Volume 14, Issue 27 (3-2024)
mth 2024, 14(27): 0-0 |
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Jafari Dehkordi N, Panjenbashi E. (2024). Comparison of the transformation of the demon motif in the paintings of the last Khan of the Qajar Shahnamehs with the Timurid and Safavid periods. mth. 14(27), : 3
URL: http://mth.aui.ac.ir/article-1-1988-en.html
URL: http://mth.aui.ac.ir/article-1-1988-en.html
1- postdoctoral researcher in the field of art research. Faculty of Arts, Al-Zahra University, Tehran, Iran.
2- Associate Professor of Painting Department of art, Faculty of Art Alzahra University, Tehran, Iran. ,e.panjehbashi@alzahra.ac.ir
2- Associate Professor of Painting Department of art, Faculty of Art Alzahra University, Tehran, Iran. ,
Abstract: (6416 Views)
Stories, tales, and myths follow a certain trajectory, which is called the structure of folktales. These stages are consistent with human psychology and the stages of evolution of human society throughout history. Any adjustments, personal interests and literary styles have not prevented the structures of folk tales from being overshadowed or dying. Knowing the causes of formal and conceptual changes in the Shahnameh paintings of the Qajar period with the subject of "Rostam and the White Demon", is the main goal of the research in line with documentary studies. In the process of research, the authors had to ask themselves that, despite the stability in the form and concept of "Rostam and White Denon" paintings for hundreds of years, what context and motives have led the artists to adopt new methods. The authors of this essay studied the story of Haft Khan Rostam in the Shahnameh in three stages, the folk oral source, the literary text of the Shahnameh, and the desire to see the hero in the same primary folk structure, and with a descriptive-analytical review with theoretical exploration, 21 selected images from The two Qajar periods and before that with the subject of "Rostam and the White Demon" in a qualitative way, have come to the conclusion that the artist of the Qajar period, in a favorable response to the public desire and following the collective unconscious, represented the last demon of the story in such a way that this imaginary creature has a face and Feminine behavior has been accepted and she has been spared in the character of a lover. This has been done as a result of the human collective desire to hear events similar to the structural patterns of folk tales, the general tendency towards folk narration of stories and depictions in accordance with the popular sentiments of their time.
Article number: 3
Keywords: Hero's journey, Timurid and Safavid painting, Qajar painting, Rostam's Seven Labours, Rostam and White Demon
Type of Study: Research |
Subject:
Visual Arts
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