Volume 13, Issue 26 (1-2024)
SciJPH 2024, 13(26): 51-67 |
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Fazlellahi S, Fahimifar A. A study of Dramatic Conflict in the Depictions of the Sacrifice of Prophet Abraham from the Timurid Period to the Qajar Period. SciJPH 2024; 13 (26) :51-67
URL: http://ph.aui.ac.ir/article-1-1208-en.html
URL: http://ph.aui.ac.ir/article-1-1208-en.html
1- - , saforafazlellahi@gmail.com
2- Tarbiat Modares
2- Tarbiat Modares
Abstract: (1346 Views)
The story of Abraham’s sacrifice is one of the common chapters between the three religions of Judaism, Christianity, and Islam, and despite the differences in the narrative, the essence of the story is based on one important axis: “Sacrifice”. This scene has attracted the attention of many painters due to its narrative and dramatic importance, and these paintings can be found mainly in the religious or historical versions of the Timurid and Safavid eras. One of the basic questions of this article is: What is the dramatic capacity and pictorial conflict in the images of the altar and what dramatic elements are used for the pictorial conflict of the pictures. Depending on the tense moment of sacrifice, these elements may be focused on tying or suspending or even untying the show. One of the main goals of this article is to read Ishmael’s altar as a dramatic scene, which, like any other scene, is a place where the emotions, doubts of the characters and their conflict with each other are confronted. The method used in this article is descriptive-analytical; And the data were gathered using library resources and viewing pictures on the website of museums and libraries. In line with such a reading of the scene of the sacrifice of Abraham, firstly, the narrative elements of the conflict in this famous scene were identified and then, each element was examined in the statistical community of written images. Some of these approaches help to read, explain and understand every picture as a “text” whether pictorial, literary or theatrical. In the paintings discussed in this article, we witness the dramatic crisis, suspension and unraveling that has been implemented in each picture and the painter has drawn them with the help of the body postures of the figures, the objects of the scene and even the geographical location of the altar scene in each painting. The artist intends to draw a dramatic crisis with the help of the body expressions of the figures, such as Ismail’s closed eyes or hands, or the moment of Ismail’s tuft of hair being grabbed by Abraham. The use of objects such as knives or blindfolds has doubled the dramatic tension of the altar scene. In addition to the presence of key characters, the drawing of the figure of Satan was the artist’s preparation to show doubt in this fearful scene. The geographical location of the altar scene, which is depicted as a mountainous region or a plain with flowers and greenery, is an expression of the altar scene as a dramatic scene or a manifestation of the sacred.
Type of Study: Research |
Subject:
ادبیات و هنر
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