[...]/>
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

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


="large lg1" stl="font-size:117%"> 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...

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

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'>==> 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”


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

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'>**


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

in Newe Landesbeschreibung='lgc'>: “in the beginning of the ="trms">world, God created everything at once, with his clever/intelligent finger, using ="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 ="trms">differentiation.” (="trms">translated in Vision of Persia, p.123)


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

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

map and approval

="trms">different layers of information in the map='lgc'>: by looking at it all at once, it is difficult to comprehend the entire ="trms">story that the ="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 ="trms">different ="trms">narratives extant='lgc'>--manifest and latent='lgc'>--in the work (="ppl">Brancaforte on ="ppl">Olearius cartographic work)
(this visual ="trms">rhetoric is also what i am using in my ="trms">storytellings) (i also need to be careful with my collages='lgc'>: (not='qstn'>?) to map out creations that are totalities much greater than its ="trms">author's own appreciation or conscious knowl="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 lst1">•“the mass of textual ="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 ="trms">history that the image cannot put into words.” (="ppl">Conley)

="large lg3" stl="font-size:112%">
grid, superimposed on the map

a common topos in Persian painting='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 ="ppl">Olearius map of persia) as a ="trms">gesture of welcome and hospitality; providing the viewer with an iconic image of two “typical” inhabitants and their form of dress ='lgc'>='lgc'>--> “promise and peril” ='lgc'>[riches to be found ='lgc'>+ d="trms"nttrm="danger,stranger">angers encountered; treasures ='lgc'>+ giant snakes='lgc'>]
this continues today='lgc'>: the image of an ="nms">iranian woman in native dress

on the Persians’ inner ="trms">nature and customs

="large lg4" stl="font-size:112%"> the dedicatory cartouche's ='lgc'>[special effects='lgc'>]='lgc'>: ruler's name, capitalized, special style of italics
establishing the Duke's geographical purview ='lgc'>='lgc'>--> linked to foreign territories


through ‘knowl="trms"nttrm="knowledge,Knowledge">edge’ and ‘discovery’ ='lgc'>='lgc'>--> learn about Safavid Persia

(="ppl">Conley)
(cartography during early ="trms">modern age afforded to) the emerging self and the self's ="trms">relation to ='thdf'>the idea of national space
between raw perception and creative ="trms">imagination
surveying and plotting the ="trms">world
the drama of european ="trms">literature='lgc'>: an unforeseen theatricalization of the self in the 15th-17th century
="prgrph">-the self seems to be produced in the form of a subject, as a paradoxical being divided between a re="trms">presentation of the conditional ="trms">relations it is producing and the com="trms">posite ="trms">nature of the ="trms">simultaneously aural and visual medium of print
="prgrph">-growth of cartography parallels that of the coming of autobiography ='lgc'>='lgc'>--> mapping is ="trms">responsible for the consciousness that leads to the production of the ="trms">fashioned self

rise of='lgc'>:
="lsts lst1">•autobiography
="lsts lst1">•opera
="lsts lst1">•="trms">natural ="trms">history

="large lg5" stl="font-size:159%">
="ppl">Olearius multiplicity of roles
artist, geographer, ="trms">historian, tourist, merchant, diplomat,

="ppl">Olearius's production of self
mantle of artist is passed on to the ="trms">author, who asserts himself and his new status in pictorial form
='lgc'>[in the corner of the [...]