كليدواژه :
داستان , تصوير , شهرزاد , صنيع الملك
چكيده لاتين :
A Thousand and One Nights is a world of songs and a perfect reflection of fairies, charm, magic and love in Eastern societies or Muslim groups during the Middle-Ages. The book, written about 2000 years ago, is a complex mixture of delicacy of customs and traditions of ancient eastern nations. Although, this book is comprised of a collection of several notes, it is still considered as one story which stemmed from the Shahrzadʹ marvelous and imaginary thought. During Qajar dynasty, in the year 1261(Hijra), its Farsi version was presented to the prince Naser-E-Din-Mirza. He was so attracted that soon after getting reigned (1264 Hijra), he ordered Doost Ali-khan Moeer-ol-Mamalek to supervise a new writing-style and illustrating procedure of the book. In response, Moeer-ol-Mamalek appointed Mirza Abolhasan Khan Naqash Bashi (Sani-ol-Molk). In this article, with a symbolism-acquisition approach, it is tried to conduct a comparative study of Shahrzadʹs A Thousand and One Nights and to investigate Sani-ol-Molkʹs pictures through a descriptive- analytic method as well. Though, these symbols, with respect to time, seem to be far from each others, they are fundamentally belonging to the culture of a certain place. One goal among different criteria in the present study is to achieve common symbols placed in each side of literary and pictorial scales in an interaction manner. Shahrzad, the daughter of Shahrbazʹs vizier is a wise story teller who arranged her living fable among others to tell Shahbaz some narrations characterized by many different features and concepts such as truth, his-
toric, complaint against oppression and tyranny of authorities, attention to terrestrial and temporal loves, seeking matrimony, telling transient loves, pure connection of man and woman in a clean city of love, description of celebrations and parties, and finally characterizing courtier & imperial places and spaces. Through these articles she wants to draw an ideal plan out of politicians and wise far-seeing persons, beautiful and fantastic cities, artistic women who are actively play their parts in the society, as well as spaces and lovely affairs in such a manner that she may be able to change the king character. Such a brave dangerous rational action on the half of Shahrzad would not only cause relaxation of a king, upon his exasperation and retaliation, committed blood shedding and embarked on raping innocent girls and putting them to death after a night of sexually assault, but also may convey a deep affection in Qajar era through recreation of the works by Sani-ol-molk, the painter. The effect was so great that the painter concordance and concomitant with Shahrzad affected by the structural and contextual principles of the story and started to ornament it by using various delicate colorful and laborious paintings, expressed it in his own style and with respect to his era, with the main axis over A Thousand and One Nights story.
