نشریه علمی هنرهای صناعی خراسان بزرگ

نشریه علمی هنرهای صناعی خراسان بزرگ

مطالعۀ تطبیقی لباس در نگاره‌های «به‌بندکشیدنِ ضحاک» در نسخه‌های جلایری، تیموری و صفوی

نوع مقاله : مقاله پژوهشی

نویسندگان
1 استادیار گروه صنایع دستی، دانشکده هنر، دانشگاه الزهرا، تهران، ایران
2 دانشجوی کارشناسی ارشد صنایع دستی، دانشکده هنر، دانشگاه الزهرا، تهران، ایران
چکیده
بازخوانی پوشاک در نگاره‌های ایرانی، بستری بنیادین برای بازسازی تاریخ طراحی لباس و رمزگشایی از کدهای فرهنگی منسوجات است. با وجود اهمیت لباس در بازنمایی مناسبات سیاسی، خلأ پژوهشی در زمینۀ تحلیل ساختاری و نشانه‌شناختی تن‌پوش‌های شاهنامه -به‌ویژه در مجالس مرتبط با انتقال قدرت- وجود دارد. پژوهش حاضر با هدف تحلیل تطبیقیِ کارکرد نشانه‌ای پوشاک در نگاره‌های «به‌بندکشیدنِ ضحاک» در دو دورۀ تیموری و صفوی، به‌همراه یک نسخۀ جلایری، انجام شده است و سعی بر آن داشته تا چگونگی تفسیر طرح و الگوی تن‌پوش افراد در مجلس مذکور را در گذر از عصر جلایری و تیموری به صفوی، از منظر تطبیقی مورد ارزیابی قرار دهد. در این راستا، پژوهش با روش توصیفی-تحلیلی و رویکرد تطبیقی، و با بهره‌گیری از مفاهیم نشانه‌شناسی گفتمانی انجام شده است. جامعۀ نمونه شامل یک نسخۀ شاهنامه از مکتب آل جلایر (تبریز اول)، دو نسخۀ تیموری (بایسنقری و ابراهیم‌سلطان) و سه نسخۀ صفوی (شاه‌‌طهماسبی، رشیدا و قرچقای‌خان) می‌باشد. یافته‌ها نشان می‌دهد که در لایۀ توصیفی و در تطبیق با داده‌های سفرنامه‌ها، ساختار لایه‌بندی، طول دامن و نوع زیرپوش‌ها در هر دو دوره تفاوت فاحش و شاخصی ندارند. همچنین تحلیل فنی الگوها بیانگر کوتاه‌تر شدن قد قبا و افزوده شدن برگردان یقه در دورۀ صفوی است. در نهایت، در سطح نشانه‌ای-گفتمانی، تقابل‌های دوتاییِ «برهنگی/پوشیدگی» و «رسمیت/غیررسمیت» در جامۀ ضحاک و فریدون، گفتمانی نظام‌مند از سلطه، فرودستی، مشروعیت‌زدایی و رتبه‌بندی منزلت اجتماعی تولید کرده است؛ امری که نشان می‌دهد پوشاک در این مجالس صرفاً بازنمایی واقع‌گرایانۀ لباس‌های تاریخی نبوده، بلکه به‌عنوان راهبردی عامدانه، از سوی نگارگران برای شخصیت‌پردازی و قطب‌بندی قدرت به‌کار گرفته می‌شد.
کلیدواژه‌ها
موضوعات

عنوان مقاله English

A Comparative Study of Costume in Illustrations of Zahhak Bound in Jalayirid, Timurid, and Safavid Manuscripts

نویسندگان English

Hojjatollah Askari Alamouti 1
Zahra Fallah 2
1 Assistant Professor, Department of Handicrafts, Faculty of Art, Alzahra University, Tehran, Iran
2 Master's Student in Handicrafts, Faculty of Art, Alzahra University, Tehran, Iran
چکیده English

Re-examining costume in Persian manuscript paintings provides a fundamental framework for reconstructing the history of dress and decoding the cultural meanings embedded in textiles. Despite the significance of clothing in the representation of political authority and social hierarchy, there remains a research gap concerning the structural and semiotic analysis of costumes depicted in the Shahnameh, particularly in scenes associated with the transfer of power. This study comparatively analyzes the semiotic functions of costume in the illustrations of Zahhak Bound on Mount Damavand from the Timurid and Safavid periods, together with a Jalayirid manuscript. It seeks to evaluate, from a comparative perspective, how the design and patterns of the garments depicted in this scene were interpreted from the Jalayirid and Timurid periods to the Safavid era. The research adopts a descriptive-analytical method with a comparative approach and draws upon the concepts of discursive semiotics. The corpus consists of one Jalayirid Shahnameh manuscript (First Tabriz School), two Timurid manuscripts (Baysunghur and Ibrahim Sultan), and three Safavid manuscripts (Shah Tahmasp, Rashida, and Qarchaqay Khan). The findings indicate that, at the descriptive level and in comparison with travel accounts, there are no substantial differences between the two periods regarding the overall structure of layered garments, skirt length, and the types of undergarments. Technical pattern analysis also reveals a shorter qabā length and the addition of folded collars during the Safavid period. Finally, at the discursive-semiotic level, the binary oppositions of “nakedness/clothedness” and “formality/informality” in the costumes of Zahhak and Fereydun generate a coherent discourse of domination, subordination, delegitimization, and social hierarchy. This demonstrates that costume in these illustrations was not merely a realistic representation of historical dress but was deliberately employed by painters as a visual strategy for characterization and the polarization of power.

کلیدواژه‌ها English

Structural patterns of Persian costume
Costume in manuscript painting
Zahhak Bound on Mount Damavand
Semiotic perspective
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  • تاریخ دریافت 13 اردیبهشت 1404
  • تاریخ بازنگری 18 خرداد 1404
  • تاریخ پذیرش 19 تیر 1404