Reading the phenomenon of co-presence in the painting of the man with the falcon in his hand based on Harpham's grotesque theory

The grotesque emerges when incompatible elements coexist paradoxically, creating a dissonant space that reflects an altered reality. The fusion of elements in the grotesque reveals two contrasting approaches: the terrifying perspective of Kaiser and the liberating view of Bakhtin. Geoffrey Galt Harpham, by analyzing this dichotomy, explores the role of culture and myth in the formation of the grotesque while emphasizing its capacity to combine incongruous elements. This process, by breaking away from established structures, enables a new understanding of identity and transformation, marked by the phenomenon of co-presence —the simultaneous existence of disparate elements.

Persian miniature painting contains complex themes and concepts, many of which have not yet been systematically studied. Among these are the "figure-within-figure" compositions from the Safavid era, where a central, dominant figure is surrounded or partially filled with smaller, subsidiary figures that coexist in a shared space. These subsidiary figures encompass a diverse range of subjects, including animals, humans (both black and white, old and young), lovers, Galandars (wandering dervishes), and mythical creatures such as demons and angels. The origin of such artworks generally dates back to the 10th century Hijri (16th century CE) and belongs to various schools of Safavid painting, including those of Mashhad, Qazvin, Isfahan, Tabriz, and Bukhara. One of the most famous examples is the Man with a Falcon miniature. This research aims to " Reading the phenomenon of co-presence in the painting of the man with the falcon in his hand based on Harpham's grotesque theory," employing a qualitative, descriptive-analytical approach through library research. The study seeks to answer: How is the grotesque manifested in the Man with a Falcon miniature? and How can Harpham’s grotesque theory explain the co-presence in this artwork?

Findings indicate that images of severed heads alongside scenes of romance or homoeroticism, combined with various animals and birds alongside mythical creatures like demons or catfish, create a unique and chaotic world. In this world, incongruous elements coexist without logical connection, resulting in a disorienting space filled with bewilderment that compels the viewer toward a deeper understanding of existential complexities. This artwork employs unstable and unconventional forms, placing the viewer in a state of confusion and shock, In this artwork, the grotesque—as an artistic and literary concept—depicts a chaotic, discordant world where opposing elements such as beauty and ugliness, life and death, norm and anomaly coexist, creating a paradoxical structure. By blending mythological elements with modern reality, this world presents a distinct and often unsettling perception of existence.

Demons, severed heads, hybrid creatures, hunting scenes, enslaved figures, amorous encounters, and pederasty all form part of this grotesque universe, defying logical and natural laws while challenging the boundaries of perception.

thereby guiding them toward a deeper understanding of life's complexities. Ultimately, the grotesque in The Man with the Hawk is not merely an artistic style but a tool for resisting oversimplification and false certainties, as it reveals the contradictions of the surrounding world and invites us to embrace ambiguity and polyphony.