Volume 15, Issue 29 (12-2025)
mth 2025, 15(29): 0-0 |
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Khaje Ahmad Attari A R, Toghan N K. (2025). The angle of view in the Ascension of the Prophet (PBUH) from Khamsa Nizami, based on the theory of Gérard Genet. mth. 15(29), : 5 doi:10.61186/mth.2031
URL: http://mth.aui.ac.ir/article-1-2031-en.html
URL: http://mth.aui.ac.ir/article-1-2031-en.html
1- Associate professor, Faculty of Handicrafts of Isfahan University of Arts, Iran. , a.attari@aui.ac.ir
2- Master of Islamic Art, Department of Calligraphy and Painting, Faculty of Handicrafts, Isfahan University of Arts, Iran.
2- Master of Islamic Art, Department of Calligraphy and Painting, Faculty of Handicrafts, Isfahan University of Arts, Iran.
Abstract: (765 Views)
One of the characteristics of Iranian painting has been paying attention to religious and mystical aspects. On the other hand, until the Safavid period, painting has always had a close relationship with literature. One of the topics that has been the focus of painters throughout the historical periods is the ascension of the Prophet. The present study has examined two paintings from Khamsa Nizami with the theme of the Ascension of the Prophet based on Gerard Genet's point of view. One of the characteristics of Gennett's narratology is to pay attention to the point of view and the focus of the story. The question is, how was the angle of view and focalization in the visual narrative of the Prophet's ascension based on Gerard Genet's narratology? The purpose of this research was to find the type of perspective of the painter based on Genet's theory and the representation of the narrative of the ascension of the Prophet in two paintings. The research method has been descriptive-analytical and comparative, and the method of documentary and library study. The obtained results show that painters have displayed the image in some way to create a reaction in the audience by using focalization and concentration in the image. In the meantime, time and place have been very important in conveying the theme and narration of the ascension and each artist has used individual arrangements to represent the image. Also, the field of vision, the level of participation in the narration, the level of the painter's knowledge and awareness of the events and even the words and sentences he chooses to express his narrative are effective in examining the focalization of the image.
Article number: 5
Keywords: painting, Angle of view, Focalization, Narratology, Ascension of the Holy Prophet, Gerard Genet.
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