Volume 5, Issue 6, November 2017, Page: 89-96
An Intertextual Study of Nizami’s Poetry and Behzad’s Painting in “Chinese and Roman Painters’ Debate” Tale
Zohreh Hosseinabadi, Department of Handcrafts, Faculty of Art, Alzahra University, Tehran, Iran
Zahra Pakzad, Department of Painting, Faculty of Art, Alzahra University, Tehran, Iran
Mehdi Mohammadzadeh, Faculty of Islamic Art, Tabriz Islamic Art University, Tabriz, Iran
Received: Nov. 17, 2017;       Accepted: Dec. 4, 2017;       Published: Dec. 25, 2017
DOI: 10.11648/j.ijla.20170506.13      View  2312      Downloads  164
One of the brightest schools of painting was Herat School from whose greatest artist, Behzad, beautiful paintings have remained. Some of these paintings are associated with poetry and literature and reflect verbal narratives. Using Gérard Genette intertextuality approach, the present study investigates one of the paintings which exists in both verbal and pictorial forms: the verbal form is derived from Nizami’s Sharaf-nama which was painted by Behzad. The purpose was to investigate the meaning of a text in its connection with other texts; in other words, this study tried to find the relationship between words and image, and uncover the underlying theme that ties them together.
Behzad, Chinese and Roman Painters’ Debate, Intertextuality, Nizami, Painting
To cite this article
Zohreh Hosseinabadi, Zahra Pakzad, Mehdi Mohammadzadeh, An Intertextual Study of Nizami’s Poetry and Behzad’s Painting in “Chinese and Roman Painters’ Debate” Tale, International Journal of Literature and Arts. Vol. 5, No. 6, 2017, pp. 89-96. doi: 10.11648/j.ijla.20170506.13
Copyright © 2017 Authors retain the copyright of this article.
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