"نظرگاه" عنصر اصلي تصوير شده از باغ در نگاره‌هاي نمايش‌دهنده باغ ايراني

“Nazargah”, the main element of Persian garden

اغ و باغ‌سازي متضمن معاني بسياري در فرهنگ ايراني است، به‌طوري‌كه عالم ايراني همواره آكنده از مظاهر باغ و طبيعت بوده است. باغ ايراني را مي‌توان زيباترين محصول منتج از اصول زيبايي‌شناسي و طبيعت‌گرايي فرهنگ ايراني دانست كه مفهوم آن در بسياري از هنرهاي اين سرزمين نظير سفالينه، كاشيكاري، قالي‌بافي، موسيقي، شعر، ادب فارسي و نگارگري متجلي شده است. از اين ميان هنر نگارگري يكي از مهم‌ترين جولانگاه‌هاي تصويرسازي‌هاي متعدد از باغ ايراني بوده است. هنر نگارگري تاكنون از جنبه‌هاي مختلف مورد بررسي قرار گرفته و پژوهش‌هاي بسياري در زمينه هنرهاي زيبا به بررسي و تحليل نگاره‌ها در زمينه‌هاي مختلف زيباشناختي، فني، تاريخي و ... از نقطه نظر هنر نقاشي پرداخته‌اند. اما آنچه در پژوهش حاضر مورد نظر است بررسي رابطه ميان هنر نگارگري و باغ ايراني از ديدگاه معماري منظر ايراني است، چرا كه به علت فقدان تحقيقات كافي در اين زمينه، چنين مقالاتي توانايي بالقوه‌اي در خلق فرضيات بديع‌تر در رابطه با نگاره‌هاي نمايش‌دهنده باغ ايراني و كمك به توسعه اطلاعات از باغ ايراني در دوره‌هاي مختلف تاريخي دارند. هدف اين پژوهش شناسايي جلوه‌هاي اصلي تصوير شده از باغ ايراني در نگاره‌هاي مرتبط با باغ است. براي دستيابي به هدف پژوهش به بررسي تعدادي از نگاره‌ها در دوره‌هاي مختلف تاريخي پرداخته شد تا از نگرش تك‌بعدي به يك دوره خاص جلوگيري شود. تغييرات جزيي در مفهوم و طرح باغ ايراني در دوره‌هاي مختلف مانعي در بررسي نگاره‌ها به صورت همزمان ايجاد نمي‌كند چرا كه باغ ايراني در تمام ادوار تاريخي براي انسان ايراني داراي شكل و مفهوم تقريباً ثابتي بوده است. پرسش مقاله حاضر اين است كه "كدام فضا يا عنصر از باغ ايراني بيشترين تجلي را در نگاره‌هاي باغ داشته است؟"، براي پاسخ به اين پرسش ابتدا فضا، طبيعت و باغ در نگارگري به عنوان زيربناي تحقيق مورد بررسي قرار گرفت. در ادامه با تحليل ده نگاره و انطباق ويژگي‌هاي آنها با اطلاعات و اسناد كتابخانه‌اي و روش توصيفي- تحليلي انواع نمايش باغ ايراني در نگاره‌هاي باغ به سه دسته 1. باغ كوشك 2. باغ چادر 3. كوشك؛ همچون نظرگاه باغ به چشم‌اندازهاي بيروني دسته‌بندي شد و اين‌چنين نتيجه‌گيري شد كه از بين تمامي عناصر اصلي باغ ايراني نظير آب، پوشش گياهي، انسان و ...، بناي نظرگاهي همچون كوشك، صفه، ايوان، بالكن و اشكوبه بيشترين حضور را در نگاره‌هاي مرتبط با نمايش باغ دارد، و فرضيه مقاله اثبات شد كه "نظرگاه" مهم‌ترين عنصر تصوير شده از عناصر باغ ايراني در نگاره‌هاي مرتبط است.

Garden and gardening convey wide range of meanings in Iranian culture so that the Iranian world is full of the manifestation of gardens and nature. Persian garden can be deemed as the most admirable outcome of aesthetic and naturalistic principles of Iranian culture, which can be traced in variety of Iranian arts such as pottery, tile work, carpet, music, poetry, literature and Persian miniature. Among these, the art of miniature is one of the main arenas for multiple imaging of Persian Garden. Miniature has been the subject of several surveys. There are many research works on fine art in which the miniature works have been examined in different fields such as aesthetic, technical, historical ones from the art of painting viewpoint. What differentiates the present study is that it approaches the art of miniature and Persian garden from the Iranian landscape architectural standpoint. Given the paucity of similar works in this field, studies like this may have considerable potential in proposing novel theories pertinent with miniature works that picture Persian garden. This also helps improving our knowledge of Persian garden in different historical periods. Miniature works constitute a notable portion of historical documents and visual sources. Knowing that the subject of the works is based on the observations of the artist, these works cannot be isolated from the realities of their environment at the time of creation. However, there are other factors to take into account including natural limitation of painting work, prevailing style at the time, and the artist’s attitudes. Thus, to achieve better results through the survey of the relationship between Persian garden and miniature, some of the pertinent miniature works were needed to be examined along with library research. In majority of miniature of indoor design of houses, castles, and mansions, the main object in the work is the building and notable persons. These works are easily notable and differentiable from the miniature of outdoor spaces and those that picture a garden in particular. A common element in majority of miniature of outdoor spaces is the Nazargah, which plays the main and an outstanding role. The present study assumes that picturing the general design of the garden and the key geometric features of the structure were not the intention of the artist, so copying the actual design of the garden was the last intention of the artist. In fact, by picturing pavilion and Ivan– as the main elements in Persian garden, the artist has tried to employ external and internal landscapes of the garden to create a different and with more details picture of Persian garden. The purpose of this article is to identify the main manifestation of Persian garden in the miniatures with pertinent subject. To achieve this, some of miniature works from different historical periods have been examined (to avoid one-dimensional approach of a specific period). Trivial changes in the concept and design of Persian garden cause no problem in surveying the miniature works from different periods as the concept and image of Persian garden have survived the ups and downs of ages. The question raised by this study is “what is the most outstanding and noticeable elements of Persian garden in the miniatures of garden?” To answer this, the environment, nature, and garden in the miniatures were first assumed as the bases of the study. Afterward, by analyzing 10 miniatures and comparing the results with library resources and documents (descriptive-analytical method) different manifestation of Persian gardens in the miniatures were divided into three; 1- Pavilion garden, 2- Bagh Chador/ tent garden, and 3- pavilion (as the viewpoint of the garden to external landscape). Gardens design has been always featured with palaces, pavilion and Ivan so that the design, shape, and location of pools, water display, and Sofe at the entrance were based on these main elements. Furthermore, these elements are the key elements in the miniature works of Persian gardens. The design of pavilion has been always a mixture of open spaces with several balconies at different directions to permit use of the open space. The pool or water display and other natural elements were the main elements viewed from the pavilion. Although the geometric symmetry of the garden are absent in the miniature, still the presence of the main element (i.e. pavilion, which have the best view in the garden) argues that the aim of the artist was to picture Persian garden; this is an answer to the question of the study. In this regard, among the all elements of Persian garden such as water, plants, human, etc., the most featured elements are the structures designed to enjoy the view such as pavilion, Ivan, Sofe, tent, and so on (in general term “Nazargah”). This supports the hypothesis of the study which states “Nazargah as the main pictured elements in the miniature of Persian garden.”