پديد آورندگان :
ﭼﺎوﺷﯽ ﻧﺠﻒ آﺑﺎدي، ﻓﺎﻃﻤﻪ داﻧﺸﮕﺎه ﻋﻠﻢ و ﻫﻨﺮ واﺣﺪ اردﮐﺎن، ﯾﺰد، اﯾﺮان , ﻣﺠﺎﺑﯽ، ﻋﻠﯽ داﻧﺸﮕﺎه آزاد اﺳﻼﻣﯽ واحد ﻧﺠﻒ آﺑﺎد - داﻧﺸﮑﺪه ﻫﻨﺮ، ﻣﻌﻤﺎري و ﺷﻬﺮﺳﺎزي - ﮔﺮوه ﻫﻨﺮ، ﻧﺠﻒ آﺑﺎد، اﯾﺮان , ﺻﺎدﻗﯽ، ﻣﻬﺪي داﻧﺸﮕﺎه دوﻟﺘﯽ ﯾﺰد، ﯾﺰد، اﯾﺮان
كليدواژه :
ﻧﻈﺎﻣﯽ ﮔﻨﺠﻮي , ﻟﯿﻠﯽ و ﻣﺠﻨﻮن , ﻧﮕﺎرﮔﺮي اﯾﺮاﻧﯽ , ﭘﻮﺷﺶ
چكيده لاتين :
In every culture and civilization, there is a fundamental and base art, on which other arts are created. Different arts are created for different purposes; some are the origin of other arts and some derived from and influenced by other arts. In Iran, the foundation of many arts is known as poetry which plays the role of the basic art in the creation of other arts. Among various arts, painting has a lot to do with poetry, in fact, painting is one of the arts that has a long-standing connection with poetry. Among the works of painting, the role of romantic stories is outstanding, of which the story of lily and Majnun is of the most famous ones, compiled by Hakim Nizami Ganjavi. Nezami Ganjavi, the most famous poet in writing love stories, narrates the story of lily and Majnun with mysterious poems that each word gives different meaning to the audience. Poems in the poetry of lily and Majnun are cryptic, so to get the true meaning of poetry, they need to be carefully interpreted and analyzed, especially if a long history has passed since the creation of the work; and if the poet is world-renowned for speaking cryptically. This paper tries to extract the descriptions related to the clothing of the main characters of the story of lily and Majnun from the poetry, and compare them with the clothing of related painting works. Ultimately, using the results, it tried to answer the question: what is the effect of painting (follower Art) on poetry (basic art)? In this study, data was collection throught documentation and library studies and the descriptive-analytical method was used to formulate and set it. The context of the poem, the poet in the poems describing the main characters of the story does not neglect to describe their clothing and devotes parts to it. It also appears that the artist, after reading the poem, has been illustrating the poet's descriptions. In the present article, lily and Majnun coverage is derived from what is inferred from the military system and then, by comparing the paintings of lily and Majnun in the works of painting from the 8th to the 11th centuries, the results are presented. Among the points of interest to the poet in the poetry to describe the clothing of lily and Majnun are references to the material of the textile including Zarbaft, Parand, Diba, Fur, Khara, Plus and Leather. As for colors, indigo and sapphire were selected. For the design: turban, bandage, Sarpech, clinch, mask, shirt, cuirass, plus, Salab, and Khalkhal were used for jewelry. By examining 14 pictures of the golden styles of Iranian painting, it is found that the effect of the painter from the text is more on the color of the clothing. It should be noted that all of the bits used the military jams, by Hassan Vahid Dastgerdi.
