نوع مقاله : مقاله پژوهشی

نویسندگان

• مصطفی لعل شاطری ¹
• هادی وکیلی ²
• علی ناظمیان فرد ²

¹ دانشجوی دکتری، تاریخ ایران بعد از اسلام، گروه تاریخ، دانشکده ادبیات، دانشگاه فردوسی، مشهد، ایران

² دانشیار، گروه تاریخ، دانشکده ادبیات، دانشگاه فردوسی، مشهد، ایران

چکیده

تصویرسازان در تولید هر اثر هنری، بی‌شک متأثر از مجموعه‌ای پیشامتن‌ها و پیرامتن‌ها می‌باشند که غالباً به دلایل گوناگون، با ضریب تأثیر متغیر، در متن (تصویر) بروز می‌یابد، چنانکه این جریان در دوره قاجار (مقارن با ورود صنعت چاپ سنگی) نیز قابل‌بررسی است. در این هنگام کتاب‌های بسیاری مصور گردید که در این بین، طوفان‌البکاء به دلیل استقبال فزاینده از سوی مخاطبان، بارها مورد تجدید چاپ قرار گرفت. هدف از پژوهش حاضر با تکیه‌بر روش توصیفی-تحلیلی پاسخ به این پرسش می‌باشد که میرزا علی‌قلی خویی به‌عنوان نخستین هنرمند شناخته‌شده در حوزه تصویرسازی کتاب‌های چاپ سنگی (دوران فعالیت: 1272-1263ق) تا چه میزان متأثر از هنجارهای جامعه در خلق مجلس قصاص اشقیای کربلا به‌وسیله مختار در کتاب طوفان‌البکاء، بوده است؟ یافته‌ها مبنی بر بررسی نسخه‌های انفرادی تصویرسازی شده از طوفان‌البکاء به‌وسیله خویی (1265ق، 1269ق، 1270ق، 1272ق الف، 1272ق ب، بی‌تا الف، بی‌تا ب) حاکی از آن است که با توجه به پیشامتن‌های موجود از این واقعه به‌مثابه گفتمان مکتوب (پایه: منابع قرون اولیه، همعصر: طوفان‌البکاء)، خویی هنجارهای سه‌گانه (قضایی: مجازات فیزیکی، نظامی: پوشش و ابزار نظامی، سیاسی: پیکرنگاری درباری) را مدنظر و با بهره‌گیری از تصویر، همچون رسانه‌ای پویا، گسترده و مورد استقبال توده، با نگرشی ویژه ...

کلیدواژه‌ها

• قیام مختار
• هنجارهای حاکم
• طوفان‌البکاء
• تصویرسازی
• میرزا علی‌قلی خویی

عنوان مقاله [English]

The Influence of Judicial, Political and Military Norms of the First Half of the Qajar Period on the Illustration of Mirza Ali-Qoli Xu’i from the Retribution Council of the Ashqiya of Karbala by Mukhtar al-Thaqafi in Tufan al-Boka'

نویسندگان [English]

• Mostafa La'l Shateri ¹
• Hadi Vakili ²
• Ali Nazemiyanfard ²

¹ PhD Student, History of Iran, Department of History, Faculty of Literature, Ferdowsi University, Mashhad, Iran

² Associate Professor, Department of History, Faculty of Literature, Ferdowsi University, Mashhad, Iran

چکیده [English]

In the production of any work of art, illustrators are undoubtedly influenced by a set of pre-texts and paratexts, which often appear in the text (image) for a variety of reasons with a variable effect factor, as such trend is examined in the Qajar period (simultaneously with the arrival of the lithography industry). During this time, many books were illustrated, during which Tufan al-Boka' was reprinted several times due to the growing popularity of the audience. Relying on the descriptive-analytical method, the main question raised is the extent to which Mirza Ali-Qoli Xu’i (Activity period 1847-1855), as one of the first artists known in the field of illustration of lithographic books, was influenced by the norms of the society in the creation of the Karbala Ashqis Qisas Majlis by Mukhtar in Tufan al-Boka'. The findings from the study of individual versions of Tufan al-Boka' by Xu’i (7 lithographic versions: 1849, 1852, 1854, 1856a, 1856b, Dateless a, Dateless b) indicate that regarding the existing pretexts of this event as a written discourse (base: Early Century Sources, contemporary: Tufan al-Boka'), they considered the nature of three norms (judicial: corporal punishment, military: military cover and tools, political: court iconography), and were distributed and welcomed using the image, as a dynamic media, seeking to connect the audience more with this event with a special attitude and analyzable based on the theory of reflection and shaping - first by showing everyday topics and then, while visually replacing Fath Ali Shah with Mukhtar, he intended to gain relative acceptance for the ruling power.
In the production of any work of art, illustrators are undoubtedly influenced by a set of pre-texts and paratexts, which often appear in the text (image) for a variety of reasons with a variable effect factor, as such trend is examined in the Qajar period (simultaneously with the arrival of the lithography industry). During this time, many books were illustrated, during which Tufan al-Boka' was reprinted several times due to the growing popularity of the audience. Relying on the descriptive-analytical method, the main question raised is the extent to which Mirza Ali-Qoli Xu’i (Activity period 1847-1855), as one of the first artists known in the field of illustration of lithographic books, was influenced by the norms of the society in the creation of the Karbala Ashqis Qisas Majlis by Mukhtar in Tufan al-Boka'. The findings from the study of individual versions of Tufan al-Boka' by Xu’i (7 lithographic versions: 1849, 1852, 1854, 1856a, 1856b, Dateless a, Dateless b) indicate that regarding the existing pretexts of this event as a written discourse (base: Early Century Sources, contemporary: Tufan al-Boka'), they considered the nature of three norms (judicial: corporal punishment, military: military cover and tools, political: court iconography), and were distributed and welcomed using the image, as a dynamic media, seeking to connect the audience more with this event with a special attitude and analyzable based on the theory of reflection and shaping - ...

کلیدواژه‌ها [English]

• Mukhtar al-Thaqafi uprising
• Qajar period
• Dominant norms
• Tufan al-Boka'
• Mirza Ali-Qoli Xu’i