the reading of picture "Saving Yusef from the Well” Based on the approach of Hypertextualite

Document Type : Original Article

Author

Associate Professor, Department of Carpet, Faculty of Art, Arak University, Arak, Iran.

10.22051/pgr.2024.46171.1241

Abstract

 
The Reading of Picture "Saving Yusef from the Well” Based on the Approach of Hypertextuality
 
The most important materials for studying literary theories and approaches are religious, mythological, epic, and lyrical stories depicted in the painting, which simultaneously has two visual and written systems. Also, knowing and investigating the types of intertextual relationships in works of art, especially paintings, requires the study of trans-textual types, especially the multi-textual approach, which has more affinity and relevance in analysing and decoding artistic text. This research studies Nejat-e Yusuf-e Nabi az Chah from the illustrated version of Haft Ourang-e Ebrahim Mirza with the approach of hyper-textuality which is one of the five kinds of trans-textuality. Its purpose is to analyse the interaction and connection between the literary text (poetry) and the image, as well as to study the visual characteristics of these texts. The main question is what are the visual and structural characteristics and content of the painting and other hypertexts, and how was the artist influenced by the text of the poem? Hypertextuality is one of the types of Gérard Genette's theory of transtextuality, which examines the relationship between two texts, one of which is derived from the other. "Any relationship that causes a link between a text (B) and a pre-text (A), as long as this relationship is not of an interpretative type” (Genette, 1982, 5). Also, Genette considers three main conditions for hypertextuality: textuality of the subject, having two or more texts, having a certain relationship between pre-text and hypertext (Namvar Motlagh, 2011, 141). The basis of this approach is based on "adaptation" and includes two types of identity (imitation) and transformation. In the first case, the change is not the goal, but in the second case, this change is necessary. "In the Identity, the goal is not to create change, and of course, the amount of change will not be significant either; because the goal is to highlight and be specific about the pre-text of the work. But in Transformation, the conscious change is to emphasize hypertextuality, and conscious change is done with the intention of transformation" (Namvar Motlagh, 2006, 10-11). This change includes increasing, decreasing, and displacement, which includes other elements. "Transformation and change of the hyper-textuality compared to the pre-text can be subjective, formal and thematic" (Hakim & Namvar Motlagh, 2017, 18). Hypertextuality is based on adaption, in other words, in hypertextuality, the effect of one text on another text is examined, not its presence. Of course, there is an impact in every presence and there is presence in every impact, but in hypertextuality, a broader and deeper impact is considered (Azar, 2015: 24). In hypertextuality "Identity or imitation, it is important to preserve the original version without any change or transformation. In this case, the artist or author tries to create his work by imitating and copying another work; However, no imitation can be imagined without partial transformation (Kangarani, 2011, 320). The main pre-text in this research is The Haft Awrang by Jami. Maulana Nur -ud-Din Abd-ur-Rahman, known as Jami and the last Persian poet, is one of the most prominent mystics of Iran in the Timurid era (ninth century A.H.). Among his important works are seven Masnavis or Haft Awrang, written in imitation of Nizami’s Khamsa. "Three Masnavis out of Haft Awrang are allegorical romances, the names of the main characters of these poems are Yusuf and Zuleikha, Salaman and Absal, Layla and Majnun, and the other three Masnavis contain informative speeches" (Shru Simpson, 2002, 14). In composing his works, Jami used pre-texts and previous sources in literature and religious sources and books such as the Quran, Torah, and the Bible. He was a follower of Naghshbandiye religion in mystical thought. The Masnavi of Yusuf and Zuleikha "is based on the Quranic verses of Surah Yusuf, and of course, traces of non-Islamic sources from the Talmud and other literature can be seen in it. Layla and Majnun were adapted from Layla and Majnun by Nizami and Majnun and Layla by Amir Khosrau Dehlavi and Salaman adapted from one of the two commentaries written by Khajeh Nasiruddin Tousi on Avicenna's Esharat and Tuhfa-al-Ahrar was written in the style of Makhzan-al-Asrar Nizami. (Khadivar & Sharifi, 2009, 81-80). Also, the Masnavi of Selsele-al-Zahb is adapted from the Masnavi of Rumi, the Tazkare-al-Awliya of Attar, and Nafahat-al-Ouns and the Chahar-Maghale of Aruzi Samarghandi. The Sabha-al-Abrar is adapted from the book of Tawasin by Mansour Hallaj, and the Tohfa-al-Ahrar is adapted from Kelileh and Demneh Nasrollah Monshi and the Kheradnameh from the Iskandarname Nezami. In addition, Mantehgh-al-Tayr Attar is also one of the other pre-texts of this painting. Haft Awrang was illustrated in the painting school of Mashhad during the reign of Sultan Ebrahim Mirza. What is known as the Mashhad School of Painting is the royal workshop and library of the Safavid artist Prince Sultan Ebrahim Mirza, the son of Bahram Mirza, the nephew and son-in-law of Shah Tahmasp Safavid, where valuable works such as Jami’s Haft Awrang were written and illustrated. "During his reign in Mashhad, the Safavid prince, like his uncle Shah Tahmasp, had a library with many artists under his supervision, and Moheb-Ali, as a librarian or library supervisor, helped the prince in preparing Haft Awrang" (ibid., 17-18). This system's technical and artistic features, such as the originality and quality of the assemblies, show the highest standards of Safavid era painting, which can be under the influence of the Tabriz school. This work's general characteristics and content, which are kept in the Freer Art Gallery of Washington, can be seen in Tables 1 and 2. Four of the six paintings of this poem have been illustrated by Mozafarali and Sheikh Mohammad (Nayebpour & Esfandiari, 2016, 1). These seven Masnavis "have 304 leaves of cream-coloured paper and margins with golden gilding, with 28 illustrated frames and 9 gildings in the beginning and end of each Masnavi" (Simpson, 1997, 339). Paintings regularly mix familiar visual elements with new and creative ones, while some common features can show the artist's creativity. The creation of scenes can be considered a reflection of the alignment of the images with the text.Its style is in harmony with the taste of the patron, Ibrahim Sultan. Also, a large part of the space of the paintings is dedicated to landscapes with very complex details. One of the Haft Awrang scenes is a picture of Prophet Yusuf's rescue from the well by caravans. Considering the important place of the story of Yusuf and Zuleikha in the Quran and the title of Ahsan al-Qasas (the best story), this story was very important for Jami in such a way that he dedicated one of the seven Masnavis to this story and its two main actors. In this symbolic and simultaneous (multidimensional) space, based on the aesthetic system resulting from his desired rules, the painter has depicted eight narratives on different levels, each of which contains a specific and independent event without any logical connection to others. But all of these scenes show the relaxation of the caravan, such as slaughtering sheep, drawing water from the well, baking bread, gathering firewood, etc. "These levels create a moving space that cannot be seen objectively, but the audience creates it with the help of their visual participation" (Shaygan, 2013: 83). In this painting, we are faced with a crowded, compact, and dense space and a scattered arrangement, and the variety of narratives and the crowding of human figures in it are remarkable. The main part of the current research is the image of Yusuf's rescue from the well in Haft Awrang Ebrahim's manuscript, first, its visual and verbal systems and then other hyper-texts, including the four rug images, will be studied. This research, based on the hypertextuality approach to reading and analyzing a picture from the Haft Awrang illustrated by Ebrahim Mirza with the theme "Rescuing Yusuf from the well", as the main picture and text along with other hypertexts that include four paintings from different schools and three pictorial rugs with the mentioned subject will be discussed. The chosen picture is from Yusuf and Zuleikha's love poem and one of the seven Masnavis of Haft Awrang by Jami, a poet of the Timurid period, which was illustrated by painters like Sheikh Mohammad, Mozafarali, Mirza Ali and Agha Mirak. The Masnavi of Yusuf and Zuleikha has six paintings and the painter is Mozafarali.
 
 
 

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References

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    URLs

    URL1:https://commons.wikimedia.org/wiki/File:%22Yusuf_is_Drawn_Up_from_the_Well%22,_Folio_from_a_Yusuf_and_Zulaikha_of_Jami_MET_DP318359.jpg. 2022/08/06.

    URL2: Jamis--allegorical-romance-Yusuf-or_4122_f069r. 2015/03/18

    URL3: http://pudl.princeton.ed. 2010/07/27

    URL4: http://pinterest.com. 2018/11/07

    گالری هنر فریر شماره a105

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