ریخت شناسی تحلیلی دیو در آثار محمد سیاه قلم (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
دیو یکی از نقش های پربسامد در نقاشی های ایرانی است که طی سده های متمادی به عنوان موجودی اهریمنی و زیانکار تصویرسازی شده است. در این میان، توجه محمد سیاه قلم، هنرمند عجیب نگار سده هشتم مکتب هرات، به این موجودات و تصویرسازی آن ها با ویژگی های ظاهری متنوع، قابل تأمّل و نیازمند بررسی بیشتر است. هدف این پژوهش، مطالعه خصوصیات ظاهری دیوهای محمد سیاه قلم و شناخت ویژگی های بصری این دیوان است. سؤال پژوهش هم معطوف به چیستی این ویژگی های بصری است. روش پژوهش پیش رو، کیفی و از نوع توصیفی-تحلیلی است و شیوه جمع آوری اطلاعات، به روش کتابخانه ای و با ابزارهایی همچون فیش برداری، تصویرخوانی، جداول و آمار انجام گرفته است. نمونه گیری پژوهش، به صورت هدفمند بوده و شامل تمامی نگاره های دیو محمد سیاه قلم است که از موزه های توپقاپی استانبول، گالری هنر فریر و موزه متروپولیتن نیویورک جمع آوری شد و درنهایت، داده های به دست آمده، به روش استقرایی تجزیه وتحلیل شده اند. نتیجه گیری کلی از تحلیل ویژگی های بصری دیوهای سیاه قلم در شش بخش شامل «ویژگی ظاهری کلی، سر و چهره، دُم، پوشش، زیورآلات و متعلقات» اذعان داشت که هر یک از دیوها در قیاس با دیگری به لحاظ ویژگی های ظاهری، تزئینی و متعلقات کاملاً منحصربه فرد بوده و تشابهی با دیگر همسانان خود ندارد و از هویتی مستقل برخوردار است. او در ترسیم بصری دیوها با اعمال برابر ویژگی های انسانی و حیوانی در حالات مختلف، سعی در بازنمود چهره دوگانه نیمه انسانی و نیمه حیوانی مطابق با سنت بصری دیو در نگارگری دارد؛ اما در بخش اندام، غلبه با وجه انسان گونگی است حال آنکه در بخش های سر و چهره (گوش، چشم، مو، دماغ) و نیز شاخ و دم، حیوان گونگی غالب است. علاوه بر آن، وی در نمایاندن ویژگی های انسانی، جز اندام و چهره از عناصر «پوشش، زیورآلات و متعلقات» انسانی نیز بهره گرفته است.Analytical Morphology of Div in the Works of Muhammad Siyah Qalam
With regard to the problem statement in this research, it is observed that demons are among the most frequent patterns in Iranian paintings and have been illustrated as evil and malicious creatures for several centuries. According to Zoroastrian myths, before Zoroaster, demons were referred to a group of Aryan gods walking on the earth in human forms; however, after becoming a prophet, Zoroaster expelled them from the earth, and they had to escape to the underground and to continue their lives in secrecy. Meanwhile, demons were called devils and misleaders. In this connection, focus by Muhammad Siyah Qalam on these creatures and their illustration, as characterized by their diverse appearances, warrants further investigation. Muhammad Siyah Qalam was a famous Iranian illustrator back in the 15 th century who inspired many other artists due to his specific styles. As stated in this study, he is actually Muhammad bin Mahmoud Shah Khayyam, also known as Ghiyas ul-Din Muhammad, the painter, who was dispatched by the Shahrokh’s court to China on a political mission and was tasked with recording his experiences during the trip. In his works, he has used a mythological creature, i.e. a demon, and depicted it in various states and human conducts, including in labor, conversations, conflicts and music. Various theories have discussed the nature of these paintings and the origin of these demons, with some theories considering demons to be symbols of demonic power and some idolatrous religions. Yet, some other theories have regarded them as shamans with guises and masks imitating demons, as some of them are recognized as narrative rites. From another perspective, these shamans are attributed to some Turkish parts of Central Asia and relevant regional cultures. These demons are also considered to be religious and social concepts used by Ghiyas ul-Din as loan translation from temple images; in the meantime, he has illustrated human images in social concepts to criticize the behavior of his social era using an imagery-oriented approach. In sum, demons illustrated by Siyah Qalam have attracted the attention of researchers and inspired other artists of the century in illustrating the apparent and visual characteristics of these demons. The key point here is the pictorial diversity of these demons, distinguished by their noticeable visual characteristics, which has made these images worthy of greater consideration, as morphological approaches are needed to achieve their visual details. Using morphology in studying works of art helps better understand visual characteristics and interrelationships between different components. The objectives of this study were to study the apparent characteristics of demons depicted by Muhammad Siyah Qalam and to understand their visual characteristics. The study also aimed to respond to the question : “What are the visual characteristics of these demons using a morphological approach?” This qualitative study fell under descriptive-analytical methods . Sampling was purposive and included all 28 demon illustrations by Siyah Qalam collected from the Topkapi Museum of Istanbul, Freer Art Gallery and New York’s Metropolitan Museum. Data were collected from library sources, note-taking and image-reading tools, as well as obtained tables and figures. Data were obtained using the inductive method. According to the authors’ findings, no independent study has ever undertaken the morphological sphere of Siyah Qalam’s demons. Therefore, the key necessity of this study was the provision of new results and the study significance was the provision of novel insights into the paintings of the demons. Generally, it was concluded that the visual characteristics of the Siyah Qalam’s demons fell under six categories of “general appearance characteristics, heads and faces, tails, coverings, ornaments and belongings”. Each category has its own sub-categories and each of the demons was unique compared to others in terms of characteristics of appearance, ornament and belongings, as they bear no resemblance to their counterparts and are independently unique. Siyah Qalam has employed praiseworthy precision in illustrating demons both individually and in combination with others using unique details. In depicting demons’ visual characteristics by employing equal human and animal details of various states, Siyah Qalam has sought to represent a dual half-man and half-human face in accordance with the visual tradition of demons in painting; in limb sections, however, human-like forms dominate. In the head and face sections (ears, eyes, hairs and noses) and tails and horns, animal-like forms dominate. Meanwhile, demons’ tails exhibit more diversity compared to other parts. In representing other human characteristics, the painter has also employed other human elements of “coverings, ornaments, and belongings”, in addition to organs and faces.
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