fa رواﻳﺖ ﻋﺸﻖ و آزادی در ﺑﺎزﻧﻤﺎﻳﻲ ﻧﻘﺸﻤﺎﻳﻪ »ﺑﻬﺮام و آزاده« در ﻫﻨﺮ اﻳﺮان <span style="font-size:14px;">&nbsp;<span style="direction:rtl"><span style="unicode-bidi:embed"><span new="" roman="" style="font-family:" times=""><span lang="AR-SA"><span b="" mitra="" style="font-family:">داﺳﺘﺎن ﺑﻬﺮام و آزاده، ﻳﻜﻲ از رواﻳﺖﻫﺎی ﻋﺎﺷﻘﺎﻧﻪ و در ﻋﻴﻦ ﺣﺎل ﺗﺮاژﻳﻚ و اﺳﻄﻮرهای اﺳﺖ ﻛﻪ در ادﺑﻴﺎت ﻓﺎرﺳﻲ ﺟﺎﻳﮕﺎﻫﻲ وﻳﮋه دارد و ﺑﻪوﻳﮋه در آﺛﺎر ﺷﺎﻋﺮاﻧﻲ ﭼﻮن ﻧﻈﺎﻣﻲ، ﻓﺮدوﺳﻲ و اﻣﻴﺮﺧﺴﺮو دﻫﻠﻮی ﺑﻪ ﺗﺼﻮﻳﺮ ﻛﺸﻴﺪه ﺷﺪه اﺳﺖ</span></span><span dir="LTR"><span b="" mitra="" style="font-family:">.</span></span> <span lang="AR-SA"><span b="" mitra="" style="font-family:">اﻳﻦ داﺳﺘﺎن در ﺣﻘﻴﻘﺖ ﺗﺮﻛﻴﺒﻲ از ﻋﺸﻖ و ﻗﺪرت و ﺳﺮاﻧﺠﺎم آنﻫﺎ را ﺑﻴﺎن ﻣﻲﻛﻨﺪ</span></span><span dir="LTR"><span b="" mitra="" style="font-family:">.</span></span> <span lang="AR-SA"><span b="" mitra="" style="font-family:">اﻳﻦ ﻣﻀﻤﻮن ﺑﺎرﻫﺎ ﺑﻪﻋﻨﻮان ﻳﻜﻲ از ﻣﻀﺎﻣﻴﻦ ﺧﺎص ﻫﻨﺮﻣﻨﺪان ادوار ﻣﺨﺘﻠﻒ در ﺗﺼﻮﻳﺮﺳﺎزی آﺛﺎر ﺗﻮﻟﻴﺪی آنﻫﺎ در ﭘﻴﺶ و ﭘﺲ از اﺳﻼم ﺑﻪ ﻛﺎر رﻓﺘﻪ اﺳﺖ</span></span><span dir="LTR"><span b="" mitra="" style="font-family:">.</span></span><span lang="AR-SA"><span b="" mitra="" style="font-family:"> ﭘﮋوﻫﺶ ﭘﻴﺶرو ﺑﻪ ﺑﺮرﺳﻲ آﺛﺎر ﻫﻨﺮی ﻣﺨﺘﻠﻒ </span></span><span dir="LTR"><span b="" mitra="" style="font-family:">)</span></span><span lang="AR-SA"><span b="" mitra="" style="font-family:">ﻧﮕﺎرﮔﺮی، ﻇﺮوف ﺳﻔﺎﻟﻴﻦ، ﻛﺎﺷﻲﻛﺎریﻫﺎ و ﻇﺮوف زرﻳﻦ و ﺳﻴﻤﻴﻦ</span></span><span dir="LTR"><span b="" mitra="" style="font-family:">(</span></span><span lang="AR-SA"><span b="" mitra="" style="font-family:">، ﺗﺤﻠﻴﻞ دادهﻫﺎ و ﻣﻌﻨﺎی اﺛﺮ ﻣﻲﭘﺮدازد</span></span><span dir="LTR"><span b="" mitra="" style="font-family:">.</span></span><span lang="AR-SA"><span b="" mitra="" style="font-family:"> ﻫﺪف، ﺑﺮرﺳﻲ و ﻣﻄﺎﻟﻌﺔ ﻓﺮم و ﻣﺤﺘﻮای آﺛﺎر و ﻃﺒﻘﻪﺑﻨﺪی ﻧﻘﺸﻤﺎﻳﻪﻫﺎی داﺳﺘﺎن ﺑﻪ ﻟﺤﺎظ ﻣﻌﻨﺎﻳﻲ اﺳﺖ</span></span><span dir="LTR"><span b="" mitra="" style="font-family:">.</span></span><span lang="AR-SA"><span b="" mitra="" style="font-family:"> ﭘﺮﺳﺶ ﻣﻄﺮحﺷﺪه در اﻳﻦ ﭘﮋوﻫﺶ، ﺑﺮرﺳﻲ ﭼﮕﻮﻧﮕﻲ ارﺟﺎع ﻣﻔﻬﻮﻣﻲ داﺳﺘﺎن ﺑﻬﺮامﮔﻮر ﺑﺮ روی آﺛﺎر ﻣﺨﺘﻠﻒ ﺧﻮاﻫﺪ ﺑﻮد</span></span><span dir="LTR"><span b="" mitra="" style="font-family:">.</span></span> <span lang="AR-SA"><span b="" mitra="" style="font-family:">اﻳﻦ ﺗﺤﻘﻴﻖ ﺑﻪﺻﻮرت ﺗﻮﺻﻴﻔﻲ ﺗﻄﺒﻴﻘﻲ و ﻣﺒﺘﻨﻲ ﺑﺮ ﺗﺤﻠﻴﻞ آﺛﺎر اﻧﺠﺎم ﺷﺪه و ﮔﺮدآوری اﻃﻼﻋﺎت ﺑﻪ روش ﻣﻴﺪاﻧﻲ و اﺳﻨﺎدی ﺻﻮرت ﮔﺮﻓﺘﻪ اﺳﺖ</span></span><span dir="LTR"><span b="" mitra="" style="font-family:">.</span></span><span lang="AR-SA"><span b="" mitra="" style="font-family:"> ﻧﺘﺎﻳﺞ ﺣﺎﺻﻞ ﻧﺸﺎن ﻣﻲدﻫﺪ ﻛﻪ اﻟﮕﻮﻫﺎی ﺑﺼﺮی و ﻣﻔﻬﻮﻣﻲ ﺑﻬﺮامﮔﻮر ﺑﺮﮔﺮﻓﺘﻪ از ﻳﻚ ﺣﻜﺎﻳﺖ و اﺳﻄﻮره ﺗﺎرﻳﺨﻲ ـ ﺑﻪﺻﻮرت ﺷﻔﺎﻫﻲِ ﻛﻬﻦِ اﻳﺮان ـ اﺳﺖ و اﻫﻤﻴﺖ وﻳﮋه ﺗﺼﻮﻳﺮی آن از دوره ﺳﺎﺳﺎﻧﻲ وﺟﻮد داﺷﺘﻪ و اﻳﻦ ﻧﻘﺶ ﺑﺎرﻫﺎ ﺑﺮ روی آﺛﺎر ﻣﺨﺘﻠﻒ ﻫﻨﺮی در آن زﻣﺎن دﻳﺪه ﻣﻲﺷﻮد</span></span><span dir="LTR"><span b="" mitra="" style="font-family:">.</span></span><span lang="AR-SA"><span b="" mitra="" style="font-family:"> اﻫﻤﻴﺖ اﻳﻦ ﻣﻀﻤﻮن ﺣﺘﻲ ﭘﺲ از اﺳﻼم در ﻫﻨﺮ و ادﺑﻴﺎت ادوار ﻣﺨﺘﻠﻒ اﺳﻼﻣﻲ در اﻳﺮان ﻧﻴﺰ ﺑﻪﻋﻨﻮان ﻳﻜﻲ از ﻧﻘﺸﻤﺎﻳﻪﻫﺎی ﺑﺴﻴﺎر ﻣﻮرد ﺗﻮﺟﻪ اﻳﺮاﻧﻴﺎن ﺷﻨﺎﺧﺘﻪ ﺷﺪه <span style="letter-spacing:-.2pt">اﺳﺖ</span></span></span><span dir="LTR"><span b="" mitra="" style="font-family:"><span style="letter-spacing:-.2pt">.</span></span></span></span></span></span></span><span style="font-size:11pt"><span style="direction:rtl"><span style="unicode-bidi:embed"><span new="" roman="" style="font-family:" times=""><span dir="LTR" style="font-size:10.0pt"><span style="font-family:"B Mitra""></span></span></span></span></span></span> <span style="font-size:11.0pt"><span new="" roman="" style="font-family:" times="">The story of Bahram and Azadeh is one of the prominent romantic, tragic, and mythological narratives of Persian literature, vividly portrayed in the works of poets such as Nezami, Ferdowsi, and Amir Khusrow Dehlavi. This tale presents a compelling interplay of love and power and reflects their ultimate destiny. As a narrative motif, it has been repeatedly employed by artists across different historical periods, both before and after the advent of Islam, in various forms of visual representation. The present study investigates a range of artworks, including miniature paintings, ceramic vessels, tilework, and gold- and silverware, analyzing their visual data and underlying meanings. Its primary aim is to examine the form and content of these works and to categorize the narrative motifs of this story based on their semantic attributes. The central research question concerns the ways in which the conceptual dimensions of the Bahram-Gur narrative are referenced within these artworks. This research adopts a descriptive-comparative approach grounded in visual analysis, with data collected through fieldwork and documentary sources. Findings indicate that the visual and conceptual patterns associated with Bahram-Gur originate from an ancient oral tradition rooted in Iranian myth-history. The motif held significant visual importance during the Sasanian era, where it frequently appeared across diverse artistic artifacts. Its prominence persisted after the adoption of Islam, continuing as one of the most enduring and highly valued motifs in the art and literature of later Islamic periods in Iran</span></span> بهرام و آزاده,شکارگاه,شاهنامه فردوسی,خمسه نظامی,هنر اسلامی,هنر ساسانی. Bahram and Azadeh, Hunting Scene,Ferdowsi’s Shahnameh,Nezami’s Khamsa ,Islamic Art,Sasanian Art 17 34 http://tna.richt.ir/browse.php?a_code=A-10-3909-1&slc_lang=fa&sid=14 zeynab moradian gojehebaglo زینب مرادیان قوجه بگلو Z.moradian@tabriziau.ac.ir 0000000218499554 Yes Lecturer and PhD student, Tabriz Islamic Art University, Faculty of Industrial Arts, Tabriz, Iran مدرس و دانشجوی دکتری دانشگاه هنر اسلامی تبریز، دانشکده هنرهای صناعی، تبریز، ایران، mohammad mirshafiee محمد میرشفیعی M.mirshafiee@tabrizau.ac.ir 0009000096764395 No Faculty, Tabriz Islamic Art University, Faculty of Industrial Arts, Tabriz, Iran استادیاردانشگاه هنر اسلامی تبریز، دانشکده هنرهای صناعی، تبریز، ایران