نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشجوی دکترای تخصصی تاریخ تطبیقی و تحلیلی هنر اسلامی، دانشکده هنر، دانشگاه شاهد. تهران، ایران
2 دانشیار گروه هنر اسلامی، دانشکده هنر، دانشگاه شاهد تهران، ایران
3 استادیار گروه هنر اسلامی، دانشکده هنر، دانشگاه شاهد تهران، ایران
چکیده
کلیدواژهها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
The Ascension of the Prophet (PBUH) is one of the themes that, considering the social, political, and cultural contexts existing in each period, has captured the imagination of Muslim painters, resulting in different and beautiful visual and content reflections of this event in painting. In this research, an attempt has been made to study the blessed figure of the Prophet (PBUH) along with other figures depicted in the Falnameh painting of Imam Sadiq (AS), to identify the symbolic visual elements used in this painting and to achieve the goals and grounds for creating these symbolic elements to show the event of the Ascension. Research questions: What are the symbols and signs of legitimizing the rule of Shah Tahmasp in the second period of her reign in the figures depicted in the Miraj Falnameh of Imam Sadiq (AS)? What discourses during the reign of Shah Tahmasp influenced the symbols and signs appearing in the Mi'raj image of the Falnameh? The research method in the present study is descriptive-analytical and uses Panofsky's iconology approach. The method of collecting information was library (documentary). In the second half of Shah Tahmasp's reign, due to his seclusion and the expulsion of artists from the court, the intensification of the flow of religious-jurisprudential thought, and the institutionalization of the concept of guardianship and imamate by the second researcher to prove the succession of Ali (AS), The symbolic expression of Shah Tahmasp Safavi's position as the rightful successor during the occultation of Imam al-Asr (a.s.) is clearly seen.
The illustrator of the Me'raj Falnameh, considering the symbolic cultural elements depicted in this painting (lion, sword, succession ring, green flag, golden sandals), In the hidden layers of meaning, the author considers the rightful succession of Shah Tahmasp in parallel with the rightful succession of Ali (AS) by the Prophet (PBUH) and the views of the Shiite jurists of that time, in accordance with Shiite narrations about the event of the Ascension, while referring to the strong relationship between religion and government. And he tried to gain legitimacy and acceptance for him in the eyes of the people. The emergence of the symbols used in this painting was also influenced by the Shiite-jurisprudential discourse that dominated the second half of Shah Tahmasp's reign.
کلیدواژهها [English]
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