The Place of Contrast in Khamseh Tahmasebi’s Love Poems and Miniatures Based on Gerard Genet’s Theory of Transmittance; A Case Study of Sweet Drawing in Cheshmehsar

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Kazemi Masoud; Ghazizadeh Khashayar; Hosseini Reza

مرکز اطلاعات علمی Scientific Information Database (SID) - Trusted Source for Research and Academic Resources

Journal Paper

Paper Information

Journal: Rahpooye Journal of Visual Arts Year:2023 | Volume:6 | Issue:1 Page(s): 43-52

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Information Journal Paper

Title

The Place of Contrast in Khamseh Tahmasebi’s Love Poems and Miniatures Based on Gerard Genet’s Theory of Transmittance; A Case Study of Sweet Drawing in Cheshmehsar

Author(s)

Kazemi Masoud | Ghazizadeh Khashayar | Hosseini Reza | Issue Writer Certificate

Keywords

contrastQ4

poetryQ4

PaintingQ4

Khamseh TahmasebiQ4

Khosrow ShirinQ4

TramatnitQ4

Abstract

Literature has always been a beacon of a path for Iranian-Islamic art, and among the arts, Iranian Painting is most influenced and indebted to the literary order. Many books such as Khamseh Tahmasebi are the product of the synchronicity of Iranian poetry and Painting, which has given it a multidimensional property. In this research, an attempt has been made to deal with the category of love in the story of Khosrow and Shirin from another perspective, and the inner meaning of love has been achieved through the form of Shirin’s poetry and drawing in Cheshmehsar. The purpose of this study is to identify and introduce the theme of confrontation and emphasize its centrality as the main component of love in poetry and sweet drawing in Cheshmehsar. The main question is: the encounter in poetry And how did the Sweet Painting appear in Cheshmehsar? The research method in this research is descriptive-analytical and comparative with the approach of termite theory and data collection has been done using library-documentary sources. As result, this research indicates that in poetry, the basis of contrast is expressed in structural and lexical elements as well as in different dimensions of characters, furthermore, in an intertextual relationship in the image, the contrast element is obtained from the connection of contrasting visual and visual elements. So that in the field of pictorial elements, which itself consists of background elements, human, animal, solid, and vegetable, the most important aspect of the contrast between the example role played by the artist (state and form of figures, transtemporal and transcendental objects and the location of elements) and form of the forms are revealed. This state is well seen in the figure of Shabdiz, which is a symbolic expression of the widespread presence of love on the stage. Also, in the field of visual elements, the theme of love is the result of using contrasting structures in color, texture, line, surface, and volume, which is the most tangible contrast between the abstract face and the real face of elements such as the texture of rocks or the dark color of springs and sky. Golden, obtained. In addition, the contrast in poetry and imagery based on transsexuality is such that the intertextuality relationship is explicitly and implicitly, the intertextuality relationship between drawing and Painting of Tabriz II, and the intertextuality relationship in various symbolic effects, including the establishment of solid and vegetative elements. Animal and human moods, created with the help of subtle colors and textures, translate a visual image beyond military poetry or like sweet faces and moods that differ from the military description of the beauty of this Armenian prince. Shabdiz’s verse, which, unlike military poems, emphasizes internal-external confrontation, is also visible.

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