نوع مقاله : مقاله پژوهشی
1 دانشجوى دکترى تاریخ تطبیقى و تحلیلى هنر اسلامى، دانشگاه هنر تهران، ایران
2 .دانشیار تاریخ تطبیقى و تحلیلى هنر اسلامى، دانشگاه هنر تهران، ایران
3 استادیار دانشکده هنر و علوم انسانى، دانشگاه شهرکرد، ایران
عنوان مقاله [English]
Book of “Jame al-Tavarikh” by Khajeh Rashid al-Din Fazlullah Hamedani is one of the firs t books after Islam that s tarted to revolute Iranian painting to draw holy Prophet (Mohammad), after centuries. This book contains paintings on the subject of life and description of the Prophet and was written his torically at an important point in the his tory of Iran and the cultural and social influences that Iranian society went through in this period can be seen in its picters. In this book, several drawings are dedicated to the portrayal of the Prophet of Islam , which a glance on it, it comes to mind how the subject of illus trating of the Prophet (PBUH), which was previously unusual and even done cautiously, became normal in the Ilkhan’s ruling discourse? The data required for this research were obtained by selecting a s tudy sample and observing and analyzing them in their components, and the information required for their analysis was gathered by library s tudies. The s tudy sample of this research is a picture from “Jame al-Tavarikh” by Khajeh Rashid al-Din Fazlullah Hameda that represented the s tory of the ascension of the holly Prophet. This image is one of the firs t works in the Iranian painting tradition with the subject of Ascension. Its s tyle of illus trating was the firs t Tabriz s tyle or the Mongolian (Ilkhani) style and in its illus tration, various Chinese, Mongolian, Byzantine and Iranian elements have been used. Finally, the answer to the ques tion of this research was possible through sample analysis with the method of critical analysis of Fairclough discourse. This analysis was performed according to the mentioned method in three levels, which are described (with considering empirical, communicative and expressive values), interpretation and explanation (which examines three situational, ins titutional and social indicators effective on forming the art work). The results of this s tudy indicate that the Ilkhani government, by accepting some values of Iran, namely Islam and Shi’ism, and along with its coexis tence with some Mongolian values, took texts from both Iranian-Islamic and Mongolian civilizations and used them in an inter civil discourse, inter textual texts ,They created an enter civilization that was acceptable both to the Iranian Muslim citizen and implicitly ins tilled in the Iranian citizens the values of accepting the Mongols as the rulers of this land, and thus in categories such as the painting by choosing his torical subjects, especially his tory. Islam and its coexis tence with some Mongol values, is coming to the fore.