Hypertextual Reading of Qasim’s Battle Paintings in Qajar Religious Illustrations (With Emphasis on Mirza Ali Qoli Khoei’s Illustrations)

Document Type : Original Article

Authors

1 MA Student of Art Research, Faculty of Art and Architecture, University of Guilan, Rasht, Iran.

2 Associate Professor, Department of Graphic, Faculty of Art and Architecture, University of Guilan, Rasht, Iran, Corresponding Author.

3 Assistant Professor,Department of Art Research , Faculty of Art and Architecture, University of Guilan, Rasht, Iran.

10.22051/pgr.2024.45793.1226

Abstract

 
The battle of the Qasim is a common issue among the Guilan holy shrine paintings, religious paintings, the coffee house paintings and the images of the lithographed books. In the following research with the emphasis on Genette's transtextuality theory, it has addressed the hypertextuality reading among the paintings of Qasim’s battles in Guilan holy shrine paintings, compared to the illustrations of Mirza Ali Qoli Khoei’s lithography, coffee house painting and reverse glass painting .
In hypertextuality, the relationship of a text to its pre-written texts gets analysed. The main question of this research is; what effective pretextuality existed among Illustrations of Qasim's battle, the holy shrine paintings, the coffee house paintings and the Ali Qolii Khoei's illustrations? Also, what kind of hypertextuality changes exist among the Qajar religious paintings with the issue of the Qassim’s battle? The following research is done in descriptive-analytic methods and the method of collecting the content is library through taking notes and studying pictures. Data analysis also carried out qualitatively. In the following research, historical narratives along with the first available texts related to the Qasim's battle, as the first pretext, includes historical narratives and Hadiths to the seventh A.H. century and in the second pretext of the book, Rawdat al-shuhada as the veiled text in Guilan holy shrine paintings, the religious reverse glass paintings, coffee house paintings and Khoei's illustrations (illustrated lithographed books) are considered; later in text the adaptation and analysis of written symbolic system to the pictorial systems have been addressed, in the meantime it analyses the transtextuality relations in these paintings.
According to the studies, religious reverse glass paintings are the oldest pictorial pretext among these kinds of pictorial arts.
After that, the coffee house paintings and Guilan holy shrine paintings, respectively, are illustrated pretexts and Ali Qoli Khoei's illustrations. Therefore, the explicit intertextuality can be seen among the Qajar religious illustrations. The Qasim's battle with Azraq and his sons are one of the most common issues among religious paintings. As it appears, a homogeneity relation accompanied with simulated forgery and pastiche, simultaneously with the transtextuality relation in the change of visual permutation contents and forms, exist among the reverse glass paintings, coffee house paintings and Guilan holy shrine paintings.
The visual symbols used in the Khoei's works are shaped, based on previous pictorial pretexts, but simultaneously changes in the combination, the type of written content selection, including increasing or reducing content or cutting text and in some cases, different Khoei's motivations have created a new sign system. Because in the lithographed version, text and image simultaneously have caught the audience’s eyes; there has been more references to written texts in Khoei's illustration than other pretexts. The way of communication in the hypertextuality in textual and pictorial system includes the use of patterns derived from the text of the Hadith and preaching in illustration of the main characters, especially the type of portraying and representing the hostile and innocent characters in a homogeneous way include imitation. Transtextuality between text and image in the pretext and hypertext includes sketch of motives and avolition and hetero motive. It can be said that based on importance and interest, he sometimes repeats, omits or imitates with a different motive or even changes it. The syntactic selection of the basic written text and its use in Khoei's works has similarities with the Guilan holy shrine paintings, whether from the aspect of the motivation or visual signs. As it appears, the extension of the elements in the background has expanded by the extension of its range that is related to the subject and reveals Khoei’s attention to the written pretext. Content wise, expansion in Khoei's illustrations has an increase compared to Guilan holy shrine paintings with the use of elements including human characters, elements used in the foreground and background, which that is further derived from written pretexts.
Pastiche and forgery homogeneous relations can be seen between Qassim’s Images in the Khoei's illustrations and Guilan holy shrine paintings.
The pastiche interpretations include small changes in hypertext based on the original text which only has a decorative aspect and with more emphasis on the original text. Also, forgery is a duplication and imitation of pretext which is the cause of the homogeneous relations between Khoei's illustrations and pretexts.
Since the text and image in Khoei's works affects the audience, he tried to recreate the written pretext for the audience in constructing and polishing his works; and the text of lithographed illustrations in expressing details have expanded more compared to other Qajar religious illustrations. The reducing permutation of the element in the foreground of Khoei's illustrations has provided a reduction current compared to reverse glass paintings, Guilan holy shrine and coffee house paintings, in Khoei's illustrations, omitting the heads which have been cut and beheaded bodies in foreground has a subjective matter and indicates killing massacre in small scales. In fact, Khoei provided the condition to cut the text by conscious removal of mentioned events in written text and existing elements in pretexts: which has a more subjective matter. 
Finally, it is concluded that Khoei's illustrations are affected by the reverse glass paintings, the coffee house paintings and Guilan holy shrine paintings and in the meantime based on the suggested evidence, the most influential was Guilan holy shrine paintings. In both categories of these paintings, the presence of the written text of Rawdat Al-Shuhada is more tangible than other samples. 
Also, the type of characterisation, the figures’ body, the delineation, the compositions and the selection of the elements of the narrative in the samples from the Guilan holy shrine paintings have many similarities with Khoei's illustrations.
 
 
 
 
 

Keywords

Main Subjects

References

منابع
آلن، گراهام (1385). بینامتنیت، ترجمة پیام یزدانجو، تهران: مرکز.
احمدی،صدیقه(1396). تحلیلی بر آثار نقاشی قهوه‌خانه‌ای و چاپ سنگی با موضوع عاشورا،کارشناسی ارشد، دانشگاه شاهد.
افضل طوسی, عفت السادات, مهاجری, & مهدیس. (2021). خوانش بیش‌متنی از جایگاه حیوانات در نگاره‌های نبرد رخش و شیر در قرن دهم هجری. نگارینه هنر اسلامی, 8(21), 36-51.‎
جباری، فاطمه؛ مراثی، محسن (1392). «مطالعه تطبیقی تصاویر نسخ چاپ سنگی و کاشی‌های مصوردوره قاجار»، هنرهای زیبا- هنرهای تجسمی، 18 (1)، 1-14.
چلیپا، کاظم؛ رجبی، علی (1385). حسن اسماعیل‌زاده نقاش مکتب قهوه‌خانه‌ای، ترجمة مهدی افشار، تهران: نظر
حسینی، صدیقه؛ حاجی‌زاده، مهین؛ ولی‌زاده، حمید (1399). «تراگونگی محتوای رمان فرانکشتاین فی‌بغداد احمد سعداوی در تطبیق با فرانکشتاین مری شرلی»، ادب عرب، 12 (1)، 23-46.
حسن زاده، حسام؛ نامور مطلق، بهمن (1401). بیش‌متنیتِ ژنتی به‌مثابۀ رویکردی در خوانش متون تصویری (مطالعۀ موردی: لوگوی هواپیمایی جمهوری اسلامی ایران)، رهپویه هنرهای تجسمی، 5 (1)، 17-25.‎
سلحشور، فریال؛ کازرونی، جهانگیر (1387). نقاشی پشت شیشه: از مجموعه شخصی جهانگیر کازرونی و فریال سلحشور، تهران: نظر
سیف، هادی (1369). نقاشی قهوه‌خانه، تهران: موزه رضا عباسی.
شایسته‌فر، مهناز (1386). «حضور واقعه عاشورا در نقاشی دوران قاجار»،  نگره، 5، 5-33.
شایسته‌فر، مهناز؛ عسگری، فاطمه؛ احمدپناه، سیدابوتراب (1400). «معرفی ویژگی‌های طراحی و شخصیت‌پردازی در نسخه چاپ سنگی مجالس المتقین، مصورشده توسط عبدالجلیل ( تصویرگرناشناس) و تطبیق آن با نمونه‌های مشابه»، نگره،60، 39-57.
عذاوری، سلیمه (2006)، الرئایه و التاریخ دارسه فی العلاقات النصیه روایه العلامه لبن سالم حمیش، مذکره لنیل درجه الماجستیر فی الادب العربی، الجمهوریة الجزائریة الدیمقراطیة الشعیبیة وزارة التعلیم العالی والبحث العلمی جامع بن یوسف بن خدة-الجزائر-اللغة العربیة وأدبة.
عسگری، فاطمه؛ شایسته‌فر، مهناز (1400). «روایت‌گری تصاویر شهادت امام حسین(ع) در نسخه‌های چاپ سنگی»، پژوهش‌نامه گرافیک و نقاشی، 4 (‌7)، 69-87.
کاشفی، حسین (1390). روضه‌الشهدا، تصحیح حسین ذوالفقاری، تهران: معین.
لعل‌شاطری، مصطفی؛ وکیلی، هادی؛ ناظمیان‌فرد، علی (1400). «تأثیر گفتمان بصری در تداوم و تقویت قرائت‌های تحریفی از واقعه کربلا (مطالعه موردی تصویرسازی محاربه قاسم‌بن الحسن(ع) در مراثی دوره قاجار، اثر میرزا علی‌قلی خویی)»، مجله پژوهش‌های تاریخی ایران و اسلام، 15 (28)، 231-261. 
مارزلف، اولریش (1400). چاپ مصور، ترجمة محمدجواد احمدی‌نیا، ساری: مان.
نامورمطلق، بهمن (1391). «گونه‌شناسی بیش‌متنی»، پژوهش‌های ادبی، 9 (38)، 139-152.
نامور‌مطلق، بهمن (1386). «ترامتنیت مطالعه روابط یک متن با دیگر متن‌ها». شناخت، 56، 83-98.‎
نامورمطلق، بهمن (1394). درآمدی بر بینامتنیت نظریه‌ها و کاربردها، تهران: سخن.
نوروزی، نسترن؛ دادور، ابولقاسم (1397). تطبیق زیبایی شناختی دیوارنگاری های مذهبی (واقعه کربلا) بقعه شـاه زید و تکیه معاون الملک در تعامل با تعزیه، نگره، 48، 88، 90 .
References
Alfaro, M. J. M. (1996 December). "Intertextuality: Origins and development of the concept". Atlantis, 268-285.
Allen, Graham, (1385), Intertextuality, translated by: Payam Yazdanjoo, Tehran: Markaz Publication, (Text in Persian).
Asgari, F., & Shayestehfar, M. (2022). The Narration of Images of Husayn Ibn Ali's Martyrdom in Lithographic Versions(Asrar al-Shahadat, Tufan al-Boka, Vasilat al-Nejat). Painting Graphic Research, 4(7), 69-87. doi: 10.22051/pgr.2022.41426.1143 (Text in Persian). 
Azavari, Salimeh, (2006), alriwayat waltaarikh dirasat fi alealaqat alnasiyat riwayat alealamat liban salim Hamish, Jamieih Aljazayi (Novel and History, A Study in Textual Relationships, the novel by the scholar Laban Ben Salem Himmish ) , Memoranda of the Master's Degree in Arabic Literature, aljumhuriat aljazayiriat aldiymuqratiat alshueaybiat wizarat altaelim aleali walbahth aleilmii jamie bin yusif bin khidat-aljazayir-allughat alearabiat wa'adabatu.. (Text in Arabic).
‏‫ Chalipa,  Kazem and Rajabi., Ali (2006). Hasan Ismaeelzadeh : coffeehouse school painter,Translated by: Mehdi Afshar, Tehran: ‬‬Nazar. ( Text in Persian).‬‬‬‬‬‬‬‬‬‬‬‬‬‬
Graham, A. (1993). Intertextuality. London & Routledge New York: Routledge.Genette, G. (1997). Palimpsests: Literature in the second degree (Vol. 8). U of Nebraska Press.
Hoseini, S., Hajizadeh, M., & Valizadeh, H. (2020). A Comparative Study of Ahmed Saadawi’s Frankenstein in Baghdad and Mary Shelley’s Frankenstein. Arabic Literature, 12(1), 23-46. doi: 10.22059/jalit.2019.268460.611985 (Text in Persian)
Hassanzadeh, H., & Namvar Motlagh, B. (2023). Genette's Hypertextuality as an approach in visual texts reading (Case study: the logo of Islamic Republic of Iran Airline). Rahpooye Honar-Ha-Ye Tajassomi, 5(1), 17-25. doi: 10.22034/ra.2021.532024.1059 (Text in Persian).
Jabari, F., & Marasy, M. (2013). Comparative Study of Manuscript Images Lithography and Illustrated Tiles in the Qajar Period. Journal of Fine Arts: Visual Arts, 18(1), 1-14. doi: 10.22059/jfava.2013.36280
Kashefi, H., (2018). Rouzah al-Shohada, translated by: Hossein Zulfiqari, Tehran: Moin,(Text in Persian).
Lal Shateri, M., vakili, H., & nazemianfard, A. (2021). The effect of visual discourse on the continuation and strengthening of distorted readings of the Karbala incident (Case study: Illustration of Moharebeh Qasim Ibn Al-Hassan (AS) in the Qajar period, by Mirza Ali Gholi Khoi). Journal of Historical Researches of Iran and Islam, 15(28), 231-262. doi: 10.22111/jhr.2020.35590.2909 (Text in Persian).
 Marzolph, Ulrich, (2001), Narrative Illustration in Persian Lithographed Books, translated by:Mohammed Javad Akhmadinia, Sari: Maan. (Text in Persian).
Namvar Motlagh.B. (2013). Hypotextual Genrologie, Literary Research, 9(38),139-153. (Text in Persian).
Namvar Motlagh, B. (2006). Transtextual study, the relationships of a text with other texts. Shinakht, 56, 83-98. (Text in Persian).
 Norouzi, N., Dadvar,A.(2018). Comparative Aesthetics of Religious Murals (Karbala Event) in Imamzadeh of Zeyd and Tekyeh of Moaven al-Molk in Interaction with Ta'ziyeh. Negareh Scientific-Research journal, 13( 48), 88- 90(Text in Persian).
Namvar Motlagh, Bahman (2008). An Introduction to Intertextuality. Tehran: sokhan(Text in Persian).
‏‫ Salahshour,Faryal,.  Kazeruni ,Jahanghir (2008).Reverse glass painting Jahangir Kazeruni and Ferial Salahshour's collection, Tehran: Nazar.(Text in Persian).,‬‬‬‬‬‬‬‬‬‬‬‬‬‬‬
‎Seyf, Hadi. ‬)1990).Coffee -house painting, Tehran‬: ‎Reza Abbasi Museum.(Text in Persian).
 Shayetehfar, M. (2006). "The presence of Ashura event in Qajar era painting", Negreh, 5, 5-33. (Text in Persian). 
    Shayetehfar, M., Asgari, F., Ahmadpanah,S.A.T(2022) " An Introduction to Design and Characterization Features In The Lithographic Manuscript Of Majalis Al-Muttaqin, Illustrated By Abdul Jalil (Anonymous Illustrator) And Its Adaptation To Similar Works ". Negreh, 60, 39-57. (Text in Persian).
Van Zoonen, L. (2017). Intertextuality. The International Encyclopedia of Media Effects, 1-12.

Files

Share

How to cite

Statistics