A Comparative Study of the Talking Tree Motif in Persian Versions of Qazvini’s Wonders of Creation
The article examines the pictorial motif of talking tree in the Persian version of Qazvini’s Wonders of Creation and considers the similarities and differences of its presentation in Persian versions as well as the origin of its aesthetic principles.
| Рубрика | Литература |
| Вид | статья |
| Язык | русский |
| Дата добавления | 20.07.2021 |
| Размер файла | 1,9 M |
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After examining ten versions of Wonders of Creation and Strange Things Existing as the statistical population of this research and analyzing the qualitative principles, in Table, the dominant elements, form and structure of the illustration of each version are examined in relation to the text and the aesthetic system of the works in order to more clearly express the similarities and differences between the works.
Table. The comparative study of the talking tree motif in Persian versions
|
Row |
Version title |
Property of creating spaces |
Composition structure |
Position of the tree in the composition |
The relationship of the illustration to the text (consistent / non consistent) |
Motif Heads |
Total heads |
|||||||
|
Dynamic |
Static |
Symmetry |
Spiral |
Human |
Animal |
|||||||||
|
Female |
Male |
No gender |
||||||||||||
|
1 |
The version of the Wonders of Creation and Strange Things Existing of 1550- 1560 AD |
Conceptual |
Left side |
Relatively consistent |
2 |
|||||||||
|
2 |
The version of the Wonders of Creation and Strange Things Existing of 1500- 1599 AD |
Conceptual |
Center |
Relatively consistent |
14 Human heads |
14 |
||||||||
|
3 |
The version of the Wonders of Creation and Strange Things Existing of 1566 AD |
Imaginational |
The upper left |
Relatively consistent |
4 Animal heads |
6 demons, 2 foxes, 1 dragon, 1 horse, 1 rabbit |
19 |
|||||||
|
4 |
The version of the Wonders of Creation and Strange Things Existing of 16th century AD |
Imaginational |
Left side |
Relatively consistent |
3 foxes, 1 Simurgh, 4 cat-like, 1 elephant, 1 deer, 1 bird, 1 cheetah, 1 hippo, 1 buffalo, 1 lioness |
19 |
|
5 |
The version of the Wonders of Creation and Strange Things Existing of 1625 AD. |
Conceptual |
No tree |
Relatively consistent |
||||||||||
|
6 |
The version of the Wonders of Creation and Strange Things Existing of 1651 AD. |
Conceptual |
Center |
Consistent |
13 |
|||||||||
|
7 |
The version of the Wonders of Creation and Strange Things Existing of 1695 AD. |
Conceptual |
Right side |
Consistent |
8 |
|||||||||
|
8 |
The version of the Wonders of Creation and Strange Things Existing of 1822 AD. |
Conceptual |
Right side and center |
Consistent |
6 animal heads whose sex is indistinguishable due to lack of quality |
8 |
Conclusion
The wonder books are derived from ancient people's beliefs about the earth and resemble a reference book in natural sciences. In the meantime, Qazvini's Wonders of Creation is well-known and it has been repeatedly rewritten and illustrated in various periods. Based on the analysis of 10 versions of Wonders of Creation as the statistical population of this study and the matching of the qualitative principles and dominant artistic elements as well as the form and structure with respect to the content, it can be said that the illustrations examined on the subject of Waqwaq land and the talking tree have been illustrated with innovation. The illustrations in this book collection represent somehow the formal, informal and commercial style of each period.
In answer to the first research question, it should be noted that according to the analysis carried out, all versions have human heads or figures on the tree except for the Wonders of Creation of 1625 AD. Meanwhile, the version of Wonders of Creation of 1816 AD has a female motif and depicts female figures on the tree. The head motif in the Wonders of Creation versions of 1550-1560 AD is male and shows masculine figures on the tree. The head motif in the Wonders of Creation version of 1566 AD, the Wonders of Creation of 16th century AD, the Wonders of Creation version of 1651 AD, the Wonders of Creation version of 1695 AD and the number of two heads in the Wonders of Creation version of 1822 AD are male and show only human heads on the tree, not a full figure, as depicted in versions 1816 AD and 1550-1560 AD. Among the versions, only two versions of Wonders of Creation of 1500-1599 and Wonders of Creation of 1613 AD have no gender.
In response to the second research question, it can be said that in some versions, in addition to human heads, animal heads are also illustrated on the tree. These versions include Wonders of Creation of 1566 AD, Wonders of Creation of 16th century AD and Wonders of Creation of 1822 AD. Animal heads such as a rabbit, fox, cheetah and other cat-like creatures are commonly found in the two versions mentioned. But the variety of animal heads is greater in the Wonders of Creation version of the 16th century AD, and includes animals such as elephants, deer, buffalo and rhinos. What is interesting is the presence of legendary animals and birds such as a dragon and Simurgh. In the Wonders of Creation version of 16th century AD, there is only one Simurgh head. In the Wonders of Creation version of 1566 AD there is also a dragon head, something that is missing in the ten versions reviewed. Also, the number of unknown creatures' heads in the Wonders of Creation version of 1566 AD is higher and is a combination of a giant and cat, such as leopard or cheetah. In addition, due to the poor quality of the images of Wonders of Creation version of 1822 AD, the sex of the animal heads depicted on the tree could not be identified. Finally, it should be noted that there are four unknown creatures' animal heads in the 1566 AD version and Wonders of Creation version of 16th century AD.
In response to the third question the following can be mentioned:
1. Literature and literary themes: Since the themes of the paintings are inspired by literary creations, the interpretation and drawing of the talking tree is largely dependent on the descriptions by the poet and the writer, and in some cases the painter has even tried to embody this myth alongside the author. On the other hand, the common aesthetic, intellectual and ideological views of the poet and painter, as the prominent literati of his time, have led to the coordination of literary and visual methods.
2. The visual and scientific experience of geographers, scientists, and tourists and the books they have written influence the aesthetic principles.
3. Continuity in the selection of subjects of illustration.
4. The impact of the visual traditions of Iranian art: the specific worldview of Iranian art is one of the important issues considered as the source of illustration of works. Avoiding realism, the tendency to create a space with an imaginative nature in Iranian art, which has ultimately led to the creation of works with imaginational and multi-dimensional space, can be considered as another source of aesthetic principles in the talking tree motif.
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