DISPLAY OF SPLENDOR AND GRANDEUR IN PAINTING AND THEIR REFLECTIONS IN DEMONIC AND DREADFUL CREATURES

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RAHNAVARD ZAHRA

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Journal: HONAR-HA-YE-ZIBA Year:2007 | Volume:- | Issue:29 Page(s): 87-95

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Information Journal Paper

Title

DISPLAY OF SPLENDOR AND GRANDEUR IN PAINTING AND THEIR REFLECTIONS IN DEMONIC AND DREADFUL CREATURES

Author(s)

RAHNAVARD ZAHRA | Issue Writer Certificate

Keywords

SPLENDORQ3

GRANDEURQ2

DEMONICQ3

DREADFULQ3

MYSTICISMQ2

PAINTINGQ2

Abstract

SPLENDOR (beauty) and GRANDEUR (majesty) are two unique terms in Islamic philosophy and MYSTICISM. However, both play such an astounding role in the realm of traditional art particularly in PAINTING that an explanation of PAINTING seems impossible without a study of their functions. In Iranian PAINTING, versatile characters have been painted bearing their unique physical and visual refinements. These features can be studied under the following headings: value-oriented, such as "good and evil beings", imaginary such as "mythical and real beings", mystical such as "lovers and the loved ones", social such as "the kings and the beggars", religious such as "the prophets and the angels", and DEMONIC such as "demons and dragons". All these creatures can be studied under the category of SPLENDOR and GRANDEUR, but in this article we are concerned with DEMONIC creatures. As a case study, the article reviews seven images with DEMONIC or DREADFUL themes so that aesthetic expression can be analyzed for DEMONIC theme. Image 1 by Muhammad Ali, is titled Monkey Riding a Fox, belongs to the Safavid School and shows the monkey and the fox performing a passionate dance. Image 2 deals with the love story titled Khosrow and Shiring in which the master painter portrays the horrible scene of a father being slain by his son (rivaling lovers). Image 3, Battle of Rostam and the White Devil, shows the symbol of a vanquished enemy in red traditional clothing. Image 4, Battle of Imam Reza and the Devil, reflects the battle between the good and the evil in two metaphysical and mundane realms. In image 5, Defeat of Demon by Tahmorath, '" work of Sulatn Muhammad, a group of DEMONIC creatures have been portrayed that seem to be performing a passionate dance in display of devils being destroyed by Tahmorath. Image 6, Dancing Demons, is the work of Mahmud Siahqala, a master of fresco PAINTING showing devils different from all devils illustrated in the whole history of Iranian PAINTING. Image 7, Battle of A Man and A dragons, is the work of Mo'in Mosawar, showing a man who has become entangled between the dragons. Question: Why are the DEMONIC and DREADFUL creatures being portrayed so beautifully despite their awesome nature or negative roles? Answer: It is assumed that beauty is the dominant principle in Iranian PAINTING, to the extent that even the demons have been portrayed as beautiful creatures. The feature stands out as a secrete and the present article is intended for a decoding of beauty. Findings of the research are: 1. In the process of artistic creation and in his encounters with the devils, the artist's mental structure chooses the aesthetic language and expression. 2. The theoretical source of aesthetic DEMONIC GRANDEUR in PAINTING is based on ibn-e Arabi's theory of manifestation in which the SPLENDOR and GRANDEUR are two radii emanating from the realm of manifestation. However, GRANDEUR is such that because of the burning lights, the DREADFUL creatures cannot be looked at and portrayed except through SPLENDOR and GRANDEUR.

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APA: Copy

RAHNAVARD, ZAHRA. (2007). DISPLAY OF SPLENDOR AND GRANDEUR IN PAINTING AND THEIR REFLECTIONS IN DEMONIC AND DREADFUL CREATURES. HONAR-HA-YE-ZIBA, -(29), 87-95. SID. https://sid.ir/paper/5783/en

Vancouver: Copy

RAHNAVARD ZAHRA. DISPLAY OF SPLENDOR AND GRANDEUR IN PAINTING AND THEIR REFLECTIONS IN DEMONIC AND DREADFUL CREATURES. HONAR-HA-YE-ZIBA[Internet]. 2007;-(29):87-95. Available from: https://sid.ir/paper/5783/en

IEEE: Copy

ZAHRA RAHNAVARD, “DISPLAY OF SPLENDOR AND GRANDEUR IN PAINTING AND THEIR REFLECTIONS IN DEMONIC AND DREADFUL CREATURES,” HONAR-HA-YE-ZIBA, vol. -, no. 29, pp. 87–95, 2007, [Online]. Available: https://sid.ir/paper/5783/en

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