Rahpooye Honar-Ha-Ye Tajassomi

Rahpooye Honar-Ha-Ye Tajassomi

The History of Iranian Painting as a Function of the History of Persian Literature: An Analysis of Realism in the Works of Kamal al-Din Behzad Based on the Shifts in Literary Discourse

Document Type : Original Article

Authors
Saeed khavani 1
Mohsen Marasi 2
1 Ph.D. Candidate, Department of Art Research, Shahed University, Tehran, Iran.
2 Assistant Prof, Department of Art Research, Shahed University, Tehran, Iran.
10.22034/ra.2025.2044469.1486
Abstract
Iranian painting in its historical course, while maintaining stability in some features, has changed in some periods of history. One of these cases is the appearance of realism in Timurid paintings, especially in the works of Kamal al-Din Behzad. The manner of this change and its various dimensions have been described by researchers, but what has been neglected is the explanation of why this occurred. This article employs a comparative approach to examine the development of Persian literature alongside the history of Iranian painting during the Timurid period. Also, an attempt has been made to answer the question, what are the factors of the Herat School painting developments and the emergence of realism in Behzad's works? In this research, the teachings of ‘Reception Theory’ and the concept of the ‘Horizon of Expectation’ in the "School of Constance" have been used.
Iranian painting in the field of text illustration can be formulated and defined based on the concept of ‘inter-semiotic translation.’ Since inter-semiotic translation involves converting one sign system into another—such as translating written signs into images—Iranian painting, as it relates to text illustration, can be analyzed within this framework. With this definition of Iranian painting, it is possible to consider the tradition of text illustration in Iran as connected with literature, and on this basis, the changes and developments in the history of painting can be examined through the study of literary changes in each period. Painters, patrons of art, and all those involved in selecting the subject and theme, as well as determining how the text is visualized, have translated the textual system into visual form based on their own interpretation and understanding of that text. The theory that addresses this issue and focuses on the audience’s reception of the text is the ‘Reception Aesthetics’ theory from the "School of Constance."
On one hand, considering the connection between painting and literary texts through illustration, as well as the close relationship between painters and poets in the court and royal libraries, and on the other hand, recognizing literature’s role as a system of knowledge and as a mediator between philosophy, science, mysticism, theology, and the common people, the history of Iranian painting can be viewed as an extension of the history of Persian literature. Consequently, it is possible to examine the changes and developments in the history of painting by studying the literary transformations of each period. Iranian painters have translated the written system of the text into the pictorial language of painting based on their interpretation and understanding of that text. The dominance of the aesthetic system, which enables the meaning of the texts, varies in each period. The aesthetic system of the era shapes the painter’s interpretation and perception of the illustrated text.
Jami is the greatest poet of the 9th century AH, and his views on literature can be cited. In expressing his views on poetry, he sides with public opinion and the general public. As a result of the alignment of the expectations of the literary elite of this period with those of ordinary people, popular literature and the lifeworld of ordinary people are recognized. Therefore, from this perspective, one can understand the basis for the presence of the real lives of ordinary people in the paintings of the Herat School and the works of Kamal al-Din Behzad in the 9th century AH.
The new experiences and the efforts of poets to innovate in the 9th century AH indicate the general desire of poets and artists to create change, which can be an effective factor in altering literary and artistic traditions. Another factor influencing the emergence of realism is the changing perception of the concept of love and its more objective and earthly nature in the 9th century AH, which can be observed in Behzad's painting "Girls in the Bath." Placing the content of this painting alongside other works by Behzad with a Sufi theme reveals the influence of the expectations of that era on the artist's interpretation of the text, based on esthetic features such as a recognition of real life and a changing perception of the concepts of love and beauty. The increasing trend of realism from the early Herat school to the second Herat school period, and the introduction of real life into the world of images as a result of recognizing reality, led to the creation of new applications for painting in addition to the mission of illustrating texts. As a result, the reason for the emergence of portraits, single-page paintings, and humorous images during this period can be explained
Keywords
Iranian Painting
Literary Discourse
Herat School
Kamal al-Din Behzad
Perception Theory
Horizon of Expectation
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Rahpooye Honar-Ha-Ye Tajassomi
Volume 8, Issue 2
Spring 2025
Pages 45-58

  • Receive Date 01 November 2024
  • Accept Date 03 February 2025