تحلیل شمایل شناشانه سکه های تشریفاتی آل بویه براساس نظریه اروین پانوفسکی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
منبع:
نگره بهار 1401 شماره 61
حوزه های تخصصی:
شماره صفحات:
۱۶۳ - ۱۷۷
دریافت مقاله
تعداد دانلود :
۵۷۲
آرشیو
چکیده
نقوش سکه ها با فرهنگ و هنر زمانه خود ارتباط تنگاتنگی دارند؛ می توان به مدد آن ها وضعیت اقتصادی، مذهبی و فرهنگی ایالت و محل ضرب سکه را دریافت و محققان را در فهم علل تداوم سنت ها و آداب حاکم بر یک جامعه یاری رساند. اروین پانوفسکی در هر تصویر سه لایه مختلف معنایی قائل است که می توانند با عرصه های فرهنگی، اعتقادی و ملی مسلط بر اندیشه تولیدکنندگان آن در ارتباط باشند. هدف اصلی این پژوهش استخراج زمینه های فرهنگی موجود در مسکوکات آل بویه متکی بر نظریه شمایل شناسانه پانوفسکی است. این پژوهش به دو پرسش اساسی پاسخ می دهد: سکه های تصویری آل بویه چگونه با سه لایه معنایی؛ پیشاشمایل نگارانه، شمایل نگارانه و شمایل شناسانه پانوفسکی انطباق می یابند؟ و در بررسی لایه های معنایی یادشده، الگوهای فرهنگی ایرانی و علل کاربست آن ها شامل چه مواردی است؟ روش تحقیق تحلیلی – توصیفی و گردآوری اطلاعات به شیوه کتابخانه ای است. نتایج حاکی از آن است که سکه های تصویری آل بویه در سه مرحله مجزا قابل بررسی هستند؛ در لایه نخست(پیشاشمایل نگارانه) مولفه های بصری در سکه ها (نقوش و ترکیب بندی آن ها)، در لایه دوم(توصیف شمایل نگارانه) محتوای مفهومی نقشمایه ها و ترکیب آن ها با هم و در لایه سوم معنایی(تفسیر شمایل شناسانه)، تحولات فرهنگی و تاریخی موثر در تولید و شکل گیری نقوش موجود بر آن ها تحلیل شد. داده های به دست آمده از بررسی لایه های دوم و سوم این احتمال را قوت بخشید که عمدتا نقوش و شیوه ترکیب بندی آن ها بر سکه ها از ایران قبل از اسلام وام گیری شده اند. براساس مستندات این اقتباسات از عوامل مختلفی همچون تمایل ایرانیان به اصول مملکت داری پیشین، علاقمندی بویهیان به احیای سنت های پیش از اسلام، اصالت ایرانی اُمرای آل بویه و کسب مشروعیت حاکمان از سوی مردم و خلفای عباسی تبعیت می کنند.Iconological Analysis of Buyid Dynasty Ceremonial Coins based on the Theory of Erwin Panofsky
Arts and crafts are a good context for displaying cultural, historical and social structures in different eras. Coins were produced by order of the rulers of each period and the various visual components contained in them played an effective conceptual role. The motifs engraved on the coins are closely related to the culture and art of their time; they can be used to find out the economic, religious and cultural status of the state and the place where the coins were minted and helped researchers to understand the reasons for the continuity of traditions and customs that govern a society. The Iranian-Islamic rule of Al-Buyid ruled over parts of Iran for more than a century and coins affected by their nationality have changes that emphasize the need for the present study. They claimed to be descendants of the Sassanids and they made many efforts to revive the ancient methods and the deep connection of Iranian art in these centuries. Given the importance of the Al-Buyid government of Iranian origin in the first centuries of the advent of Islam, it is necessary to explain the semantic systems governing their pictorial coins with a multi-conceptual approach. One of the approaches to the study of image is iconography; presented by Erwin Panofsky. Panofsky's theory encompasses the three levels of Pre-iconography, iconography analysis, and iconological interpretation. Erwin Panofski gives three different layers of meaning in each image that can be related to the cultural, religious and national spheres that dominate the thought of its producers. The main purpose of this study is to extract the cultural contexts of the coins of the Al-Buyid dynasty as an Iranian-Islamic rule in the early centuries of the advent of Islam based on Panofsky's iconological theory. This article seeks to answer the following questions: 1- How do Al-Buyid coinages conform to the Panofsky’s Pre-iconography, Iconography and Iconological three layers? 2- In examining the mentioned semantic layers, what are the Iranian cultural patterns and the reasons for their use? In the leading article, the research method is iconic; in the first step, how to match the motifs on the pictorial coins with three semantic layers, Pre-iconography, Iconography and Iconological, are examined. Then, based on Panofsky's triple semantic study, the reasons for adaptation of the patterns of Iranian culture on the pictorial coins are analyzed. The research data obtained from the study of library resources have been analyzed in a descriptive-analytical manner. The statistical population consists of coins from the Al-Buyid period, the images of which are mainly collected from information sources and books. The number of samples in question is 6 pictorial coins related to the Al-Buyid period, which have been selected non-randomly. The analysis in this research has been done qualitatively. The results indicate that Erwin Panofsky's iconological theory offers a new and effective way in presenting and understanding the content due to the noticeable time interval with the image coins of the Al-Buyid period. Panofsky relates the three different layers of meaning in each image to the cultural, doctrinal and national realms that dominate the thought of its producers. In the adaptation of Al-Buyid pictorial coins with three layers of semantics, Panofsky’s Pre-iconography, Iconography and Iconological, pictorial samples were studied; visual components in coins (patterns and their composition) in the first layer (Pre-iconography), hidden concepts in each motif and their placement relative to each other in the second layer (iconography description), and cultural and historical factors affecting production and the formation of patterns on coins in the third semantic layer (iconological interpretation) were analyzed. The data obtained from the study of the second and the third layers reinforced the possibility that mainly the patterns and the way they were combined on coins were borrowed from Pre-Islamic Iran. These adaptations also follow various factors such as the tendency of the Iranians to the principles of former governance, the revival of pre-Islamic traditions, the Iranian origin of the Al-Buyid rulers and the acquisition of legitimacy in a limited time by the people and the Abbasid caliphs. With the arrival of Islam in Iran and the tendency of the Iranians towards it, the teachings of the new religion caused significant and effective changes in its culture and artistic manifestations. Some of the pre-Islamic Iranian cultural concepts that have valuable cultural bases maintained their vitality alongside new religious teachings. The role of the governments in power in preserving the cultural components of pre-Islamic times has been very prominent; just as the Al-Buyid rulers in their administration of the territory were led to put the Iranian-Islamic method at the forefront.
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