Rahpooye Honar-Ha-Ye Tajassomi

Rahpooye Honar-Ha-Ye Tajassomi

Intersemiotic Analysis of Create Space in the Verbal Text and Visual Text of Mir Haydar's Miraj Nama with an Emphasis on the Role of the Illustrator in the Creation of the Artwork

Document Type : Original Article

Authors
Mohammad Hossein Barati 1
KHashayar GHazizadeh 2
parviz haseli 3
1 PhD student of Comparative and Analytical History of Islamic Art, Department of Islamic Art, Faculty of Arts, Shahid University, Tehran, Iran.
2 Associate Professor, Department of Islamic Art, Faculty of Arts, Shahid University, Tehran, Iran.
3 Faculty Member of Islamic Art Department, Faculty of Arts, Shahid University, Tehran, Iran.
10.22034/ra.2024.2010501.1395
Abstract
The most important thing in the paintings of Mir Haydar's Miraj Nama, it is a visual description of the world that the illustrator has tried to make possible by using verbal narration to induce its supernatural themes. Regarding its themes and characters, several researches have been formed; However, the space where these elements are imprinted on the body and the contribution of the illustrator in reflecting this supernatural space, has not been studied in previous researches.
The purpose of this research is to discover the differences between the space in the verbal text and the creation of space in the visual text of Mir Haydar's Miraj Nama Letter and to identify the contribution of the illustrator through his interpretation in its creation. The research question is: What differences can be found with the intersemiotic study of space in the verbal texts and visual texts of Mir Haydar's Miraj Nama, which are the result of the illustrator's interpretation?
In this article, the meaning of the illustrator's interpretation of the verbal text is to understand the meaning and content of the topics that she understood from the analysis of the semantic patterns of the language of the text to narrate in the form of image language; The transformation of words into images and the presence of obvious elements borrowed from the verbal text in the visual text will not be his interpretation, but the part of the elements that the illustrator has added to the visual text independently of the verbal text in addition to the migrant elements to explain and describe it is a portal for receiving interpretation. He will be from the meaning and contents of the verbal text.
The statistical population of this research consists of 14 images of Mir Haydar's Miraj Nama, after explaining the space in verbal components, the visual text will be explained structurally and thematically, and the difference between the space in the verbal text and the space in the visual text will be explained. This research has been done by collecting data through documentation and library studies with the method of intersemiotic comparison and analysis and with Gerrard Genette's transtextuality approach.
This approach is an efficient approach due to the reading and classification of relationships between two texts in separating the contribution of the illustrator from the author.
The results of this research show through the analysis of the themes and the examination of the transtextuality relationships between the texts. In the visual text, the illustrator has limited herself only to the general theme of the verbal text.Therefore, there was no Imitation and the space-creating elements in the visual text are based on derivation. In most Illustrations, the reflection of the mental structure of the verbal text in the objective structure of the visual text can be understood implicitly.
The author of the verbal text has ignored the description of major parts of the place and space of the story in the verbal text due to the visual treasures and mental assumptions of the audience. Elements such as: azure sky, white and gray clouds, wavy nebula fragments, stars and light effects of pseudo-clouds, burning tongues, Islamic architecture and decorations, plant elements, flowing springs, color selection, the way of establishing and combining elements are not found in the verbal text. The addition of these elements is based on the visual and cultural memory of the illustrator.
This has led to directing and controlling the perception of other audiences based on visual text. By removing or reducing the space-creating elements in the visual text, such as: the gates of heaven and hell, the multitude of angels, the pool of Kawthar and the sea of fire, and combining it with vertical and horizontal surfaces, the illustrator has tried to provide an understanding of the supernatural world in line with the reconstruction of the intention of the author of the verbal text. The creator of the visual text has interpreted and explained the content of the verbal text in the visual text by increasing and changing the space-creating elements in a metatextuality relationship and has made the unattainable concepts of the verbal text such as reaching the divine throne and being in the presence of God, which is a supernatural matter, accessible to the audience with visual measures.
The contribution of the illustrator in believability and induction of such themes has made it possible to perceive the invisible parts of the verbal text. The illustrator's interpretation of the analysis of the semantic patterns of the language of the text in the form of creating space-making elements combined with transformation in the form of transposition with serious multiplication in a new space, has resulted in the explanation and description of the verbal text, the permanence of concepts and the perception of the invisible parts of the verbal text.
Keywords
Iranian painting
Herat school
Illustrator
Miraj Nama
Transtextuality
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Rahpooye Honar-Ha-Ye Tajassomi
Volume 7, Issue 1
Spring 2024
Pages 13-24

  • Receive Date 01 September 2023
  • Revise Date 23 March 0621
  • Accept Date 04 November 2023