انتقاد از قشری گری در نگاره مستی در مسجد، برگی از بوستان سعدی، نسخه 883 ه.ق
آرشیو
چکیده
در دوران سلطان حسین بایقرا و وزارت خواجه نظام الملک خوافی، علیرغم شکوفایی شهر هرات، بروز نوعی قشری گری در جامعه مطرح و موجب نارضایتی بود. با توجه به نسبت داشتن هنر و ضرورت های سیاسی و اجتماعی در این دوران، نگارگری حکایتی از بوستان سعدی، با موضوع درگیری فردی مست و خواجه مؤذن، در نسخه سال ۸۸۳ هجری قمری، موضوعی قابل توجه است؛ در این نگاره بروز قشری گری مورد تذکر بوده و به نظر می رسد با وضعیت اجتماعی این دوران نسبت داشته است. بنابراین با هدف شناخت نسبت بروز قشری گری در دربار سلطان حسین بایقرا و نگاره مستی در مسجد، این پرسش طرح گردید که انتخاب حکایت مستی در مسجد از بوستان سعدی، برای نگارگری در نسخه سال ۸۸۳ هجری قمری بوستان سعدی، چه نسبتی با بروز قشری گری در دربار سلطان حسین بایقرا دارد؟ ضرورت و اهمیت این مقاله نیز در بررسی وجوه سیاسی اجتماعی هنر ایران است. در این مطالعه، روش تحقیق توصیفی تحلیلی و تاریخی و روش گردآوری داده ها به صورت اسنادی و کتابخانه ای است. نتایج به دست آمده نشان می دهد که با شکل گیری نگاره مستی در مسجد، ضمن تجسم بخشیدن به وضعیت اجتماعی بروز یافته در هرات، ناپسندی قشری گری و ضرورت توجه راستین به توحید مورد اندرز قرار می گیرد.Criticism of fundamentalism in miniature of A drunkard in the mosque, a page from Bustan Saadi, Version 883 AH.
During the era of Sultan Hossein Baiqara and the ministry of Khwaja Nizamul-Molk Khafi, despite the prosperity of Herat City, the emergence of a kind of fundamentalism in the society was prominent and caused dissatisfaction. Considering the relationship between art and political and social necessities in this era, the painting of a story from Bostan Saadi, with the subject of a drunkard person and a muezzin, in the version of 883 AH, is a significant issue; In this miniature, the emergence of fundamentalism was mentioned and it seems to be related to the social situation of this era. Therefore, with the aim of cognition of the relationship between the occurrence of fundamentalism in the court of Sultan Hossein Baiqara and the depiction of the drunkard in the mosque, this question was raised: What is the relation of selecting the story of drunkenness in the mosque from Bustan Saadi, for miniature in the 883 AH, version of Bustan Saadi, with the revealing of fundamentalism in the court of Sultan Hossein Baiqara? The necessity and importance of this article also in examining the social-political aspects of Iranian art. In this study, the descriptive-analytical and historical research methods and the data collection methods are documentary and library. The results show that visualizing the miniature of drunkenness in the mosque, embodying the contemporary social situation in Herat, distaste for fundamentalism, and the need to pay attention to monotheism are warned. Also considering the emergence of fundamentalism during Saadi's lifetime, in the story of the drunkard in the mosque, the fundamentalism that emerged in the community has been criticized and admonished as a moral and social problem. In this miniature, on the one hand, by using the way of space creation and motifs common in the Timurid period, the story of Saadi is rearranged in the era of Sultan Hossein. On the other hand, the method to visualize and add elements such as the image of a surprised youth, the hands and face of a drunkard as a defenseless and astonished person, pride and arrogance in the behavior and face of the eunuch, as well as the contrasts formed between the forms, figures, and atmosphere of the mosque, distinguishing fundamentalism and monotheistic faith in this era is considered visually and semantically. In this regard, the way of choosing noble Quranic verses and their role in the double inscription in this image is such that the distinction between fundamentalism and monotheistic faith in relation to Saadi's story and the visual and semantic qualities of this image is doubly noticed and necessary and advises to avoid this behavior from the point of view of divine laws. Therefore, in this miniature, while rearranging Saadi's story and using Quranic sources, the fundamentalism developed in the era of Sultan Hossein has been embodied and it has been warned to avoid it by using various artistic advice.
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