fa بررسی نمودهای پویانمایانه در پاره‌ای از شخصیت‌های نگاره‌های سلطان‌محمد نقاش تخصصي Special پژوهشي Research <div style="text-align: justify;"><span style="font-size:12px;"><span style="font-family:Tahoma;"><span style="line-height:17.0pt"><span style="vertical-align:middle"><span style="direction:rtl"><span style="unicode-bidi:embed"><span lang="FA"><span style="color:black"><span style="letter-spacing:-.05pt">یکی از نگارگران شاخص ایرانی که به تجسم فضاهایی سرشار از فانتزی و خیال ناب در نگاره</span></span></span><span dir="LTR"><span style="color:black"><span style="letter-spacing:-.05pt">‌</span></span></span><span lang="FA"><span style="color:black"><span style="letter-spacing:-.05pt">هایش پرداخته است، سلطان</span></span></span><span dir="LTR"><span style="color:black"><span style="letter-spacing:-.05pt">‌</span></span></span><span lang="FA"><span style="color:black"><span style="letter-spacing:-.05pt">محمد نقاش، از نگارگران مکتب تبریز دوم است. این پژوهش سعی در بررسی این نگاره</span></span></span><span dir="LTR"><span style="color:black"><span style="letter-spacing:-.05pt">‌</span></span></span><span lang="FA"><span style="color:black"><span style="letter-spacing:-.05pt">ها از منظر فانتزی حرکتی</span></span></span> <span lang="FA"><span style="color:black"><span style="letter-spacing:-.05pt">دارد؛ پرسش مورد نظر نگارنده عبارت است از: &laquo;جلوه</span></span></span><span dir="LTR"><span style="color:black"><span style="letter-spacing:-.05pt">‌</span></span></span><span lang="FA"><span style="color:black"><span style="letter-spacing:-.05pt">های پویانمایانه موجود در شخصیت</span></span></span><span dir="LTR"><span style="color:black"><span style="letter-spacing:-.05pt">‌</span></span></span><span lang="FA"><span style="color:black"><span style="letter-spacing:-.05pt">های انسانی آثار سلطان محمد، به چه صورت و اسلوبی نمود یافته</span></span></span><span dir="LTR"><span style="color:black"><span style="letter-spacing:-.05pt">‌</span></span></span><span lang="FA"><span style="color:black"><span style="letter-spacing:-.05pt">اند؟&raquo; هدف از این پژوهش نیل به یک ساختار معنادار و شیوه هدفمند در ترسیم پیکره</span></span></span><span dir="LTR"><span style="color:black"><span style="letter-spacing:-.05pt">‌</span></span></span><span lang="FA"><span style="color:black"><span style="letter-spacing:-.05pt">های انسانی و نیز دستیابی به یک روش منسجم و قابل تعمیم در بدنه هنرهای تصویری معاصر ایران است. روش پژوهش بر پایه مطالعه توصیفی</span></span></span> <span lang="FA"><span style="color:black"><span style="letter-spacing:-.05pt">ـ</span></span></span><span lang="FA"><span style="color:black"><span style="letter-spacing:-.05pt"> تحلیلی پیکره</span></span></span><span dir="LTR"><span style="color:black"><span style="letter-spacing:-.05pt">‌</span></span></span><span lang="FA"><span style="color:black"><span style="letter-spacing:-.05pt">نگاری سلطان محمد بوده و رویکرد دوسویه ساختارگرا ـ معناشناختی در پیش گرفته است. ماحصل این مطالعه به درک و دریافت شیوه اغراق و دگرگونه</span></span></span><span dir="LTR"><span style="color:black"><span style="letter-spacing:-.05pt">‌</span></span></span><span lang="FA"><span style="color:black"><span style="letter-spacing:-.05pt">سازی خاص سلطان</span></span></span><span dir="LTR"><span style="color:black"><span style="letter-spacing:-.05pt">‌</span></span></span><span lang="FA"><span style="color:black"><span style="letter-spacing:-.05pt">محمد در ترسیم پیکره</span></span></span><span dir="LTR"><span style="color:black"><span style="letter-spacing:-.05pt">‌</span></span></span><span lang="FA"><span style="color:black"><span style="letter-spacing:-.05pt">ها بر اساس معنای موردنظر نگاره و پیش</span></span></span><span dir="LTR"><span style="color:black"><span style="letter-spacing:-.05pt">‌</span></span></span><span lang="FA"><span style="color:black"><span style="letter-spacing:-.05pt">بینی نحوه حرکت برای پیکره</span></span></span><span dir="LTR"><span style="color:black"><span style="letter-spacing:-.05pt">‌</span></span></span><span lang="FA"><span style="color:black"><span style="letter-spacing:-.05pt">های یادشده انجامیده است.</span></span></span></span></span></span></span></span></span><br> &nbsp;</div> <div style="text-align: justify;"><span style="font-size:12px;"><span style="font-family:Tahoma;"><span style="line-height:17.0pt"><span style="vertical-align:middle"><span style="color:black">In the Persian traditional painting, we confront a special view. It changes the coordinates of our visual comprehension in order to abshact from matter and representation of realities which are cryptographic behind that, and it changes the known rules of seeing and accepting. In a fantastic atmosphere such as Persian painting, there is a special system which the whole of qualities are affected by it.</span></span></span><br> <span style="line-height:17.0pt"><span style="vertical-align:middle"><span style="color:black">The &ldquo;Movement&ldquo; as an important element is one of those elements. Persian painter who is affected by rich Persian philosophy and literature, notes the &ldquo;Movement&rdquo; as an important matter and although he hasn&rsquo;t any tools for actual ideogram of &ldquo;Movement&ldquo;, he tries to express his sightly moves in 2D paper, that&rsquo;s his equipment in best conditions. All of the exaggerates and stylizations which applied on the human figures are special movement creators.</span></span></span><br> <span style="line-height:17.0pt"><span style="vertical-align:middle"><span style="color:black">One of the leading Iranian painters who has embodied spaces full of fantasy and pure imagination in his paintings, Sultan Mohammad Naghash, is one of the painters of Tabriz II school. This study tries to examine these images of motion fantasy; The author&rsquo;s question is: &ldquo;In what form and style are the animated effects in the human characters of Sultan Muhammad&rsquo;s works manifested?&rdquo; The purpose of this study is to achieve a meaningful structure and purposeful method in drawing human figures and also to achieve a coherent and generalizable method in the body of contemporary Iranian visual arts. The research method is based on the descriptive-analytical study of Sultan Mohammad&rsquo;s iconography and adopts a two-way structuralist-semantic approach. The result of this study is to understand and receive the method of exaggeration and special transformation of Sultan Mohammad in drawing the figures based on the intended meaning of the drawing and predicting the way of movement for the mentioned figures.</span></span></span></span></span><br> &nbsp;</div> نگارگری ایرانی, پویانمایی, سلطان محمد, پیکره انسان, فانتزی, حرکت Iranian Painting, animation, Sultan Mohammad, human figure, fantasy, movement 83 99 http://kimiahonar.ir/browse.php?a_code=A-10-1-306&slc_lang=fa&sid=1 Seyed Mohammad Taheri Qomi سید محمد طاهری قمی mohammadtaheri1982@gmail.com 10031947532846005887 10031947532846005887 Yes