Adaptation and Derivation in Hebrew and Persian Manuscripts of the Safavid Era through Gerard Genet's Transtextuality: Bahram-Nameh (1112 AH) and Haftpeikar (1076 AH)

Azhari, Fariba; Mohammadzadeh, Mehdi

doi:10.22051/jjh.2023.41757.1854

Adaptation and Derivation in Hebrew and Persian Manuscripts of the Safavid Era through Gerard Genet's Transtextuality: Bahram-Nameh (1112 AH) and Haftpeikar (1076 AH)

Document Type : Research Paper

Authors

fariba azhari ¹
Mehdi Mohammadzadeh ²

¹ Fariba Azhari, PhD Student of Islamic Art, Faculty of Islamic Crafts, Tabriz Islamic Art University, Tabriz, Iran.

² Professor, Department of Islamic Arts, Faculty of Islamic Crafts, Tabriz Islamic Art University, Tabriz, Iran, Corresponding Author.

10.22051/jjh.2023.41757.1854

Abstract

Adaptation and Derivation in Hebrew and Persian Manuscripts of the Safavid Era through Gerard Genet's Transtextuality: Bahram-Nameh (1112 AH) and Haftpeikar (1076 AH)
As a Persian Hebrew work, Bahram-Nameh represents Jewish art in the context of Iranian art. This work is derived from a Persian manuscript of Haftpeikar and by choosing and changing some special sign systems in it, an adapted manuscript of Bahram-Nameh was created. The problem is the reason for the re-creation and adaptation of the Hebrew manuscript of Haftpeikar from its Persian manuscript in the Safavid era. The goal is to achieve and identify the type of transformations in the Bahram-Nameh hyper textual. Questions: In the derivation process, what sign systems were changed or removed in the Hebrew manuscript that led to a change in meaning? what are the differences between the two Persian and Hebrew manuscripts of Haftpeikar? Examining Bahram-Nameh together with the available pretexts can fill the void of studies in this field. The statistical population includes paintings of the Haftpeikar section of the Persian manuscript of Khamsa of Nizami in 1076 A.H. and the paintings of the Hebrew manuscript named "Bahram-Nameh" belonging to 1112 A.H. The images of the paintings of both manuscripts are available on the website of the British Museum. The study sample also includes seven paintings from both books called Seven Places. This research is descriptive-analytical and comparative and has examined the two manuscripts in question with the approach of Gérard Genets’ Intertextuality. The method of collecting information is also in the form of a library (recording) and observation. In Iran, much research has been done regarding adaptation, but so far Persian-Hebrew works have not been examined with this approach. Outside of Iran, there have been researches about Persian-Hebrew manuscripts and most of them have been published in Hebrew, but none of them are from the point of view of derivation and adaptation. In this article, we are faced with the adaptation of the tradition of Jewish illustration from Iranian paintings and after that with the literary pre-text, so it is also a cross-cultural study and the formulation of the research has several different sign systems. One is literary (the text of Haftpeikar of Nizami) and the other is pictorial, which includes illustrations of the Persian and Hebrew manuscripts and the Lampstand of Menorah. The paintings of the Hebrew manuscript could not be created without a visual pretext, i.e. the pictures of the Persian manuscript could not be created and it can be said that the relationship between these two is based on pretext because the number of figures, the totality of the work and the creation of space all confirm this issue. On the other hand, the illustrations of the Persian manuscripts are also taken from the literary text of Khamsa of Nizami. In its heart, the Hebrew manuscript contains references to the Menorah candlestick, so this Lampstand is also a pretext for the Hebrew manuscript. Based on the acquired results, Bahram-Nameh shows something more than the imitation or reproduction of the text by transitioning from intertextuality to hypertextuality. This book has changed the seven conducts mentioned in Nizami's poetry and by simulating the appearance of the Haftgonbad story, it shows an allegory of the religion of Moses and the Jewish religion, which means it has been adapted from the coexistence of Nizami's poetry. The signs are sometimes a reference to Judaism and sometimes a quote from Nizami, so this illustrated text fluctuates in a continuous rotation from Islam to Judaism and vice versa, and the dominant type of change is Transposition. The adaptation in the Hebrew manuscript of Haftapeikar was formed in cultural-linguistic and international research, following the connection between two different Iranian and Jewish communities during the Safavid era. In this study, the difference between two hypertexts was investigated. In the first step, it was determined that Bahram-Nameh has a literary pretext of Khamsa of Nizami and a pictorial over text of Haftpeikar (11^th century A.H.). By examining the cases considered in the collection of studies, it was determined that the Hebrew text related to the Persian manuscript of intertextuality is the dominant form of transposition. The changes that have been made in some symbolic systems of the paintings of Haftpeikar have led to huge changes and transformations in the second adapted and hypertextual work (Bahram-Nameh). Most of these transformations are related to the replacement and displacement of the days of Friday and Sabbath in the Hebrew text compared to the Persian text because in this way we encounter the exchange between the images of the Bahram-Nameh and the Menorah candlestick as a symbol of Judaism. This study is interdisciplinary, i.e. between literature, painting, and religion. The second hypertext (Hebrew manuscript) was produced based on the changes made in the Iranian manuscript and accordingly the literary text of Khamsa of Nizami. These changes are the result of a change in the text of Haftpeikar Khamsa of Nizami, so the literary text of Haftpeikar Nizami is a pretext for Bahram-Nameh. The creation of the illustrations of the Hebrew manuscript has been made possible in such a way that if it is examined with the criteria of Genets’ theory, in terms of quantity and size, it has been reduced in size compared to the Persian manuscript, which can be expressed in terms of external structure and appearance. From a qualitative point of view, the Hebrew manuscript has changed. Also, there was an intertextual relationship between Bahram-Nameh and Menorah paintings as a symbol of Judaism, and due to this influence, the style of the works has changed. The identification and replacement of the seven stages of conduct and the seven places with the seven branches of the Menorah and the seven planets has been done, and following that and in a broader sense, the Nizami mystical conduct has been oriented towards Jewish mysticism. These changes have occurred in the painting tradition of Iranians, and therefore, the art of Jews residing in Iran has tended to be hidden among Iranian art and culture. In the adapted work of Bahram-Nameh, the confusion of the arrangement of the images itself means an order in the Jewish religion, which, in accordance with the Iranian hypertext, has an unusual expression to achieve enlightenment and transcendental truth. In this study, the relationship between two hypertexts is based on the influence system. In the Hebrew manuscript, we have a movement from intertextuality to hypertextuality. On the surface, the Hebrew manuscript is depicted exactly according to the pentagram and tells the stories of Bahram Gur, but on the inside it has references to the Jewish tradition. The number seven is sacred in Islamic and Jewish thought and is a level of perfection and excellence. On the surface, the Hebrew manuscript is depicted exactly according to the pentagram and tells the stories of Bahram Gur, but on the inside it has references to the Jewish tradition. Therefore, by dealing with authentic Iranian stories and by producing the manuscript, the artist has pursued a goal, which is a metaphorical comparison and expression of Moses and the Jewish religion, which reminds the audience secretly and with implicit concepts. According to Genets’ theory of intertextuality, among the four possibilities of intertextuality (quotation, allusion, reference, and plagiarism) and six hypertextual possibilities, co-presence and overlap are both present. A series of Jewish religious elements have been formed in the context of Iranian art and literature, which has led to the change of Nizami's poetry. In this way, the Persian-Hebrew text of Haftpeikar has been in constant rotation from Islam to Judaism and vice versa, and thus the gender and nature of the images have changed compared to the text and writing of Khamsa of Nizami.

Keywords

Main Subjects

Visual and applied arts

References

منابع

اسلام‌دوست، مریم؛ شیخی نارانی، هانیه و مختارزاده، طاهره (۱۳۹۵). نمادشناسی در هفت‌گنبد نظامی، چهارمین کنفرانس بین‌المللی پژوهش در علوم و تکنولوژی، 1-18.

بنانی، امین؛ دران، دارلی؛ دوبروین؛ سیوری، راجر؛ لکهارت، لارنس؛ نیومن و ولش، آنتونی (۱۳۹۰). صفویان، ترجمه‌ یعقوب آژند، چ. دوم، تهران: مولی.

بنی‌اسد، زینب؛ لاجوردی، فاطمه؛ پازوکی، شهرام و حاج ابراهیمی، طاهره (۱۳۹۹). نمادشناسی منورا، چراغدان هفت ‌شاخه یهود، پژوهشنامه ادیان، دوره ۱۴، شماره ۲۷، 27-37.

رجبی، زینب و پورمند، حسنعلی (1398). تحلیل نگاره یوسف و زلیخا اثر کمال‌الدین بهزاد بر اساس نظریه ترامتنیت ژنت، کیمیای هنر، دوره 8، شماره 2، 77-95.

شریعتی‌فر، علی‌اکبر (1399). گونه‌های «هم‌حضوری» و «تراگونگی» پیش‌متن داستان اسکندر شاهنامه فردوسی در پس‌متن شرفنامه حکیم نظامی؛ براساس نظریه ژرار ژنت، پژوهش‌نامه ادبیات داستانی دانشگاه رازی، دوره 10، شماره 1، 49-65.

علی اکبری، نسرین و حجازی، امیرمهرداد (1390). رنگ و تحلیل زمینه‌های تاویل رمزی آن در هفت‌پیکر، متن شناسی ادب فارسی، دوره 3، شماره 2، 9-30.

کاویانی، شیوا (1400). آیین قبالا، چ. پنجم، تهران: فراروان.

گل‌پرور، یوسف و محمدی، محمدحسین (۱۳۹۱). تحلیل عناصر داستانی در هفت‌گنبد نظامی گنجوی، کاوش‌نامه، دوره ۱۳، شماره ۲۵، 197-231.

لوی، حبیب (۱339). تاریخ یهود ایران، جلد 3، تهران: بروخیم.

محمدزاده، مهدی؛ خزایی، محمد و عزیزی یوسفکند، علیرضا (1400). بررسی و تحلیل صلیب مجازی کلیسای سنت استپانوس جلفای تبریز (از منظر انواع بینامتنیت ژرار ژنت)، جلوه هنر، دوره 13، شماره2، 56-73.

مشتاق‌مهر، رحمان و زینال‌زاده، حمیده (۱۳۹۴). نگاهی به منظومه هفت‌پیکر نظامی، گردهمائی سراسری ترویج زبان و ادب فارسی ایران، 549-562.

نامور‌مطلق، بهمن (۱۳۸۶). ترامتنیت مطالعه روابط یک متن با دیگر متن‌ها، پژوهشنامه علوم انسانی، شماره ۵۶، 83-98.

نامورمطلق، بهمن و کنگرانی، منیژه (۱۳۸۸). از تحلیل بینامتنی تا تحلیل بینا گفتمانی، پژوهشنامه فرهنگستان هنر، دوره 3، شماره 12، 73-94.

نامورمطلق، بهمن (۱۳۹۴). درآمدی بر بینامتنیت، چ. دوم، تهران: سخن.

نامور مطلق، بهمن (1395). بینامتنیت از ساختارگرایی تا پسامدرنیسم، تهران: سخن.

نامورمطلق، بهمن (۱۳۹9). تراروایت، روابط بیش‌متنی روایت‌ها، تهران: سخن.

نظامی گنجوی (۱۹۳۴). خمسه نظامی، هفت‌پیکر، مصحح ه. ریتر و ی. ریبقا، استانبول: موسسه شرقیه چکسلواکیا.

نورآقائی، آرش (۱۳۸۸). عدد، نماد، اسطوره، تهران: افکار.

نوروزی، زینب و مختاری، فهیمه (۱۳۹۱). تحلیل هفت‌گنبد نظامی بر اساس عناصر هنرهای تجسمی، پژوهش زبان و ادبیات فارسی، شماره ۲۶، 51-69.

نوروزی، نسترن (1398). خوانش بیناگفتمانی نقاشی‌های اقتباس شده معاصر از آثار کمال الدین بهزاد، پایان‌نامه دکتری پژوهش هنر، تهران: دانشگاه الزهرا.

نوروزی، نسترن؛ موسوی‌لر، اشرف‌السادات و دانشگر، فهیمه (۱۳۹8). بازخوانی بیناگفتمانی نقاشی «حکایت یوسف و زلیخا» و سه اقتباس معاصر آن، مطالعات فرهنگ- ارتباطات، دوره 20، شماره 48، ۲۶۵-296.

هاچن، لیندا (1400). نظریه‌ای در باب اقتباس، ترجمه مهسا خداکرمی، چ. دوم، تهران: مرکز.

References

Torah Exodus, 25:31-40.

Ali Akbari, N.; Hijazi, A. M., (2013), Color and Analysis of its Symbolic Interpretation in Haftpakar, Textology of Persian Literature, Vol. 3: 2, 9-30, (Persian in Text).

Bani Asad, Z.; Lajevardi, F.; Pazuki, Sh.; Haj Ebrahimi, T., (2019), Symbology of Menorah, the Jewish Lampstand, Research Journal of Religions, Vol. 14: 27, 27-37, (Persian in Text).

Benani, A.; Duran, D.; Dubrovin; shade; Lekhart; Newman; Welch, C., (2011), Safavids, translated by Yaqub Azhend, second edition, Moli Publications, (Persian in Text).

C.heyavadana, R., (1915), The Indian Biographical Dictionary, Publisher Madras: Pillar.

Carmeli, O., (2016), Illuminated Judeo-Persian Manuscripts, Iran Namag, Vol. 1: 2, 27-61.

Dyer, R. (1972). Pastich, Routledge

G.Wright, B., (2020), Menorah, Encyclopedia of the Bible and its Reception, walter de gruyter, berlin, vol.18.

Genette, G., (1982), Palimpsests, la literature au second degree, Paris: Seuil

Genette, G., (1997), Palimpsests, literature in the second degree, translated by channa Newman & Claude Doubinsky, University of Nebraska Press.

Golparvar, Y.; Mohammadi, M. H., (2019), Analysis of Fictional Elements in Nizami Ganjavi's Haftgunbad, Kaushnameh, Vol. 13: 25, 197-231, (Persian in Text).

Hatchen, L., (1400), A Theory about Adaptation, translated by Mehsa Khodakarmi, second edition, Tehran: Markaz.

Hutcheon, L., (2006), A Theory of Adaptation, Britain: Published by Routledge.

Islamdoost, M.; Sheikhi N., Haniyeh; Mokhtarzadeh, T., (2015), Symbology in Haft Gonbad Nizami, 4th International Research Conference in Science and Technology, (Persian in Text).

J.A.Churchil, S., (1912), Bibliografia Vasariana.

Kavyani, Sh., (2021), The Ritual of Qabalah, (5th edition), Farawan Publications, (Persian in Text).

Levy, H., (1960), Iranian Jewish History, Vol. 3, First Edition, Publisher: Brokhim, (Persian in Text).

Mohammadzadeh, M.; Khazaei, M.; Azizi Yousefkand, A., (2021), Review and Analysis of the Virtual Cross of St. Stephen's Church in Jolfa, Tabriz (from the point of view of Gérard Genet's intertextuality), Glory of Art, Vol. 13 (2), 56-73, (Persian in Text).

Moreen, V. B., (1995), A Supplementary List of Judaea-Persian Manuscripts, 71- 80.

Mushtaqmehr, R.; Zainalzadeh, H., (2014), A Look at the Haft Peikar of Nizami, A Nationwide meeting to promote Persian language and literature in Iran, (Persian in Text).

Namvar Motlagh, B., (2008), Transtextuality of Studying the Relationships of One Text with other Texts, Research Journal of Humanities, No. 56, 83-93, (Persian in Text).

_____. (2016). Intertextuality from Structuralism to Postmodernism, Tehran: Sokan, (Persian in Text).

_____., (2019), Transnarative, Multitextual Relationships of Narratives, First Edition, Tehran: Sokhn, (Persian in Text).

_____.; Kangrani, M., (2008), From Intertextual Analysis to Discursive Analysis, Art Academy Research Journal, Vol. 3: 12, 73-94, (Persian in Text).

_____ ., (2014), An Introduction to intertextuality, second edition, Tehran: Sokhan.

_____. (2022, April 14-May 5). Personal interview.

Nizami G., (1934), Khamse Nizami, Haftpeikar, edited by H. Riter and Y. Ribegha, Istanbul: Eastern Institute of Czechoslovakia, (Persian in Text).

Noor Aghaei, A., (2008), Number, Symbol, Myth, (first edition), Tehran: Afkar, (Persian in Text).

Nowrozi, N., (2018), Claudia Palmarossi and Soudi Sharifi's Postmodernist Interpretations of Khalifa Haroun's Painting in Kamaluddin Behzad's Bathroom, Farhangistan Art Academy Research Journal, Vol. 2: 3, 77-103, (Persian in Text).

Nowrozi, N., (2018), Interdiscursive Reading of Contemporary Paintings Adapted from the Works of Kamaluddin Behzad, PhD thesis, Faculty of Art, Al-Zahra University, (Persian in Text).

ــــــــــــ.; Musawilar, A. E.; Daneshgar, F., (2016), Interdiscursive Rereading of Painting, and its Three Contemporary Adaptations, "The Story of Yusuf and Zuleikha", Scientific Quarterly of Communication Culture Studies, Vol. 20: 48, 265-296, (Persian in Text).

Nowrozi, Z.; Mokhtari, F., (2019), Analysis of Haftgonbad Nizami based on Elements of Visual Arts, Persian Language and Literature Research, No. 26, 51-69, (Persian in Text).

Ovadiah, A.; Mucznik, S., (2014), The Symbolic Significance of the Menorah, Liber Annuus, volume 64, 603-614.

Rajabi, Z.; Pourmand, H. A., (2018), Analysis of Yusuf and Zuleikha painting by Kamaluddin Behzad based on Genet's theory of transtextuality, Kimiya-ye-Honar, Vol. 8: 32, 77-95, (Persian in Text).

Shariatifar, A. A., (2019), Types of “Co-Presence” and “Hypertextuality” Pre-text of Alexander's Story Ferdowsi's Shahnameh Beyound the Text of Hakim Nezami's Sharafnameh Due to Gerard Genette's Theory, Razi University fiction literature research journal, Vol. 10: 1, 49-65, (Persian in Text).

Simonet, G., (2010), The Concept of Adaptation: Interdisciplinary Scape and Involvement in Climate change, Veolia Environment, Vol. 3: 1.

Y.Etzion, Y., (2015), Philo's Juwish Law: Uncovering the Foundations of a Second- temple System of Jewish Law, submitted in partial satisfacation of the requirements for the degree of doctor of philosophy in near eastern studies in the graduate division of the university of California, (Persian in Text).

URLS

URL1: www.bl.uk/manuscripts/Viewer.aspx?ref=add_ms_6613_f165v

URL2: www.bl.uk/manuscripts/Viewer.aspx?ref=or_4730_f73r

URL3: www.bl.uk/manuscripts/Viewer.aspx?ref=add_ms_6613_f168v

URL4: www.bl.uk/manuscripts/Viewer.aspx?ref= or_4730_f81v

URL5: www.bl.uk/manuscripts/Viewer.aspx?ref=add_ms_6613_f180r

URL6: www.bl.uk/manuscripts/Viewer.aspx?ref= or_4730_f114v

URL7: www.bl.uk/manuscripts/Viewer.aspx?ref=add_ms_6613_f175v

URL8: www.bl.uk/manuscripts/Viewer.aspx?ref= or_4730_f98v

URL9: www.bl.uk/manuscripts/Viewer.aspx?ref=add_ms_6613_f184v

URL10: www.bl.uk/manuscripts/Viewer.aspx?ref= or_4730_f129r

URL11: www.bl.uk/manuscripts/Viewer.aspx?ref=add_ms_6613_f159v