نوع مقاله : مقاله پژوهشی

نویسنده

• مصطفی ندرلو

استادیار، گروه ارتباط تصویری، دانشگاه هنر، تهران، ایران

چکیده

بهرام میرزا (923-956 ق.) کوچکترین فرزند شاه اسماعیل یکی از حامیان هنرعصر صفوی است. علاقه او به هنرنقاشی وخوشنویسی و حمایت های او ازهنرمندان و نویسندگان موجب کارهای ارزنده هنری و فرهنگی شده است. این مقاله به بررسی وشرح زندگی بهرام میرزا و معرفی کارهای هنری او، همچنین به جایگاه او به عنوان حامی هنر، نسخه پردازومجموعه دار پرداخته است. مرقعات وی به ویژه مرقع1. با مقدمه دوست محمد و دو مرقع دیگر و محفوظ درموزۀ توپقاپی سرای استانبول، معرفی و مورد بررسی قرارگرفته است. این پژوهش با بررسی و مطالعه منابع به شناخت ومعرفی این هنرمند و نیز با ارزیابی آثار به تحلیل آنها پرداخته است. این تحقیق به شیوه تاریخی، توصیفی و تک نگاری می باشد. حاصل این پژوهش نشان می دهد که این حامی هنر علاوه بر انجام امور مملکت داری به امورهنری نیز می پرداخته است. آثارمرقعات او می تواند قسمتی از تاریخ هنر نقاشی و خط ایرانی باشد. بهرام میرزا با درکنارهم قراردادن آثار دوره های مختلف علاوه بر حفظ آثار، خوانش تازه ای را در هنر تصویر به وجود آورده است. او گذشته را به زمان خویش متصل ساخته و تاریخ نوینی از هنرهای تصویری ایران را ترسیم نموده است.

کلیدواژه‌ها

• بهرام میرزا
• مرقع
• نقاشی
• خطاطی

عنوان مقاله [English]

Bahram Mirza Artist and patron

نویسنده [English]

• Mostafa Naderloo

Art university

چکیده [English]

Bahram Mirza Artist and patron
Key words: Bahram Mirza, Murraqqa, Album, painting, calligraphy, Dust Muhammad, Shah Tahmasb,Safavid
Abstraction:
Bahram Mirza (923-956/1517-49) is the youngest son of Shah Ismail, and a patronage of the art of Safavid era, his passion for painting, calligraphy and the support he gave to the artists and writers, has made way to production of great cultural works.
This article is a study and an account on Bahram Mirza’s life, and an introduction to his art works, his position as a patronage of art, manuscript master and a collector.
In this paper his albums, especially Album(muraqqa) (TSKH.2154) (951/1544-45) with introduction from Dust Muhammad and two other Albums(muraqqa) (TSK.B410) and (B615) kept in Topkapi Saray library, is studied and presented.
As though these works are out of rich and kept in museums outside Iran, researching on this topic has been very difficult, and access the images of the works has also been another issue. It might be for the same reason that this patronage identity and position has not been clear and his works are unknown to us, and have not been studied as they deserve.
With the study and review of resources this paper is an introduction and cognition about the artist, the analysis is by assessment on the work. This research is a monography with art history formal analysis method.
The conclusion of this research shows that this art patronage has also been devoted to art at the same time that he was also ruling the country and being political figure. His albums can be considered as part of the visual history of painting and calligraphy. Bahram Mirza in addition to restoration of the works has approached a new way of reading in visual art by putting the works of different periods together. He has connected the past to his own time and draws a new history of Persian visual art.
The outlook of this research can be instrumental for researcher also for cultural institutions and museum
The conclusion of this research shows that this art patronage has also been devoted to art at the same time that he was also ruling the country and being political figure. His albums can be considered as part of the visual history of painting and calligraphy. Bahram Mirza in addition to restoration of the works has approached a new way of reading in visual art by putting the works of different periods together. He has connected the past to his own time and draws a new history of Persian visual art.
The outlook of this research can be instrumental for researcher also for cultural institutions and museum and those having interest in this subject area.
and those having interest in this subject area.

کلیدواژه‌ها [English]

• Bahram Mirza
• Album
• painting
• calligraphy