مقام عرفانی آینگی در نگاره بهزاد (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
نقل حکایت «مناظره نقاشان رومی و چینی» توسط مشاهیر عرفان و حکمت، حاکی از ارزش فراادبی آن است. بهزاد که به مصورسازی این حکایت همت گماشته، از قواعد نشانه شناختی برای تمامیت نمایش رموز حکایت عرفانی بهره گرفته و هدف این پژوهش، کشف سویه های عرفانی نگاره براساس مبانی نمادشناسی و همسو با عرفان ابن عربی است. به عبارتی مسئله محوری تحقیق که با روش تحلیل زمینه ای انجام شد، بدین قرار است که نمادشناسی عناصر بصری نگاره همراستا با مبانی عرفان ابن عربی به چه نحو خواهد بود؟ مضمون اصلی این نگاره، مقام آینگی یا اشراق هنرمند با الهامات ربّانی است که با نقوش یکسان دو طاق نشان داده شده و با تشعیر یک بیت از نظامی و نگاه خیره و متعجب پادشاه و اطرافیان به سمت این دو طاق یکسان، مؤکد شده است. نقاش رومی، نماینده جبرئیل، مصوّر صور ملکوتی و نقاش چینی، نماینده هنرمند در مقام آینگی صور ملکوتی است. ملکوت با تصویر درختان سدر و هوای مطبوع با نمایش یک تکه ابر در فضای صورتی و آرامش بدون ازدحام با ترسیم دو پیکره نمایش داده شده است. ترسیم پیکره زن و مردی جوان روبروی یکدیگر برای تجسم عشق و جوانی در بهشت و انتخاب رنگهای شادِ صورتی، زرد و نارنجی برای ترسیم لذت و سرور و بکارگیری رنگ لاجوردی لباسها، نماد معرفتی است که با کتاب در دست مرد تکمیل شده است. حیات معنوی در طراوت درختان و هماهنگی اجزاء در ترکیب مثلثی آن و مفهوم بازگشت انسانِ رستگار به جایگاه اولی در حرکت دایره وار پرندگان رمزگذاری شده است.Mystical Maqam Ayenegi in Behzad's painting
The narration of the allegorical story "Roman and Chinese Painters' Debate" by famous mystics and wisdom such as Ibn Arabi, Ghazali, Nizami, and Molavi shows its meta-literary value.
In this story, to find out whether Chinese or Roman painting is better, a competition was designed so that Chinese and Roman painters each draw wall paintings on one of the two arches so that they can be compared, and there is a curtain between them. so that they do not copy each other. Both groups finished the work in a short time and pulled the curtain aside. The two murals were the same in pattern and color, and the king in the middle of these two groups carefully looked at them and did not recognize them from each other. Therefore, he threw a curtain between the two paintings. Since the Chinese had only polished and mirrored the wall, when the curtain was blocked, their patterns disappeared and the truth was revealed that the carvings were the work of the Romans. The main message of the story of the debate in the military story is the acceptance debate. The characteristic of the mirror is passivity and acceptance of images and motifs without the will or intention to interfere. The Chinese patterns reflected more and more beautifully on the polished surface of the opposite arch. In this story, the Chinese painter represents an artist whose art is a reflection and mirror of heavenly motifs and fixed and true meanings, and the Roman painter represents the angels, the painter of heaven and kingdom images. This means that if a person implements the qualities of angels and angels, he will become more beautiful than them and will find a higher position.
The best work of art is a creation in which the imagination of the artist; becomes a mirror of the inspiration of God and angels. In this case, the imagination of the artist; is like a mirror in which the motifs of Eden are reflected. according to Ibn Arabi, being a mirror of Eden requires effort so that the mind could be cleansed of satanic obsessions and carnal interpretations. In this case, the concept of time and place can get represented in art in its eternal form, and the elements of art become symbols and symbols of images of Eden and supreme truths
Kamal-al din Behzad (1455/60 – 1535) who illustrated this story, used visual elements and semiotic rules of painting to offer a perfect presentation and illustration of its content. He showed the position of being a mirror of divine inspirations (ayenegi) in two arches with the same motifs. By writing a verse of Nizami and drawing the king and his retinue in a state of surprise, staring at these two similar arcs, he has emphasized the main meaning.
In this story, the Chinese painter stands for an artist whose art is a reflection and mirror of the motifs of Eden, and the Roman painter stands for the divine angels, the painters of Eden. The garden in Behzad's painting is a symbol of heaven (Eden).
In this picture, pleasant weather and a bright room without heat and warmth are depicted with a bit of cloud in the pink room. A calm atmosphere, far from crowds and worldly noise, is illustrated by two figures in the garden. Love and marriage are represented by a man and a woman facing each other. Youth and happiness in the Garden of Eden are represented by two young figures in yellow and orange clothing. The meaning of pleasure in connection with divine knowledge is illustrated by the image of a book in the man's hand. In this image, the trees are represented in a triangular shape, a simile is a sign of indivisible unity; that is, in this space, plurality is linked to the unity and harmony of the parts. The spiritual life in the freshness of the cedar trees and the concept of returning to the former paradise in the circular movement of the birds are encoded.
Other components of this painting, including poetry, have been arranged in order to emphasize the content of the painting. The king's surprise is depicted with the symbol of a finger over the mouth. The continuation of the gaze of the king and his entourage, who are standing on both sides of him with closed hands in a respectful posture, directs the attention of the audience to the main center and the center of gravity of the picture, i.e. two similar arches.
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