كليدواژه :
پيكره , روايت شناسي , نگارگري , شاهنامه طهماسبي
چكيده فارسي :
پيكره در آثار هنري از جايگاه ويژه‌اي برخوردار است. امروزه روايت شناسي به‌عنوان يك بحث ميان‌رشته اي كاركرد خود را در حوزه‌هاي مختلف بسط داده است. آنچه قابل‌تأمل مي‌نمايد، نقش فيگور در روايت‌هاي متني و نگارگري و ارتباط آنها با يكديگر است. استفاده از نماد نيز روشي است كه نگارگران ايراني در راه رسيدن به آن معناي والا از آن بهره برده‌اند. بسياري از يافته‌هاي انساني، به‌صورت شهودي، درك مي‌شوند، اين يافته‌ها، وراي صورت ظاهري به‌دست آمده‌اند. بنابراين، فيگور به بياني برتر از ماده نياز دارد. پژوهش پيرامون اين بحث و مباحث فرعي به همراه تحليل و توصيف تعدادي از آثار نگارگري ايراني، از جنبه فيگورهايي كه بحث روايت در آن لحاظ شده و استفاده از منابع كتابخانه‌اي، ضرورتي را براي درك مسئله روايت در نقاشي‌هاي فيگوراتيو ايراني ايجاب مي‌كند. در پژوهش حاضر، لزوم توجه به بيان‌هاي مختلف در بازگويي روايات و تأكيد بر نقش فيگور به‌عنوان يك عنصر مهم بياني مورد توجه قرار گرفته است. هنرمندان نگارگري كه راوي روايات بوده‌اند، با برخوردي آگاهانه چه در به‌كارگيري سلايق شخصي و علائم بياني خاص خود و چه نحوۀ بازنمايي آن، در انطباق با روايات، آثار دقيق‌تر و سنجيده‌تري ارائه كرده‌اند.
چكيده لاتين :
Figurative figures are often present in the artwork of human beings and can be said to have a pronounced role. In the realm of art, this is the self-image of the artist and his current situation, and it determines how the narrative of a figurative work is made of primitive human beings, in which the caveman of the Paleolithic age painted in the caves, to the disposable works of jugs, or On the plaques, the walls of the palaces and ... or the drawings used to illustrate the old books. Many of the human findings are perceived as intuitive, these findings are obtained beyond apparent appearance. So the figurine requires a superior statement of matter. For this reason, a lot of stories are used to express symbolic and symbolic expressions. It can be said that because the thought of the twin is a rumor, and since the artist's words appear in his work, then the thoughts of the artist are also in his work. The use of the symbol is a method used by Iranian painters to achieve that high meaning. It seems that the type of expression is related to the school of science, and each school will narrate the story in a different way, which forms certain definitions and expressions in the mind of the viewer, and in that work, seeing the form of these figures and the relationships between them, the same excitement and the identification of the subject matter that people have already felt, that is, the expression of the same narrative, but in the other expressions of the figures. According to Hegel, art represents the "spirit of the times", and the artist, without knowing himself, creates works that originate from the thoughts and issues of his day. Therefore, the work of art is in a historical position at the same time, which reflects the historical status of the same period. Whether it is figurative in the discussion of painting works; the particle discussion in the macro is also important. This means that the artist, in addition to addressing the original figure, also cares about every single detail, because it believes that the abstract details are of a single integer and that one part is important to the whole. For example, in the painting of Hushang's statue in the form of the Sadeh, the artist, in addition to addressing the whole body of the Shah, addresses the smallest designs on the figurine and its delicacies. Because it believes that the particle is the same, and each of these elements creates the exterior of the king in the image. This important result was that every school would narrate the story in another way, since the conditions prevailing at that time are different, and perhaps the painter is another person, so the entities are also changed in terms of various themes. These changes will vary in appearance, in the governing elationships between the entities, in giving meaning and concept related to the theme of the work, etc.
