Abstract:
This article is an investigation into the position، importance، and effect of image on Iranian portrait painting. It is an intertextual analysis of Persian poetry and painting، focusing the elements of mysticism in both. The discussion is documented offering paintings from different Persian painting schools so that it can better show how this field of art has always used the element of image and mystical understanding to convey a figurative universe. The article، first، introduces image and its position in Iranian painting، then contrasts the figurative elements in both Persian poetry and portrait painting، and finally concludes that Persian painting، using institutionalized signs and symbols in poetry has created its own figurative and ideal human. This feature can be found in Persian painting up to the first half of Qajar reign in the 13th century A. H.
Machine summary:
The result of the research is that Iranian painting, by utilizing the symbols and signs institutionalized in poetic literature which stem from the imagination-centered attitude of poets, has engaged in creating its own ideal and archetypal human, as can be clearly observed in Iranian painting up to the first half of the Qajar period in the thirteenth century AH.
The great literati of Iran also addressed the description of that world and their own imaginary and ideal beloved in their works, paying attention and emphasizing the aesthetic elements of Iranian culture—which had previously taken a coherent form in pictorial compositions as a pattern of beauty in the eyes of Iranians—and replaced external reality with symbols and signs.
A world that has manifested in the most beautiful possible form in Iranian literature and in the imagination of its great mystics and poets, and has attained a position and rank worthy of contemplation, as Ibn Arabi has described its levels as follows: "God has not created any being whose status is greater and whose command is more encompassing than imagination.
For example, the eye, which has been one of the most beautiful parts and elements of the face in Iranian literature and culture and has held a position equal to the head in the human body (5), is also manifested in painting with the preservation of those same characteristics again has manifested, and the painter, contrary to actual nature, has always utilized aesthetic principles in its depiction.
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