نمود "بدن‌گروتسك" در نقاشي‌هاي محمد سياه قلم بر مبناي انديشه ميخاييل‌باختين

Study of "Grotesque Body" in Muhammad Siyah Qalem’s Painting on the Basis of Bakhtinʹʹs Thought

اكثر پژوهش‌هاي انجام‌گرفته با موضوع سياه‌قلم، باتوجه به‌ هويت و زمينه‌ فرهنگي آثار محمد سياه قلم شكل گرفته‌اند. نقاش مشهور اما ناشناس نيمه‌دوم سده نهم‌هجري كه بيشترين حجم آثار او در مرقع‌هاي كتابخانه توپقاپوي‌ استانبول نگهداري مي‌شود. اين نوشتار، فارغ از دغدغه هويت و بافت فرهنگي‌ آثار سياه‌قلم، از اشكال و فرم‌هاي‌كارناوالي ميخاييل‌باختين ياري‌جسته و منحصراً با نگاهي عميق و تازه به جهان‌گروتسكي سياه‌قلم پرداخته ‌است. ‌باختين، فيلسوف و نظريه‌پرداز بزرگ سده‌بيستم است و مفاهيم و ايده‌هايي همچون گفتگو، ديگري، كارناوال و.. را در نظريات خود اعمال‌كرده ‌است. ايده‌هاي او تقريباً دودهه است كه به‌عرصه هنرهاي ‌تجسمي راه‌يافته و ساختار مناسبي را در حوزه نقد اين آثار براي هنرپژوهان بناكرده‌ است. باتوجه به‌ اين‌كه نگاه ويژه ‌باختين درخصوص كارناوال و "بدن‌گروتسك" مي‌تواند رويكرد مناسبي براي تحليل دنياي‌گروتسكي سياه‌قلم باشد، اين پژوهش، عناصري از پيكره‌هاي سياه‌قلم را كه بر روي عملكردهاي بدن‌گروتسكي باختين تمركز دارند با روش تحليلي ‌ــ‌ تطبيقي تصويركرده ‌است. بدن موردنظر باختين، بدني است كه منحصر به‌فرد و منفك از باقي جهان نيست، بدني‌است بي‌شكل و رها شده كه پي‌درپي با مرگ و زندگي همراه است. پيكره‌هاي سياه‌قلم اين قابليت را دارند كه به‌واسطه اين ويژگي‌ها، با اين بدن در هم آميخته و رها شده تعبير و تفسير شوند.

The most of the research have done on the subject of Muhammad Siyah qalem, shaped with respect to identity and cultural background of his paintings and works. Muhammad Siyah qalem is a famous painter but anonymous of the second half of the ninth century that, his life and identity is still shrouded in mystery and it is almost the equivalent of a century that has been made context for numerous researches studies. The most of his works has been held in library’s albums from Istanbul Topkapi Palace and, also a few of them have been kept in the freer gallery in Washington and the Metropolitan in New York. His famous is by creation of the demons, humans and shamans, and this article has been helped without concern for identity and cultural context of Muhammad Siyah qalem’s work from the shapes and forms Mikhail Bakhtin’s carnival, and has particularly been investigated Muhammad Siyah qalem’s grotesque world by looking deep and new. And in line with this object, elaborates elements of Muhammad Siyah qalem’s painting that are defined and equality by functions of Mikhail Bakhtin’s grotesque body. Mikhail Bakhtin is a great philosopher and theorist in 20th century that has imposed on his opinions concepts and ideas such as "dialogue" or "dialogism", "the other","polylossia", "polyphonic", "carnival" and etc. His theories almost is two decades that has extended in the visual arts and has built a suitable structure in criticism of these works for art researchers. As respects Mikhail Bakhtin’s specific point of view about carnival and "grotesque body "could be an appropriate approach to analyzing and discussing the grotesque world of Muhammad Siyah qalem. Also Bakhtin’s thought completely distinguishes interpretations before him about "the other", novel, language and its potential forces and brings up in his book Rabelais and His World, concepts of carnival and grotesque realism, and displays in that a function of the body that emphasizes on the relations between the layer and material of the body and the world and reconstruction in the act of becoming, growth, birth and death. This research has been interpreted elements of Muhammad Siyah qalem’s figures by an adaptive and analysis approach that are focused on the functions of Mikhail Bakhtin’s grotesque body. According to Mikhail Bakhtin’s thought, grotesque body is not unique or inimitable and separate from the rest of the world. That is an amorphous and abandoned, unbound body. And everything that happens in its inside, successive associates with life and death and it has never absolute end, also another is that creates another shaper of both the power (power shaping for the another one), a body that doesn’t have an independent and individuality so he/she isn’t separate and a only single body,that was exceeded from the limits of its physical form and joined to the world and the objects and the other bodies. Muhammad Siyah qalem’s figures have the potential by these features, for interpretation and description with this combined and unbound body.