بررسي نمودهاي پويانمايانه در پاره‌اي از شخصيت‌هاي نگاره‌هاي سلطان‌محمد نقاش

Study of Animated Manifestations in Some of the Characters in the Paintings of Sultan Mohammad

يكي از نگارگران شاخص ايراني كه به تجسم فضاهايي سرشار از فانتزي و خيال ناب در نگاره‌هايش پرداخته است، سلطان‌محمد نقاش، از نگارگران مكتب تبريز دوم است. اين پژوهش سعي در بررسي اين نگاره‌ها از منظر فانتزي حركتي دارد؛ پرسش مورد نظر نگارنده عبارت است از: «جلوه‌هاي پويانمايانه موجود در شخصيت‌هاي انساني آثار سلطان محمد، به چه صورت و اسلوبي نمود يافته‌اند؟» هدف از اين پژوهش نيل به يك ساختار معنادار و شيوه هدفمند در ترسيم پيكره‌هاي انساني و نيز دستيابي به يك روش منسجم و قابل تعميم در بدنه هنرهاي تصويري معاصر ايران است. روش پژوهش بر پايه مطالعه توصيفي ـ تحليلي پيكره‌نگاري سلطان محمد بوده و رويكرد دوسويه ساختارگرا ـ معناشناختي در پيش گرفته است. ماحصل اين مطالعه به درك و دريافت شيوه اغراق و دگرگونه‌سازي خاص سلطان‌محمد در ترسيم پيكره‌ها بر اساس معناي موردنظر نگاره و پيش‌بيني نحوه حركت براي پيكره‌هاي يادشده انجاميده است.

In the Persian traditional painting, we confront a special view. It changes the coordinates of our visual comprehension in order to abshact from matter and representation of realities which are cryptographic behind that, and it changes the known rules of seeing and accepting. In a fantastic atmosphere such as Persian painting, there is a special system which the whole of qualities are affected by it. The “Movement“ as an important element is one of those elements. Persian painter who is affected by rich Persian philosophy and literature, notes the “Movement” as an important matter and although he hasn’t any tools for actual ideogram of “Movement“, he tries to express his sightly moves in 2D paper, that’s his equipment in best conditions. All of the exaggerates and stylizations which applied on the human figures are special movement creators. One of the leading Iranian painters who has embodied spaces full of fantasy and pure imagination in his paintings, Sultan Mohammad Naghash, is one of the painters of Tabriz II school. This study tries to examine these images of motion fantasy; The author’s question is: “In what form and style are the animated effects in the human characters of Sultan Muhammad’s works manifested?” The purpose of this study is to achieve a meaningful structure and purposeful method in drawing human figures and also to achieve a coherent and generalizable method in the body of contemporary Iranian visual arts. The research method is based on the descriptive-analytical study of Sultan Mohammad’s iconography and adopts a two-way structuralist-semantic approach. The result of this study is to understand and receive the method of exaggeration and special transformation of Sultan Mohammad in drawing the figures based on the intended meaning of the drawing and predicting the way of movement for the mentioned figures.