Painting and Poetry of Fuzuli; the Common Inter-Cultural Heritage of the East

Document Type : Original Article

Author

Ph.D. Student of of Art Research Faculty of Advanced Studies in Arts and Entrepreneurship, Isfahan University of Art. Isfahan. Iran.

Abstract

 
In the history of the Turkish literature of Azerbaijan, we are witnessing great literary figures, each of which has somehow helped in understanding Islamic literature and culture and culminating in it. One of these distinguished characters and of course the founder of the Indian literary genre, Mohammad Fuzuli, is the greatest poet of the Azerbaijani Turkish in the 10th century. Illustrated manuscript of this literature is full of paintings taken from his contemporary painting schools, Baghdad, Ottoman and Tabriz.
The purpose of this research is to analyze the illustrations of Fuzuli literary books and to investigate the influence of Iranian art of painting on the images of Baghdad and Ottoman schools and the influence of Shiite themes on Fuzuli literary works and finally to illustrate them and to try to answer the questions whether the illustrations of books have affected Iranian Islamic culture or not? And according to which basis are the Shiite themes based on the paintings?
Accordingly, in this study we first describe Fuzlui's life, then introduce Baghdad's school of painting and the impact of Iranian painting on the school, and finally analyze Fuzlui's works. At the same time as the Safavid dynasty, we are seeing the development of Iranian book-making art in Istanbul because Sultan Salim I was fully aware of the history of Iranian painting. At this time, Sultan Salim I first went to Tabriz after the victory in the Chaldoran War and collected all the works of art and artists and moved to Istanbul. Over the course of the first half of the 10th century, artists and other artworks were plundered from Iran and turned to Istanbul's Topkapi. In addition, with the capture of areas such as Iraq, a kind of art was discovered in Ottoman Empire under the influence of the Baghdadi School, which had a strong background in book art. These art arrays are very similar to Iranian paintings, which can be said to be imitated the Persian art.
Fuzuli has written his works in three languages: Turkish, Persian and Arabic. All these three languages were spoken in Baghdad those days. Although he was a Sunni believer, he respected Shiite beliefs. His works reflect his attention to Shiite beliefs. His Turkish poems include: Shah and beggar, Layla and Majnun, Masnavi of Bang and Badah, Rozah, Hadiqa al-Soada, Suhbat Al-Asmar, Complaint and Riddle Treatise. Divan of Persian Poetry includes Divan of Poetry, Rand and Zahed, Health and Disease, Anis al-Qalb, Saqiqnameh (The Seven Cups), Ruhnameh (Spirit Travelogue or Husn and Ishq) and Arabic works include Matla’ Al-Eteghad, Divan of Poetry, Kalam and Falsafa.
 According to the purpose of this research, it is related to fundamental research in theory because of its dependence on epistemic domain and its knowledge-making aspect is considered, but it is descriptive-analytic in nature. Therefore, after explaining the subject, the state of the problem and its dimensions are concerned and explored and the rationales are drawn by linking the visual elements of the Baghdad and Ottoman schools with the style of the Tabriz school of painting and the impact of the Shiite themes on the literary and visual works. In this way, the qualitative method of the criterion is certainly in place. The information needed to start the research was provided by the library, the documents and the collection tool was taking notes. The statistical population of the study consisted of selecting 17 pictures of existing manuscripts in overseas libraries.
The results show the studied works in terms of content, text, painting, and book-keeping are influenced by Islamic mysticism, religion and literature, and in fact, the field of thought is a ground for the understanding and consensus of the three Islamic-Iranian and Turkish worlds. Another point is that despite Fuzuli’s religion which was Sunni, his works were influenced by Shiite culture. Persians, Ottoman and Arabs could live together in love and exchange, trade, education, and even bragging, but in the upper classes of the society, the kingdoms and sultans, could not tolerate the presence of each other at a parallel time. At the community level, the situation was different; the citizen of Hillah, regardless of the Ottoman and Safavid sovereignty, and disregarding the linguistic and racial political realities, understood that what is lasting is art, humanity, and the spirit of the regime and this is the essence of all, the foundation of not Royal is eternal. As all those hegemony and majesty fell into neglect in the dust of history, but what remained was a beautiful feeling that was decorated with the water and other colors of the artisans. Today's world and most importantly, today's Iraq is thirsty and eager to repeat such experiences that it has gone through.
 
 
 

Keywords

References

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Painting Graphic Research
Volume 2, Issue 3 - Serial Number 3
February 2020
Pages 85-98

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