چکیده:
قالیچههای تصویری از دوره قاجار پیوندی با ادبیات فارسی برقرار کردهاند. از مهمترین داستانهای ادب فارسی که بر شکلگیری تصاویر این قالیچهها تاثیر گذاشته است، داستان لیلی و مجنون نظامی است. هدف این مقاله این است که با تطبیق تصاویر این قالیچهها با یکدیگر و با روایت نظامی، به بررسی تحوّلات آنها در پنج مولفه صحنه پردازی؛ نقوش نمادین؛ خط و نوشته؛ نحوه بازنمایی چهرهها؛ نحوه بازنمایی لباسها؛ در فاصله زمانی دورة قاجار تا معاصر بپردازد. سوالات عبارتاند از: 1. کدام صحنهها از داستان لیلی و مجنون در قالیچههای تصویری در طول این دورهها بازنمایی شده است؟ 2. هر یک از این صحنهها در کدام یک از دورهها بیشتر تکرار شدهاند؟ 3. تفاوتها و شباهتهای تصاویر در چهرهپردازی، لباسها، نمادها و خطوط و نوشتهها کدامند؟ روش تحقیق توصیفی- تحلیلی و تاریخی با رویکرد تطبیقی طولی است. اطلاعات به صورت کتابخانهای و اینترنتی گردآوری شده است. یافتهها نشان میدهد، چهار صحنه از این داستان در قالیها بافته شده است. تطبیق تصاویر این صحنهها، تفاوتهایی را در پنج مولفة فوق نشان داد. تفاوت در بازنمایی صحنه داستانی واحد در قالیچهها متاثر از شرایط اجتماعی، فرهنگی و مذهبی بافنده، سفارشدهنده، طراح و یا جامعهای است که قالیچهها در آن به-وجود آمدهاند.
One of the currents in the art of carpet weaving in Iran is pictorial carpets, which have established a close connection with Persian literature since the Qajar dynasty. One of the most important stories of Persian literature that has had a significant impact on the formation of images of these carpets is the story of Leyli and Majnoon Nizami Ganjavi. Iranian artists to create images of Leyli and Majnoon story in these carpets have combined the inspiration of this story with their creativity. Therefore, carpets have been created that are the same but have different reflections. the aim of this paper is to compare the changes and developments of these carpets with each other as well as with the Nizami`s narrative to study their variations in five components 1. staging; 2. the symbolic motifs; 3. calligraphy and writing; 4. the way of representation of faces; 5. the way of representation of clothes; in the time interval of Qajar until examples of contemporary period. The questions of this research are: 1. Which scenes from the story of Leyli and Majnoon are represented in the pictorial carpets during these periods? 2. In which period, did each of these scenes repeat the most? 3. What are the differences and similarities of the images in face painting, clothes, symbols and lines and writings? The research method in this paper is descriptive-analytical and historical with a longitudinal comparative approach. information gathering has been done through libraries and internet. from the Qajar period, pictorial carpets are a widespread movement and are widely produced, Therefore, due to the small number of these rugs before the Qajar period, the study of this research has been placed from the beginning of the Qajar period until today To analysis the changes. The selection of Qajar and Pahlavi period carpets is based on available samples. However, in the selection of contemporary carpets, due to their abundance, a number have been randomly selected. And a total of 23 carpets were selected. Findings show, Among the scenes of Leili and Majnoon's story, four scenes are woven in carpets: 1. meet Leyli and Majnoon, 2. Leyli camel, 3. Complain majnoon with the thought of Leyli, 4. Meet different people with the majnoon. The scene of "meet Leyli and Majnoon" has the largest number of carpets and has been woven in all three periods. Matching the images of these scenes showed significant differences in the above five components over time. the difference in the representation of a single storyline in the pictorial carpets is influenced by the social, cultural and religious conditions of the weaver, the customer, the designer or in a broader view is a society in which these pictorial carpets have been created.