[...]orism ='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


="large lg2" stl="font-size:112%">
="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

="large lg1" stl="font-size:149%">
='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

="large lg3" stl="font-size:112%">

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

monumental inscription

="large lg4" stl="font-size:111%"> (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 lg5" stl="font-size:160%"> ="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)

“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 wit[...]