Analysis the hidden themes in the illustrations of the Khavaran version of Ibn Hussam's book and the text of Nahj al-Balagheh and the effective discourses in the formation of this version"

This research is dedicated to an in-depth examination of "ḴĀVARĀN-NĀMA," authored by Ebn Ḥosām Ḵᵛāfi, a prominent literary work from the Timurid and Turkmen periods that reflects the influence of the Shirazi school of illustration. As a valid piece of religious writing from the time, "Nahj al-balāgha" and "ḴĀVARĀN-NĀMA" are the main topics of our investigation. We want to find differences in how they describe Imam Ali ibn Abu Talib. Through the utilization of a critical discourse analysis methodology, the study endeavors to shed light on the complex relationship that existed between text, image, and social culture during the 9th century AH. This investigation is centered on the analysis of the reasons behind and the ideological underpinnings of the differences in the representation of Imam Ali, with a particular emphasis on the influence that comes from the political and religious spheres. The study employs Michel Foucault's theories and the critical discourse analysis framework to examine the differences between the text and the visual representations in "ḴĀVARĀN-NĀMA" and "Nahj al-balāgha." Four main discourse ideas—the subject, the institution, the power, and the knowledge—are at the core of this technique of strategic analysis. This research phase contributes to the scrutiny of the formation of religious imagery in "ḴĀVARĀN-NĀMA," emphasizing the religious, political, and illustrative dimensions of the 9th century AH. The illustrations in "ḴĀVARĀN-NĀMA" by the esteemed artist Farhad Naghash are acknowledged as a significant facet of Iranian illustrative art. Integrating storytelling, poetry, and illustration, Naghash's works are not only esteemed for their artistic merit but also recognized as exemplars of the symbiosis between Iranian art and literature. A pivotal query addressed in this research pertains to the extent to which the images in "ḴĀVARĀN-NĀMA" can embody the concept of a bellicose hero and the congruence of this concept with the portrayal of Timur and his successors. During the Timurid era, the study not only sheds light on how art, religion, and politics interacted with one another, but it also investigates the significant role that illustration played in the formation of historical and religious depictions. The findings of the research indicate that during the Timurid period, three distinct types of discourse—religious, political, and illustrative—collaborated to produce a novel subject matter that revolves around a martial hero who occasionally disagrees with heroic figures from Iran and Shia. The heroic persona, which is characterized by nonviolent pursuits toward objectives, is portrayed from a variety of perspectives. This conceptualization is more in line with the imagery in "ḴĀVARĀN-NĀMA," which depicts Timur and his successors. It is important to note that this imagery should not be incorrectly attributed to Imam Ali. This study, which stands out for its creative approach to the artistic and sociocultural implications of "ḴĀVARĀN-NĀMA," highlights the significance of the work in Iran's cultural and artistic history during the Timurid and Turkmen periods. In addition to providing novel insights into the influence and impact of illustration and literature during that period, provides new perspectives on the importance of the work.