مطالعه زبان و بيان در پيكره سفالي طغرل بيك سلجوقي با رويكرد بينامتني

The Study of Language and Expression, Clay Sculpture Tughril Seljuk Intertextual Approach

كشف بينامتنيت در قرن بيستم، نگرش نويني در افق مطالعات علوم انساني و هنر فراهم آورد. از گرايش هاي مهم بينامتني، بينامتنيت خوانشي است كه نخستين بار رولان بارت مطرح كرد. مقاله پيش رو، به مطالعه مجسمه سفالين «سلطان طغرل بيك سلجوقي» متعلق به هنر دوره اسلامي ايران با رويكرد بينامتنيت خوانشي پرداخته است. هدف اصلي نوشتار حاضر، آشنايي مخاطبان با يكي از شيوه هاي مهم نقد ادبي و هنري معاصر، يعني بينامتنيت خوانشي است كه با تطبيق آن بر پيكره هاي مطالعاتي ايراني و اسلامي، قابل بهره برداري است. در ابتدا، شناسه تاريخي پيكره حاضر معرفي مي شود و سپس، كشف تمامي خوانش هاي ممكن با رويكرد بينامتني در مجسمه مذكور كانون توجه قرار مي گيرد. در مرحله بعد، با تحقيقي ميداني، نقش متن هاي مذكور در خوانش مخاطبان اثر نقد و بررسي مي شود. بدين منظور، چهل خوانش مختلف كه از مصاحبه با دانشجويان رشته هاي هنر و ادبيات شكل يافته، محور تحليل اين قسمت است. يافته هاي پژوهش حاضر نشان مي دهد اول، خوانش بينامتني به عنوان روش تحقيق، قابليت نقد و بررسي آثار هنري و تجسمي ايراني- اسلامي را دارد. دوم، خوانش مخاطبان اثر حاضر، اغلب خوانشي مركب (متني، بينامتني و فرامتني) بوده است.

Intertextuality in the twentieth century gave way to a new perspective and approach in studies in humanities، especially in literature and art. One of the most important of these trends belongs to Roland Barthes’ theory of intertextuality. The author of this paper has studied art figurine of the Islamic period entitled "Seljuk Sultan Tughril" belonging to 6th and 7th centuries AD by adopting the intertextuality theory. To this effect، first descriptive and historical accounts are presented. Then exploration are made with respect to visual، verbal، and pictorial elements of the system. Finally these elements are considered holistically and integratively in a ceramic statue Tughril Seljuk of 6th and 7th centuries AD. In the next stage by adopting a field study، the impact of the text in the audience and their interpretations the work are collected and reviewed. To this end، the researcher relied on forty different readings taken through an interview with the art and literature students and the resulting transcriptions were analyzed afterwards. The main purpose of this article is to make the audience familiar with one of the most important approaches of literary criticism and contemporary art that is the theory and practice of intertextuality by Barthes. In light of the study the audience may have a more accurate recognition of localization and the way it is adapted to the Iranian and Islamic studies. The results show that intertextual reading is a research method which provides the means to review and visual art، Islamic Iran. In addition، readings of the audience are often compound readings. In other words، most of the audience who had intertextual reading approach of the statue have also used textual approach and those who have had contextual approach have also applied textual and intertextual reading approach as well. Islamic art is derived from neither the Islamic doctrine nor the Islamic law; rather، it is originates from the inner truth of Islam in the Holy book of Quran. The Quran expresses Islam's central thought of monotheistic thinking states. The monolithic thinking not only explains the theoretical basis of Islamic art but also presents examples of this art. Intertextual study of Tughril clay figurines، a work symbolizing Islamic art، evidently represents Islamic law، monotheism and the Quran. The author believes that reading a work of art through the lens of intertextuality can help to achieve this goal as any work of art، according to Barthes، is a blind text، text and forms almost beyond recognition in the others with former cultural context and the context of the surrounding culture. By full recognition of the intertextual relations and putting together their artistic interpretation of a text together a complete interpretation of an artistic work may be realizable. This article intends to answer questions: - How does the audience benefit from intertextual relations in clay sculptures? - How many of intertextual readings of the work have explicit references to other texts? - How much of the audience’s reading belongs to verbal، visual or both verval-visual?