Naqsh-e
Jahan
Art
Research
Complex
affiliated
to the
Academy
of Arts
played
host to
the
second
day of
Isfahan
School
Literary
Congress.
According
to the
Public
Relations
of the
Academy
of Arts,
at the
beginning
of the
session
Dr.
Jalil
Tajlil
gave a
lecture
titled
"The
Portraying
by Sa'eb
and
Mohtasham."
He said,
"In
the
midst of
conflict
between
imaginary
forms
and
inventive
forms,
Sa'eb's
poetry
invites
everyone
to
explore
for
meanings
in the
realm of
expression."
In the
other
part of
his
lecture,
Tajlil
accounted
for the
terms of
calligraphy
art,
"A
feature
of
Sa'eb's
poetry
is that
since he
has been
one of
the
master
calligraphers
of his
time,
many
instances
of
calligraphy
terms
have
been
introduced
in his
poems,
terms
like the
exercise
of pen
or
indications
to the
beauties
of three
methods
of
calligraphy,
Rayhān,
Naskh
and Qobār,"
he said.
Describing
the
analytical-rhetorical
feature
as well
as the
imaginary
forms in
the
works of
Mohtasham,
Tajlil
added:
"The
images
of
Ashoura,
holy
rebellion
and epic
expressed
by
Mohtasham
out of
his
sincerity,
illustrate
the
power,
courage
and
broad-mindedness
of Imam
Hussein
(S) and
the
brutality
of his
enemies.
Each of
the
images
in the
particular
field of
rhetoric
is
originated
from a
painstaking
mind and
thought."
After
Dr.
Tajlil
gave his
lecture,
Ms.
Mordi
Kaveska,
the
professor
of
Iranian
Studies
Department
at
Warsaw
University
pointed
to the
role
played
by
Safavid
literature
in the
formation
of
Iranian
identity.
She
regarded
Iranian
national
identity
as a
significant
element
of
Iranian
literature,
"Whatever
is seen
in
ancient
literature
and
later in
Safavid
era is
entirely
epic and
bravery
which
has
stemmed
from
Avesta
and
Shahnameh
and
later
was
replaced
by Shia
heroes,"
she
noted.
Dr.
Muhammad
Naser
Rahyab,
A
professor
of Herat
University
elaborated
on the
stylistic
features
of Herat
school
as a
prelude
to
Safavid
literature,
"What
distinguishes
Herat
school
from
Iraqi
School
is
imagination,
simplicity,
an
approach
to folk
language,
a
tendency
to
everyday
life,
the
creation
of new
subject
matters,
and
avoidance
from
complicated
problems,
etc.,"
He said.
"In
Timurid
era,
Herat
school
created
one of
the most
magnificent
periods
of
Islamic
art and
culture,
besides
public
oriented
poetry
is one
of the
most
prominent
instances
of our
past
literature,"
he
added.
Another
lecturer
of the
session,
Fatemeh
Kourouni
presented
her
article
titled,
"A
Review
of Hindi
Style."
She
said:
"Baroque
literature
like the
other
arts of
that era
which is
imbued
with
complicated
metaphors,
allegory,
exaggeration
and
improbable
similes.
In terms
of
content
and
form,
this
literature
is based
on
individualism;
also
nature,
religion
and
emotion
find
other
ways of
embodiments.
Emerging
after
Iranian
poetry
reached
to its
heights,
Hindi
style is
full of
complicated
metaphors
and
allegories
based on
poetic
elegant
ideas
and
delicacies.
Among
the
other
features
of this
style
are
exploring
new
subject
matters,
usage of
folkloric
words,
new
figures
of
speech
and
poetry."
In the
other
part of
her
speech,
Kourouni
referred
to
non-repeatability
as one
of the
features
of Hindi
qazal,
although
she
said:
"Since
qazal is
originally
a
lyrical
form and
its
subject
matter
is
basically
the
description
of love
and
romance,
nevertheless
the
Hindi
qazal
has not
been
confined
to
romantic
affairs
and
adopted
various
subject
matters
centered
on
preach
and hekmat
(wisdom)
and this
approach
can be
taken as
a flaw
for
Hindi
style."
A
Georgian
scholar
in
Iranian
studies,
Nemady
Bartaya
presented
an
article
titled,
"The
Georgian
Translations
of Shahnameh."
Bartaya
observed
Safavid
era as
the
flourishing
times of
relation
between
Iran and
Georgia,
also
regarded
the
translations
and
imitations
by
Georgians
as the
entries
of
Iranian
literature
to
Georgian
culture.
Moreover,
the
Georgian
scholar
pointed
out:
"From
many
times
ago the
heroes
of Shahnameh
were
known
for
Georgians.
This
fact
dates
back to
the
times of
ancient
(Bāstan)
and
middle
time (Mianeh)
Farsi.
This
Farsi
literature
has been
arrived
to
Georgian
culture
through
folkloric
tales
and
various
writings."
Bartaya
also
regarded
16th and
17th
centuries
A. D. as
the
times
when the
translations
of Shahnameh
increased
and
became
more
popular,
"The
importance
of Shahnameh
was to a
great
extent
that
even the
name of
its
characters
have
been
turned
to local
Georgian
names.
Of
course
it must
be noted
that
Georgians
are more
interested
in the
mythical
chapters
of Shahnameh.
They
have
even
translated
and
imitated
the
heroic
chapters
on
Rostam
and have
named
them
under
the
title of
'Rostamiani',"
the
scholar
said.
The last
lecturer
of
morning
session,
Nargess
Reza'ei
elaborated
on the
consideration
and
analysis
of the
principals
of a new
culture
in the
book Bahar-e
Ajam,
"In
Bahar-e
Ajam
the
words
have
been
arranged
based on
the
first
and
second
alphabetical
letters.
The
author
regards
the
first
letters
as bāb
and the
second
letters
as fasl
(chapter),
unlike
some
other
dictionaries
a bāb
is
devoted
for each
letter,"
she
said.
"In
Bahar-e
Ajam
dictionary,
the
words
have
been
ordered
based on
the
first
and
second
letters
and
dictionary
has
noticed
all the
phrases,
plural
words
and
compounds,"
Reza'ei
concluded.
At the
afternoon
session
of the
second
day of
Isfahan
school
literary
congress,
firstly
Dr.
Ebrahim
Ranjbar
remarked
on the
influence
of
Islamic
Shari'
at on
the
poetry
of Faiz
Kashani.
On the
social
condition
of
Faiz's
time, he
said:
"In
his
times,
Safavid
state
preferred
oral
sciences
and
among
the
genres
of
poetry
inclined
toward
some
particular
kinds of
poems, I
mean
those
poems
which
were
composed
for the
promotion
of
principle
ideas
and
intensification
of
Safavid
kingdom
foundation,
meanwhile
that
state
was not
in favor
of
mysticism
and many
genres
of
mystical,
lyrical
and
Sufic
poetry."
"Faiz
is
caught
between
two
methods
of
poetry:
the
preachy
method
with the
ideology
and the
contemplations
of
someone
who is
at the
center
of
religious
thoughts
and
sometimes
dejected
because
of
pondering
about
the
eternal
life.
Furthermore,
as a
consequence
of his
restless
and
perfectionist
soul
influenced
by the
Sufic
poems of
Hafez,
he
meditates
on sufic
thoughts
and
imaginations
"
he
added.
On
"the
Artistry
of
Safavid
Poets",
Manouchehr
Daneshpazhouh
stated:
"In
Safavid
era,
Iranians
were
ruminating
about
the
revival
of their
past
majesty
and
prominence,
at the
same
time
after
many
years of
disorder
and in
fact
after
the
decline
of
Sasanid
Empire,
Iranians
could
establish
a new
powerful
state
which
dominated
on all
regions
of
Iran."
Following
his
remarks,
Daneshpazhouh
pointed
to some
problems
on the
way of
Safavid
poets,
"After
the ages
of great
poets
like
Sa'adi,
Rumi,
Hafez,
the
poets in
Safavid
era had
to
present
new
ideas or
methods
and
styles.
From the
other
hand,
the
poets in
Safavid
era were
not
patronized
by
Safavid
kings
but they
had more
audiences.
Moreover,
Safavid
era
initiated
the
communication
and
relation
between
Iran and
Europe
as the
Western
travelers
and
tourists
from
various
paths of
life
were
coming
to Iran,
consequently
the
Western
literary
styles
gradually
arrived
to
Iranian
literary
circles,"
he said.
After
that,
one of
the
other
lecturers
of the
session,
Dr.
Abolqasem
Radfar
made a
speech
on Bidel
Dehlavi's
poetry.
He
regarded
Bidel's
reflections
as broad
as not
restricted
within
the
region
of Iran.
He also
indicated
to the
ambiguity
of
Bidel's
poetry
as the
central
reason
for the
complexity
of his
poems,
"Furthermore,
the
expression
of ideas
related
to the
Unity of
Being
which
are at
the
center
of
Bidel's
thinking
can be
assumed
as one
of the
other
reasons
for the
difficulty
of his
poetry.
But
probably
the
other
reason
for the
ambiguity
of his
poetry
is the
consequence
of his
wonder,
since
from
Bidel's
point of
view,
the
whole
universe
is
permeated
with
astonishing
imaginations,"
Radfar
added.
"The
Status
of
Sa'eb's
and
Hindi
Style
Poet's
in
Indian
Subcontinent"
was the
title of
an
article
by
Farzaneh
Aa'zam
Lotfi.
"Although
Ferdosi,
Nezami,
Molavi,
Sa'adi
and
Hafez
were
acquainted
with
Indian
culture,
but
Sa'eb
spent
seven
years in
India
and
influenced
by the
customs,
traditions
and
environment
of the
country,
he
composed
several
poems.
Therefore
Indians
are more
familiar
with his
poetry,"
she
commented.
In her
article,
Lotfi
observed
some
instances
of
Sa'eb's
poetry
which
are
influenced
by and
acquainted
with
Indian
culture.
The last
lecturer
of the
session,
Ashraf
Mousavi-Lar
presented
a
comparative
study of
Isfahan
School
painting
and
Isfahani
(Hindi)
style
poem
through
projecting
various
pictures
of
paintings
in
Safavid
era.
Accounting
for the
selected
pictures,
she
said:
"It
has been
said
that in
Safavid
era the
relation
between
literature
and
painting
undermined.
There
are some
reasons
for such
a
decline:
until
Safavid
era the
relation
between
literature
and
painting
was in a
way that
painting
was a
part of
book
illustration
artistry,
but
concurrent
with
some
alterations
in the
world of
poetry
and
literature,
the
relation
was
changed
as well.
On the
other
hand
Isfahani
(Hindi)
style
developed
at this
era and
literature
enormously
tended
to
imagination
and
influenced
by the
dreamlike
and
illusionary
world of
the
poet, in
a way
that was
unprecedented
in the
history
of
Iranian
poetry."
On the
analysis
of works
belonging
to
former
times
(for
instance
Nezami's
Quintet)
Mousavi-Lar
said:
"
At the
beginning
of 9th
century
A.H. the
literary
text has
occupied
a large
portion
of the
painted
page and
clearly
painting
served
to
convey
the
poets
ideas."
"While
we
consider
the
latest
years of
Timurid
era, we
realize
that the
ground
for
painter
to show
his
artistry
is more
provided.
The
process
continues
up to
the
early
Safavid
era and
the
portion
occupied
by the
literary
text
becomes
more and
more
limited
and even
omitted,"
She
added.
"In
Safavid
era the
increasing
size of
painting
in
proportion
to
literary
text was
followed
up to a
point
that the
paintings
could no
longer
be
illustrated
in a
painterly
manner,
consequently
mono-paintings
develop
to
become
more
prevalent,"
she
concluded.
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