كليدواژه :
اكسپرسيون رنگ , ميترائيسم , هفت‌پيكر , رنگ در عرفان اسلامي , گنبد سرخ
چكيده فارسي :
نظامي از كاركردهاي رمزي و بيان استعاري بن‌مايه‌هاي آئين مهر و زرتشت در منظومه هفت‌پيكر، بهره‌هاي فراوان برده است. عبور بهرام از هفت‌گنبد، به رنگ هاي مختلف، در روزهاي هفته، با تأكيد بر سيارات مربوطه، به‌عنوان روايت مركزي و از طرف ديگر، مشابهت آن با نردبان هفت‌پله‌اي در آيين مهر، نشان از شناخت و وفاداري نظامي به اين آيين‌ها در آثارش دارد. اين امر، بر تفسير دلالت‌هاي‌معنايي و اكسپرسيون رنگ ها در آثارش، تأثيرگذار بوده است. مسأله اين است كه در گنبد چهارم، دلالت‌هاي‌معنايي و اكسپرسيون رنگ قرمز، نشان از اجتناب او از مفاهيم اين آئين‌ها و نيز شناخت او از مفاهيم رنگ قرمز در جهان اسلام دارد. سؤال اين است: با توجه به ارتباط گسترده‌ي هفت‌پيكر با مفاهيم آيين مهري، اكسپرسيون رنگ قرمز در اين داستان، چگونه و براساس كدام اشارات صريح، با مفاهيم اين رنگ در عرفان اسلامي مطابقت دارد؟ اين مقاله با روش توصيفي‌‌تحليلي و تطبيقي نشان مي‌دهد، اكسپرسيون رنگ قرمز در هفت‌پيكر، نه بر اساس نجوم، آئين مهر و يا دين زرتشت، بلكه با تكيه‌بر مباني عرفان اسلامي، در قالب كليدواژگان خاصي كه در اين داستان، بر كسب خردمندي و لزوم عقلانيت تأكيد مي‌كنند، قابل تفسير و تحليل است. همچنين، حصول مرتبه فنا، به‌عنوان غايت انسان و تفاوت آن در آئين مهر نيز قابل توجه است.
چكيده لاتين :
Nizami has benefited greatly from the symbolic
functions and metaphorical expression of the Mehr
and Zoroas trian rites in the Haft Peykar verse. The
passage of Bahram Gour, the Sassanid king, in the
seven domes, which actually means seven fire temples,
in different colors, during the week and with
emphasis on the relevant planets, is the central narrative.
On the other hand, the similarity of these
seven s tages, with the ladder of the weekly s tep, in
the ritual ofMehr, is the sign of Nizami’s knowledge
and loyalty to these rituals in his works. This close
relationship has influenced the interpretation of semantic
implications and color expression. As the
meanings of the red expression in the Red Dome,
which are associated withMars, the Third Earth, and
Tuesday, interpreted as the depiction of blood in the
myth of the firs t cow in the Mehr ritual. The problem
is that in the fourth dome, we encounter a different
function of the red expression. This is a sign
that he avoids the concepts of this religion and his
deep knowledge about the color red in the Islamic
world. The ques tion is: Given the extensive connection
that Nizami’s s tory has made with the said
rituals in Haft Peykar, how does the red color expression
in this s tory correspond to the concepts and
function of this color in Islamic mys ticism? What
are the signs of this in Haft Peykar? This article, in
a descriptive-analytical and comparative way, shows
that the s tory of the Red Dome has explicit references
to the expressive implications of red in Islamic
mys ticism. In the poem The Red Dome of Wisdom
and the Need for Rationality, in the form of specific
keywords, for the main characters of men and women
and their solutions in life. In fact, what Bahram
teaches in this dome is the need to acquire rationality.
Thus, the red color expression in Haft Peykar can
only be interpreted based on the principles of Islamic
mys ticism, Not based on as tronomy, Mehr religion
or Zoroas trian religion. The red color in the red dome
cannot have the origin of the Mehr ritual. Because,
the fourth position in the ritual of Mehri’s arrival is
the position of the lion, which refers to “power” and
“time”. In the s tory of Nizami’s fourth dome, neither
time nor power is the main theme of the s tory. In addition,
Lion is purple, not red. Some mys tics before
Nizami, as well as his contemporaries, attribute the
expressive implications of red to rationality and the
need to acquire wisdom. The expressive implications
of red in the Red Dome narrative, with the rationality
and values of the acquisition of wisdom and reason,
are much more likely and reasoned than the expressive
implications of red in the Mehr ritual. Also, the
disappearance of Bahram at the end of the s tory of
the Red Dome corresponds to the attainment of the
rank of inexis tence in Islamic mys ticism, and differs
from the goal of man in the ritual of Mehr.
