摘要
在1854—1859年间,在伊朗皇家画师萨尼尔·莫尔克的监管下,《一千零一夜》配上了插图。此文将分析这部手抄本中唯一一幅表现故事主人公山鲁佐德和山鲁巴兹性爱场景的插图。我认为,既然插图是意义产生的动态场景,在分析插图时,必须考虑意义产生时的情境,如社会规范等;这一点在画家和他的团队对故事进行了改编和重述的情况下尤其重要。在分析中,我谈到了三个因素:其一,该插图页左上角的手写文字及其在内容分析中的作用;其二,从故事时间上看,插图和叙述不一致;第三,插图中没有敦亚佐德。这些因素体现了画家的改编技巧和对这一性爱场景丰富的阐释。这些不仅是欣赏这部手抄本中视觉特性的关键,也是理解波斯书籍插画艺术的关键。
The Thousand and One Nights was illustrated under the supervision of the royal court painter,Sani’ol-Molk,between 1854 and 1859 in Iran.In this article,I analyze the only image in the manuscript that displays the two main characters of story,Shahrzad and Shahrbaz,in sexual relation.I argue that since an illustration is a dynamic field of meaning production,in analyzing this illustration,the context of production(e.g.social norms)must be considered;this is specifically relevant because the painter and his team adapted,and therefore re-narrated,the stories.In analysis I address three factors:first,the handwriting on the top left corner of the illustrated page and its role in content analysis;second,the divergences between the illustration and the narrative in terms of the timing of the story;third,the absence of Donyazad from the image.These factors reveal the painter’s adaptation techniques and his complex interpretation of the scene.This is not only key to the appreciation of the visual particularities of this manuscript,but also to understanding the Persian art of book illustration.
作者
埃勒姆·埃特马迪
王娟(译)
Elham Etemadi(Foreign Studies College,Hunan Normal University,Changsha,Hunan,China)
出处
《外国语言与文化》
2021年第1期22-30,共9页
Foreign Languages and Cultures
