Abstract:
در این پژوهش با رویکرد بینامتنیت به تحلیل نگاره ها و اشعار دیوان انوری نسخه خطی 996ه.ق( مطالعه موردی کتاب جیبی اکبرشاه ) پرداخته شد.با لحاظ کردن پیکره مطالعاتی فرهنگ و هنر ایران و هند گورکانی و هم چنین دو نظام نشانه ای متفاوت متن کلامی و متن تصویر، بینامتنیت بینافرهنگی و بینانشانه ای تبیین شد و متناسب با پیکره مطالعاتی پژوهش حاضر بینامتنیت تعریف شد.برای مطالعۀ نمونه آماری که شامل سیزده نگاره این نسخه خطی انوری و اشعار مرتبط با نگاره ها می باشد در مرحله نخست به تحلیل شرایط زیرمتنی و پیرامتنی حکومت گورکانیان هند به ویژه دوران اکبرشاه پرداخته شد پس از تبیین متن کلامی ، متن تصویری بررسی شد و مولفه های مهم و موثر میان متن کلامی و متن تصویری آشکار شد
این پژوهش با رویکرد بینامتنی با هدف بررسی مؤلفه های مهم متن کلامی و متن تصویری و بازشناسی نگاره های این نسخه خطی صورت گرفته است.گردآوری داده ها با استفاده از کتب و مقالات و داده های اینترنتی بوده است.
در نتیجه با تحلیل بینامتنی تأثیر نگارگری ایرانی در ساختار زیبایی شناسی نگاره ها و تأثیر نقاشی شمال اروپا در دورنماسازی و رنگ گذاری و هم چنین تأثیر نقاشی هندی در نگاره های این نسخه خطی مزبور قابل بازشناسی بود. رابطه میان متن کلامی با متن تصویری براساس اشتقاق و برگرفتگی بود که بافتار اجتماعی در متن تصویر تأثیر بسیاری داشت.
Manuscripts like Akbar’s Divan of Anvari were intended for handling. This copy , upon leaving the imperial scriptoria, painting workshop, and bindery , must have been received in the firm but sensitive hand of the emperor, who would have shared it with his son prince Salim and other members of the imperial household. As part of the great Mughal library, it was enjoyed for hundred of years. The copy of the Divan in the fogg Art museum, written in Lahore by a scribe whose name is unfortunately erased, comprises 345 folios. It measure only 51/2 by 27/8 inches, the text area, surrounded by thin gold and black lines. Each page contains fifteen line of poetry . The execution of the manuscript, fine as its calligraphy is, strangely incoherent: the material for all the textual areas is very fine marbleized paper; but also of colored, gold –flecked paper, which seems to have been pasted over the brittle original pages. The Artists of the manuscript chose to illustrate mainly the second part of the Divan; only rarely do the qasidas offer images that lend themselves to pictures. In almost every case, it is the beginning of a qasida or the contents of qita that inspired painting , but it was certainly easier for the painters to illustrate the short stories and jokes contained in the second part of the Divan, even though the artists often reset a rustic scene in a courtly milieu. For studying, intertextuality approach was taken in analysis of miniatures and poems of Anvari's Divan (case study on pocket book of Akbar shah) manuscripts 996 A.H. By considering Iran's cultural and art studies as well as Mughal and also two different system of verbal and visual texts, intercultural intertextuality and intersemiotic translation was explained. for studying the statistical sample which consists 13 miniatures of this Anvari’s manuscript and their related lyrics. In the early stage, analysis of subtexts and paratext conditions of Mughal government, especially the time of Akbar shah was the main focus. After explanation of verbal text, visual text was studied and important and effective components between verbal text and visual text were revealed. The aim of this study, with intertextual approach, was to examine important components of verbal and visual text and to find the miniatures of this manuscript. The Data has been collected via journal articles and books by using internet. As a result, by intertextual analysis, the influence of Persian miniatures on the aesthetics of miniatures, the northern Europe painting on building prospect and coloring, and also the Indian painting on the miniatures of this manuscript were recognizable. The relationship between verbal and visual text was based on...and….That the social context has a great impact on visual text.