دانشگاه اصفهان متن شناسی ادب فارسی 2476-3268 18 3 2026 08 23 Explanations on the Naqqali Scroll of the Shahnameh (Siyahposh's Scroll) توضیحاتی دربارۀ تعلیقات طومار نقّالی شاهنامه (طومار سیاهپوش) 147 166 30302 10.22108/rpll.2026.147514.2528 FA عباس پارساطلب دکترای تخصصی زبان وادبیات فارسی، دانشکدۀ زبان وادبیات فارسی، دانشگاه تهران، تهران، ایران Journal Article 2025 11 24 <strong>Abstract</strong> The <em>Naqqali Scroll of the Shahnameh</em> (Siyahposh's Scroll) is one of the most significant written scrolls in the Persian tradition. The term "written scrolls" refers to manuscripts prepared in formal script for the study of literate individuals and the nobility, indicating that their audience was not limited to ordinary or lower-class members of society. Accordingly, the publication of such scrolls must be undertaken with rigorous critical methodology and in adherence to proper scholarly standards. Furthermore, the task of writing explanatory notes and annotations for these scrolls requires specialized expertise, achievable through consulting dictionaries, analyzing the style and language of folk texts, and drawing upon other scroll manuscripts. Sajjad Aydenloo has produced a critical edition of Siyahposh's Scroll with this very objective and has also provided annotations for the work. Although three articles have so far been published critiquing Siyahposh's Scroll, none have examined Aydenloo's annotations in detail or comprehensively. The present study, therefore, seeks to analyze and evaluate the commentary on Siyahposh's Scroll using a descriptive-analytical method and library resources. The research demonstrates that Aydenloo's annotations are flawed in several instances and require revision. Most of these errors stem from unfamiliarity with the words and terminology of the scroll or a failure to consult relevant dictionaries. <strong>Keywords:</strong> Aydenloo, Explanations, Siyahposh, Scroll, Criticism. <strong>Introduction</strong> The <em>Naqqali Scroll of the Shahnameh</em> (Siyahposh's Scroll) is the oldest historical scroll that has survived to the present day. Sajjad Aydenloo, the editor of the scroll, chose the title <em>The Naqqali Scroll of the Shahnameh</em> for the book due to the anonymity of the original manuscript. The manuscript was copied by Abu al-Qasim ibn Badr al-Din Mohammad Siyahposh and bears the date 1135 AH. Aydenloo has provided detailed and comprehensive introductions at the beginning of the book concerning the nature of scrolls in general, as well as the specific features of this manuscript. In addition, the commentary section of the book includes nearly thirty pages of notes elucidating ambiguous and difficult passages. However, several of these notes are incorrect and require correction. Most of these inaccuracies arise from unfamiliarity with the scroll's vocabulary and terminology or from insufficient consultation of dictionaries. Moreover, some of the editor's annotations remain incomplete and fail to assist the reader in achieving a clear understanding of the text. In certain instances, the editor's explanations are fundamentally erroneous due to misreadings of the manuscript and should either be deleted or revised. It should be noted that this research focuses exclusively on examining and critiquing the book's annotations and does not address the broader issues of textual criticism or the analysis of the scroll's content. <strong>Materials and Methods</strong> To the best of the author's knowledge, three articles have so far been published critiquing Siyahposh's Scroll. However, none of these have undertaken a detailed and comprehensive review of Aydenloo's annotations. Accordingly, the present author has examined and critiqued Aydenloo's notes across 34 specific entries. The author's approach has been to quote the relevant passage from the scroll at the beginning of each section, followed by Aydenloo's explanation of the ambiguous or difficult portions, identified by the keyword "explanation" (<em>توضیحات</em>). Subsequently, the author refutes or modifies Aydenloo's interpretation by presenting arguments and supporting evidence—frequently drawn from folk texts and other <em>naqqali</em> scrolls. In some cases, additional passages from the same scroll are cited as corroborative examples. Where the editor has misread the manuscript, images of the original have been included to enable readers to reach their own informed conclusions. It is worth mentioning that the author has organized these notes according to the page numbers of the scroll text and, in some instances, has inserted the keyword "criticism" (<em>نقد و نظر</em>) after Aydenloo's explanation to enhance clarity. <strong>Research Findings</strong> In this study, the author has corrected the definitions of several words and terms found in the scroll by consulting dictionaries, folk texts, and the <em>Naqqali Scroll of the Shahnameh</em> itself, as well as by applying his own analytical judgment. Additionally, the editor's ambiguous or incomplete explanations, along with his misreadings of the manuscript, have been re-examined. Through these clarifications, the author has endeavored to resolve the ambiguities and provide a clearer understanding of the problematic passages. In cases of textual misreading, reference to the original manuscript has been made to suggest appropriate corrections. <strong>Discussion of Results and Conclusion</strong> Through a careful examination and evaluation of Aydenloo's annotations on Siyahposh's Scroll, the present author has concluded that several of the explanations provided in the commentary section require revision and correction. A summary of these findings is as follows: "Mortezā's face was like a garden" means that his face was beautiful and adorned with radiance. In the passage "پس آن شب برآمد چون آفتاب تاب سر از مشرق برآورد" (<em>Pas ān shab barāmad chon āftāb tāb sar az mashregh barāvard</em>), the word "عالم" (<em>Ālam</em>, "world") or "جهان" (<em>Jahān</em>) has been omitted: "چون آفتابِ [عالم/جهان] تاب سر از مشرق برآورد" (<em>chon āftāb-e [Ālam/Jahān] tāb sar az mashregh barāvard</em>). In the compound "لکّه سپر" (<em>Lakke-ye Separ</em>), the word "ابر" (<em>Abr</em>, "cloud") has been omitted by the scribe. The intended form is "لکّه ابرِ سپر" (<em>Lakke-ye Abr-e Separ</em>, "cloud-like mark on the shield"), commonly found in texts as "ابرِ سپر" (<em>Abr-e Separ</em>, figurative genitive construction). The narrator or scribe has likened the curve and twist of the arrow to a frightened and wailing person. The compound "خشک‌بند" (<em>khoshk-band</em>) is recorded in dictionaries and refers to closing a wound with a dry medicament or a dry cloth. The sources of the verses on page 344 of the scroll are Hāṭefi Jami's <em>Timur-nāma</em>, Ghasemi Gonabadi's <em>Shah Ismail Nameh</em>, and Asadi Tusi's <em>Garshasb-Nameh</em>. "گرگ جولان" (<em>Gorg-jolān</em>) is incorrect; the correct form is "کرگ‌جولان" (<em>Karg-jolān</em>). In folk texts, demons, sorcerers, and brave, mighty warriors are often depicted entering the battlefield mounted on rhinoceroses. The word "واقع" (<em>Vāghe</em>) can be interpreted in two ways here: it may be used in the sense of "واقعه" (<em>Vāgheʾe</em>, "event, vision"), referring to the world of dreams, or it may mean "the middle of something". "ضربگه ضربی" (<em>Zarbgah Zarbi</em>) functions adverbially here and means "instantaneously, in the twinkling of an eye". The word "تک" (<em>tak</em>) in dictionaries denotes "bottom, depth, or the abyss of something". The phrase "از رنج راه رسیدن" (<em>Az ranj-e rah residan</em>) was apparently originally "راه‌رنج پرسیدن" (<em>rah-ranj porsidan</em>, "to inquire about the hardships of the journey"). The use of "ترتیب کردن" (<em>tartib kardan</em>) in the sense of "providing the foundations for growth" reflects a stylistic characteristic of the narrator or scribe of the scroll. The term "بسته شدن صف" (<em>baste shodan-e saf</em>) or "بند آمدنِ صف" (<em>band āmadan-e saf</em>) is used when all the warriors of an army have been captured or killed in hand-to-hand combat, and no renowned champion remains in that army to enter the battlefield and engage in single combat with the opponents. "شبرنگ چهر دیو کردار" (<em>Shabrang-e chehr-e div-kerdār</em>) is incorrect; the correct form is "شبِ زنگی‌چهرِ دیوکردار" (<em>Shab-e zangi-chehr-e div-kerdār</em>). In the phrase "از آلایش طعام برداشتند" (<em>Az ālāyesh-e taʾam bardāshtand</em>), the word "دست" (<em>dast</em>, "hand") has been omitted by the scribe: "[دست] از آلایش طعام برداشتند" (<em>[Dast] az ālāyesh-e taʾam bardāshtand</em>). The phrase "یا احد قدیم صمد فرد واجب‌التعظیم سر آواز حمد خدای کریم" (<em>Ya Ahad Qadim Samad Fard vajeb al-Ta'zim Sar Awāz Hamd Khodāy Karim</em>) is rhymed and should be edited with appropriate diacritical marks. "کوروی گوزن" (<em>Koroy Gavazn</em>) is incorrect; the correct form is "گور و گوزن" (<em>Gor va Gavazn</em>). Simorgh's meaning in the passage "باید که سه گاو کوهی بزنی و پوست او را از انبان بیرون کنی و پر آب سازی" (<em>Bāyad ke se gāv-e kohi bezani va post-e o' rā az anbān biron koni va por āb sāzi</em>) is that one must hunt mountain cows in such a way that their skins can be used to fill with water to quench thirst. "بال رسیدن" (<em>Bāl residan</em>) is incorrect; the correct form is "وبال رسیدن" (<em>Vabal residan</em>), meaning "to suffer hardship and difficulty". "صف‌گیر شدن" (<em>Saf-gir shodan</em>) is another form of the compound "صف بسته شدن" (<em>saf baste shodan</em>). "با منّت عمود" (<em>Bā mennat-e amod</em>) means to strike someone with a mace and not with another weapon. The term "طرح کردن" (<em>Tarh kardan</em>) here does not convey contempt but rather expresses anger and irritation mixed with annoyance. "نماز شایست" (<em>Namaz-e shayest</em>) is incorrect; the correct form is "نماز شا[م] بست (: بیست) هزار کس را" (<em>Namaz-e Sha[m] Best (: bist) hezār kas rā</em>). The phrase "و زبان را بازوی خود بگشاد" (<em>va zabān rā bāzo-ye khod bogshād</em>) is a well-known expression used by warriors when addressing an opponent on the battlefield. It means that boasting and exaggeration have gone on long enough; if you truly possess courage, stop speaking and demonstrate your strength and power. The phrase "پرسش کردن" (<em>porsesh kardan</em>) is used in the sense of "seeking news and information about someone or something". The term "سر به گردن کردن" (<em>sar b-e gardan kardan</em>) refers to abandoning someone and refusing to accept any obligation or responsibility toward him. This is the same expression "سر به گردن کردن" (<em>sar b-e gardan kardan</em>) and does not mean "resourcefulness". Here, "مجرّد" (<em>mojarrad</em>) functions as an adverb of time and means "immediately, without delay". "ترازو شدن تیر" (<em>tarāzo shodan-e tir</em>) means that half of the arrow protrudes from or passes through the target. The use of "به نظر انداخت" (<em>Be nazar andākht</em>) is incorrect; the correct form is "به نظر نداشت" (<em>Be nazar nadāsht</em>). In this manuscript, "به نظر" (<em>Be nazar</em>) is used in the sense of "symmetry" or "resemblance". "غرقه" (<em>Ghargheh</em>) is derived from the Turkish word "غَبْرُقه" (<em>Ghabrogheh</em>), meaning "flank and rib"; the scribe has omitted the letter "b" in the manuscript. "سر گوش کردن" (<em>Sar gosh kardan</em>) means to speak to each other confidentially and quietly. "دوربین" (<em>Dorbin</em>) here refers to "چشمِ دوربینِ فلک" (<em>chashm-e dorbin-e falak</em>, "the far-seeing eye of heaven"). The term "عنان‌ریز" (<em>Enan-riz</em>) here, in addition to conveying the concept of "moving with speed and urgency", also implies "moving shoulder to shoulder, collectively".   <em>طومار نقّالی شاهنامه</em> (طومار سیاهپوش) یکی از مهم‌ترین طومارهای مکتوب به‌شمار می‌رود. منظور از طومار مکتوب در اینجا طومارهایی است که با نوشتار رسمی برای مطالعۀ افراد باسواد و اشراف نوشته می‌شده است؛ ازین‌روی باید دانست که مخاطب این طومارها صرفاً مردم عادی و فرودست جامعه نبوده است؛ با این توضیح می‌توان گفت چاپ طومارهای مکتوب باید به‌صورت کاملاً انتقادی و برابر با موازین درستِ علمی انجام بگیرد. افزون بر این، نوشتن توضیحات و تعلیقاتِ متن طومارها نیز، امری تخصّصی بوده و انجامِ این مهم با مراجعه به لغت‌نامه‌ها، توجّه به سبک و زبان متونِ عامیانه و بهره‌گیری از متن دیگر طومارها امکان‌پذیر است. گفتنی است سجّاد آیدنلو <em>طومار سیاهپوش</em> را با همین نیّت تصحیح کرده و یادداشت‌هایی نیز برای این اثر فراهم کرده است. اگرچه تاکنون سه مقاله در نقد <em>طومار سیاهپوش</em> نوشته شده، در هیچ‌کدام از این مقالات، تعلیقاتِ آیدنلو به‌صورت مفصّل و جامع بررسی و نقد نشده است؛ بنابراین، نگارنده در این مقاله سعی دارد با روش توصیفی‌تحلیلی و با استفاده از منابع کتابخانه‌ای، به بررسی و ارزیابی تعلیقاتِ طومار سیاهپوش بپردازد. بررسی‌ها نشان می‌دهد که تعلیقات آیدنلو در پاره‌ای از موارد، ایراد و نیاز به بازنگری مجدّد دارد. عمدۀ این اشتباهات به دلیلِ ناشناختگی لغات و اصطلاحات طومارِ مزبور یا رجوع‌نکردن به فرهنگ‌های لغت بوده است. https://rpll.ui.ac.ir/article_30302_814c2ebb93ed68f207b6e290499ebcab.pdf