[...]tments 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
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='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'>~=> 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
="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
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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
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to place the viewer in (an atrium-like building)
monumental inscription
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(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
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textual proclamation of the ="trms">author's faith
="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)
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“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
practical advice for individuals (="trms">members of the bourgeois, merchants) who wanted to climb the ="trms">social ladder and learn ='strcls'>*how to behave at court='strcls'>*
Golestan was considered a rich sourch of (such) “oriental wisdom”
(why ="ppl">Olearius is so into ="ppl">Sa'di's Golestan='lgc'>:) the aphorisms try to convey mental images or pictures ='lgc'>[...='lgc'>] the apophthegma are the ="trms">verbal equivalent of the images of the frontispiece ='lgc'>--="ppl">Brancaforte='lgc'>='lgc'>--> both genres try to convey a great deal of information in a con="trms">densed form (="trms">verbal or pictorial) ='lgc'>[='lgc'>='lgc'>--> this is also why i am into ="ppl">Olearius and ="ppl">Sa'di ='at'>#baroque='lgc'>]
(frontispiece ='lgc'>+ Golestan's) architectural framework ='lgc'>--serving='lgc'>='lgc'>--> organizing structure; formal entrance to the s="trms">cene
='lgc'>[='lgc'>]
="trms">relation to the sove="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rign in ="ppl">Sa'di
in Golestan, the tales speak of the ="trms">love or ="trms">affection between a man and a young male. however, in the introduction to his ="trms">translation, ="ppl">Olearius notes that he has sub="trms">situted the term “girl, ="trms">lover, person, or human being” for “youth,” so that it will not offend young people who ="trms"nttrm="already,spread">read the ="trms">book ='lgc'>='lgc'>--> (resisting the) jocular mora="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic-didactic use of the momo="trms">erotic motif a much deeper understanding of Sufi terminology and motivation than one can expect from a 17th century ="trms">translator
="ppl">Olearius normalizes the discourse (of sufi) for fear of offending the sensibilities of his ="trms"nttrm="already,spread">reading public
angelic piety
Englische Frömmigkeit
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the lionskin ="trms">story
lion ="trms">symbolizing the element of fire as well as purification
astrological ="trms">relationship between lion and sun, in the image of Mithras, entwined by snake, ="trms">symbolizing the path of the sun
mithraic influences survived into the islamic era as well, and became even more prevalent with the safavid dynasty ='lgc'>='lgc'>--> lion imagery became strongly as="trms">sociated with ="frds scrmbld"nttrm="Alice,Shariati">Ali, the fist imam in twelver shi'ism
cosmic imagery and forms of address
the persian sun/lion ="trms">symbol becomes intelligible for a european audience, when it is re="trms">presented as a ="trms">symbol of royalty
the lionskin, in ="ppl">Olearius's title, Persianischer ="ppl">Rosenthal
the ="trms">animal's ="trms">interior surface contains the ="trms">writing, which provides the information about Persian ="trms">society
Finn and Jake (given to wanderlust and creative risk) in Adventure Time ='lgc'>='lgc'>--> “more powerful through spoils”
(this tradition goes back to Hercules, trophy, skin of the ="trms">beast,)
“slain and flayed, exposed to the European audience, the lion/skin serves as a background on which the German ="trms">author inscribes the ="trms">story='lgc'>[/="trms">history='lgc'>]” (="ppl">Brancaforte)
='lgc'>[="ppl">Brancaforte studying='lgc'>] the early ="trms">modern European frontispieces that were as="trms">sociated with the Orient
...superfluity of details mannered and ="trms"nttrm="cluster,club">cluttered with un="trms"nttrm="already,spread">read decorative motifs set in an un="trms"nttrm="already,spread">readable space
='lgc'>[16th century frontispiece; ='mywrk'>my work is sometimes like that='lgc'>]
='lgc'>=/= (Rubin's title pages='lgc'>:) portrayed in an intelligible space, imbued with dramatic light effects, with a sense of movement, monumental architecture with three-dimensional figures moving in a ="trms"nttrm="already,spread">readable illusionistic space
‘stretched-out ="trms">animal skin with the head in the top center’ ='lgc'>='lgc'>--> Rubin's artistic ="trms">vocabulary ='lgc'>[='lgc'>='lgc'>--> followed in today way of layout='lgc'>]
lion='lgc'> = saint's attribute ='lgc'>--transformed='lgc'>='lgc'>--> medium for ="trms">writing
='lgc'>='lgc'>--> (underscoring the) significance of ='strcls'>**trophy='strcls'>**='lgc'>: subjugating a ="trms">wild d="trms"nttrm="danger,stranger">angerous ="trms">animal and then displaying it proudly for all to admire
="ppl">Olearius's choice of lionskin='lgc'>:
="lstsrd">1- dramatic visual introduction (to Golestan)
="lstsrd">2- piques the ="trms"nttrm="already,spread">reader's ="trms">interest in the work
="lstsrd">3- stands for d="trms"nttrm="danger,stranger">angerous exotic land (Persia) that has been ="trms">symbolically tamed and displayed for the Western viewer
="lstsrd">4- ="trms">material of ="trms">writing ='lgc'>+ ="trms">material being ="trms">written about
deictic
the ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigor mortis of the body
the dramatic pose of the Persian husband
the curtain-like skin
the “emblematic corpse” on a “="trms">stage”
to serve as ‘exemplum’ tamsil تمثيل
='lgc'>+ martyr-like European hero who suffers the slings and arrows of outrageous Tatars
='lgc'>}='lgc'>='lgc'>--> theater of cruelty
bellicosity (amade be jang آماده به جنگ)
="trms"nttrm="already,spread">reader/viewer is horrified ='and'>& fascinated ='lgc'>--provide='lgc'>='lgc'>--> a tale of ='strcls'>*oriental atrocities='strcls'>* ='lgc'>--set-for='lgc'>='lgc'>--> ="trms">stage adventure ="trms">stories that follow...
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less obviously, from standard geographical texts of the Islamic ="trms">world. yet with its emphasis on direct observation and critical objectivity, the map also points the way toward the more exacting “="trms">scientific” standards of the Enlightenment.
maps are cultural artifacts
Persia='lgc'>: exotic ='lgc'>+ faraway
map ='lgc'>='lgc'>==> analysis
a map='lgc'>--like a frontispiece='lgc'>--is comprised of both visual and textual elements, combining word and image; it re="trms">presents a type of text, or discourse, that needs to be analyzed in detail in order to be “="trms"nttrm="already,spread">read” correctly
maps are never completely ="trms">translatable (nor ="trms"nttrm="already,spread">readable)
="trms">language ="trms">translates into ="trms">historical practice
carto-="trms">literacy
="trms">rhetorical device, ekphrasis='lgc'>: description
graph-o sug="trms">gests both picture and ="trms">writing ='strcls'>*
the cartographic enterprises under Duke Frederick III of Schleswig-Holstein-Gottorf
mathematical principles ='lgc'>+ projection ="trms">methods
14th century, seeks to in="trms"nttrm="cluster,club">clude “ancient and ="trms">modern discoveries in one ="trms">verbal and visual description”
="large lg3" stl="font-size:112%">
early ="trms">modern age military and strategic ="trms">situation of europe
="large lg6" stl="font-size:109%">
establish fortifications
(Harley='lgc'>:) behind most cartographers there is a patron
mapping so became the business of the state and cartography is early nationalized
="prgrph">-global empire building
="prgrph">-preservation of the nation-state
="prgrph">-local assertion of individual property ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rights
='lgc'>}='lgc'>='lgc'>--> in each of these contexts the dimensions of polity and territory were fused in images which were part of the intellectual ="trms">apparatus of power ='strcls'>**[...]