بررسي ديباچة دوست محمد هروي بر مرقع بهرام ميرزاي صفوي از منظر جامعه شناسي تاريخي تحليلي

A Study of Dust Mohammad’s Preface to Bahram Mirza’s Album Based on Analytical Historical Sociology

ديباچه­ هاي مرقعات حاوي اطلاعات ارزنده­ اي از هنرمندان، حاميان و بعضاً تاريخ شكل­ گيري هنرها مي­ باشند، اما كمتر به زمينه­ هاي جامعه ­شناختي ظهور آنان و ارجاعات متن به بستر تاريخي­ اي كه در آن قرار گرفته ­اند، توجه مي­شود. نخستين ­بار ديباچه دوست محمد هروي در كنار خوشنويسي به نقاشي و نقاشان پرداخت. اين پژوهش به دنبال اين مسأله است كه علل برآمدن اين ديباچه در خصوص نقاشي در قرن دهم چيست؟ براي پاسخ، از رويكرد جامعه­ شناسي تاريخيِ تحليلي كه درصدد كشف «چرايي» امور و پاسخ­ هاي مبتني بر روابط علّي است، استفاده شد؛ و در اين مسير از تحليل، مقايسه و تطبيق متون، آراء متخصصان و بررسي­ هاي انتقادي بهره گرفته­ شد. يافته ­هاي پژوهش نشان مي­دهد كه زنجيره ­هاي علّي متنوعي متشكل از زمينه ­هاي سياسي ـ مذهبي آن دورة تاريخي، سنت نوشتاري و پيش ­زمينة مؤلف، منجر به تأليف ديباچه گرديده كه مي­توان آنها را به طور كلي دو دستة علل وجودي و علل صوري ظهور ديباچه در نظر گرفت. نفوذ روحانيان در سياست و فشار به نقاشان، تغيير خُلق شاه، رويگرداني از نقاشي و نقاشان و اخراج آنان از دربار، از جمله علل وجودي ديباچه در دفاع از نقاشي و نقاشان و تسلط مؤلف بر سنت­هاي نوشتاري و آشنايي وي با فرهنگ درباري هرات، از علل صوري ديباچه مي­باشند.

Making Album has a long tradition in the history of Islamic Art in Iran specially at the end of Timorid Dinasty and Safavid Period. Albums contains scattered pages of caligraphy and paintings which bind together and form a book that used in order to review the masterpeace of the artists in cultural meetings. These albums have some advantages for the art of Iran. First preserve the works of art, second there is a place for workmanship and third sometimes the patron or the owner wanted an author to write a preface for it. In fact Prefaces of the Albums must be known as the first Art histories of Iran which include precious information about artists, patrons and sometimes the history of forming the arts of caligraphy and painting. Most of the Reserchers almost payed attention to literary aspects and extracting historical information about artists and master-student relationships of them and less paying to socialogical contexts and regarding references of texts to their historical setting. Preface to Bahram Mirza’s Album wrote by Dust Mohammad Heravi in 951 AH. A lot of contemporary scholars point to it and it has an important place in the studies of Persian painting since the time it has been known, but a few scholars study it criticaly. This is the first times that a Preface pay to paining and painters. While based on historical documents and texts the author was not painter but a caligrapher who worked in Royal library. Now there is a question that why in the mid-century there was an attention to painting and painters? In fact this research sought to the point that what the causes of the rise of Dust Muhammad Heravi's Preface about the painting in the tenth/sixteenth century? To answer this question, the analytical historical sociology approach is taken. This method by means of first and second sources almost proceeds “why?” in matters and answers based on authentic causal relations; Causes which have similar results. Research findings show that different chains of linear and transversal causes like political-religious context of that period, written tradition and intellectual-educational-professional background of author during the time which form along time ago in the ground of history, at last tend to converge and results in writing the preface. One can regard these causes into two tied existential causes and formative causes. The presence of Clercs in politics and pressur to painters, change in King's mood and his reluctance of painting, miserliness and at last firing the painters from the court, are existential causes of writing Preface in defence of painting and painters, and written tradition of writing preface in Safavid period, skill of author in literature and his familiarity with riddle, rhyme and courtly culture of Herat as an exemplar of art patronage are regard as formative causes.