Destruction of Binary Opposition in the Interpretations of Hafez's Poem in Sultan Muhammad's Painting

Literary texts are definitely interpreted by dogmatic approaches, whether those are classical or modern theories. However, literary texts do lose their absolute and final meanings in post-structural approach; in other words, the importance of meaning uncertainty decreases in them. Consequently, it is possible to have different readings of a text which can enter into it from any side. This essay aims to analyze a painting which is considered as a new reading of Hafez's poem by referring to Jacques Derrida's theory related to refutation of binary opposition and meaning uncertainty in the text. Hafez's book is among those texts which are always interpreted between gnostic and hedonistic approaches. Contrary to the classical interpretation in which meaning certainty is followed, "gnostic and hedonistic inebriation" painting by Sultan Mohammad destructs these oppositions; hence, it will be a new reading of the poem. According to the findings of the research that are achieved by analytic-historical method, this painting create a new world of meanings by geometric composition, colors and characterization. Therefore, it is not captured in a special domain and maintain ambiguity and equivocalness in Hafez's poem.
Accordingly, we can say that there is no final meaning in this painting because audience synchronically experiences gnostic and hedonistic world and meaning orientation destructs for absolute interpretation.