[...] 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'>==> 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 lg2" stl="font-size:110%">
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'>~-> “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 lg1" 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)

“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'>==> ="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

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

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

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

="large lg4" stl="font-size:110%"> 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

="large lg5" stl="font-size:152%">
...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 t[...]