روایت زال و سیمرغ در شاهنامه فردوسی و عقل سرخ سهروردی و تبلور آن در نگاره های شاهنامه تهماسبی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
شاهنامه فردوسی یکی از برجسته ترین آثار ادبی و هنری ایران و جهان است که از هم آمیزی دقیق اسطوره، حماسه، ادبیات و تاریخ شکل گرفته است. فردوسی با هنرمندی تمام، عناصر داستانی و اساطیری را به نحوی پرورانده که شخصیت هایی ماندگار و اثری بی بدیل خلق کند. همچنین سهروردی، از عارفان علاقه مند به حکمت ایران باستان، در کتاب عقل سرخ به شخصیت های اساطیری همچون زال و سیمرغ پرداخته است. او با رجوع به حکمت باستان و مطالعه آثار پهلوی و اوستایی، فلسفه ای را به نام حکمت اشراق بنیان نهاد که آمیزه ای از فلسفه ایرانی و حکمت اسلامی است. این پژوهش با هدف مقایسه ساختاری و معنایی داستان زال و سیمرغ در عقل سرخ سهروردی و شاهنامه فردوسی انجام شده است. مقاله به بررسی افتراقات و اشتراکات دو روایت و تأثیر آن ها بر آثار تصویری نگارگران می پردازد. پرسش اصلی این است که فردوسی و سهروردی چگونه و با چه رویکردی به داستان زال و سیمرغ پرداخته اند و این روایات چه تأثیری بر شکل و معنای روایت داشته اند؟ همچنین، نقش نگارگر ایرانی در بازنمایی تصویری این روایات چگونه بوده است؟ روش پژوهش تحلیلی و با رویکرد تطبیقی و داده ها به شیوه اسنادی گردآوری شده است. شباهت اصلی دو روایت در پیرزادگی زال و سیمرغ به عنوان نماد خرد است؛ اما تفاوت ها در شیوه روایت حماسی فردوسی و خوانش عرفانی سهروردی است. در حالی که زال در شاهنامه در بزرگسالی به وصال پدر می رسد، در عقل سرخ این وصال در کودکی رخ می دهد. نگارگر ایرانی با اقتباس از شاهنامه فردوسی، در ساختار و معنا از این اثر تأثیر پذیرفته است.The Comparison of Zal and Simurgh Narratives in Ferdowsi's Shahnameh and Suhrawardi's Aql-e Sorkh and its manifestation in the illustrations of the Shahnameh of Shah Tahmasp
Ferdowsi’s Shahnameh is one of the most renowned literary and artistic masterpieces in both Iranian and world heritage, representing a sophisticated blend of myth, epic, literature, and history. Through meticulous and artistic treatment, Ferdowsi has crafted his mythological and epic elements into a timeless work, creating enduring characters such as Zal. Zal, as one of the key figures in Shahnameh, symbolizes both the human struggle with fate and the spiritual bond with the divine, embodied through his connection with the Simurgh, the mystical bird.At the same time, Suhrawardi, a significant philosopher and mystic of medieval Iran, shows a deep connection to ancient Iranian wisdom, drawing heavily on pre-Islamic philosophical and mythological traditions. In his work Aql-e-Sorkh (The Red Intellect), Suhrawardi refers to mythological figures such as Zal and the Simurgh, attempting to revive ancient wisdom by combining Zoroastrian teachings from Pahlavi and Avestan sources with Islamic philosophy. Suhrawardi’s integration of these elements culminates in his school of thought known as Hikmat al-Ishraq (Illuminationist Philosophy), in which Zal and the Simurgh hold profound symbolic meanings beyond their literal narrative roles.This study aims to compare the structural and thematic representations of the story of Zal and the Simurgh in Suhrawardi’s Aql-e-Sorkh and Ferdowsi’s Shahnameh, with a particular focus on their visual depictions in the Shahnameh of Tahmasp, one of the most celebrated illustrated manuscripts of the Persian epic. By examining the points of convergence and divergence in these two narratives, this research seeks to explore how each author’s approach reflects different philosophical and cultural perspectives and how these variations have influenced Persian miniature painters in their visual interpretations of the tale. The primary question driving this research is: How have Ferdowsi and Suhrawardi, through their unique lenses of epic and mysticism, respectively, approached the portrayal of Zal and the Simurgh? What are the key changes in both form and meaning that distinguish these two narratives? Furthermore, how has the Persian painter, in illustrating these scenes, been influenced by the literary context and interpretations presented by each author?The research methodology is descriptive-analytical with a comparative perspective, and data was collected using documentary methods, including primary sources such as Shahnameh and Aql-e-Sorkh manuscripts, as well as secondary literature on Persian art and philosophy. The central focus is on the symbolic role of the Simurgh in both narratives and the shared motif of Zal’s miraculous birth, his association with wisdom, and his eventual reunification with his father. In both accounts, Zal is born with white hair, signaling his unique destiny and divine favor, with the Simurgh acting as a guiding and protective force, symbolizing both divine wisdom and spiritual enlightenment.However, a key difference emerges in the treatment of the story’s philosophical and spiritual dimensions. In Shahnameh, Ferdowsi’s approach is primarily heroic and epic. Zal’s journey is framed within a broader context of human struggle, kingship, and moral duty, with the Simurgh functioning as a protective force within the natural world. The narrative arc is centered on Zal’s eventual reconciliation with his father, Sam, which occurs after he reaches adulthood, reflecting the completion of his individual journey toward maturity and responsibility.In contrast, Suhrawardi’s Aql-e-Sorkh reinterprets the same figures within a mystical framework. Here, the story takes on a symbolic and spiritual dimension, where Zal’s early reunion with his father during his childhood represents an allegory for the soul’s journey toward enlightenment and divine union. The Simurgh, in Suhrawardi’s telling, is elevated beyond a protective creature to embody the ultimate source of knowledge and transcendence. Additionally, while Ferdowsi locates the Simurgh’s nest on Mount Alborz, Suhrawardi shifts this imagery to the celestial Tuba tree, symbolizing the soul’s ascent through the heavenly realms.This divergence in narrative perspective is mirrored in the visual representations found in Persian miniature painting, particularly in the illustrations of the Shahnameh of Shah Tahmasp. Persian miniaturists, tasked with visually interpreting these complex and layered texts, appear to draw more heavily on Ferdowsi’s epic narrative in their compositions. The depictions of Zal, particularly in his interactions with the Simurgh, reflect the grandeur and heroism of Ferdowsi’s portrayal, with the Simurgh often illustrated as a majestic, awe-inspiring creature. The epic and emotional resonance of Ferdowsi's story is emphasized by the meticulous rendering of moments like Zal's abandonment on the mountainside, his upbringing by the Simurgh, and his final reunion with Sam.Thus, the influence of Ferdowsi’s Shahnameh is more evident in the visual tradition of Persian miniature painting, especially in the Shahnameh of Tahmasp, where the artists have remained faithful to the epic’s grand scale and heroic tone. However, the underlying mystical and philosophical dimensions of Suhrawardi’s interpretation invite deeper reflection on how the same narrative can shift in meaning when viewed through different philosophical lenses. This study shows that while the structural and thematic elements of the story of Zal and Simurgh remain constant, the different contexts of Ferdowsi's epic and Suhrawardi's mystical narrative lead to profound differences in interpretation, both in literary and visual forms.
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