the liminal experience in Shiite iconography of the Qajar period

Document Type : Research Paper

Authors

1 University of Religions and Denominations

2 department faculty

10.22051/jjh.2024.45040.2057

Abstract

The discussion of the relationship between aesthetic experience and religious experience is always one of the important topics surrounding the study of religious arts. In this regard, one of the innovative approaches in this category is to examine this relationship through the concept of liminal experience, which has been reevaluated by thinkers like Erica Fisher. From Fisher's perspective, although not all liminal experiences can be considered aesthetic, those types of liminal experiences that serve as inner passages and have unique transformation characteristics have a specific commonality with religious experiences. Therefore, in this article, we have chosen to examine the nature of the audience's experience with one of the distinct aspects of Islamic arts that emerged during the Qajar period and is known as Shia iconography. Our focus will be on studying the iconography from this perspective. Shiite iconography in this historical period exhibits a significant variety that has been widely reproduced in society. Therefore, studying the nature of the audience's experience with these works becomes particularly important. These works not only possess aesthetic aspects but also offer the potential for religious experiences. In the following article, an attempt has been made to identify the common point between the aesthetic experience and the religious experience when encountering this style of religious art. This is achieved by applying a unique interpretation of the liminal experience theory. This leads to a new perspective on understanding the nature of the audience's experience in religious arts, which paves the way for the study of Islamic religious arts.

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Glory of Art (Jelve-y Honar) Alzahra Scientific Quarterly Journal

Articles in Press, Accepted Manuscript
Available Online from 15 June 2024

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