چکیده:
ﺣﻜﻮﻣﺖ ﺳﻠﺠﻮﻗﻴﺎن ﺑﺎ ﮔﺴﺘﺮش ﻗﻠﻤﺮو ﺳﺮزﻣﻴﻦ اﻳﺮان و ﺗﻜﺎﻣﻞ ﺷﻌﺮ و ﻫﻨﺮ ﻳﻜـﻲ ازدرﺧﺸﺎنﺗﺮﻳﻦ ادوار ﺗﺎرﻳﺦ ﻫﻨﺮ، ﻓﺮﻫﻨﮓ و ﺗﻤﺪن اﻳﺮان اﺳـﺖ. در ﻋـﺼﺮ ﺷـﻜﻮﻓﺎﻳﻲﺳﻠﺠﻮﻗﻴﺎن، ﺗﺎﺛﻴﺮ روﻳﻜﺮد زﻳﺒﺎﻳﻲﺷﻨﺎﺳﻲ اﻳﺮاﻧﻲ ـ اﺳﻼﻣﻲ ﻧﻪ ﺗﻨﻬﺎ ﺑﺮ ﻫﻨـﺮ ﺳـﻠﺠﻮﻗﻲﺑﻠﻜﻪ در ﺗﻤﺪن اﺳﻼﻣﻲ ﺷﺎﻛﻠﻪای از ﺳﻨﺖﻫﺎی ﺗﺼﻮﻳﺮی و ﻣﻔﻬﻮﻣﻲ را ﻓﺮاﻫﻢ آورد ﻛﻪﺑﺴﻴﺎری از آﺛﺎر ﺑﺮﺟﺴﺘﻪی ﻫﻨﺮی، ﺣﺘﻲ در دورهﻫـﺎی ﺑﻌـﺪ، ﺗﺤـﺖ ﺗـﺎﺛﻴﺮ آن ﻗـﺮارﮔﺮﻓﺘﻨﺪ. در آﻏﺎز ﻇﻬﻮر اﺳﻼم، ﻫﻨﺮ ﻧﮕﺎرﮔﺮی اﻳﺮان ﺑﻪ دﻟﻴﻞ ﻣﻤﺎﻧﻌﺖﻫـﺎی ﺗـﺼﻮﻳﺮیﻣﻮﺟﻮد ﺑﻪ ﺳﻤﺖ ﻧﻘﻮش اﻧﺘﺰاﻋﻲ، ﻫﻨﺪﺳﻲ و ﮔﻴﺎﻫﻲ ﻣﺘﻤﺎﻳﻞ ﮔﺸﺖ. ﺑﺮرﺳﻲ و ﺗﺤﻘﻴـﻖﻧﮕﺎرهﻫﺎی ﻣﻮﺟﻮد در آﺛﺎر ﺳﻔﺎﻟﻲ و ﻓﻠﺰی دورهی ﺳﻠﺠﻮﻗﻴﺎن ﺣﻜﺎﻳﺖ از آن دارد ﻛﻪﺑﻪرﻏﻢ ﻣﻤﻨﻮﻋﻴﺖﻫﺎی ﺗﺼﻮﻳﺮی ﺣﺎﻛﻢ در آن زﻣﺎن ﺑﻪ ﺷﻴﻮهای ﻇﻬﻮر ﻛـﺮد، ﻛـﻪ ﺑـﺎز ﺗﻮﻟﻴﺪ ﺳﻨﺖ ﻧﮕﺎرﮔﺮی ﻣﺎﻧﻮی ﻣﺤﺴﻮب ﻣﻲﺷﻮد.ﭼﻬﺮهﻧﮕﺎریﻫﺎی ﺳﻠﺠﻮﻗﻴﺎن ﺗﺤﺖ ﺗﺎﺛﻴﺮﻛﺪام ﻓﺮﻫﻨﮓ ﺑـﺼﺮی ﺑـﻮده اﺳـﺖ؟ ﻳـﺎاﻟﮕﻮی ﻫﻨﺮی ﭼﮕﻮﻧﻪ ﺑﺮ آن ﺳﺎﻳﻪ اﻓﻜﻨﺪه؟ ﭘﮋوﻫﺶ ﺣﺎﺿـﺮ ﺑـﻪ ﺑﺮرﺳـﻲ ﺗﻄﺒﻴﻘـﻲ62ﻧﻤﻮﻧﻪ از آﺛـﺎر ﺑﺮﺟـﺎی ﻣﺎﻧـﺪه از دو دورهی ﻫﻨـﺮی اﻳـﺮان؛ ﻣﺎﻧﻮﻳـﺎن و ﺳـﻠﺠﻮﻗﻴﺎنﻣﻲﭘﺮدازد و ﺑﻪ دﻧﺒﺎل اﺛﺒﺎت اﻳﻦ ﻓﺮﺿﻴﻪ اﺳﺖ ﻛـﻪ ﺷـﻴﻮهﻫـﺎی ﺻـﻮری و اﻟﮕﻮﻫـﺎیﭼﻬﺮهﻧﮕﺎری در ﻧﮕﺎرهﻫﺎی ﻣﺎﻧﻮﻳﺎن، ﻣﺠﺪدا در ﻧﮕﺎرهﻫﺎ و آﺛـﺎر ﻫﻨـﺮی ﺳـﻠﺠﻮﻗﻴﺎنﻧﻤﻮد ﭘﻴﺪا ﻛﺮده اﺳـﺖ. در اﻳـﻦ ﻣﻘﺎﻟـﻪ، ﻣﻄﺎﻟـﺐ ﺑـﻪ ﻃﺮﻳـﻖ اﺳـﻨﺎدی و ﻛﺘﺎﺑﺨﺎﻧـﻪایﮔﺮدآوری و ﺑﺎ روش ﺗﺤﻠﻴﻠﻲ و ﺗﻮﺻﻴﻔﻲ ـ ﺗﺎرﻳﺨﻲ ﺑﺮرﺳـﻲ ﺷـﺪه اﺳـﺖ. ﺷـﻨﺎﺧﺖاﺷﺘﺮاﻛﺎت ﻣﻮﺟﻮد ﻣﻴﺎن ﻫﻨﺮ ﻧﮕﺎرﮔﺮی ﺑﻪ وﻳﮋه ﭼﻬﺮه ﻧﮕﺎری ﻣﺎﻧﻮﻳﺎن و ﺳﻠﺠﻮﻗﻴﺎن از اﻫﺪاف اﻳﻦ ﭘﮋوﻫﺶ اﺳﺖ.
Seljuk government extended the realm of Iran and played an influential role in the evolution of poetry and art، thus the era of this dynasty turned to one the most glorious periods of Art، Culture and Civilization in Iran history.
During the Seljuk era of prosperity، the impact of Iranian - Islamic aesthetic approach، not only became apparent on Seljukid art، but also created a configuration of visual and conceptual traditions in Islamic civilization، which has influenced many of outstanding works of art on that period and also during later periods.
With the advent of Islam، due to the prohibitions، the painting art of Iran moved toward abstract، geometric and plant motifs.
Studying on the existing images on the metal and pottery works of seljuk era، suggests that there was a manner in drawing، despite the ban on the images in that period، which was a reproduced Manichaean tradition of painting.
Seljukid Portrait Drawing was under which one of visual cultures? Or how the art pattern influenced it?
During this research by applying a comparative study، 26 samples of works remained from two Iranian art period، Manichean and Seljukid has been studied. This research is trying to prove that the visual practices and portrait drawing patterns in Manichean paintings has been emerged again in paintings and artworks of Seljuks.
In this paper the material has been collected by the Library and Archives and has been studied by analytical، descriptive and historical method. To understand the commonalities between painting art، especially portraits drawing of Manichean and Seljukid is one the main gaols of this research
خلاصه ماشینی:
در اﻳﻦ ﭘﮋوﻫﺶ ﺑﻨﺎ ﺑﺮ ﺷﻮاﻫﺪ ﻣﻮﺟﻮد، ﺑﺮای ﻧﺨﺴﺘﻴﻦ ﺑﺎر اﺳﺘﻨﺒﺎط ﻣﻲﺷـﻮد ﻛـﻪ ﺑـﻪرﻏـﻢ ﮔﺴﺘﺮهی زﻣﺎﻧﻲ ﺑﻴﻦ دو دورهی ﻫﻨﺮی درﺧﺸﺎن اﻳﺮان )ﻣﺎﻧﻮﻳﺎن ـ ﺳﻠﺠﻮﻗﻴﺎن(، ﻫﻨﺮ ﻣﺎﻧﻮی در ﺷﻜﻞﮔﻴﺮی ﻧﮕﺎرهﻫﺎی ﺳﻠﺠﻮﻗﻲ ﻧﻘﺶ ﻣﻬﻤﻲ را داﺷﺘﻪ اﺳﺖ.
وﻳﮋﮔﻲﻫﺎ ﻋﺒﺎرﺗﻨﺪ از: ـ زﻣﻴﻨﻪ ﺑﺎ ﻟﻌﺎب ﺗﻚ رﻧﮓ ـ ﻗﻮش ﮔﻴﺎﻫﻲ ﺣﻠﻘﻮی زر اﻧﺪود و رﻧﮕﻲ ـ ﺳﻄﻮح رﻧﮕﻲ ﺗﺨﺖ ﺑﺎ دور ﮔﻴﺮی ﺧﻄﻲ ـ ﻧﻘﻮش ﮔﻴﺎﻫﻲ اﺿﺎﻓﻪ ﺷﺪه ﺑﻪ ﺳﻄﻮح رﻧﮕﻲ ﺗﺨﺖ ﭼﻬﺮهﻧﮕﺎری ﺳﻠﺠﻮﻗﻲ؛ ﺗﺪاوم ﻓﺮﻫﻨﮓ ﺑﺼﺮی ﻣﺎﻧﻮی 59 ﭘﻴﻜﺮهﻫﺎی ﺳﺎروﺟﻲ ﺗﺼﻮﻳﺮ )32( ﭘﻴﻜﺮه ﻣﺎدر و ﺑﭽﻪ ﺳﺎﺧﺘﻪ ﺷﺪه از ﺳﺎروج و ﻧﻤﻮﻧﻪ ﻛﺎﻣﻠﻲ از ﻫﻨﺮ ﺳﻠﺠﻮﻗﻲ اﺳﺖ.
ﻧﻘﺎش ﺳﻠﺠﻮﻗﻲ ﺑﺎ ﺗﻜﻴﻪ ﺑﺮ دﻳﺪﮔﺎه ﻓﻠﺴﻔﻲ ﭘﻴﺸﻴﻨﻴﺎن ﺧﻮﻳﺶ، ﻫـﺮ ﺟـﺎ ﻛـﻪ 69 ﻣﻄﺎﻟﻌﺎت ﺗﺎرﻳﺦ ﻓﺮﻫﻨﮕﻲ، ﺷﻤﺎره 31 ﻃﺒﻴﻌﺖ و اﺷﻴﺎ را ﺑﻪ ﺗﺼﻮﻳﺮ ﻛﺸﻴﺪه، ﻣﻬﺮ زﻳﺒـﺎﻳﻲ ﺷﻨﺎﺳـﻲ اﻳﺮاﻧـﻲ را ﺑـﺮ آن ﺣـﻚ ﻧﻤـﻮده و ﻛﻮﺷﻴﺪه اﺳﺖ ﻛﻪ از ﻗﻴﺪ زﻣﺎن و ﻣﻜﺎن آزاد ﺑﺎﺷﺪ.
org (accessed 89 ﻣﻄﺎﻟﻌﺎت ﺗﺎرﻳﺦ ﻓﺮﻫﻨﮕﻲ، ﺷﻤﺎره 31 ﺟﺪول 1ـ ﻧﻤﻮﻧﻪﻫﺎﻳﻲ از ﺳﻨﺖﻫﺎی اﻳﺮاﻧﻲ در ﭼﻬﺮهﻧﮕﺎری ﻣﺎﻧﻮی ﺗﺼﻮﻳﺮ )1( ﺑﻴﺮﻗﻲ اﺑﺮﻳﺸﻤﻲ از ﻳﻚ اﻳﺰد ﺑﺎﻧﻮی ﻧﺠﺎت ﺑﺨﺶ ﻗﺮن 8م.
ﭼﻬﺮهﻧﮕﺎری ﺳﻠﺠﻮﻗﻲ؛ ﺗﺪاوم ﻓﺮﻫﻨﮓ ﺑﺼﺮی ﻣﺎﻧﻮی 101 ﺗﺼﻮﻳﺮ )8( ﺳﺮ ﻧﮕﺎره ﻛﺘﺎب اﻟﺘﺮﻳﺎق: ﺻـﺤﻨﻪﻫـﺎی درﺑـﺎر ﻣﺤـﺘﻤﻼ ﻣﻮﺻﻞ ﻣﻴﺎﻧﻪ ﺳﺪه 7 ﻫﺠﺮی ﻗﻤﺮی )ﻧﮕﺎﻫﻲ ﺑﻪ ﻫﻨـﺮ ﻧﻘﺎﺷـﻲ اﻳـﺮان، ص76( در اﻳﻦ ﻧﮕﺎره، ﺳﻪ ﺻﺤﻨﻪ ﻣﺠﺰا وﺟﻮد دارد.
ﺗﺼﻮﻳﺮ )8( ﺳﺮ ﻧﮕﺎره ﻛﺘﺎب اﻟﺘﺮﻳـﺎق: ﺻـﺤﻨﻪﻫـﺎی درﺑـﺎر ﻣﺤـﺘﻤﻼ ﻣﻮﺻﻞ ﻣﻴﺎﻧﻪ ﺳﺪه 7 ﻫﺠﺮی ﻗﻤﺮی )ﻧﮕﺎﻫﻲ ﺑـﻪ ﻫﻨـﺮ ﻧﻘﺎﺷـﻲ اﻳـﺮان، ص76( در اﻳﻦ ﻧﮕﺎره، ﺳﻪ ﺻﺤﻨﻪ ﻣﺠﺰا وﺟﻮد دارد.