خلاصة:
درختان در نگارگری ایرانی، به عنوان اصلیترین عنصر طبیعت، در اغلب نگارهها وجود دارند. درختان گره خورده کهنسال از عناصر تصویری شاخص در نگارههای مکتب مشهد است که نمونه بارز آن در هفت اورنگ جامی وجود دارد. در آخرین نگاره این مجموعه به نام (خون دماغ شدن اسکندر و آسائیدن او) درخت تنومند کهنسالی وجود دارد که شاخههای آن در حال سوختن است. برای کشف مفاهیم وجود این درخت، در این پژوهش از علم نشانه شناسی استفاده شده است. حال سوال اصلی این است که نقشمایه درخت کهنسال در نگاره مورد نظر، بر چه مفاهیم ضمنی، خارج از وجه ارجاعی خود دلالت دارد؟ در این پژوهش سعی بر آن است که با علم نشانه شناسی، برگرفته از نظریات کرس، ون لیوون و شعیری در راستای تحلیل متن و تصویر به مفاهیم ضمنی درخت کهنسال در نگاره مذکور دست یافت. روش تحقیق، توصیفی، تحلیلی و نشانه شناسی دیداری است. شیوه گردآوری اطلاعات، کتابخانهای است. براساس مطالعات نشانه شناسی نتایج حاصله نشان میدهد که وجود درخت در این نگاره تنها یک نشانه تصویری برای نشادن دادن طبیعت نیست و جنبهای کاملا نمادین دارد که میتواند نمادی از اسکندر و ابراهیم میرزا (برادرزاده شاه طهماسب) حامی و پشتیبان خلق هفت اورنگ جامی باشد.
Semiotics Study in Motif of the Old Tree in the Painting of Alexander's nose Blood and his relief from Haft -Orang ManuscriptPersian painting has always portrayed imaginary world nature. In fact, they have used imagination to paint nature in their paintings and trees are the most common element of nature in most images.the existence of old gnarled trees is one of the main features of the Mashhad schools, its prominent example is visible in Haft Awrang Jami. The Haft Awrang Jami version is the school's most important achievement and It is among the latest masterpieces of Iranian royal painting. In seventeen of the twenty-eight pictures, we see of old trees. The last image of this collection is the Alexander's nose and his relief, which illustrate the story of Alexander's death.There is a huge, old tree whose branches are burning.to explore concepts and meanings of this tree, is used of the semiotics science in the process of this research.Bearing in mind that Iranian painting has a deep connection with literature and in the Haft Awrang Jami version, the relationship between the Jamaican characters and the fictional literature is hair-to-hair and in detail and the narrative images are clearly interpretations of the literal expression of the text in question, in fact derived from the mystical and ethical themes of Jami's poetry. So there must be a special connection between this character tree and the storyteller.the main question now is that the old tree's motif in the desired image What symbolic implications outside of its referential way implies?in this study, it is triedwith the semiotics sciencederived from the theory of Kress& Van Leeuwenin his book with the nameReading Images&HammidrezashaeeriIn a book entitledSymbol of Visual Semanticswere aware of it.this research in terms of purpose is fundamental research, the method of research is Visual Semantics&in the number of qualitative research.in the way of gathering information, library resources are used.on the basis of the semiotics studies, the results show that the existence of a tree in this image is not just a visual cue to illustrate the nature & it has a completely symbolic aspect.By analyzing the semiotics in the structure of this picture and examining factors such as narrative processes, symbolic processes, and compositions, it can be concluded that the high tree is a sign created in a structure with the intention of representing the narrative. The tree symbol, with its symbolic features, has become a symbol in the image. A symbol of the power, ambition, life, sickness, and human immortality that made these qualities come alive. The tree that once was the source of blessings is being destroyed by social events. Sheikh Mohammed, influenced by these events and the turmoil that dominates society, and according to the storyteller who speaks of a tree that is originally a symbol of Alexander and is being destroyed by Alexander's death, it may have depicted Ibrahim Mirza in Alexander the Great, and Alexander's troops and mourners could be a metaphor for the people and artists who found themselves in disarray after the overthrow of Ibrahim Mirza.