nastaran norouzi; Ashraf osadat mousavilar; fahimeh daneshgar
Abstract
The Josef and Zuleika painting is of the most beautiful and mystical paintings of Iranian paintings, painted by Kamal Al-din Behzad, which has been studied In postmodern’s world. The researches of this painting have also affected some of the artists to do adaptations, as the three Iranian and European ...
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The Josef and Zuleika painting is of the most beautiful and mystical paintings of Iranian paintings, painted by Kamal Al-din Behzad, which has been studied In postmodern’s world. The researches of this painting have also affected some of the artists to do adaptations, as the three Iranian and European contemporary artists, Habibullah Sadeqi, Abdul Hamid Qadiriyan and Claudia Palmarocci created paintings by adaptation of that. The four texts of Behzad and the three contemporary adaptations of that, reproduce a discourses. So between the painting of Behzad and the adaptations of that a linkages of Interdiscourse, is created. The aim of this study is to re-study interdiscourse relations between the four mentioned texts with a discoursal due to the adaptation position in postmodernist attitude, and answers these questions: what discourse each of these texts reproduce? what is the relationship between their discourses? Also, how does each of these interdiscourse relations affect the retrieval of Iranian cultural-artistic identity? This research is by method of analytical and comparative method and interdiscourse approach. The metatext and discoursal perusal showed that painting of Behzad reproduces the Islamic-mystic discourse of Naqshbandiyed in Timurid period, two works of Sadeqi and Qadiriyan reproduce contemporary Iranian-Islamic of art academy and Palmarocci’s painting reproduces a cultural and contemporary discourse on the concept of "house" in Italy. Also, background and context of cultural and art tradition play an important role in the type of interface between these discourses and how to the retrieval of Iranian cultural-artistic identity in postmodern period.
