Abstract:
تعزیه،هنرنمایشیاستکهقبلازآنکه مدیونشعروآهنگباشد،وابستهبهرنگاست.رنگ
درتعزیهنقشاساسیایفامیکند.باانتخابرنگشخصیتهایداستانازهمتفکیکشده
وباعثتاثیرگذاریدرذهنبینندهمیشود.رنگیکی ازمهمترینمقولتدرعرفاناسلمی
است.اغلبعرفابابهرهگیریازامکاناتزبانیچونتشبیه،مجاز،استعاره،ایهامونمادبهبروز
تجاربشخصیخویشرویآوردند.دراینمیاناستفادهازمفهومرنگدروصفعواطف
نفسانیودریافتهایشخصیبسیارقابلتوجهبودهاست،درحالیکهبهاینمهمکمترتوجه
شدهاست.دراینمقالهکهبهشیوهتوصیفی-تحلیلیانجامگرفته،دورویکردموردتوجهقرار
گرفتهاست:رویکرداولبنیادهایعرفانیرنگازمنظرعرفایاسلمیرابیانکردهورویکرد
دومبازتاباندیشههایعرفانیومعانینمادینرنگرادرجامههایتعزیه-خوانان،موردبررسی
قراردادهاست.
یافتههایپژوهشنشاندادهکهرنگدرجامههایتعزیهمنطبقبردیدگاهعرفاناسلمیبوده
است.همچنینرنگمتناسببادرجاتمختلفنوروظلمت،گاهنمادسیروسلوکوجهان
غیبوگاهیتصویریازفضایزمینی،متناسببادرجاتنفسانیوعواملخیروشر،بودهاست.
اهداف مقاله
١-بررسیبنیادهایعرفانیرنگازدیدگاهعرفایاسلمی؛
٢-بازتاباندیشههایعرفانیونمادینرنگدرجامهتعزیهخوانان.
سوالت مقاله
١-رنگهادرجامههایتعزیهخوانانچهمفهومیدارند؟
٢-رنگهادرجامههایتعزیهخوانانتاچهحدمنطبقبرمفهومنمادینرنگدرنزدعرفاست؟
Persian arts, during its ups and downs and glory, have never been meaningless and non-ideological. One of the expressions of this
genuineness can be obviously seen in Persian rich literature, which has always been a plenteous resource for artists and craftsmen’s
inspirations, especially in the Islamic era. Potters and ceramists also were not exceptions. They too, during the Seljuk period, which
is said to be the most developing and prolific period of ceramics and pottery of Iran, have used the literature narrations and contexts.
In this case, the effect and influence of the “Firdausi’s Shahnama” is more obvious and eye caching among the other resources
known till that period. This fact reveals and explains the reality that the contents of this national and original work of art, was not
only of such a supreme place in the society of that period of time but also was commonly used as a reference of inspirations for
artists and specially painters.
From the subject point of view, literature influence on ceramics of this period can be categorized in two main sections; First, love
and sentimental subjects and second, epical and historical or mythical subjects. For the first part we can mention narrations like
the stories of Bijan and Manija, khosrou and Shirin, Bahram Gur and Azada and Bahram Gur and Sapinud and from the second
part, stories of Faridun and Zahhak, Faridun and his three sons, and Iranians leaving the fortress of Farud can be mentioned which
have surveyed in this essay.
Since few manuscripts of this period have survived from the invasion of Mongols, study and research of these paintings on the
ceramics are of the utmost importance. Thus recognition of Persian painting process in this specific historical period owes mostly
to these valuable remaining of ceramics and tiles of this period.
Aims of the research:
1-Study of the quality of relation of motives and designs on ceramics with Persian Literature;
2-Study and introduction of paintings which their relation to Shahnama is approvable.
Research questions:
1- What are the Origins, Purposes and the subject of Shahnama narrations?
2- In what quality and how are these narrations appear on ceramics of this period?