جستجوی مقالات مرتبط با کلیدواژه « لیلی و مجنون » در نشریات گروه « هنر و معماری »

In the creation of literary and artistic works, the texts, while having obvious and hidden relationships, have a process of overlapping and modeling each other, so that from within this connection and modeling, new texts and works are created or expanded and developed. The aim of this research is to investigate and analyze a pictorial rug with the theme of Leyli and Majnoun based on the type of genetic polytextuality with interdisciplinary texts (pre-textual and multitextual rugs, three miniatures) in order to discover and explain the intertextual relationships. Hypertextuality is one of the pre-textual signs in the selected texts. Based on Genette's point of view, hyper-textuality is the re-reading of pre-textuality; that is, writing new content and reading pre-text creates a new text. Revelation in the relationship between texts, influence and hyper-textuality of each other, has always been one of the topics of interest of researchers in the field of human sciences and literary studies. In the 20th century, this issue was raised by Kristeva and Barthes and systematically developed by Genet in the form of transtextuality theory. Hypertextuality is a type of transtextuality that deals with the systematic relationship of a text with previous texts as sources of inspiration, based on change and imitation. For this reason, pictorial rugs with the theme of the story of Leyli and Majnoun are an expression of texts mixed with verbal and visual systems that were produced by using the artist's creativity and imitating literary and artistic pre-texts during Qajar period. In this research, a sample of the mentioned rugs will be studied and analyzed based on the multi-textual approach and focusing on the type overlap, with the aim of reading and discovering the degree of intertextual communication and imitation of internal and external pre-texts. Therefore, the main question of the research is: to what extent and how can the imitation of interdisciplinary texts be explained, and what do the verbal and visual signs in it indicate?The most important findings of this research are the followings: the designers of Leyli and Majnoun rugs enjoy from previous sources such as literary and visual texts to design these works; works which are based on imitation and change. More importantly they create motifs and peripheral and marginal narrative scenes based on individual innovation. In the interdisciplinary pre-texts (paintings) the painter, while being faithful to the previous literary sources, tries to create an exemplary and ideal space from the story of Leyli and Majnoun. This research is of a qualitative and developmental type and its research method is descriptive-analytical and data collection is desk-based. In the process of doing the work, while passing on the theoretical and fundamental studies of hypertextuality and the overlapping approaches, the research explores visual and verbal systems, literary and artistic pre-texts and finally analyses hypertexts. Relevant intra-disciplinary and inter-disciplinary themes will be conducted to the topic of Leyli and Majnoun.

Iranian painting, as an art dependent on Persian literature in terms of themes, narratives and characterization, and context, contains dramatic situations that have been overlooked in academic studies. The analyses of such situations and their structural elements help us better understand the illustrations’ covert narratives and methods of expression. The analyses of such situations and their structural elements help us better understand the covert narratives and methods of expression in the illustrations. This paper utilizes a descriptive-analytical method to analyze two miniature paintings from the Khamsa of Shah Tahmasp, an adaptation of the Persian literature masterpiece Khamsa, written by the Persian poet Nizami Ganjavi. Nizami is one the most significant romantic epic poets in Persian literature whose works have been adapted by many poets, writers, playwrights, and artists. His Khamsa is considered one of the canonical works of literature in the Persian world. Among the five parts of Kahmasa, Layla and Majnun is arguably the most famous one, which tells of a young man, Majnun, who falls in love with a girl, Layla. Despite the mutual feelings they share, they are not able to begin a relationship. By analyzing two paintings based on this story, used in Khamsa of Shah Tahmasp, the study attempts to answer this question: what are the dramatic situations of Layla and Majnun, and how are they reflected in the miniature paintings? Barriers to loving (situation 28th), regret (situation 34th), and losing a loved one (situation 36th). None of the above situations play pivotal roles in the paintings existing in the Khamsa of Shah Tahmasp and are replaced by insanity (situation 16th). The first painting of the Khamsa of Shah Tahmasp is derived from a point in which Majnun is disappointed with reaching the hands of Layla due to the higher status of Ibn Salam. Seeking to produce excuses for – even – short meetings with Layla, he comes across an old woman and asks her to place chains around his head and take him to Layla’s tent. The incident expresses an insane state that has turned into the core of the painting. The painter, making a conscious selection, selects the dramatic state of insanity in the poem and, then, displays it in the painting. Using the element of chains and hands placed on one another, without being closed, the playful dance of three adolescents, the allocation of little pictorial space to Majnun and the old woman, shocked looks, the bird on a dry tree, birds on a blooming tree, and the playing of a flute all instances of his artistic strategies to display such a dramatic state in the Layla and Majnun painting.
The second painting also displays the life of an insanity-stricken person; someone who has preferred the company of animals and beasts to that of humans. Nevertheless, it should be noted that the state of insanity exists in Layla and Majnun, as well. However, unlike such paintings, it plays a peripheral role in the collection. Some artistic strategies adopted by the painter in this painting to display the dramatic state of insanity, other than the painter’s conscious choices, include the selection of pairs of animals, disorderly rocks in a plan, the companionship of the hunter and the prey, and the significant vegetation of the desert. The painters’ approaches in implying the inner feeling of the story and their creative additions to it have enriched the paintings visually; in this way, the painters both narrate Nizami’sLayla and Majnun and, at the same time, have an independent and creative existence that display the implicit aspects of Nizami’s work to the audience. Another strength of the paintings is their focus on the protagonist or the main character of the work. The painters of the Khamsa of Shah Tahmasp have been successful in implementing the capacities of the character Majnun to display the climax of theLayla and Majnun collection. This can turn into a convenient model for artists who create their works by taking adaptations from various branches of literature. The Thirty-Six Dramatic Situations theory of the French playwright-theorist Georges Polti has been adopted to discover the pivotal dramatic situations in Nizami’s story and the adapted paintings. The results show that there are three major situations in Nizami’s version: obstacles to love (situation number twenty-eight), remorse (number thirty-four), and loss of loved ones (number thirty-six); none of which has been dominant in the adapted paintings. The miniatures do not replicate the source text but recreate it while remaining deeply engaged with the original material. This approach brings a new aspect to the miniatures and turns them into unique works; they represent Layla and Majnun but stay independent and creative, enabling the audience to witness the hidden parts of Nizami’s work. The miniatures do not replicate the source text but recreate it while remaining deeply engaged with the original material. This approach brings a new aspect to the miniatures and turns them into unique works; In order to obtain the results, the article begins with a summary of Polti’s theory, an introduction to Layla and Majnunn as well as the Khamsa of Shah Tahmasp, and it continues with the analyses of the selected miniature paintings following Polti’s theory.

Iranian mystics have used the metaphor of ‘Reed’ (Ney) to express the story of human distance and humiliation from his/her origin. The story of Leili and Majnoon seems to have highlighted this meaning more than any other stories. Persian miniaturists have also tried to realize these themes  by recognizing mystical principles. One of these innovations has been the realization of metaphor of the reed in form of a shepherd as piper in the story of Leili and Majnoon. The use of this metaphor, as a reminder to man of the day of genesis, is for moving beyond the surface of a love story. The purpose of this article is to identify the connection between mystical concepts and Persian miniatures as well as to show a new visual identity in miniatures to express mystical themes visually. The method of collecting information was library-documentary. In this article, the miniatures of schools of Herat and Second Tabriz are considered, among which four miniatures with similar themes to the story of Leili and Majnoon have been selected as statistical samples. Deploying an analytical-descriptive method, this research has sought to answer the following questions: What are the mystical meanings of reed (Ney) in Rumi's Ney-Namey? How is the visual expression of metaphor of reed(Ney) in Leili and Majnoon's miniatures? Findings have shown that miniaturists by means of a visual expression of various scenes of Leili and Majnoon and through use of metaphor of ‘a shepherd as piper’ has given expressions to themes such as the status of love, lover, beloved, survival, destruction, and so on through frameworks of shapes, colors and composition.

In every culture and civilization, there is a fundamental and the base art, on which other arts are created. Different arts are created for different purposes; Some are the origin of other arts and some derived from and influenced by other arts. In Iran, The foundation of many arts is known as poetry and a poet and poetry plays the role of the basic art in the creation of other arts. Among various arts, painting has a lot to do with poetry, in fact, painting is one of the arts that has a long-standing connection with poetry. among the works of painting, the role of romantic stories is outstanding, of which the story of lily and Majnun is of the most famous ones, compiled by Hakim Nizami Ganjavi. Nezami Ganjavi, the most famous poet in writing love stories, narrates the story of lily and Majnun with mysterious poems that each word gives different meaning to the audience. Poems in the poetry of lily and Majnun are cryptic, so To get the true meaning of poetry, they need to be carefully interpreted and their analysis, especially if a long history has passed since the creation of the work; also if the poet is world-renowned for speaking cryptically. This paper explores the art of the origin of poetry and tried to explore the relevance and extent of the art of painting of poetry; extract the descriptions related to the coverage of the main characters of the story of lily and Majnun from the poetry, and compare it with the clothing of related painting works. Ultimately, using the results, it is tried to answer the question: what is the effect of painting (follower Art) on poetry (basic art)? In this study, data collection method was documentation and library and the descriptive-analytical method was used to formulate and set it. the context of the poem, the poet in the poems describing the main characters of the story does not neglect to describe their coverage and devotes parts to it. It also appears that the artist, after reading the poem, has been illustrating the poetchr('39')s descriptions. In the present article, lily and Majnun coverage is derived from what is inferred from the military system and then, by comparing the paintings of lily and Majnun in the works of painting from the eighth to the eleventh centuries, the results are presented. among the points of interest to the poet in the poetry to describe the clothing of lily and Majnun are expressing material of the textile including Zarbaft, Parand, Diba, Fur, Khara, Plus and Leather. Indigo and sapphire were selected as colors. For the design, turban, bandage, Sarpech, clinch, mask, shirt, cuirass, plus, Salab, and Khalkhal were used for jewelry. By examining 14 pictures of the golden styles of Iranian painting, it is found that the effect of the painter from the text is more on the color of the clothing. It should be noted that all of the bits used the military jams, by Hassan Vahid Dastgerdi.

One of the currents in the art of carpet weaving in Iran is pictorial carpets, which have established a close connection with Persian literature since the Qajar dynasty. One of the most important stories of Persian literature that has had a significant impact on the formation of images of these carpets is the story of Leyli and Majnoon Nizami Ganjavi. Iranian artists to create images of Leyli and Majnoon story in these carpets have combined the inspiration of this story with their creativity. Therefore, carpets have been created that are the same but have different reflections. the aim of this paper is to compare the changes and developments of these carpets with each other as well as with the Nizami`s narrative to study their variations in five components 1. staging; 2. the symbolic motifs; 3. calligraphy and writing; 4. the way of representation of faces; 5. the way of representation of clothes; in the time interval of Qajar until examples of contemporary period. The questions of this research are: 1. Which scenes from the story of Leyli and Majnoon are represented in the pictorial carpets during these periods? 2. In which period, did each of these scenes repeat the most? 3. What are the differences and similarities of the images in face painting, clothes, symbols and lines and writings? The research method in this paper is descriptive-analytical and historical with a longitudinal comparative approach. information gathering has been done through libraries and internet. from the Qajar period, pictorial carpets are a widespread movement and are widely produced, Therefore, due to the small number of these rugs before the Qajar period, the study of this research has been placed from the beginning of the Qajar period until today To analysis the changes. The selection of Qajar and Pahlavi period carpets is based on available samples. However, in the selection of contemporary carpets, due to their abundance, a number have been randomly selected. And a total of 23 carpets were selected. Findings show, Among the scenes of Leili and Majnoon's story, four scenes are woven in carpets: 1. meet Leyli and Majnoon, 2. Leyli camel, 3. Complain majnoon with the thought of Leyli, 4. Meet different people with the majnoon. The scene of "meet Leyli and Majnoon" has the largest number of carpets and has been woven in all three periods. Matching the images of these scenes showed significant differences in the above five components over time. the difference in the representation of a single storyline in the pictorial carpets is influenced by the social, cultural and religious conditions of the weaver, the customer, the designer or in a broader view is a society in which these pictorial carpets have been created.

While the predominant reliance of painting studies is only on visual analysis of the artworks, love is one of the important themes of Persian mysticism and literature and has had a wide expression in the Iranian paintings. The present study is a comparative one between Nizami’s Khamsah and an illustrated manuscript in 835 AH related to the allegory of Salim Baghdadi’s acquaintance with Majnun, and the views of Ahmad Ghazali. Since it is not possible to vote for a realistic or mystical picture without considering the literary and mystical text, it has been attempted in this article to answer the question: To which allegory of Layla and Majnun Masnavi of Nizami’s Khamsah does the painting of Salim Baghdadi’s acquaintance with Majnun from illustrated manuscript in 835 AH refer to? and what is the interpretation of this allegory based on Islamic mysticism and what is the meaning of the mystical points mentioned in this allegory?

The aim of this study is to compare the aforementioned painting with Iranian Islamic literature and mysticism.

The present study has been conducted using an interpretive-analytical method and research information has been collected through library resources.

The main theme of the mentioned allegory is the difference between the beginning and the end of love. Since, historically, the closest mystic to the time of Nizami Ganjavi, who had comprehensive and complete comments on divine love, is Ahmad Ghazali and also due to the significant similarity between their thoughts regarding this love, the mystical aspect of the current study has been based on the book Savaneh-al-Oshagh (Lovers’ events). The present research first seeks to reach the opinion that the mentioned painting has a mystical aspect. In the next step, the allegory mentioned in this picture from Nizami’s Khamsah is interpreted based on the views of Ahmad Ghazali, and the difference between the moods of the lover in the beginning and the end of love is expressed.

Colors have a distinctive visual, semantic and psychological assets that has made them the most imperative tool for creating works of art. Color in literature is considered as one of the seven arts. Dominant speakers and lecturers have used color as an effective tool in illustrating, imagining, and conveying concepts. Therefore, by examining and analyzing the method and extent of applying the element of color in the works of poets and writers, it is possible to comprehend the implied approaches and the general structure of such works. Based on this feature, in the following article, the perspective of Nezami and his outlook towards the category of color and the extent of his use of this element and the comparison and analysis of the colors: black (component of sadness), white (component of hope), red (component of emotion), yellow (component of happiness), green (component of spirituality) and blue (component of tranquility) have been studied in his two famous poems "Khosrow and Shirin" and "Leily and Majnoon". The method of this research is based on content analysis and the sample size includes all the applied color-words in the two literary artworks of Nizami Ganjavi; furthermore, the statistical community consists of all poems that contain color-words. In data analysis, descriptive statistical methods such as distribution and frequency percentage of components, tables, bar graphs and circles have been used. Comparison of colors as noteworthy components in these works shows that there is a significant relationship between the use of colors and the content of the two literary collections; the elements of hope, happiness and peace in "Khosrow and Shirin" are more visible than "Leily and Majnoon" and the elements of excitement, spirituality and sorrow in "Leily and Majnoon" are more observed compared to "Khosrow and Shirin". Based on the results, the researchers of the present study consider that Nezami, while having an overview of the theme of his stories, has also been extremely careful in using details and has applied all specifics in the context of a general structure.

Research objectives:

1. Investigating the quantity of colors used in the two poems "Khosrow and Shirin" and "Leily and Majnoon". 2. Comparing the frequency of color-words as components of hope, sadness, happiness, excitement and spirituality in the two poems "Khosrow and Shirin" and "Leily and Majnoon".

Research questions:

1. What is the psychological and semantic burden of different colors from Nezami’s point of view? 2. What is the frequency of different colors in the two collections "Lily and Majnoon" and "Khosrow and Shirin" and what is the relationship between the amount of colors and the content of the mentioned works?

Story of Layla and Majnun is one of most famous literary works which has attracted all artists and made enrich their works. due to a solidarity of literature with painting, painters among these artists, revived a process of making illustrated works, which were surely transfer of poets thinking. In this regard, the literature of Shahnameh and Khamseh has a special position. Considering influence of the Safavid painters in royal workshops and effect of painting on other arts fields, including weaving, it is possible to find effects of literature on motifs of these woven fabrics.
A main purpose of this paper is to identify and study common points of literature with images and motifs of this story on textiles in Safavid era and to identify a relationship between painters and textile designers.
findings of this paper show that themes of lyric poetry are reflected in motifs of textiles and images. Because these stories have been cultural commonalities, and painters in this period have been fabric designers too, considering a comparison of Nizami poem in painting and textile-weaving.

Layla and Majnun is a classic story of love most notably expressed by the great poets. In addition, various scenes of this love story have been painted by Iranian painters. According to researches, the first painting of Layla and Majnun at school illustrated on Seljuk pottery and then repeated in different Iranian schools such as Herat and Shiraz. This paper investigates the structural and conceptual aspects of the scene of Layla and Majnun at school painted on Seljuk pottery. Since, Erwin Panofsky interprets the subject of artworks by studying the literary texts and the thought of a nation during a particular era, this article attempts to answer this question: What is the relationship between the dominant Iranian thought during Seljuk era and the painting of Layla and Majnun at school illustrated on Seljuk pottery? Ahmad Ghazali (d. 520 AH/ 1126 AD) is a prominent Iranian thinker whose view about love had profound effect on Iranian mystical thought in Seljuk era. So, the main purpose of this research is to find out the relationship between Ahmad Ghazali`s thought and the painting of Layla and Majnun at school illustrated on Seljuk pottery. Research The data have been obtained through a documental and librarian method. In this research, information collected through documentary and librarian, historical-analytical method is based on the iconology of Panofsky`s approach. Visual and conceptual patterns of Layla and Majnun painting illustrated on Seljuk pottery reflect Ahmad Ghazali’s thought about the essence of love, in addition to Nizami poems.

Due to the combination of mystical and ethical teachings, with tales and artistic stories, Iranian literature has been the source of inspiration for Iranian painters during different periods. The development of painting in the field of literature has given fruitful results in the form of illustrated versions, which even today no equal can be found for them. A major contribution to the creation of beautiful and imaginative Persian painting has been influenced by the wise lyrics of the great poets such as Ferdowsi, Saadi and Nizami. Nizami is one of the poets who should be considered as one of the pioneers of Persian literature and of the indisputable masters of this language. Although storytelling in Farsi was not initiated by Nizami, but the only poet, who by the end of the sixth century had managed to develop an allegorical poem to the point of evolution, is Nizami. Among the literary works, Nizami’s quintet has got a special reception among the painters because of the selection of beautiful stories, pictorial and believable accounts with accurate scenes and image descriptions. Each of the treasures of quintet has been illustrated many times by the painters, and this has continued as a long tradition, and today it has remained in the form of precious treasures. One of the most beautiful examples of Nizami’s quintet in the time of the Safavid Shah Tahmasb, which has been illustrated in Tabriz by the famous artists of that era and is known as Khamseh Tahmasbi, is now kept at the Library of the British Museum in London. Today only 14 paintings of the works of the Tabriz school in this manuscript have remained, but this small number well reflects the refined features of the Tabriz school during the Safavid period.   In Leili and Majnoon, the third episode of this edition, there are two epitaphs related to Aqa Mirak and Mir seyyed Ali who are among the most celebrated masters of the Safavid era, which form the subject of this paper. In these two works titled "Majnoon in desert" and "Bringing up Majnoon to the Leili’s Tent", in addition to describing Nizami’s stories in the language of the image, the influence of the artist's viewpoint on the image of each story is also evident. In this article, firstly, we briefly discuss the Leili and Majnoon story in quintet of Nizami, then explain the characteristics of the two abovementioned images and the effect of the literary text on the creation of images as well as the visual characteristics of each image and the relationship between form and space in the works. At first, a brief description of the story of each image is presented, and then the description of the space of each work is offered by referring to written sources and images, and finally, the visual structure of the images and the features of each work are mentioned. The main issue in this research is the recognition of the quality of artistic expression in these two works and the paper seeks to answer the questions posed below: What signs and symbols were used by the painters to express the theme of the illustrated story in order to create an ideal artistic expression? How the compositions, visual elements and forces and the relationship between visual elements of each image could serve to create artistic expression? There are numerous references to the internal and external sources of literature in the case of the features of the Safavid Tabriz school and the images of Khamseh Tahmasbi; among which “Persian Painting” written by Basil Gray, “Iran Painting from Late to Today” by Rouein Pakbaz, the two volumes of the book of “Islamic Painting” as well as “Tabriz, Qazvin and Mashhad Schools” both of which are written by Yaqoub Adjand, also Eleanor Sims' book “Peerless Images” can be cited. Also about these two paintings and their artists some contents have been written in books such as the book of “Twelve Faces” and the writing of Sheila,R Canby, some of which have been used in this paper, but the objective of this paper has been to focus on how to articulate artistic expressions using the visual factors and symbols in these two pictures, which has not been addressed so far. The research method in this paper is descriptive and analytical, and data was collected via library sources. The information analysis method is qualitative. The results show that the artists by noticing the concepts and meanings of each story have tried to make visual connections in forms, spaces and compositions by using of visual symbols and have expanded the borders of meanings in their images with more artistic expressions.

The reinstatement of iconography and iconology in the West has become important. In this article, we tried to find the reasons for choosing the topic of Laily and Majnoon in Ghiaseddin fabrics. For this purpose, using the iconographic and iconological theory, the inner meaning of this story is examined in the literature and culture dominant at the time of the emergence of the effect. This review is evaluated based. Three steps: description, analysis and interpretation. In the history of textile in Iran, especially during the Safavid period. The use of miniature textiles has been used extensive. In this research, a narrative of the literary story of the Nezamy, that was considered by Ghiaseddin, was used. He has chosen this narrative and woven it.

Most of the fundamentals and thinking roots of nations in different era can be found in motifs remainings from artistic works. Unfortunately, textiles and their motifs woven have been ignored in most researches because they have been seen as a branch of painting and so forgotten. However, when a researcher studies them he/she is provided with important and deep first-handed pieces of information in this regard. The Safavid textils in which brocaded fabrics and velvets are of paramount importance are of the ignored works. Motifs woven on brocaded and velvet fabrics in this era are in a variety of forms and motifs.This research is objectively two fabrics designed by Ghiyalh al- din Naghshband, the very famous designer of the Safavid era. This thesis tries to shed a light on their hidden litrary themes and patterns.The findings of this study show that themes of lyrical literature are reflected in most of motifs woven on textiles of this era and because of the fact that many painters of this era are fabric designers; therefore, fabric has become the ground to show their artistic skills.