چکیده:
در ادبیات فارسی بارها از کلمات نقاش و نقاشی استفاده شده و در نمونههایی نقاش به یک شخصیت تأثیرگذار در روایت ادبی تبدیل شده است. در مقاله حاضر شخصیتپردازی نقاش از منظر ادبیات مورد بررسی قرارگرفته است. هدف این پژوهش مطالعه شمایل نگاری کلامی نقاش به عنوان یک عنصر مهم در حوزه ادبیات فارسی است تا ضمن معرفی شخصیت نقاش؛ نقش، اهمیت و جایگاه وی در روند داستان بررسی شود و مطالعات گستردهتر در این حوزه صورت گیرد. این مقاله در پی پاسخ به این سؤال اصلی است که شمایل نگاری کلامی نقاش در ادبیات فارسی چگونه است؟. روش تحقیق در پژوهش حاضر توصیفی- تحلیلی و شیوه گردآوری اطلاعات اسنادی است. یافتههای پژوهش حاکی از آن است که نقاش و آفرینش خیالانگیز او بارها منبع الهام شعرا بوده و ادبیات فارسی به عمل نقش آفرینی تصویری نقاش و حتی اسم نقاش خاص، پرداخته و گاهی مستقیما در قالب روایت داستانی نقاش را به عنوان یکی از قهرمانان طرح نموده است. در نمونههای مورد بررسی این پژوهش، نام هفت نقاش به عنوان شخصیتهای کلیدی روایتها مطرح شده و نقاش به نوعی واسطه عشق و خدمتگزار پای تخت شاهی بوده و فردی زیرک، فعال و هوشیار است که مهمترین نقش او در متون روایی معرفی کردن عاشق و معشوق داستان به یکدیگر و در متونی دیگر همراهی خیال و کشف صورت معشوق است.
Abstract The terms ‘painter’ and ‘painting’ are frequently employed in Persian literature and poetry, and numerous authors and poets have included these terms into their works. The greatness and beauty of God's creation, the beloved, etc. have been described using these words in descriptive and literary contexts. In some examples of Persian literature, the name of a particular painter is mentioned as the main character of the story and the painter is an influential character. The transformation has evolved into a literary narrative process. The goal of the current article is to examine the verbal iconography of the painter from the standpoint of literature and literary narratives, and while introducing the painter's personality in these works, to examine and describe their function, significance, and location in the process of storytelling and narration. It should be noted that in this research, mythical and fictional painters who are not necessarily based on historical reality have been primarily taken into account. These characters are those who are introduced as painters in prose and poetry literary works and who have the profession and art of painting as well as being an actor and a fictional hero in the narrative. In this regard, the current paper aims to respond to the questions of what the verbal iconography of the painter is in Persian literature and which painters are mentioned there. The descriptive-analytical research methodology used in this study involves gathering library data. In this study, painters who play a crucial part in furthering the plots of poets' and authors' poems and stories have also been examined. The research's findings show that poets and Persian writers frequently drew inspiration from painters and their imaginative works in a variety of guises, including references to painters' images and sometimes specific painters' names, as well as occasionally directly in the form of narrative. Seven painters were mentioned as important characters in the literary works we examined for this study: Mani, Shapoor, Siavash, Khayal, Farhad, Shavor, and Mehrab. The majority of painters in Persian literature are from Iran, China, and Rome, and these three nations are thought to have experienced the height of the painting art. The painter is primarily a throne servant who is smart, wise, active, dynamic, worldly, resourceful, skilled, and vigilant. His most crucial function in narrative texts is to introduce the story lover. He is a very talented painter and artist. In some passages, it is the accompaniment of the beloved's face being discovered as well as to each other.