1- PhD Student, Faculty of Art, Alzahra University, Tehran
2- Associate Professor, Department of Painting, Faculty of Art, Alzahra University, Tehran , shadparisa@yahoo.com
3- Associate Professor, Department of Painting, Faculty of Art, Alzahra University, Tehran
Abstract: (1731 Views)
Throughout history and among various ancient ethnicities, there have been different beliefs about the journey to the afterlife which are expressed in the form of myths of resurrection, mythical descents to the underworld, ascents to the heavenly realm, and encountering with the heavenly gods. One of these journeys is the Prophet’s night ascension to the Seven Heavens, the different stages of which have been recounted in the illustrated manuscripts of the Illkhanis’s Miraj Nameh (762-772 AH), the Timurid’s Miraj Nameh (840 AH), and discrete Ruqʿah scripts. With this regard, this research with the purpose of the genealogy of the images of the Prophet’s Miraj Nameh and from the viewpoint of Frye’s mythologic theory, aims to answer the question as to what extent the accounts of ascension have made use of the original narratives of mythical ascensions and the terminology of resurrection literature in other ancient civilizations (Iran and Mesopotamia) and invented new meanings? In this research, an attempt is made to use library resources and qualitative analysis methods with the mythological approach to investigate the images of the Prophet’s Miraj (ascension), starting from a historical account up to the achievement of a beyond-historical and archetypal level. Investigations show that hidden mythological orientations can be retrieved and identified in six out of the eight levels recommended by this research.
Article Type:
Original Research |
Subject:
Arts and Humanities (General) Received: 2021/10/1 | Accepted: 2022/01/27 | Published: 2022/10/6