چکیده:
ﺷﺎﻫﻨﺎﻣﻪ ﻃﻬﻤﺎﺳﺒﻲ ﺑﻴﻦ ﺳﺎﻝ ﻫﺎﻱ ٠٣٩ ﺗﺎ ٤٤٩ﻩ.ﻕ/٥٣٥١ﻡ ﺩﺭ ﮐﺎﺭﮔﺎﻩ ﻫﺎﻱ ﻫﻨﺮﻱ ﺳﻠﻄﻨﺘﻲ ﺻﻔﻮﻳﺎﻥ ﺩﺭ ﺗﺒﺮﻳﺰ ﺍﺳﺘﻨﺴﺎﺥ ﺷﺪ ﻭ ﻳﮑﻲ ﺍﺯ ﻫﺪﺍﻳﺎﻱ ﺑﺎ ﺍﺭﺯﺵ ﻓﺮﻫﻨﮕﻲ ﺍﺳﺖ ﮐﻪ ﺍﺯ ﻃﺮﻑ ﺩﺭﺑﺎﺭﻫﺎﻱ ﺍﻳﺮﺍﻥ ﺑﻪ ﺩﺭﺑﺎﺭ ﻋﺜﻤﺎﻧﻲ ﺍﺭﺳﺎﻝ ﺷﺪﻩ ﺍﺳﺖ. ﺍﻳﻦ ﺍﺛﺮ ﺑﻪ ﺳﺎﻝ ٤٧٩ﻩ.ﻕ/٦٦٥١ﻡ ﺑﻪ ﻣﻨﺎﺳﺒﺖ ﺟﻠﻮﺱ ﺳﻠﻄﺎﻥ ﺳﻠﻴﻢ ﺩﻭﻡ ﺍﺯ ﻃﺮﻑ ﺷﺎﻩ ﻃﻬﻤﺎﺳﺐ ﺻﻔﻮﻱ ﺑﻪ ﺩﺭﺑﺎﺭ ﻋﺜﻤﺎﻧﻲ ﺍﻫﺪﺍﺀ ﮔﺮﺩﻳﺪ ﻭ ﺑﻴﺶ ﺍﺯ ﺳﻪ ﻗﺮﻥ ﺩﺭ ﺩﺳﺘﺮﺱ ﻫﻨﺮﻣﻨﺪﺍﻥ ﻋﺜﻤﺎﻧﻲ ﺑﻮﺩ. ﻫﺪﻑ ﺗﺤﻘﻴﻖ ﺣﺎﺿﺮ ﺍﻳﻦ ﺍﺳﺖ ﮐﻪ ﻣﻌﻴﺎﺭﻫﺎﻱ ﻣﺸﺨﺼﻲ ﺑﺮﺍﻱ ﺗﻄﺒﻴﻖ ﻧﮕﺎﺭﻩ ﻫﺎ ﺍﺯﻧﻈﺮ ﺍﻳﺮﺍﻧﻲ ﻳﺎ ﻋﺜﻤﺎﻧﻲ ﺑﻮﺩﻥ ﺁﻥ ﻫﺎ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﻣﺤﻘﻘﺎﻥ ﻗﺮﺍﺭ ﺩﻫﺪ. ﺑﺮﺭﺳﻲ ﺳﻨﺖ ﺷﺎﻫﻨﺎﻣﻪ ﻧﮕﺎﺭﻱ ﺩﺭ ﻓﺮﻫﻨﮓ ﻋﺜﻤﺎﻧﻲ ﻧﺸﺎﻥ ﻣﻲ ﺩﻫﺪ ﮐﻪ ﻧﻘﺎﺷﺎﻥ ﻋﺜﻤﺎﻧﻲ ﺩﺭ ﻃﻮﻝ ﺍﻳﻦ ﺍﻳﺎﻡ ﺍﺯ ﺻﻮﺭ ﺧﻴﺎﻝ ﺍﻧﮕﻴﺰ ﺍﻳﻦ ﺷﺎﻫﮑﺎﺭ ﻣﮑﺘﺐ ﺗﺒﺮﻳﺰ ﺑﻬﺮﻩ ﮔﺮﻓﺘﻪ ﺍﻧﺪ.ﺩﺭ ﻣﻘﺎﻟﻪ ﺣﺎﺿﺮ ﺑﻪ ﺷﻴﻮﻩ ﺗﺎﺭﻳﺨﻲ- ﺗﻄﺒﻴﻘﻲ، ﻧﮕﺎﺭﻩ ﻫﺎﻱ ﺷﺎﻫﻨﺎﻣﻪ ﻃﻬﻤﺎﺳﺒﻲ ﺑﺎ ﻧﮕﺎﺭﻩ ﻫﺎﻱ ﭼﻬﺎﺭ ﺷﺎﻫﻨﺎﻣﺔ ﻋﺜﻤﺎﻧﻲ ﻣﻮﺭﺩ ﺗﻄﺒﻴﻖ ﮐﻤﻲ ﻭ ﮐﻴﻔﻲ ﻗﺮﺍﺭﮔﺮﻓﺘﻪ ﺍﻧﺪ. ﻧﺘﺎﻳﺞ ﺣﺎﺻﻠﻪ ﻧﺸﺎﻥ ﻣﻲ ﺩﻫﺪ ﮐﻪ ﺑﻴﺸﺘﺮﻳﻦ ﺗﺄﺛﻴﺮﺍﺕ ﺩﺭ ﺣﻮﺯﻩ ﻋﻨﺎﺻﺮ ﺗﺠﺴﻤﻲ ﻭ ﻣﻮﺿﻮﻋﺎﺕ ﻧﮕﺎﺭﻩ ﻫﺎﺑﺮﺟﺎﻱ ﻣﺎﻧﺪﻩ ﺍﺳﺖ، ﻫﺮﭼﻨﺪ ﮐﻪ ﻫﻨﺮﻣﻨﺪﺍﻥ ﻋﺜﻤﺎﻧﻲ ﺩﺭ ﺗﻐﻴﻴﺮ ﻓﻀﺎﻱ ﺭﻭﻳﺪﺍﺩﻫﺎ ﺑﻪ ﻭﻳﮋﻩ ﺩﺭ ﺗﻐﻴﻴﺮ ﻋﻨﺎﺻﺮ ﻣﻌﻤﺎﺭﻱ ﻣﻮﺟﻮﺩ ﺩﺭ ﻧﮕﺎﺭﻩ ﻫﺎ، ﺗﻼﺵ ﺯﻳﺎﺩﻱ ﻧﻤﻮﺩﻩ ﺍﻧﺪ ﻭ ﺍﻳﻦ ﺑﺎﺭﺯﺗﺮﻳﻦ ﺍﺧﺘﻼﻑ ﻧﮕﺎﺭﻩ ﻫﺎﻱ ﺍﻳﺮﺍﻧﻲ ﻭ ﻋﺜﻤﺎﻧﻲ ﺍﺳﺖ.
Shah Tahmasebi Shahnameh was transcribed between 930 to 944 AH/1535 AD in the Safavid Royal workshops in Tabriz and it،s one of the most valuable cultural gifts that has been sent to the Ottoman Palace from Iranian Palaces. This Masterpiece was presented to the Ottoman Palace in 974 AH/1566 AD to commemorate the coronation of Sultan Selim II by Safavid Shah Tahmaseb، and it was available to the Ottoman artists for more than three centuries. The aim of this study is to provide the researchers with certain criteria for comparing images in terms of their being Iranian or Ottoman. Reviewing of Shahnameh writing tradition in Ottoman culture suggests that Ottoman painters have used the Imaginative forms of this masterpiece of the Tabriz School during this period of time. In this paper، using historical-comparative method، images of the Tahmasebi Shahnameh have been qualitatively and quantitatively compared with the images of four Ottoman Shahnamehs. The results show that the visual elements and the subjects of images were influenced most، though Ottoman artists have tried to changethe atmosphere of events، particularly the architectural elements of the images، which is the most pronounced difference of the Iranian and Ottoman paintings.