[...] /> ="lstsrd">1- ="trms">religious incentive (moharek محرک)
="lstsrd">2- both against the Ottoman Turks
="lstsrd">3- commercial incentive
="lstsrd">4- ="trms">travelers passed through Persia


Duke Frederick's commercial venture that would put the tiny territory on the map, as it were, and eliminate all its debts ='lgc'>[...='lgc'>] with Adam ="ppl">Olearius chosen to chronicle the ="trms">mission as its official secretary
“Duke's stated aim in sending the embassy to Persia was to establish a trade route with Persia and obtain ex="trms">="trms"nttrm="cluster,club">clusive ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rights to export silk from the area, thus squeezing out the other European competition, especially the Dutch”

his ="trms">methodology
(="ppl">Olearius's ="trms">citational mobilization) a typical Baroque ="trms">writer, he ="trms">cites classical and Renaissance sources copiously and compares them to each other, thus paying homage to the scholarly tradition
="lsts lst1">•="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list the main features of a subject under discussion
="lsts lst1">•quote classical and contemporary ="trms">authorities ='lgc'>='lgc'>--> elicit ="trms">different opinions
="lsts lst1">•

='strcls'>*correction of faulty source ="trms">material imperative='strcls'>*

Harvey's new theory of the circulation of blood

="large lg2" stl="font-size:112%"> ="ppl">Olearius='lgc'>:
="lsts lst1">•seasickness could be caused by motion of the waves
="lsts lst1">•“="trms">monsters” living along the Siberian coast are wrong
="lsts lst1">•

="ppl">Olearius's ="trms">methodology is that of a comparatist
he juxtaposes (the customs and ="trms">social structures of the people he meets with those of his native land)

="ppl">Olearius's trip ='lgc'>='lgc'>==> production of (superior maps)
="ppl">Olearius ='lgc'>='lgc'>==> maps
Qazwini ='lgc'>='lgc'>==> ="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">lists
="ppl">Sa'di ='lgc'>='lgc'>==> de-vice

="ppl">Olearius's The Vermehrte Newe Beschreibung in="trms"nttrm="cluster,club">cludes large, detailed, ="trms">fold-out maps describing...
as well our ="trms">technique in our work, with ="frds scrmbld">Sana
="prgrph">-our work/contribution in="trms"nttrm="cluster,club">cludes placing maps and figures with the flux of discourse (='lgc'>=/= ="ppl">Olearius)

description of (the Persian) “natives” and their “="trms">nature” ='lgc'>='lgc'>--> a ="trms">codification of his human hosts


traditional western stereotypes regarding exotic ="trms">eroticism

Shah Safi's banquet (sur سور) cor="trms">responds fully to a European's notion of what an oriental feast should entail

he marks the poles of Persian culture='lgc'>: as the site, on the one hand, of voluptuous, ="trms">erotic encounters, and of un="trms">natural cruelty and despotism on the other hand ='lgc'>='lgc'>--> meant for the moral edification/="trms">codification of its western ="trms"nttrm="already,spread">readers. (="trms"nttrm="already,spread">readers were taught about ="trms">different countries ='lgc'>+ taught to be better European persons ='lgc'>[with proper ="trms">differences='lgc'>])


Baroque's ="trms">excess of information
(as ="frds scrmbld">Pierre also noted in my style of ="trms">language)

Beschreibung

='strcls'>*** the customs of the observed peoples ='strcls'>***
='lgc'>='lgc'>-->(="trms">language of pictorial re="trms">presentation emphasized)

="large lg1" stl="font-size:134%"> temporal displacements ='lgc'>[in his frames pictures='lgc'>]
inscriptions, conveying a sense of movement


scorpion bites ="ppl">Olearius (“Ich vom Scorpion ="trms">gestochen” ='lgc'>='lgc'>--> oriental d="trms"nttrm="danger,stranger">anger) ='lgc'>='lgc'>--> specimen scorpion (='lgc'>='lgc'>--> immobilized and tamed) ='lgc'>='lgc'>--> back in the Kunstkammer ='lgc'>='lgc'>--> Duke's cabinet of curiosities (='lgc'>='lgc'>--> on display)
='lgc'>["his” experience ='lgc'>=/= ="ppl">Sa'di's ="trms">technologies of ="trms">writing='lgc'>]

="ppl">Olearius ='lgc'>+ Hakwirdi ='lgc'>='lgc'>--> Golestan of ="ppl">Sa'di

="ppl">Sa'di's influence on German baroque ="trms">literature='lgc'>:
="lsts lst1">•Grimmelshausen (Simplicissimus)
="lsts lst1">•Lohenstein (Ibrahim Bassa and Ibrahim Sultan)
="lsts lst1">•Gryphius (Catherina von Georgien)
="lsts lst1">•Montesquieu (Letters Persanes)
="lsts lst1">•="ppl">Goethe (West-östlicher Divan)


Jens from Kiel library, like ="ppl">Olearius, is appointed court librarian, by state/Duke, given the task of cataloging and expanding the ducal/official collection, and developing the Duke's Kunstkammer/Wunderkammer

Gotterffische Kunstkammer ='lgc'>='lgc'>--> “Wunderbuch” (="trms">book of ="trms">wonders), with its insistence on the concepts of ="trms">writing ='lgc'>+ drawing

="ppl">Olearius's genre of frontispiece, his engraved title pages ='lgc'>--follow='lgc'>='lgc'>--> Norbert='lgc'>: kluger Vater or fleissiger Praeceptor
clever father / industrious preceptor مرشد مربى ='at'>#="nms">Pir ='lgc'>[='lgc'>='lgc'>--> “our common father in heaven"='lgc'>], wants to introduce his ="trms">children and students to something in arts or ="trms">sciences, “make them understand” by means of his mouth ='lgc'>+ pen ='lgc'>:
='strcls'>*analogy/simile='lgc'>: showing something grand by showing them something small ='lgc'>='lgc'>--> an astronomer shows on a small hand-globe (='strcls'>*globo coelesti='strcls'>*) the make-up of the great heaven with all its visible bodies, where a point means a star ='lgc'>~(in the same way)='lgc'>='lgc'>~> the geographer re="trms">presents on a small terestrial globe (='strcls'>*globo terrestri='strcls'>*) the entire circle of the earth with all its landscapes ='lgc'>~(in the same way)='lgc'>='lgc'>~> “our common father in heaven,” the Lord, his revealed Word, he wrote for us (his ="trms">children and students) the great ="trms">book of ="trms">wonders ='lgc'>--recognize='lgc'>='lgc'>--> Himself
='lgc'>}='lgc'>='lgc'>--> (the concepts of) microcosm ='and'>& macrocosm ='lgc'>: something small (a dot on a globe) stands for something else, larger than itself (a city) ='lgc'>='lgc'>==> individual objects of study or curiosities of ="trms">nature, that are collected and ="trms">presented to a ="trms"nttrm="already,spread">reader/observer, re="trms">present a greater whole ='lgc'>='lgc'>==> ="trms">interconnectedness ='lgc'>='lgc'>--> “the great chain of being” ='lgc'>='lgc'>~-> God teaches humans by means of ="trms">natural ="trms">wonders ='at'>#="nms">ajayeb
='lgc'>}='lgc'>='lgc'>==> (microcosmic ="trms">world of the) frontispiece='lgc'> = visual macrocosm of the larger ="trms">book, ='strcls'>*the textual macrocosm='strcls'>* that it introduces
='lgc'>[my video atlas in Eckernförde was reworking with frontispiece as it is meant to int="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigue the ="trms"nttrm="already,spread">reader with its complex set of visual images (taken from classical coins and medals, from devices and emblems), to be de="trms">coded after ="trms"nttrm="already,spread">reading the ="trms">book that follows. ="ppl">Olearius brings all desciplines ="trms">onto the ="trms">stage of his's ="trms">world='lgc'>: ethnography, ="trms">history, ="trms">natural ="trms">science, geography, architecture, and ="trms">literature ='lgc'>='lgc'>--> this is very baroque _='lgc'>+='lgc'>]

="ppl">Olearius's didactic program='lgc'>: to entertain while ="trms">instructing

(="nms">tasavof's) ="trms">world as ='strcls'>*mundus ="trms">symbolicus='strcls'>* ='lgc'><='lgc'>== ="trms">cosmos of significance (='lgc'>='lgc'>~= art ='lgc'>+ ="trms">history ='lgc'>+ ="trms">nature)

='lgc'>[Das grosse Wunderbuch die Welt='lgc'>]

='strcls'>*theatrum mundi='strcls'>*
="trms">staging of ="trms">nature (='lgc'>~ ="nms">ajayeb) ='lgc'>: ="trms">nature in all its various manifestations (="trms">animal, vegetable, and mineral) must be displayed on a ="trms">stage (of the title page, on the compartments of Kunstkammer)
="lsts lst1">•an arch of gateway resting on a platform or plinth (='lgc'>='lgc'>--> a basic model provided by classical architecture for the majority of Renaissance and Baroque ="trms">stagings), a design that recalls the structures of allegorical tableaux used for triumphal entries into Italian and Dutch Renaissance cities, on order to honor the hero of the day
="lsts lst1">•(early ="trms">modern title page ='strcls'>*iconographic program='strcls'>*) incorporating the feature of the triumphal arch in order to signify the ="trms">symbolic entry into the ="trms">written work ='lgc'>[='lgc'><='lgc'>-- we don't need to do this!!='lgc'>] ='lgc'>='lgc'>--> ='strcls'>*formal monumental opening='strcls'>* (leading the “="trms"nttrm="already,spread">reader” to the ‘="trms">interior of’)='lgc'>='lgc'>--> ="ppl">Olearius's frontispiece (monumental, awe-inspiring works that aimed to spark the viewer's ="trms">interest)='lgc'>:
="lsts lst2">◦(to com="trms">memorate) official functions at the court
="lsts lst2">◦="trms">literary activities

='lgc'>[='strcls'>*='lgc'>]baroque='lgc'>: ='strcls'>***the art of not rejecting anything='strcls'>*** (el arte de no r="trms">enunciar a nada -Montesinos)
(am i baroque='qstn'>?)

="trms">different types of frontispiece='lgc'>:
="lstsrd">1. divided into ="trms">geometrical compartments (german o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin='qstn'>?)
="lstsrd">2. depicting a particular s="trms">cene (german invention) ='lgc'>[images/elements chosen/in="trms"nttrm="cluster,club">cluded for doctrinal and controversial significance='lgc'>]
="lstsrd">3. single cartouche (school of Fontainebleau), a predilection for Mannerist irrationality and illusionism; ="trms">interlocking, complicated scroll-work and s="trms">trapwork; imitating the three-dimensional scrolling, with ="trms"nttrm="knowledge,Knowledge">edges curling forward around the inscription; fantastic architectural structures, and grotesque figures and ="trms">monsters taken from classical mythology
="lstsrd">4. architectural title page (with the most monumental and most three-dimensional character), arrangement of sculpture-like allegorical figures or personifications


shifts from the ="trms">techniques of woodcut ='lgc'>--to='lgc'>='lgc'>--> engraving (='lgc'>--to='lgc'>='lgc'>-->='qstn'>? digital) ='lgc'>='lgc'>==> greater pictorial detail ='and'>& better illusionism

="large lg10" stl="font-size:107%">
='strcls'>*="ppl">Sa'di's advice and devices='strcls'>* ='lgc'>[title='lgc'>]
(="ppl">Sa'di's ="trms">relationship to) ‘the accumulated knowl="trms"nttrm="knowledge,Knowledge">edge’(='lgc'>='lgc'>==> device)
='lgc'>[='strcls'>*='lgc'>]device (="trms">symbolum)='lgc'>: a combination of a picture and a personal motto. a private adage (امثال و حکم) or clever aphorism ='lgc'>='lgc'>--> heraldic image ='lgc'>--fusion='lgc'>='lgc'>='lgc'>~=> device='lgc'>: a personal message by means of which a knight would define himself='lgc'>--developed from the chivalric tradition='strcls'>** ='lgc'>==='qstn'>?='lgc'>='lgc'>==> ="ppl">Sa'di's moral devices
="prgrph">-theoretical advice and examples of devices
="prgrph">-a ="trms">craftsmann, a pa="trms">inter or goldsmith, would then supply the visual form of ='thdf'>the idea that the learned scholar created
(moral) device ='lgc'>--discuss='lgc'>='lgc'>--> general qualities and characteristics such as courage, nobility, ="trms">obligation ='lgc'>='lgc'>==> (genre of) ='lgc'>[='strcls'>*='lgc'>]emblem='lgc'>: ='lgc'>--(pictorial ='lgc'>+ ="trms">verbal)-striving='lgc'>='lgc'>--> for ='strcls'>*universal applicability='strcls'>*
='strcls'>*emblem ='lgc'><='lgc'>-- the desire to understand the mysteries of antiquity, especially ancient Edgyptian hieroglyphs (in obelisks, sphinxes, lions), which were thought to re="trms">present a secret ="trms">language ='lgc'>[o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal wisdom of early man='lgc'>] (='lgc'><='lgc'>== concerns of Renaissance ='lgc'>[for example Hieroglyphica ="trms">written in ="trms">Greek by Horapollo 14th century='lgc'>])
(what are my ‘hieroglyphics’ in ="nms">ajayeb='qstn'>?) Renaissance humanists wanting to research and understand antiquity, also wiched to ='strcls'>*make it come alive='strcls'>*, by using hieroglyphics ='lgc'>+ Pythogorean ="trms">symbols (were added, since ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphors and allegories of the ancients ="trms">supposedly derived from the wisdom of Edgyptian priests)
ancient mythologies and medieval allegories in Renaissance applied hieroglyphic ="trms">science='lgc'>:
="lsts lst1">•ancient coins (="trms">interpreted as hieroglyphics)
="lsts lst1">•biblical imagery
="lsts lst1">•medieval ="trms">animal
="lsts lst1">•plant ="trms">books
="lsts lst1">•caba="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic number mysticism
="lsts lst1">•old testament motifs
='lgc'>}='lgc'>='lgc'>==> emblematics became a kind of a ="trms">language, that scholars and then ="trms"nttrm="already,spread">readers of the vulgar tongue deciphered in ="trms">books and then applied to a number of fields in daily life

spiritual ="trms">symbols of allegory and myth ='lgc'>+ factual/fractal ="trms">world ='lgc'>--common='lgc'>='lgc'>--> visual art
='lgc'>}='lgc'>='lgc'>--> ‘title page’ ='lgc'>: ="trms">interplay of ="trms">symbol ='and'>& reality ='lgc'><='lgc'>-- ="trms">interaction of ="trms">different spheres of imagery='lgc'>:
="lsts lst1">•="trms">historical characters
="lsts lst1">•living people
="lsts lst1">•stuff of geography
="lsts lst1">•stuff of astronomy
="lsts lst1">•architectural views
="lsts lst1">•(in the 14th century scholars began to collect) ancient coins (and medals) ='lgc'>[one side='lgc'>: great events, ="trms">historic individuals -and- the reverse='lgc'>: depicted allegorical subjects, gods or the ='strcls'>*fates='strcls'>*, allegorical personifications in="trms">herited from the middle ages ='lgc'>[arts and vices='lgc'>]='lgc'>] ='lgc'>='lgc'>~='lgc'>='lgc'>--> ='strcls'>*moralizing ="trms">nature of (someone's) ‘="trms">specifications’='strcls'>* ='lgc'>[='lgc'>='lgc'>--> frontispiece='lgc'>: personifications as simulated sculptures in niches flanking the archway='lgc'>]

="ppl">Sa'di ='lgc'>=/= ="trms">author's portrait updated ='lgc'>~ ="ppl">Olearius



="ppl">Olearius had three printing presses installed in his house, and required that the engravers live and work there, under his direct su="trms">pervision

“Concerning the Changeability of ="trms">Worldy Things, and the ="trms">Wonder and Praise of Virtue”

‘flaming hearts’ ="trms">symbolizing “their” union

="large lg14" stl="font-size:115%"> ="trms">symbolism (of the frontispiece tries to) contain the subject ="trms">matter (of the text that follows)


the triumph of death (but with a happy end for the deceased) ='at'># Adventure Time

“that which i wish for is not mortal” (Duke's motto)
“virtue lives on after the funeral rites”

his home, name, heraldry, figure, allows the viewer to grasp the entire span of the deceased's life (and death) ='strcls'>*at a single glance='strcls'>*

horn of plenty

cupid is astride (with a leg on each side of)
astrilized

='strcls'>*winged sphere='strcls'>*
winged fame trumpets the deceased's accomplishments

christian mastery over the infidel='lgc'>--who is blinded to the true faith

a group of ="trms">international admirers


='strcls'>**="trms">methods used in Europe to disseminate information about foreign people='strcls'>** during the early ="trms">modern era='lgc'>:
="lsts lst1">•Flugblatt (broad-sheet or broadside, 14th century), a medium directed at the il="trms">literate classes (that needed visual cue) ='lgc'>[in="trms"nttrm="cluster,club">cluded='lgc'>: news about battles, astrological pre="trms">diction, sighting of comet, birth of a ="trms">monstrous creature (="trms">animal or human), execution of a famous criminal, tales of witches, devils, ="trms">religious or political propaganda='lgc'>]
Flugblatt counterparts='lgc'>:
="lsts lst2">◦Flugshrift (flying ="trms">writ, flying pamphlet), popularized by ="ppl">Martin Luther, four pages with woodcut gracing, for audience with ability and leisure to ="trms"nttrm="already,spread">read longer tracts
="lsts lst1">•illustrated costume ="trms">book. with Mannerist s="trms">trapwork, grotesque, garlands, allegorical personifications; in s="trms">cenes re="trms">presenting the o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal reason why humans need to wear clothing
="lsts lst1">•(Norbert when he uses “we” in his ="trms">language) ='lgc'>='lgc'>--> ='strcls'>*="trms">author='strcls'>*='lgc'>: active, nude, individual with his scissors, not dressed for battle, who will actively clothe the other figures ... ='lgc'>[in frontispiece to Hans Weigel's Trachtenbuch the personifications of the non-Europeans are all prepared for battle='lgc'>] (male warriors in female continents ='lgc'>[continents are usually re="trms">presented by female figures, derived from biblical and classical sources such as Roman coins='lgc'>]) ='lgc'>{Amerindian's headdress once was removed from its o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginal ethnographic context, “decontextualized,” and then “recontextualized in a ="trms">different setting ='lgc'>='lgc'>--> europeans might have thought that it was a skirt. the reverse is the ="trms">story of shalite شلیته='qstn'>?='lgc'>}

mid 16th century also saw the development of the periodical newssheet (adapted from broadside)
consisting of image and text='lgc'>--work together in order to provide meaning for the design ='lgc'>='lgc'>--> view needed to combine ='lgc'>='lgc'>==> a ="trms">composing/="trms">composer subjectivity

allegorical putti (="trms">symbolizing industry)
inscription at their feet
flora beside each of them

="ppl">Olearius's frontispiece for Orientalischen Reise='lgc'>:
="lsts lst1">•mixture of rea="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic and fantastic
="lsts lst1">•illusionistic cloths denote a process not only of uncovering, but of discovery as well (theatrical curtains pulled back to reveal the true subject='lgc'>: the paradisical s="trms">cene of “natives”) ='lgc'>[the scenic event of arrival in any civilized zone is ="trms">embodied by the monument of the natives='lgc'>]
="lsts lst1">•flora and fauna of Paradise



to place the viewer in (an atrium-like building)

monumental inscription

(our anti-globe video in the exhibition ='lgc'>=/=='qstn'>?) a s="trms">cene showing a robed man standing on a globe ='lgc'>='lgc'>~-> “You lead me through your counsel”

the explorer ="trms">writes his observation into his ='strcls'>*magnum opus='strcls'>*, the ="trms">traveler account (just as God ="trms">writes in “das grosse Wunderbuch die Welt”)
='lgc'>=/= my amazon project

textual proclamation of the ="trms">author's faith


="large lg3" stl="font-size:111%">
="ppl">Olearius's ="trms">translation of the sufi lore collected by the celebrated Persian ="trms">poet ="ppl">Sa'di, in a con="trms">densed visual form, (acknowl="trms"nttrm="knowledge,Knowledge">edged later by ="ppl">Goethe) with the help of Hakwirdi

="ppl">Brancaforte='lgc'>: Golestan speaks to an audience that has recently suffered from the ravages of war (or pre="trms">dicting it='qstn'>?!)
="prgrph">-Golestan (“valley of roses”) ="trms">written soon after the bloodbath is therefore a document of its time ="trms">composed by a man of reason who always stresses the practical ='lgc'>[praised by ="ppl">Olearius as a “lustiger Kopff” (fun="trms">loving spirit)='lgc'>]='lgc'>--appealing to a classical ="trms">authority
="prgrph">-blending personal experience, humorous insights, and aphorisms (of an ethical/didactic ="trms">nature)
="prgrph">-Muhammadian like the manner of Virgil='lgc'>='lgc'>-->='lgc'>{the ="trms">past as legacy, disposing with the divine mechanism, purchase Virgil's tomb and worshipped it, ="trms">poetry as a tool of divination, ="trms">embodiment of experience, ="trms">pastoral and ="trms">erotic, attraction toward people of any gender, agriculture as man's struggle against a hostile ="trms">natural ="trms">world, way of a comparison with foreign marvels,='lgc'>}

="trms">religious relativism in ="ppl">Olearius's orientalism ='lgc'>='lgc'>--> in deference to his christian audience and as a dependent of the Gottorf court='lgc'>--he disparages islam (verführischer Glauben, seductive belief)
="prgrph">-he is also a forerunner to the comparative ="trms">religious studies (when he uses the word “Gott/God” rather than the name “Allah”)
="prgrph">-manipulating Hakwirdi's voice in the propagandistic confrontation between the great ="trms">religions ='lgc'>='lgc'>--> ="ppl">Olearius speaking for his persian friend='lgc'>: who feels the customs of his homeland do not ="trms">measure up to those of his adopted country ='lgc'>[like Norbert!='lgc'>]
‘other's blindness’='lgc'>: (a ='strcls'>*textual disclaimer='strcls'>* of) the other who exists in spiritual and ="trms">religious darkness ='lgc'>=/= pictorial depiction
(in Persianischer ="ppl">Rosenthal the entire) ='strcls'>***enterprise of ="trms">translation='strcls'>*** (from ="trms">Farsi to German) is cloaked in highly ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphoric ="trms">language, charged with fostering the development of the german ="trms">language ='lgc'>+ nationalized sentiment, “our German ="trms">language that used to lie beneath the dust of contempt now shines forth once again” (='lgc'><='lgc'>-- i meet this all the time when i was living and working in Germany)

="large lg4" stl="font-size:112%"> “Die Persianer” in ="ppl">Olearius is an ambiguous term, it could stand for either ="ppl">Sa'di or the text of the Golestan, or Hakwirdi, but this “Persians” is to be “let inside, wearing a German coat,” ="ppl">Olearius's body is charged with teaching “the Persian to speak German” (='lgc'>='lgc'>--> ="trms">integration)

other ="trms">translations of Golestan='lgc'>:
="lsts lst1">•Andre du Ryer
="lsts lst1">•Johan Ochsenbach
="lsts lst1">•Georg Gentius


='strcls'>*Golestan
taut and well-="trms">translated epigrams
end-rhyme ="trms">poems
a ‘treasury’ of ="trms">rhetorical and ="trms">poetical motifs
a voluminous index of sayings
="prgrph">-='strcls'>*short and astute speeches='strcls'>* (ایجاز ijaz ناقلا naghola)
='strcls'>*the genre of aphorism='strcls'>*='lgc'> = "apophthegma” (concise saying ='lgc'>='lgc'>--> fit for advice, ='lgc'>='lgc'>--> emblem)
(clever and) ='strcls'>*sharp='strcls'>* ='lgc'>='lgc'>==> ="trms">memorable
[...]