Inves tigation and analysis of the virtual cross of St. Stepanos Julfa Church in Tabriz (From the perspective of Gerard Genet's intertext types)

Q: How can I download an article?

To download an article from SID, first log in to the site, search for the article title, and click on the 'Download Article' option.

Q: How can I download an ISI article?

To download an ISI article on SID, enter the keyword or article title in the search bar, view the relevant results, click on the desired article, and select the 'Download Article' option.

Q: How can I access the SID database?

To access the SID database, visit SID.ir, create an account, and log in to access scientific resources.

Q: Is downloading articles from SID free?

Some articles on SID are available for free, while others require payment. Details are specified on the article's page.

MOHAMMAD ZADEH MEHDI; KHAZAEI MOHAMMAD; Azizi Yousefkand Alireza

Title

Inves tigation and analysis of the virtual cross of St. Stepanos Julfa Church in Tabriz (From the perspective of Gerard Genet's intertext types)

Author(s)

MOHAMMAD ZADEH MEHDI | KHAZAEI MOHAMMAD | Azizi Yousefkand Alireza | Issue Writer Certificate

Keywords

Tabriz

St.Stephen's Church

Virtual Cross

Intertextuality

Gerard Genet

Abstract

From the very beginning, Chris tianity, as the divine religion, opposed the mys terious and blasphemous mirrors of its age based on bloodshed and pleasure, demanding the return of all to the one God. The resurrection and return to divine jus tice finally brought death to Chris t on the cross. Chris t welcomed it and, by sacrificing his body, caused the sins of the human race to be forgiven from the beginning. By the resurrection, he hoped the path of forgiveness continues. He revived the heart of his nation. Most of Chris t's audience was illiterate, and on the other hand, the religion of Chris t faced many difficulties and oppositions from the beginning. Many of these motifs have been used on church wall surfaces to sanctify places and teach religious teachings to believers. The Church of the Holy Stephen is located in the Aras Free Zone, 6 km from the village of Darreh Sham, 15 km wes t of the city of Julfa, in a place called Ghezel Vanak (Red Monas tery) in East Azerbaijan Province. The church was built on the banks of the Aras River on a hillside called Maghard, which is why it is mentioned in Armenian written sources as "Deir Maghard". St. Stephen is one of the seven pious people who were ordained by the apostles of Jesus Chris t and became missionaries of Chris tianity. Stephen is mentioned as the first martyr of Christianity in the Old Testament. The Jews of Jerusalem accused him of speaking agains t the Jewish law, arres ting and s toning Stephen. In Chris tian symbolism, the church building has different meanings. Its original meaning is the house of God, but in some cases it has been compared to the lifeless body of Christ on the cross. The sacred building is primarily the image of Chris t as the essence of divinity manifes ted in this soil, and in fact the plan of the cathedral is like the image of Christ crucified. Symbolic images served as a way to hide and spread Christian holiness. St. Stephen's Church in Julfa, Tabriz, is one of the buildings whose maximum external and internal surfaces are decorated and sanctified with various decorations. The exterior and interior surfaces of this beautiful and magnificent building are covered and decorated with various reliefs, paintings and sculptures. The interior walls are decorated with plaster painting techniques, and the exterior and exterior walls of the church are decorated with a variety of reliefs and small sculptures. Exterior wall motifs and decorations include written inscriptions, small sculptures of sacred animals and birds, various crosses, abstract inscriptions, and human motifs. The face of Chris t is explicitly and symbolically depicted in four main directions on the outer walls in human reliefs and is painted several times inside the main church, but the face of Stephen is explicitly depicted in only one inscription, in which the last moments of Stephen's life are the time of the stone. His starling is depicted. The abundance of reliefs and beautiful decorations of this building engages the mind of the viewer and keeps the main inscriptions of two colors, however, with a careful examination, five inscriptions can be separated from the other reliefs. These inscriptions are approximately equal in height on the walls on all four sides of the church in four main directions. These inscriptions are very similar in terms of form and content, and their virtual arrangement correctly and in line with each other evokes a single meaning and formally resembles a cross hidden from the minds and eyes of viewers. Among many decorations, several inscriptions similar to the church's icons, with a specific composition and dis tance, are placed on the church's outer walls in four main directions. By virtually connecting these inscriptions, a unique and meaningful form is formed, forming a cross in form and having a lot of semantic connection and entanglement in terms of content. The horizontal axis of the Virtual Cross consis ts of two inscriptions. The firs t inscription is symbolically drawn at the end of the southern part of the horizontal axis of the cross with the theme of the election of Chris t as the chosen one and sitting on the throne. The second inscription is drawn at the northern end of the horizontal axis of the cross with the theme of Chris t's resurrection. The vertical axis of the Virtual Cross consis ts of three inscriptions, two of which are the tes timony of the enemies, the crucifixion of Chris t and the s toning of St. Stephen, and the other one is the salvation of Chris t. These inscriptions were created under the influence of common sacred icons in the church. These few inscriptions are secretly ins talled among the wall decorations of the church, specifically in connection with each other and with a predetermined intention. This cryptography and secrecy of the cross through inscriptions among the multitude of reliefs necessitates this research to analyze and s tudy its form and content and is the main issue of the present s tudy. Accordingly, firs t, the meanings of the symbols in the inscriptions were analyzed, then the analysis of these inscriptions is based on intertextual views from Gerard Genet's point of view in order to read the relationships between the inscriptions in terms of form and content relationship to confirm the form of the Virtual Cross. Any relationship that is formed based on co-presence between two or more texts is called Intertextuality. Intertextuality is formed when two texts have a single element or elements. The presence of one element of a text in another text or the presence of several elements of one text in another text or the presence of several elements of several texts in a specific text is the main type of Intertextuality. Genet Intertextuality is divided into two major categories (1-explicit and explicit 2-implicit and hidden). In explicit and explicit context, the author does not hide the reference of his text and the elements of the first text are seen and identified quite clearly in the second text. Implicit and implicit intertext indicates the secret presence of one text in another. In this type of Intertextuality, the second text is influenced by the pre-texts and places elements of it in its heart that remains hidden from the viewers' mind and eyes. Implicit Intertextuality, unlike explicit Intertextuality, does not disclose its reference and tries to conceal it. This research is considered qualitative, and the method of data collection in this research is library s tudies, field research through objective observation. The research method is descriptive and analytical and seeks to answer the following ques tions: 1-Is the selection, composition, arrangement, and concealment of these inscriptions conscious? And does their virtual connection to each other form a Virtual Cross in terms of form? 2-What is the relationship between these inscriptions in terms of form and content, and is this conscious choice made in the cross's horizontal and vertical axes? In terms of content, do they emphasize the formation of a Virtual Cross? The hidden cross in the heart of the church, using five inscriptions in the four directions of the church, is installed on the church's walls, which depicts the theme of the life and salvation of Christ and finally St. Stephen. This research s tudied and analyzed the placement of each of these inscriptions, the relationship between them, and the symbolism of their elements. The symbolism of the elements was done using religious sources and the analysis of the relationships between the inscriptions was done using Jargent's intertextual theory. The main direction is the formation of a Virtual Cross. Further, according to the symbolic meaning of each of the inscriptions, in the horizontal and vertical axes of the cross, separately and together, and in the whole Virtual Cross set, the secrecy and structure of the cross are considerably conscious.

No record.

APA: Copy

MOHAMMAD ZADEH, MEHDI, KHAZAEI, MOHAMMAD, & Azizi Yousefkand, Alireza. (2021). Inves tigation and analysis of the virtual cross of St. Stepanos Julfa Church in Tabriz (From the perspective of Gerard Genet's intertext types). GLORY OF ART ( JELVE-Y-HONAR), 13(2 (31) ), 56-71. SID. https://sid.ir/paper/962460/en

Vancouver: Copy

MOHAMMAD ZADEH MEHDI, KHAZAEI MOHAMMAD, Azizi Yousefkand Alireza. Inves tigation and analysis of the virtual cross of St. Stepanos Julfa Church in Tabriz (From the perspective of Gerard Genet's intertext types). GLORY OF ART ( JELVE-Y-HONAR)[Internet]. 2021;13(2 (31) ):56-71. Available from: https://sid.ir/paper/962460/en

IEEE: Copy

MEHDI MOHAMMAD ZADEH, MOHAMMAD KHAZAEI, and Alireza Azizi Yousefkand, “Inves tigation and analysis of the virtual cross of St. Stepanos Julfa Church in Tabriz (From the perspective of Gerard Genet's intertext types),” GLORY OF ART ( JELVE-Y-HONAR), vol. 13, no. 2 (31) , pp. 56–71, 2021, [Online]. Available: https://sid.ir/paper/962460/en

No record.

Scientific Information Database

ISSN: 2588-4824

Journal Paper

Inves tigation and analysis of the virtual cross of St. Stepanos Julfa Church in Tabriz (From the perspective of Gerard Genet's intertext types)