كليدواژه :
سوز و گداز , محمدرضا نوعي خبوشاني , محمدعلي نقاش , ستي , نگارگري صفوي
چكيده فارسي :
منظومۀ «سوز و گداز» بيانگر رسم سَتي از رسوم هندوان است كه بر طبق آن، هنگام وفات مرد، برخي زنان به نشانه وفاداري و به‌رغم درخواست بزرگان براي امتناع از اين كار، همراه با جسد همسر خود سوزانده مي‌شدند. در عصر صفوي به دليل گسترش مهاجرت شاعران فارسي‌زبان به هند، رسم ستي در آفرينش داستان‌هاي عاشقانه فارسي راه پيدا كرده و همين مضمون دستاويزي براي نگارگران شد. در اين مقاله، ضمن شناسايي نسخه‌هاي مصوّر سوز و گداز، نسخۀ موزه هنر والترز به-طور خاص مورد مطالعه قرار مي‌گيرد. نگاره‌هاي نسخه‌هاي سوز وگداز، صحنه‌هاي كمابيش يكساني را به‌تصوير كشيده و در مجموع تركيبي از تأثيرات نگارگري هندي و اروپايي را مي‌نماياند كه با ذائقه زيباشناختي ايراني منطبق شده‌است. مهم‌ترين سوال اين نوشتار اين است كه دليل اهميت و رواج گستردۀ مضمون ستي در هنر سدۀ يازدهم هجري چه بوده است؟ اين مقاله با بهره‌گيري از مطالعۀ كتابخانه‌اي و نسخه‌شناختي و به روش تاريخي انجام شده‌است. يافته‌ها نشان مي‌دهد كه اگرچه رسم ستي سنتي تلخ و دردناك بوده، اما مضمون «وحدت عاشق و معشوق» در آن مورد استقبال شاعران فارسي‌زبان از قرن هفتم تا سيزدهم هجري قرار گرفته است. جالب‌تر اينكه اين منظومه در هنر ايران مقبوليت بيشتري نسبت به هند يافته، به-گونه‌اي كه به‌جز شاهنامه هيچ اثر ادبي ديگري به اندازۀ سوز و گداز در هنر اواخر صفوي تصويرسازي نشده است. به گواه منابع تاريخي، اقبال گسترده از اين منظومه در هنر صفوي، با ماجراي بازپس‌گيري قندهار به عنوان تنها پيروزي خارجي لشكر شاه عباس دوم مرتبط بوده است.
چكيده لاتين :
Nauʿi Khabushani’s Suz va Gudaz (“Burning and Melting”) received much attention in the Safavid period. The story comprises the Hindu practice of sati. According to this tradition, after the death of a man, his widow burns herself by joining her deceased groom on the funeral pyre. Although many Persian poets have referred to sati in their poems, Nauʿi Khabushani, Amir Hassan Dihlavi and Mujrim Kashmiri are the only poets who have composed
independent works on sati. By the sixteenth century, because of the migration of many poets to India, some
of the Indian themes, like sati, entered into the Persian poetry. The wealthy Mughal patrons provided an attractive
incentive for the Persian poets and artists. Although the sati was a bitter and dolorous tradition, its theme of “the
unity of lover and beloved” was accepted by the Persian poets. Nauʿi’s Suz va Gudaz, which is a rather unusual
subject for a Persian text, enjoyed great popularity in Iran, so that at least five illustrated copies of the text survive.
Subsequent to Shahnama, Suz va Gudaz was the most popular illustrated text in later Safavid Iran. The poem,
which is modeled after Nizami’s Khusrau va Shirin, recounts the story of the love of a Hindu youth and his marriage.
When he rides towards his beloved’s house, and crosses an old bazar, the buildings collapses, burying him
and his companions alive. The bride accompanies her groom’s coffin and immolated herself on the funeral pyre.
When her friends fail to dissuade her, the Mughal Emperor Akbar, who had heard about the event, promises to
adopt the bride and provide her with every comfort, but she remains steadfast in her decision. Thus, the Emperor
asks his son Daniyal to accompany the bride to the funeral pyre. This paper, which seeks to survey the reason of
the widespread popularity of this text in the Persian art of the seventeenth century, introduces the illustrated manuscripts
of the Suz va Gudaz, and in particular focuses on a codex preserved in the Walters Art Museum. Based on
historical evidence, the reason of the popularity of Nau‘i’s work can be traced in an event that occurred during the
conquest of Qandahar in later Safavid period. Vali Quli Shamlu, the court historian of Shah Abbas II, recounts the
story of the death of one of the officials of the Mughal emperor during the siege of the Qandahar fort. His faithful
wife decided to commit sati on the funeral pyre. Shamlu detects parallels between this incident and the story of
Nau‘i’s poem. He claims that this event inspired Nau‘i to compose a poem. Thus the popularity of the Suz va Gudaz,
was in large part related to the commemoration of the single most important military victory of Shah Abbas II.
