The Ascension of Sultan Mohammad and Derivations from in Three Contemporary Iranian paintings with Genette of Hypertextuality Approach

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Kangarani Farahani Manijeh; NAMVAR MOTLAGH BAHMAN; KHABARI MOHAMMAD ALI; SHARIFZADEH MOHAMMAD REZA

Title

The Ascension of Sultan Mohammad and Derivations from in Three Contemporary Iranian paintings with Genette of Hypertextuality Approach

Author(s)

Kangarani Farahani Manijeh | NAMVAR MOTLAGH BAHMAN | KHABARI MOHAMMAD ALI | SHARIFZADEH MOHAMMAD REZA | Issue Writer Certificate

Keywords

Hypertextuality

Typology

the image of ascension

Sultan Mohammad

Iran’

s contemporary painting

Abstract

A review of the history of the art of painting is a sign of artists> attention to other pre-existing artworks, adaptation, inspiration, or copying them. This is done for a variety of reasons most of which can be mentioned as methods of teaching and experiencing and/or criticism and interpretation. Inspiring by other works of art-especially traditional painting, Iranian contemporary artists are still creating modern works, that can play a significant role in bonding the contemporary art to Iran’, s traditional art and transmitting the ancestors’,contents, experiences, and artistic traditions. A number of works of Iranian contemporary painters, that are painted based on a single painting will be studied and analyzed in this paper. The key question is that “, how the process of incorporation from other works is being performed and what the procedure is”, . To this end and through using this method, Genette’, s Hypertextuality and the Typology of these relationships will be used in order to study, describe, and analyze a part of Irans’,contemporary art and to decode its features it is concluded that Hypertextuality has had a long practice in Persian painting, although it has not been documented and theoretically discussed. The research method is descriptive-analytical and it has been conducted by gathering information through documentary sources and library studies on the topic of intertextuality and Hypertextuality as well as direct observation of the works. The research method of this article is descriptive based on the intertextual approach of Gerard Genette. In the 1960s, it was Julia Kristeva who used «Intertextuality» for the first time, indicating any relation between different texts. Thereafter, Gerard Genette expanded the study domain of Kristeva, and called relation between a text with other texts or different from its own as «transtextuality» and subdivided this type into five categories where intertextuality was only one type. Other categories were called «arcitextuality», «paratextuality», «metatextuality» and «Hypertextuality», each with their own subcategories. Of all these categories, Intertextuality and Hypertextuality study the relationship between two artistic texts, whereas Transtextualites is the study of the relation of a text to the related hypertext. On the other hand, Paratextuality probes into the relation of a text to other connected or separated texts. Metatextuality investigates the analytical elation of a text in respect to another one. And Arcitextuality deals with the relation between a text and a text of its kind. This article deals with only one type of Genette’, s transtextuality, i. e. Hypertextuality, and will attempt to survey the potentiality of this notion in the history of illustrations, in Iran and then make a critical analysis of Persian paintings based on the hypertextual approach. The hypertext relationship explores the relationship between two texts, the existence of the second text depends on the first text On this basis, the original text and the preceding one are called the «hypotext» and the later and the new text «hypertext» The gene divides the transactional relationship into two types of the same (imitation) and metamorphism (the variation of the original). According to this, after introducing Genette’, s Hypertextuality and the Typology of these relationships, three of Iranian contemporary painters’,(Iraj Eskandari –, Abdolmajid ghdiriyan and Abdolmajid Hossainirad) works that are created through inspiration from the image of Prophet’, s ascension by Sultan Mohammad, the significant painter of Tabriz school, will be studied and analyzed in the second part and while pointing to textual relationships, implications, and distinctions and commonalities, and sometimes necessarily, the contextual reasons of these differences will be taken into account so that through a systematic study, we could get to know a part of the identity of Iran’, s contemporary art. Eventually, using indigenous and traditional hypotexts not only doesn’, t restrain artists’,creativity but also, while providing an indigenous and comprehensible statement, helps to some kind of aesthetic identity proliferation, and of course, it will be accompanied with critiques and updates.

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APA: Copy

Kangarani Farahani, Manijeh, NAMVAR MOTLAGH, BAHMAN, KHABARI, MOHAMMAD ALI, & SHARIFZADEH, MOHAMMAD REZA. (2021). The Ascension of Sultan Mohammad and Derivations from in Three Contemporary Iranian paintings with Genette of Hypertextuality Approach. NEGAREH, 16(59 ), 61-73. SID. https://sid.ir/paper/1031942/en

Vancouver: Copy

Kangarani Farahani Manijeh, NAMVAR MOTLAGH BAHMAN, KHABARI MOHAMMAD ALI, SHARIFZADEH MOHAMMAD REZA. The Ascension of Sultan Mohammad and Derivations from in Three Contemporary Iranian paintings with Genette of Hypertextuality Approach. NEGAREH[Internet]. 2021;16(59 ):61-73. Available from: https://sid.ir/paper/1031942/en

IEEE: Copy

Manijeh Kangarani Farahani, BAHMAN NAMVAR MOTLAGH, MOHAMMAD ALI KHABARI, and MOHAMMAD REZA SHARIFZADEH, “The Ascension of Sultan Mohammad and Derivations from in Three Contemporary Iranian paintings with Genette of Hypertextuality Approach,” NEGAREH, vol. 16, no. 59 , pp. 61–73, 2021, [Online]. Available: https://sid.ir/paper/1031942/en

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Scientific Information Database

ISSN: 2588-4824

Journal Paper

The Ascension of Sultan Mohammad and Derivations from in Three Contemporary Iranian paintings with Genette of Hypertextuality Approach