Comparative Study of the Personality and Figure Representations of Imam Ali(AS) in the Manuscripts of the El-Âsârü' l-bâkiyye Birunî and the Jami' Al-Tawarikh Rashidi

Document Type : Research Paper

Author

PhD student of Comparative and Analytical History of Islamic Art, Faculty of Art, Shahed University, Tehran, Iran.

Abstract

 
 
According to the verses of the Qur'an and Islamic traditions, Imam Ali(AS) has many virtues and Iranian painters, in different historical periods, have illustrated his image. In the Manuscripts of the el-Âsârü' l-bâkiyye Birunî and the Jami' al-tawarikh Rashidi belonging to the Ilkhanid period, drawings of him can be seen. Since Âsârü' l-bâkiyye Birunî and the Jami' al-tawarikh Rashidi have scientific-historical and historical content, respectively; various personalities of Imam Ali(AS) have been presented. The importance of this issue has necessitated the present research. The objectives of the research include recognizing the personality traits of Imam Ali(AS) in the Manuscripts of the el- Âsârü' l-bâkiyye Birunî and the Jami' al-tawarikh Rashidi and identifying the influential mentalities in choosing the subject of the drawings related to the Imam in two versions. The questions also include: 1- In the drawings of the manuscripts of the el- Âsârü' l-bâkiyye Birunî and the Jami' al-tawarikh Rashidi, which personality traits of Imam Ali(AS) have been discussed? 2- What is the mentality of choosing the subject of the paintings related to Imam Ali(AS) in the copies of the el- Âsârü' l-bâkiyye Birunî and the Jami' al-tawarikh Rashidi? In the research, library, documentary and pictorial information have been studied in a descriptive-analytical manner with a comparative approach and the samples include 3 drawings of Âsârü' l-bâkiyye Birunî and 2 drawings of the Jami' al-tawarikh Rashidi have been selected in a purposeful and non-probabilistic manner.
In the three pictures examined from the manuscript of the Âsârü' l-bâkiyye Birunî, much attention has been paid to the discussion of the succession of Imam Ali(AS) and his children and the continuation of the path of Imamate by him.Imam Ali(AS) is depicted in one picture with his whole family and in another picture with his children. Imam Ali(AS) had a dignified and calm face in all three paintings, but he has the sword of Zulfiqar with him, and considering that the only armed person with a sword in the paintings of manuscript of the Âsârü' l-bâkiyye Birunî is Imam Ali(AS), it shows paying special attention to the painter has the aspect of warlike personality, courage and most importantly the cultural personality and position of Imam Ali(AS). The Ghadir Khumm incident is the most important event in the Shiite discourse, which is one of the drawings of the Âsârü' l-bâkiyye Birunî. On the day of Ghadir, the Prophet of Islam equated Ali(AS) with his power, personality and dignity, and by the command of God, introduced him as his successor and leader of the Muslims. A cloud can be seen above the head of the Holy Prophet(PBUH), which is called Arhas. Around the heads of all the persons in this painting, a golden halo is seen and it is not a sign of holiness and Imam Ali attracts attention with his Zulfiqar sword. Another image is dedicated to the Mobahela event. This event is very important for the Shiites because the Prophet(PBUH) chose Hazrat Fatima(PBUH) and Ali(AS) from among his companions and elders to face the Christians of Najran, who according to the Shiite discourse, the Ahl-e-Beit of the Prophet(PBUH) are known and from the Shiites' point of view, the event of Mobahela expresses the superior and valuable position of the family of infallibility and purity. In this picture, the Prophet(PBUH), Imam Ali(AS), Hazrat Fatima(PBUH), Hassan(AS) and Hussein(AS) are seen. A piece of cloud can be seen above the head of the Prophet (PBUH) which refers to the same subject of Erhas and this cloud is drawn on the head of 5 people and in a way emphasizes the concept of Ahl-e- Beit and velayat. In this painting, too, the halo of sanctity is seen around all people and is not a sign of sanctity. Double-edged sword of Imam Ali(AS) is illustrated in this painting and the cultural aspect of Imam Ali(AS) and his caliphate and guardianship is emphasized. The encounter of the messengers of the false prophet with the Prophet Muhammad(PBUH) is also the third image of the manuscript of the Âsârü' l-bâkiyye Birunî and refers to a man in Yemen who is known as Musaylima Kazzab. In his letter to the Holy Prophet(PBUH), he claimed to be a prophet and considered himself a partner in the rule and rule of the Holy Prophet(PBUH). This picture shows the scene of the messengers of the false prophet facing the Holy Prophet(PBUH). In this work, the cloud above the head of the Prophet(PBUH) refers to Erhas like the previous two paintings, and Imam Ali(AS), Imam Hassan(AS) and Imam Hussein(AS) are depicted in the painting, and Imam Ali(AS) being in the center of the box shows the importance of his role. In this work, halos around the head, like other paintings, are not a sign of sanctity. The presence of Hassanein(AS) in the middle of the box and between Imam Ali(AS) and the Prophet shows the importance of the successor of the Prophet and the continuation of the path of Imamate. Also, the only armed person in the work is Imam Ali (AS) who accompanied dobble edged Zulfiqar is depicted by the painter. Also, in the manuscripts of the Jami' al-tawarikh Rashidi, there is no holy halo around the heads of people and it seems that the personality of the Prophet(PBUH) was more important than Imam Ali(AS) to the painter. In fact, the character of Imam Ali(AS) is not more prominent than other people depicted in the paintings and is only shown as a brave warrior and in the service of the Islamic Army, and Shiite orientation , directional look and Shiite history can not be deduced from it. the first picture which has been dedicated to the subject of sending Imam Ali(AS) and Hazrat Hamza to the mission of the Battle of Badr by the Prophet(PBUH) is one of the most important and influential wars in the history of Islam. This war was the first one between the Muslims and the infidels of Quraysh that took place in the second year after Hijra and is known as the Battle of Badr. Based on the text of the painting, the painter describes the moment when seems that the person sitting in the center of the image and pointing to the people present on the left side of the image is the Prophet (PBUH). The three men are talking to the Prophet (PBUH) and the older person in the center of the stage is apparently Obaid. On the right of the image, two people on horseback are probably Hamza and Imam Ali(AS). Imam Ali (AS), like the other people in the picture, has a spear in his hand and according to the narration of the book, he has volunteered for war. In this picture, the figures of the people and horses of the two people on the right are larger than the others, and thus they are distinguished from the rest of the Prophet's troops; but the painter did not emphasize the outstanding of the Prophet(PBUH) in this painting and the halo around the head of any person is not seen and in the portraits of the soldiers there is no prominent state. The second image also refers to the battle of Badr, and this image shows the battle between Ansar and Quraysh. The painter has shown the courage and bravery of these warriors by depicting Hamza, Ali(AS) and Obaida. The figure riding a horse in the middle of the painting is Imam Ali(AS) and is depicted with full military clothes and tools, killing the person in front of the image. Here, the sword of Imam Ali(AS) is more visible than other weapons of the warriors and shows the importance of the sword-wielding power of Imam Ali(AS). A noteworthy point in the painting is the lack of double-edged sword of Imam Ali(AS). But the Hazrat is splitting one of the enemies of Islam into two, and the state of the characters and the horses is illustrated in such a way that it seems that the defeated enemy is escaping from Imam Ali(AS) on horseback. Because the riders are not face to face and the enemy is sitting on the horse in the opposite position, which is a bit irrational.
In general, the results show that in the manuscript of the Âsârü' l-bâkiyye, Imam Ali(AS), his successors, guardians, his children and the continuation of the path of Imamate, as well as the personality of Imam Ali(AS)'s family man have also been discussed and Imam Ali(AS) has not been distinguished from others in the manuscript of the Jami' al-Tavarikh Rashidi, and the painter has portrayed Imam Ali(AS) as one of the brave and capable warriors of the Islamic Army. Also, the painters of these manuscripts have paid special attention to Shiite themes in the Historical-scientific manuscript of Âsârü' l-bâkiyye. Therefore, the family of Imam Ali (AS) and the discussion of his successor and guardianship have been given more importance and the aspect of warfare and his cultural personality can also be seen in these paintings. It should be noted that according to the text of manuscript of Âsârü' l-bâkiyye Birunî, the painter has considered events such as Ghadir Khumm, Mubahila and the occurrence of the Prophet Muhammad(PBUH) and the messengers of the false prophet, While the painter in the historical manuscript of the Jami' al-Tawarikh, based on the historical text, has had a documentary view of events and has paid more attention to the fighting character of Imam Ali(AS) and there is no sign of highlighting his character in the paintings.
 
 
 

Keywords

References

قرآن کریم (1376) ترجمه، توضیحات و واژه‌نامه از بهاءالدین خرمشاهی، چاپ 3، تهران: جامی، نیلوفر.
آژند، یعقوب (1397) نگارگری ایران، جلد1، تهران: سمت.
ابن‌حنبل، احمد (1433) فضائل امیرالمؤمنین علی‌بن‌ابی‌طالب، ‌تحقیق سیدعبدالعزیز طباطبایی، قم: دار‌التفسیر.
ابن‌سعد، محمد (1410) الطبقات ‌الکبری، ‌تحقیق محمد عبدالقادر عطاء بیروت، جلد1، دارالکتب ‌العلمیه.
ابن‌عساکر، علی‌بن‌حسن (1400ق) تاریخ مدینه دمشق، تحقیق محمدباقر محمودی، چاپ2، بیروت: مؤسسۀ محمودی.
ابن‌هشام حمیری، عبدالملک (1415) السیره ‌النبویه، ‌تحقیق مصطفی السقا و دیگران، بیروت: دارأحیاء ‌التراث ‌العربی.
افشاری، مرتضی (1387) «رونگاری موضوع‌های قرآنی در نگارگری»، نگره، 4(9و8)، 65- 53.
امینی، عبدالحسین (۱۴۱۶ق) الغدیر فی‌الکتاب والسنه والادب، جلد6، قم: مرکز الغدیر.
بابائی‌فلاح، هادی (1393) «مطالعۀ تطبیقی قصص انبیا در قرآن کریم و سرگذشت پیامبران در متن و نگاره‌های کتاب جامع ‌التواریخ»، نگارینۀ هنر اسلامی، 1(2)، 24-15.
بهروزی‌پور، حسین؛ امیرحاجلو، سعید (1397) «نقش و کارکرد نگارگری در مشروعیت مذهبی حکومت ایلخانان با تأکید بر نمادهای شیعی در نگارگری‌های جامع ‌التواریخ رشیدی و آثار الباقیه بیرونی»، تاریخ فرهنگ و تمدن اسلامی، 9(33)، 166- 143.
‏‏ترمذی، محمد‌بن‌عیسی (1403) سنن ‌الترمذی، ‌تحقیق و تصحیح عبدالوهاب عبداللطیف، جلد5، چاپ2، بیروت: دارالفکر.
تَهانَوی، محمدعلی (1996) موسوعه کشاف اصطلاحات الفنون و العلوم، جلد1، بیروت: مکتبه لبنان ناشرون.
حسکانی، عبیدالله‌بن‌احمد (1411) شواهد ‌التنزیل لقواعد ‌التفضیل، تحقیق محمدباقر محمودی، جلد1، تهران: سازمان چاپ و انتشارات وزارت ارشاد اسلامی.
حقی‌بروسوی، اسماعیل‌بن‌مصطفی (بی‌تا) روح‌البیان، جلد10، بیروت: دارالفکر.
حلی، جمال‌الدین کشف‌المراد (بی‌تا) شرح تجرید ‌الاعتقاد، ترجمه و شرح فارسی ابوالحسن شعرانی، تهران: اسلامیه.
دیلمی، حسن‌بن‌محمد (1377) ارشاد القلوب، ترجمۀ عبدالحسین رضایی، تهران: اسلامیه.
رهنورد، زهرا (1393) تاریخ هنر ایران در دورۀ اسلامی(نگارگری)، تهران: سمت.
شایسته‌فر، مهناز (1384) هنر شیعی، تهران: مؤسسۀ مطالعات هنر اسلامی.
شایسته‌فر، مهناز؛ عبدالکریمی، شهین (1395) «عناصر بصری رویدادهای زندگی پیامبر اکرم(ص)، در نگاره‌های جامع ‌التواریخ»، مطالعات هنر اسلامی، 12(25)، 52- 37.
شایسته‌فر، مهناز؛ کیان، کتایون؛ شایسته‌فر، زهره (1390) «بررسی موضوعی شمایل‌نگاری پیامبر اسلام(ص) در نگارگری دورۀ ایلخانی و حضرت مسیح در نقاشی مذهبی بیزانس متأخر»، مطالعات هنر اسلامی، 7(14)، 60- 41.
شریف‌زاده، عبدالمجید (1375) تاریخ نگارگری در ایران، تهران: حوزۀ هنری.
صداقت، فاطمه (1385) «نسخۀ خطی خاوران‌نامه شاهکار نگارگری مذهبی ترکمانان قره‌قویونلو و آق‌قویونلو»، مطالعات هنر اسلامی، 2(4)، 120- 103.
صداقت، فاطمه؛ خورشیدی، زهرا (1388) «بررسی مضامین مذهبی در نسخ خطی جامع ‌التواریخ»، مطالعات هنر اسلامی، 5(10)، 97- 77.
طباطبایی، محمدحسین (1390) المیزان فی تفسیر القرآن، جلد2 و 6، بیروت: مؤسسۀ الاعلمی ‌للمطبوعات.
طبری، محمد‌بن‌جریر (1387) تاریخ الامم و الملوک(تاریخ ‌الطبری)، جلد3، ‌تحقیق محمدابوالفضل ‌ابراهیم، چاپ2، بیروت: دارالتراث.
طوسی، محمد‌بن‌حسن (1414) الامالی، تصحیح مؤسسۀ البعثته، قم: دارالثقافه.
قشیری ‌نیشابوری، مسلم‌بن‌حجاج (بی‌تا) صحیح مسلم، تحقیق محمد فؤاد عبدالباقی، جلد4، بیروت: دار احیاء‌التراث‌العربی.
کلینی، محمد‌بن‌یعقوب (1407) الکافی، تصحیح علی‌اکبر غفاری و محمد آخوندی، جلد1، تهران: دارالکتب ‌الاسلامیه.
مجلسی، محمدباقر (1403) بحار الانوار، جلد23، بیروت: داراحیاء ‌التراث ‌العربی.
محقق، محمدباقر (1361) نمونه بینات در شأن نزول آیات، تهران: اسلامی.
مفید، محمد‌بن‌محمد (1422) تفسیر القرآن ‌المجید، جلد1، تحقیق سیدمحمد ایازی، قم: مرکز انتشارات دفتر تبلیغات اسلامی.
مهدی‌زاده، علیرضا (1395) «تحلیل نگاره‌های دارای مضمون شیعی مربوط به دوره‌های ایلخانی، تیموری و ترکمن بر اساس گفتمان تشیع (دوازده‌امامی)» نگارینۀ هنر اسلامی، 3(9)، 83- 66.
نخستین‌سورکوهی، سمیه (1393) مطالعۀ تطبیقی نگاره‌های ولادت پیامبر اکرم(ص) در (جامع ‌التواریخ- سیر‌النبی) شکستن بت‌های کعبه توسط حضرت علی(ع) در (روضه‌الصفا- آثارالمظفر) و واقعۀ غدیرخم در (آثار الباقیه- آثارالمظفر)، پایان‌نامۀ کارشناسی‌ارشد رشتۀ پژوهش هنر، دانشگاه پیام‌نور استان تهران، مرکز تهران شرق.
نسائی، احمد‌بن‌شعیب (1406) خصائص امیرالمؤمنین علی‌بن‌ابی‌طالب، تحقیق احمد میرین بلوشی، جلد1، کویت: مکتبه ‌المعلا.
واحدی، علی‌بن‌احمد (1411) اسباب نزول ‌القرآن، تحقیق کمال بسیونی زغلول، بیروت: دارالکتب ‌العلمیه.
یعقوبی، احمد‌بن‌اسحاق (1379) تاریخ ‌الیعقوبی، جلد2، بیروت: دارصادر.
 
 
 
 
 
References
 
The Holy Quran. (1997). Translation, Explanations and Glossary by Bahauddin Khorramshahi, (3rd ed.), Tehran: Jami, Niloufar..
Afshari, M. (2008). Replication of Quranic Themes in Persian painting, Nagreh, 4(8, 9), 53-65.
Amini, A, H. (1916). Al-Ghadir in the Book, Sunnah and Literature, Vol. 6, Qom: Al-Ghadir Center.
Azhand, Y. (2018). Iranian Painting, (Vol. 1), Tehran: Samt.
Babaei Fallah, H. (2014). The Comparative Study of Ghesas Al-Anbia in the Holy Quran and Memoir of Prophets in Context and Images of Jame Al-Tavārīk, Negarineh Islamic Art, 1(2), 15- 24.
Behrouzi Pour, H., Amir Hajjloo, S. (2019). The Role and Function of the Art of Miniature in the Religious Legitimacy of the Ilkhanate Government with an Emphasis on the Shia Symbols in the Miniatures of Rashidi’s Jami al-Tawarikh and Biruni’s Assar al-Baghieh, The History of Islamic Culture and Civilization Quarterly Journal of Research, 9(33), 143- 166.
Dailami, H. M. (1998). Irshad Al-Quloub, Translated by Abdul-Hussein Rezaei, Tehran: Islamieh.
Ghashiri Neyshabouri, M. H. (ND). Sahih Muslim, Researched by Mohammad Fouad Abdul Baqi, (Vol. 4), Beirut: Dar Al-Ahya Al-Tarath Al-Arabi.
Hali, J. K. (Bita). Tajrid al-A'tiqad, Translated and Commentary by Abolhassan Sha'rani, Tehran: Islamieh.
Haqi Bruswi, I.  M. (ND). Ruh al-Bayyan, (Vol. 10), Beirut: Dar al-Fikr.
Haskani, O. I. A. (1991). Evidence of Al-Tanzil for the Rules of Al-Tafzil, Research: Mohammad Baqir Mahmoudi, (Vol. 1), Tehran: Printing and Publishing Organization of the Ministry of Islamic Guidance.
Hillenbrand, R. (2000). Persian Painting from the Mongols to the Qajars (Pembroke Persian papers). London & New York: I.B.Tauris.
Ibn Asaker, A. H. (1980). History of Medina, Damascus, Research by Mohammad Baqir Mahmoudi, (2nd ed.), Beirut: Mahmoudi Institute.
Ibn Hanbal, A, (2013). The Characteristicsof Amir al-Mu'minin Ali ibn Abi Talib, Research by Sayyid Abdul Aziz Tabatabai, Qom: Dar al-Tafsir.
Ibn Hisham Humairi, A. M. (1995). Al-Sira Al-Nabawiyyah, Research by Mustafa Al-Saqqa and others, Beirut: Dar Al-Ahya Al-Tarath Al-Arabi.
Ibn Sa'd, M. (1990). Al-Tabqat Al-Kubra, Research by Muhammad Abdul Qadir Atta, (Vol. 1), Beirut: Dar Al-Kitab Al-Almiyeh.
Kulayni, M. Y. (1987). Al-Kafi, Edited by Ali Akbar Ghaffari and Mohammad Akhundi, (Vol. 1), Tehran: Dar al-Kitab al-Islamiyya.
Majlisi, M. B. (1983). Bahar Al- Anvar, (Vol. 23), Beirut: Dar Al-Ahya Al-Tarath Al-Arabi.
Mehdizadeh, A. (2016). Analyzing the Images with Shiite Contents of Ilkhanid, Timurid and Turkmen Periods according to Shiite (twelver) Discourse, Negarineh Islamic Art, 3(9), 66-83.
Mohaghegh, M. B. (1982). An Example of Arguments in the Dignity of the Revelation of Verses, Tehran: Eslami.
Mufid, M. M. (2002). Tafsir Al- Qur’an Al- Majid, (Vol. 1), Research by Seyyed Muhammad Ayazi, Qom: An Islamic Communications Publication Center.
Nakhostin Surkohi, S. (2014). A Comparative Study of the Nativity Scenes of the Holy Prophet (PBUH) in (Jame'at al-Tawarikh - Sir al-Nabi), The Breaking of the Idols of the Kaaba by Imam Ali (PBUH) in (Rawdah al-Safa - Asar al-Muzaffar), Master Thesis in Art Research, Payame Noor University, Tehran: East Tehran Center.
Nisa'i, A. S. (1986). Characteristics of Amir al-Mu'minin Ali ibn Abi Talib, Research by Ahmad Mirin Balushi, (Vol.1), Kuwait: Maktab al-Ma'la.
Okasha, S. (1981). The Muslim Painter and the Divine. London: park lane.
Rahnavard, Z. (2014). History of Iranian Art in the Islamic Period (Painting), Tehran: Samt.
Sedaghat, F. (2006). Manuscript of Khavarannameh, a Masterpiece of Religious Painting by the Turkmens of Qaraquyunlu and Aqquyunlu, Islamic Art Studies, 2(4), 103- 120.
Sedaghat, F. Khorshidi, Z. (2009). A Study of Religious Themes in the Manuscripts of Jameá- al-Tawarikh, Islamic Art Studies, 5(10), 77-97.
Sharifzadeh, A. (1996). History of Painting in Iran, Tehran: Hozeh Honari.
Shayestehfar, M. (2005). Shiite Art, Tehran: Institute of Islamic Art Studies.
Shayestehfar, M. Abdolkarimi, Sh. (2016). Visual Elements of Islam Prophet (PBUH) life Events in Religious Paintings of Jameá- al-Tawarikh, Islamic Art Studies, 12(25), 37- 52.
Shayestehfar, M. Kian, K. Shayestehfar, Z. (2011). A Thematic Study of the Iconography of the Prophet of Islam (PBUH) in the Painting of the Ilkhanid Period and Jesus Christ in the Late Byzantine Religious Painting, Islamic Art Studies, 7(14), 41- 60.
Tabari, M. J. (2008). Tarikh al-Umm and al-Muluk (Tarikh al-Tabari), (Vol. 3), Research by Muhammad Abul-Fazl Ibrahim, (2nd ed.), Beirut: Dar Al-Turath.
Tabatabai, M. H. (2011). Al-Mizan Fi Tafsir Al-Quran, (Vol. 2 & 6), Beirut: Al-Alame Institute for Publications.
Tahanavi, M. A. (1996). Encyclopedia of Technology and Science Terms, (Vo. 1), Beirut: Library of Lebanon Publishers.
Tirmidhi, M. I. (1983). Sunan al-Tirmidhi, Research and Correction by Abdul Wahab Abdul Latif, (Vol. 5), (2nd ed.), Beirut: Dar al-Fikr.
Tosi, M. H. (1914). Al-Amali, Correction by Al-Bitha Foundation, Qom: Dar al-Thaqafa.
Vahedi, A. A. (1991). The Causes of the Revelation of the Qur'an, Research by Kamal Basyuni Zaghloul, Beirut: Dar Al-Kitab Al-Almiyeh.
Yaqubi, A. I. (2000). The History of al-Yaqubi, (Vol. 2), Beirut: Dar al-Sader.
 
URL(s)
URL1: fa.wikishia.net/view/%D8%A7%D9%85%D8%A7%D9%85_%D8%B9%D9%84%DB%8C_%D8%B9%D9%84%DB%8C%D9%87%E2%80%8C%D8%A7%D9%84%D8%B3%D9%84%D8%A7%D9%85(access date: 2021/06/30).
URL2:
warfare.tk/Persia/14/Jami_al-Tawarikh-Mohammed_and_family-battle_of_Badr-Khalili-Ms727-f66a.htm(access date: 2021/06/30).
 
Glory of Art (Jelve-y Honar) Alzahra Scientific Quarterly Journal
Volume 14, Issue 2 - Serial Number 35
September 2022
Pages 99-110

Files

Share

How to cite

Statistics