بازخوانی گفتگوی ادیان در نگارۀ «حضرت موسی (ع) و عوج» از آثار عصر قراقویونلوها؛ بر مبنای مفهوم چندصدایی باختینی

The establishment of Qara Qoyunlu rule in Iran, with their inclination towards Shi'ism, provided the grounds for the formation of works that, although influenced by the ideology of religious tolerance that emerged with the Mughal invasion of Iran, can nonetheless serve as documents reflecting the social, political, and religious conditions of their time. Among these, illustrated examples, such as the painting "Prophet Moses and UJ" from the mid-9th century during the short reign of PirBudaq, a descendant of the Qara Qoyunlu founder, have survived. That, in addition to demonstrating artistic development and progress, also signify the coexistence of religions and, in fact, a shift from religious fanaticism towards pragmatism. Therefore, we aim to analyze the work based on a new method of looking at text, namely polyphony, and subsequently, attention to the "other"; these are fundamental concepts of Bakhtin's dialogism approach that, how can the dialogue of religions and polyphony lead the audience to understand and analyze the context of the text, which is the era of Qara Qoyunlu rule? The objective was to read the work, the dialogue between religions in this painting, and also to understand the world outside the text; the political-social conditions of the Qara Qoyunlu, through the lens of this painting. Because for Bakhtin, the existence of the "other" and the relationship between self and other, can lead to the emergence of the evolved form of the work and, ultimately, express its final meaning. The findings, conducted using a descriptive-analytical method, show that, contrary to the title of the painting, namely Prophet Moses and UJ, the artist's aim wasn't merely to speak of it as another arising from the context. Rather, the juxtaposition of elements from the three Abrahamic religions with their specific signs in the painting has been able to express an escape from monophony and the formation of polyphony and the establishment of a dialogue of religions. Although in this scene, the presence of prophets from the three destiny-making Abrahamic religions was, in a way, a respect for the other, the voice arising from the culture of Qara Qoyunlu Shi'ism was more influential in the text than others. It can be said that the painter, to fully narrate the Shi'ite culture; as a living and believable culture favored by the Qara Qoyunlu, by resorting to elements of other cultures, completed the content of his work and materialized its form. It Mean's, the painting, despite the "others" arising from a social reality; from other Abrahamic religions, has been able to emphasize the nature of Shi'ism mixed with the pragmatism of the Qara Qoyunlu era. Because "others," by their presence in the text, created the possibility for the artist to instill Islamic culture, as a successor to other religions, in the audience, so that from this perspective, they would also be reminiscent of the dominant culture of that era. It's worth noting that such picture, apart from expressing the sincere devotion of the Qara Qoyunlu to Shi'ism, also brought them political position and credibility.