[...]jaz ناقلا naghola)
ls clss='strcls'>*ls>the genre of aphorismls clss='strcls'>*ls><lgc clss='lgc'> = lgc>"apophthegma” (concise saying <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> fit for advice, <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> emblem)
(clever and) ls clss='strcls'>*ls>sharpls clss='strcls'>*ls> <lgc clss='lgc'>==>lgc> lss="trms">memorable
practical advice for individuals (lss="trms">members of the bourgeois, merchants) who wanted to climb the lss="trms">social ladder and learn ls clss='strcls'>*ls>how to behave at courtls clss='strcls'>*ls>
Golestan was considered a rich sourch of (such) “oriental wisdom”
(why l clss="ppl">Oleariusl> is so into l clss="ppl">Sa'dil>'s Golestan<lgc clss='lgc'>:lgc>) the aphorisms try to convey mental images or pictures <lgc clss='lgc'>[lgc>...<lgc clss='lgc'>]lgc> the apophthegma are the lss="trms">verbal equivalent of the images of the frontispiece <lgc clss='lgc'>--lgc>l clss="ppl">Brancafortel><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> both genres try to convey a great deal of information in a conlss="trms">densed form (lss="trms">verbal or pictorial) <lgc clss='lgc'>[lgc><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> this is also why i am into l clss="ppl">Oleariusl> and l clss="ppl">Sa'dil> lss='at'>#baroque<lgc clss='lgc'>]lgc>
(frontispiece <lgc clss='lgc'>+lgc> Golestan's) architectural framework <lgc clss='lgc'>--lgc>serving<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> organizing structure; formal entrance to the slss="trms">cene

<lgc clss='lgc'>[lgc><lgc clss='lgc'>]lgc>
lss="trms">relation to the sovelss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rign in l clss="ppl">Sa'dil>

in Golestan, the tales speak of the lss="trms">love or lss="trms">affection between a man and a young male. however, in the introduction to his lss="trms">translation, l clss="ppl">Oleariusl> notes that he has sublss="trms">situted the term “girl, lss="trms">lover, person, or human being” for “youth,” so that it will not offend young people who lss="trms"nttrm="already,spread">read the lss="trms">book <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> (resisting the) jocular moralss="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic-didactic use of the momolss="trms">erotic motif a much deeper understanding of Sufi terminology and motivation than one can expect from a 17th century lss="trms">translator
l clss="ppl">Oleariusl> normalizes the discourse (of sufi) for fear of offending the sensibilities of his lss="trms"nttrm="already,spread">reading public

angelic piety
Englische Frömmigkeit

<lrg clss="large lg2" stl="font-size:112%"> lrg>lbrkr stl="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................lbrkr>
lrg>
the lionskin lss="trms">story

lion lss="trms">symbolizing the element of fire as well as purification
astrological lss="trms">relationship between lion and sun, in the image of Mithras, entwined by snake, lss="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 clss='lgc'><lgc clss='lgc'>--lgc>>lgc> lion imagery became strongly aslss="trms">sociated with lss="frds scrmbld"nttrm="Alice,Shariati">Ali, the fist imam in twelver shi'ism

cosmic imagery and forms of address

the persian sun/lion lss="trms">symbol becomes intelligible for a european audience, when it is relss="trms">presented as a lss="trms">symbol of royalty

the lionskin, in l clss="ppl">Oleariusl>'s title, Persianischer l clss="ppl">Rosel>nthal
the lss="trms">animal's lss="trms">interior surface contains the lss="trms">writing, which provides the information about Persian lss="trms">society

Finn and Jake (given to wanderlust and creative risk) in Adventure Time <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> “more powerful through spoils”
(this tradition goes back to Hercules, trophy, skin of the lss="trms">beast,)

“slain and flayed, exposed to the European audience, the lion/skin serves as a background on which the German lss="trms">author inscribes the lss="trms">story<lgc clss='lgc'>[lgc>/lss="trms">history<lgc clss='lgc'>]lgc>” (l clss="ppl">Brancafortel>)



<lgc clss='lgc'>[lgc>l clss="ppl">Brancafortel> studying<lgc clss='lgc'>]lgc> the early lss="trms">modern European frontispieces that were aslss="trms">sociated with the Orient


...superfluity of details mannered and lss="trms"nttrm="cluster,club">cluttered with unlss="trms"nttrm="already,spread">read decorative motifs set in an unlss="trms"nttrm="already,spread">readable space
<lgc clss='lgc'>[lgc>16th century frontispiece; lss='mywrk'>my work is sometimes like that<lgc clss='lgc'>]lgc>
<lgc clss='lgc'>=/=lgc> (Rubin's title pages<lgc clss='lgc'>: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 lss="trms"nttrm="already,spread">readable illusionistic space

‘stretched-out lss="trms">animal skin with the head in the top center’ <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> Rubin's artistic lss="trms">vocabulary <lgc clss='lgc'>[lgc><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> followed in today way of layout<lgc clss='lgc'>]lgc>
lion<lgc clss='lgc'> = lgc>saint's attribute <lgc clss='lgc'>--lgc>transformed<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> medium for lss="trms">writing
<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> (underscoring the) significance of ls clss='strcls'>**ls>trophyls clss='strcls'>**ls><lgc clss='lgc'>:lgc> subjugating a lss="trms">wild dlss="trms"nttrm="danger,stranger">angerous lss="trms">animal and then displaying it proudly for all to admire
l clss="ppl">Oleariusl>'s choice of lionskin<lgc clss='lgc'>:lgc>
<lstsrd clss="lstsrd">1- dramatic visual introduction (to Golestan)
lstsrd> <lstsrd clss="lstsrd">2- piques the lss="trms"nttrm="already,spread">reader's lss="trms">interest in the work
lstsrd> <lstsrd clss="lstsrd">3- stands for dlss="trms"nttrm="danger,stranger">angerous exotic land (Persia) that has been lss="trms">symbolically tamed and displayed for the Western viewer
lstsrd> <lstsrd clss="lstsrd">4- lss="trms">material of lss="trms">writing <lgc clss='lgc'>+lgc> lss="trms">material being lss="trms">written about
lstsrd>

deictic

the lss="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 “lss="trms">stage”
to serve as ‘exemplum’ tamsil تمثيل
<lgc clss='lgc'>+lgc> martyr-like European hero who suffers the slings and arrows of outrageous Tatars
<lgc clss='lgc'>}lgc><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> theater of cruelty


bellicosity (amade be jang آماده به جنگ)

lss="trms"nttrm="already,spread">reader/viewer is horrified lss='and'>& fascinated <lgc clss='lgc'>--lgc>provide<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> a tale of ls clss='strcls'>*ls>oriental atrocitiesls clss='strcls'>*ls> <lgc clss='lgc'>--lgc>set-for<lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> lss="trms">stage adventure lss="trms">stories that follow...

lrg>lbrkr stl="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................lbrkr>
<lrg clss="large lg1" stl="font-size:130%"> lrg>
less obviously, from standard geographical texts of the Islamic lss="trms">world. yet with its emphasis on direct observation and critical objectivity, the map also points the way toward the more exacting “lss="trms">scientific” standards of the Enlightenment.

maps are cultural artifacts
Persia<lgc clss='lgc'>:lgc> exotic <lgc clss='lgc'>+lgc> faraway

map <lgc clss='lgc'>==>lgc> analysis
a map<lgc clss='lgc'>--lgc>like a frontispiece<lgc clss='lgc'>--lgc>is comprised of both visual and textual elements, combining word and image; it relss="trms">presents a type of text, or discourse, that needs to be analyzed in detail in order to be “lss="trms"nttrm="already,spread">read” correctly


maps are never completely lss="trms">translatable (nor lss="trms"nttrm="already,spread">readable)

lss="trms">language lss="trms">translates into lss="trms">historical practice

carto-lss="trms">literacy

lss="trms">rhetorical device, ekphrasis<lgc clss='lgc'>:lgc> description

graph-o suglss="trms">gests both picture and lss="trms">writing ls clss='strcls'>*ls>

the cartographic enterprises under Duke Frederick III of Schleswig-Holstein-Gottorf

mathematical principles <lgc clss='lgc'>+lgc> projection lss="trms">methods

14th century, seeks to inlss="trms"nttrm="cluster,club">clude “ancient and lss="trms">modern discoveries in one lss="trms">verbal and visual description”


early lss="trms">modern age military and strategic lss="trms">situation of europe

<lrg clss="large lg3" stl="font-size:111%"> establish fortifications
lrg>
(Harley<lgc clss='lgc'>:lgc>) behind most cartographers there is a patron
mapping so became the business of the state and cartography is early nationalized
lss="prgrph">-global empire building
lss="prgrph">-preservation of the nation-state
lss="prgrph">-local assertion of individual property lss="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rights
<lgc clss='lgc'>}lgc><lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc> in each of these contexts the dimensions of polity and territory were fused in images which were part of the intellectual lss="trms">apparatus of power ls clss='strcls'>**ls>


individual niches <lgc clss='lgc'>[lgc>on<lgc clss='lgc'>]lgc> architectural plinth

<lrg clss="large lg4" stl="font-size:110%"> in Newe lss='trgt hghlght 1'href='?q=L'>Landesbeschreibung<lgc clss='lgc'>:lgc> “in the beginning of the lss="trms">world, God created everything at once, with his clever/intelligent finger, using lss="trms">measure, weight and number ... because God is not a God of disorder, but wants everything to proceed in a proper manner and with the proper lss="trms">differentiation.” (lss="trms">translated in Vision of Persia, p.123)
lrg>

illustrious predecessors
through their patronage and linked to the noble art of geography

the map is framed by scale bars (the cartouche <lgc clss='lgc'>[lgc>of title<lgc clss='lgc'>]lgc> rests on a kind of architectural base in which a scale bar is contained)ls clss='strcls'>***ls>
(graticules, more details,)
typography plays a role in emphasizing (noveltylss='qstn'>?)
geographical purview (meydan-e did, چشم رس، ميدان ديد) of the rulers

map and approval

<lrg clss="large lg5" stl="font-size:139%"> lss="trms">different layers of information in the map<lgc clss='lgc'>:lgc> by looking at it all at once, it is difficult to comprehend the entire lss="trms">story that the lss="trms">author/artist are trying to tell. by examining individual visual elements in the map, and then linking them to the text, one can trace the lss="trms">different lss="trms">narratives extant<lgc clss='lgc'>--lgc>manifest and latent<lgc clss='lgc'>--lgc>in the work (l clss="ppl">Brancafortel> on l clss="ppl">Oleariusl> cartographic work)
(this visual lss="trms">rhetoric is also what i am using in my lss="trms">storytellings) (i also need to be careful with my collages<lgc clss='lgc'>:lgc> (notlss='qstn'>?) to map out creations that are totalities much greater than its lss="trms">author's own appreciation or conscious knowllss="trms"nttrm="knowledge,Knowledge">edge of them; to emerge an often confused and paradoxical but signatory “self” in the liminal/marginal areas of the page)
<lsts clss="lsts lst1">•“the mass of textual lss="trms">material that accompanies single-sheet or atlas maps tends to reveal its ideological perspective in the gaps between a silent, spatial, schematic rendering of an area (in visual form) and a voluble (por-harf پرحرف، روان، سليس، چرب و نرم، خوش زبان), copious (mofasal مفصل), emphatic (mo'akad تاکيد شده), printed discourse that strives to tell of the invisible lss="trms">history that the image cannot put into words.” (l clss="ppl">Conleyl>)
lsts>lrg>

grid, superimposed on the map

a common topos in Persian painting<lgc clss='lgc'>:lgc> a male protagonist expecting the female to pour wine or some other liquid into the shallow bowl he is holding
this ‘anticipation of drink’ is construed (in the title of l clss="ppl">Oleariusl> map of persia) as a lss="trms">gesture of welcome and hospitality; providing the viewer with an iconic image of two “typical” inhabitants and their form of dress <lgc clss='lgc'><lgc clss='lgc'>--lgc>>lgc>[...]