نویسندگان
1 استادیار گروه فرش دانشکده هنرها ی کاربردی، دانشگاه هنر شیراز، ایران
2 استادیار گروه فرش دانشکده هنرهای کاربردی دانشگاه هنر شیراز، ایران.
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسندگان [English]
The story of "Laila Al-Asra" which is mentioned in the Quran and various religious sources, has been the subject of attention of many artists in different Islamic eras. "Mirza Iskandar" Ascension panel, a 14th century glass painter, is one of the most prominent paintings in the reverse glass painting in this field. Despite the many similarities in the depiction of this painting with previous miniatures, there are innovations in the display of some characters in this work, which are important. The purpose of this research is the intertextual reading of the visual elements of this work, and the main questions is: What is the intertextual relationship between the visual elements of the Ascension painting of Mirza Eskandhar with the Ascension paintings before and after it? And what are the non-visual pre-texts that were effective in the formation of this work? Such studies are important in identifying the influences of religious and literary texts on art and recognizing cultural identity, and can help to better understand the art of the late Qajar period. In this research, based on the descriptive and analytical method based on library sources, Based on the results obtained, the image of the painting under study is related to religious and historical texts and the social context of the late Qajar period and has been greatly influenced by the Ascension paintings of the Safavid period to the Qajar period in manuscripts and prints, paintings, plaster paintings, and tiles, and tiles and by the intercultural context and pretexts of Iran and India, and is itself one of the pretexts that influenced some of the later paintings behind glass in this field. In this work, the artist, using Iranian symbols and themes, has tried to represent a narrative of the Ascension based on Shieh beliefs.
کلیدواژهها [English]
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