نوع مقاله : مقاله پژوهشی
نویسندگان
1 *نویسنده مسئول: استاد مدعو، گروه پژوهش هنر، موسسه غیرانتفاعی فردوس، دانشکده هنر، مشهد، ایران
2 کارشناسی ارشد پژوهش هنر، موسسه غیرانتفاعی فردوس، دانشکده هنر، مشهد، ایران
چکیده
کلیدواژه‌ها
عنوان مقاله [English]
نویسندگان [English]
After the compilation of the Shahnameh, for several centuries, this work lacked visual arrays, and based on the latest findings, the first illustrated version of the Shahnameh was produced during the Ilkhanate period. Then, this movement was noticed by art patrons and book-making workshops in different regions of Iran, such as Shahnameh Baisangri and Tehamasbi in two different periods (Timurian, Safavid) are among the prominent examples of this domain. Meanwhile, although the pretext (Ferdosi's poems) is the same in both versions, the final text (Nagare) has different aspects. In this regard, the painting "Rostam's battle with the white devil" in Baisangari and Tehamasbi's Shahnameh (related to the story of Khan Havtam Rostam) has been examined as a case study due to the changes in visual expression, and subsequently, the concept of transformation in the perspective of structuralism as a theoretical framework can transform transformations. reveal the existing Based on the descriptive-analytical method, with the aim of comparing the structural transformation of the two paintings and achieving the depth of the story, the present research wants to address the question of how the painters have depicted the story of Rostam's battle with the White Devil by relying on the concept of transformation. Data collection in the current research is done using the library method, qualitative analysis method, and using the structural approach based on the concept of transformation. The findings indicate that both texts undergo a structural transformation in comparison with the poems of the Shahnameh (prologue). In this matter, reasons such as being influenced by political, military, social and religious norms such as the ideological conditions governing the time, the personal beliefs of the kings as patrons (supporters) and the ruling schools of painting (Herat school in Baisangari Shahnameh and Tabriz school in Tehamasbi Shahnameh) have been effective Also, the personal style of the two illustrators in the emergence of form and content features has caused a different reception from the pre-text in the creation of the final text. This indicates a kind of structural transformation in external and internal factors, such as the change of the hateful character of the white demon into an oppressed and pitiable character, the substitution of Baisanqormirza for the character of Rostam, the removal of other demons mentioned in the story in the version of Baysanqari, and the removal of characters such as Kikavus and his companions in The picture has been copied.
کلیدواژه‌ها [English]
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