چکیده:
نخستین بار قزوینی و بووا در 1914م/ 1298ش در نشریة مرور جهان اسلام و براساس نسخهای از نامةنامی در کتابخانة ملی پاریس، «دو سند منتشر نشده مربوط به بهزاد» را به چاپ رساندند که یکی از آنها به عنوان دیباچة خواندمیر بر مرقع بهزاد معرفی شد. از آن پس بسیاری از پژوهشگران، این مساله را مسلم فرض کرده و در پژوهشهای خود از آن به دیباچة مرقع بهزاد نام بردند. محمدتقی دانشپژوه اولین و تنها پژوهشگری بود که براساس گفتة سام میرزا در تحفة سامی، متن مذکور را متعلق به امیر سلطان ابراهیم امینی دانست. لذا مسالة اصلی پژوهش حاضر این است که نویسندة دیباچة مرقع بهزاد چه کسی است؟ اما پیش از پاسخ به آن، باید به این سوال پاسخ داده شود که آیا متن موجود در نامةنامی، دیباچه است یا نه؟ هدف پژوهش حاضر نقد متون تاریخی هنر ایران است که با روش تحلیل محتوا، سعی دارد ابتدا با بررسی سیر انتشار متن به عنوان دیباچه و سپس تحلیل محتوا و ساختار آن، پاسخی منطقی و مستدل به پرسش پژوهش دهد. نتایج نشان میدهند که متن موسوم به دیباچة مرقع بهزاد، دیباچه نیست و فقط توصیف خواندمیر از مرقع بهزاد است.
For the first time, Qazwini and Bouvat published "Two unpublished documents related to Behzad" in 1914/1298 in Revue Du Monde Musulman, based on a copy of Nameh Nami in the National Library of Paris, one of which introduced as the preface to Behzad’s Album. Since then, many scholars have taken this issue for granted and referred to it as the preface of Behzad’s Album. Mohammad Taghi Daneshpajooh was the first and only scholar who, according to Sam Mirza in the Tohfe Sami, considered the author of the text as Amir Sultan Ibrahim Amini. After that, controversy arose among scholars over whether the text belonged to Khwandamir or Amini, but no one questioned the nature of the text itself or whether it was a preface. Therefore, the main issue of the present study is who is the author of the preface of Behzad’s Album? But before answering it, this question must be answered whether the text in Nameh Nami is a preface or not. The purpose of this study is to critique the historical texts of Persian art and the method of research is content analysis method. In order to give a logical and reasoned answer to the research question the researcher tried to examine the course of publishing the text as a preface and then analyzing its content and structure. The research findings focus on the content and structure of the text. In discussing the content, the title of the text was considered, which it seems that researchers have not paid attention to so far. Because the title states that this text is a description of the album, not the preface of the album. The next issue is the existence of a quatrain at the beginning of the text, which indicates that this text belongs to the reader. The text also mentions the list of artists in the preface of the album, which is another reason why the preface of the album was another text. The same text written by Ebrahim Amini and referred to by Sam Mirza. In the discussion of the structure of the text, its structure was matched with the structure of the prefaces before and after the text, and it was found that the text of Khwandamir lacks any Praise of God, Prophet and eulogy of Sultan or Prince, list of artists, and conclusion. So the content and the structure of the text is not match with those common of a Preface of an Album. The results show that the text called the preface of Behzad’s Album is not a preface and is only a description of Behzad's Album by Khwandamir. Therefore, according to Sam Mirza’s report, the preface of Behzad’s Album was written by Amini, which its fate along with the Album aren’t known.