاه» بر مبنای رویکرد بیش ­متنیت

مهم ترین محمل ها برای مطالعه نظریه ها و رویکردهای ادبی، داستان های دینی، اساطیری، حماسی و غنایی مصوّرشده در نگارگری است که همزمان از دو نظام تصویری و نوشتاری برخوردار است. پژوهش حاضر به مطالعه، تحلیل و بررسی نگاره نجات یوسف نبی از چاه از نسخه مصوّر هفت ارونگ ابراهیم میرزا و بیش متن های درون رشته ای با موضوع بر اساس رویکرد بیش متنیّت از پنج گانه های ترامتنیت می پردازد. هدف پژوهش حاضر، بررسی، کشف و تحلیل میزان تعاملات و ارتباط میان متن ادبی (شعر) و تصویر و نیز بررسی دقیق ویژگی های دیداری و برگرفتگی این متن‌ها است. بر این مبنا پرسش اصلی از این قرار است که ویژگی های دیداری و ساختاری و محتوای نگاره و سایر بیش متن ها چیست و چگونگی تاثیرپذیری نگارگر از متن شعر به چه صورت بوده‌است؟ خلاصه یافته‌ها نشان می دهد که نگارگر در تصویرپردازی نگاره به‌صورت ضمنی جهان بینی و نگرش صوفیانۀ جامی خالق پیش متن نگاره را بازتاب داده‌است. نگارگر و طراح ضمن بروز خلاقیت و نبوغ خویش در تصویرکردن روایت های گوناگون و صحنه پردازی در فضای خیالی و مثالی نگاره، تا جایی که امکان داشته بر مبنای شیوه قراردادی رایج در فرآیند طراحی و نقش پردازی به پیش متن های داستان وفادار مانده و در پی القای هماهنگی بین متن ادبی و اثر هنری کوشش بوده است. همچنین نگارگر و طراح، مضمون اصلی و کانونی یعنی نجات یوسف را نه در مرکزیت نگاره و قالی، بلکه در فضای پیرامون و در فضای پایین آثار قرار داده‌است. این پژوهش از گونه‌ کیفی و توسعه ای است. روش پژوهش توصیفی-تحلیلی و شیوۀ گردآوری داده ها به روش اسنادی انجام پذیرفته‌است.

the reading of picture saving yusef from the well” based on the approach of hypertextualite

the reading of picture saving yusef from the well” based on the approach of hypertextuality the most important materials for studying literary theories and approaches are religious, mythological, epic, and lyrical stories depicted in the painting, which simultaneously has two visual and written systems. also, knowing and investigating the types of intertextual relationships in works of art, especially paintings, requires the study of trans-textual types, especially the multi-textual approach, which has more affinity and relevance in analysing and decoding artistic text. this research studies nejat-e yusuf-e nabi az chah from the illustrated version of haft ourang-e ebrahim mirza with the approach of hyper-textuality which is one of the five kinds of trans-textuality. its purpose is to analyse the interaction and connection between the literary text (poetry) and the image, as well as to study the visual characteristics of these texts. the main question is what are the visual and structural characteristics and content of the painting and other hypertexts, and how was the artist influenced by the text of the poem? hypertextuality is one of the types of gérard genette’s theory of transtextuality, which examines the relationship between two texts, one of which is derived from the other. any relationship that causes a link between a text (b) and a pre-text (a), as long as this relationship is not of an interpretative type” (genette, 1982, 5). also, genette considers three main conditions for hypertextuality: textuality of the subject, having two or more texts, having a certain relationship between pre-text and hypertext (namvar motlagh, 2011, 141). the basis of this approach is based on adaptation and includes two types of identity (imitation) and transformation. in the first case, the change is not the goal, but in the second case, this change is necessary. in the identity, the goal is not to create change, and of course, the amount of change will not be significant either; because the goal is to highlight and be specific about the pre-text of the work. but in transformation, the conscious change is to emphasize hypertextuality, and conscious change is done with the intention of transformation (namvar motlagh, 2006, 10-11). this change includes increasing, decreasing, and displacement, which includes other elements. transformation and change of the hyper-textuality compared to the pre-text can be subjective, formal and thematic (hakim namvar motlagh, 2017, 18). hypertextuality is based on adaption, in other words, in hypertextuality, the effect of one text on another text is examined, not its presence. of course, there is an impact in every presence and there is presence in every impact, but in hypertextuality, a broader and deeper impact is considered (azar, 2015: 24). in hypertextuality identity or imitation, it is important to preserve the original version without any change or transformation. in this case, the artist or author tries to create his work by imitating and copying another work; however, no imitation can be imagined without partial transformation (kangarani, 2011, 320). the main pre-text in this research is the haft awrang by jami. maulana nur -ud-din abd-ur-rahman, known as jami and the last persian poet, is one of the most prominent mystics of iran in the timurid era (ninth century a.h.). among his important works are seven masnavis or haft awrang, written in imitation of nizami’s khamsa.