Transtextual Study of Four Paintings of the Contemporary Artist, Aydin Aghdashloo* Maryam Yazdanpanah1** Fatemeh Kateb*** Abolghasem Dadvar**** Mansour Hessami Kermani*****

Received: 2018/02/19 Accepted: 2018/07/22

Abstract Gérard Genette named any relationship between one text and other texts “Transtextuality” and divided it into five categories; including intertextuality, paratextuality, metatextuality, architextuality and hypertextuality. We have conducted a case study of four paintings of the Iranian contemporary painter, Aydin Aghdashloo by using the theory of “transtextuality”. These four artworks belong to “the Orientals” series and they depict the Qajar king, Fath Ali Shah. The completion of subject matter and data used in this essay is extracted from library, record and thesis materials and the conduction of the theme is comparative and analytical. The aim of the essay is to evaluate the reasons, which made the theory of “transtextuality” an appropriate critical method for artworks of Aghdashloo. The other aim is to study the five categories of “transtextual” relationship in these four paintings, by focusing on “hypertextuality”. The findings show that the artworks of Aghdashloo are a perfect example of transtextual relations.

Keywords: transtextuality, hypertextuality, Gérard Genette, Aydin Aghdashloo, the Qajar king, Fath Ali shah

*. The essay is extracted from a thesis entitled “Artworks of the Orientalist Painters of the 19th Century (Based on Edward Said’s Orientalism and by Using the Theory of Intertextuality) which is in progress in alzahra university. **. Maryam Yazdanpanah, Corresponding author, Alzahra University Email: [email protected], ***. Dr.Fatemeh Kateb, Alzahra University Email: [email protected] ****.Dr. Abolghasem Dadvar, Alzahra University Email: [email protected] *****. Dr.Mansour Hessami Kermani, Alzahra University Email: [email protected] ...... Transtextual Study of Four Paintings of the Contemporary Artist

Introduction are going to explain it before we mention The concept of intertextuality the questions. According to Gérard has played an important role in the Genette, “hypertextuality refers to any development of Postmodernism. Every relationship uniting a text B (which I shall text is rich in quotes, which has turned call the hypertext) to an earlier text A (I writing into rewriting. “Books always shall, of course, call it the hypotext), upon speak of other books and every story tells which it is grafted in a manner that is not a story that has already been told” (Eco, that of commentary” (Gennete, 1997:5). 1983: 20). In this essay, we will answer the Intertextuality is a common term in following questions: What makes literary and linguistic theories, which is transtextuality an appropriate critical related to open structuralism and post- method for Aghdashloo’s mentioned structuralism. The term was first coined paintings? How do the four paintings fit into and used by Julia Kristeva in the mid- the five categories of Genette? What form 1960s. According to this theory, the of relation exists between Aghdashloo’s meaning of a text is shaped by other paintings and the hypertexts, according texts. This theory is based on the premise to Genette’s hypertextuality? In order to that no text is a closed context, nor is it be able to answer the questions of the independent and alone. Were it so, they essay, at first we explain transtextuality would become incomprehensible (Frow, and its different parts, then we mention 73 2005: 48). examples of the artist’s paintings to In order to complete and make analyze data in a qualitative method. alterations to Kristeva’s theory of The next part of the essay is dedicated to Intertextuality, other theorists entered the hypertextualiy, on which Gérard Genette field. Gérard Genette was one of these has presented a comprehensive detailed theorists who elaborated on the studies of research. In this section of the study, the Kristeva and Roland Barthes. He tried to contexts of Aghdashloo (hypertexts) and systematically analyze any relationship a the paintings of Qajar painters (hypotexts) text might have with other texts. Therefore will be analyzed. The features and their he coined the term “transtextuality”, which similarities and differences will be was more complete and more accurate examined by comparing the two periods compared with other theorists. He divided and the two different styles. “transtextuality” into five categories, The most important reference to cite is which differed from each other based Genette’s “Palimpsests: literature in the on their type of relation with the text. In second degree“. In this book he describes this essay, we used the five categories of hypertextualiy and divides all forms transtextuality to study Four paintings of of hypertextuality into two categories, Aghdashloo which depict the Qajar King1, transformation and imitation. Then he Fath Ali Shah2. The essay focuses on one goes on to explain each one of them in of these five categories in detail and that is detail. Another important reference is hypertextuality. Due to its importance, we Graham Allen’s book“intertextuality”. Quarterly Seventh Year, No. 29 Winter 2019 ......

Allen’s book outlines the history and the Intertextuality, neither the reference is cited use of Intertextuality clearly in detail explicitly like the first part nor is it hidden and also mentions the theorists who have like the second part (Namvar motlagh, shaped Intertextuality and those who 2008:136). In this type of Intertextuality, came after Kristeva and have altered her the relationship between two texts will be ideas. The most vital reference in studying revealed but it might need more attention the paintings of Aghdashloo was “Aydin and focus. Allusions are the main form of Aghdashloo: selected paintings”. This implicit Intertextuality. book displays a selection of his artworks. The Qajar King Fath Ali Shah is Aghdashloo’s official website also has explicitly identified by the royal seal been used during the study. and his name in the four paintings of Theoretical Framework of the Study Aghdashloo, as shown in Table 1; which Since its inception by the is an explicit example of type “i”. poststructuralist Julia Kristeva in Different headwears allude to the 1960s, the theory of intertextuality has dates and periods before and after the been transformed many times by other enthronement of Fath Ali Shah. Also in theorists. One of the theorists in the realm table1, fig.4, there is an implicit intertextual of Intertextuality is Gérard Genette. He reference to the following poem: described transtextuality as “all that sets We are all mortals and immortality is 74 the text in a relationship, whether obvious yours only or concealed with other texts” ( Genette, The high and holy kingdom is yours 1997: 1). only He subdivided the term transtextuality This poem is familiar to Iranian readers, into five more specific categories; since this famous Nizami Ganjavi’s3 line including intertextuality, paratextuality, appeared in his book called “Khamsah”. metatextuality, architextuality and Ann Jefferson, professor of French hypertextuality, which we explain in the literature, has coined the term “sister- following sentences: text”. The term “sister-text” describes 1. “Intertextuality: It is the actual the relation between one text and other presence of a text in another text” (Allen, texts within the same corpus of any given 2001:146). author (Jefferson, 1990:110-11). The term In intertextuality, part of one text is very suitable for not only these four appears in the second text. This kind of artworks of Aghdashloo’s “Orientals” Intertextuality is divided into three parts: cycle, which show a close relation with Explicit and literal form: the explicit each other but also in a lot of his artworks presence of elements of a text in another like “falling calligraphy” in Table 2, fig. text, such as quotations. 5 and“ flowers” in fig. 6. In these two Non-explicit or hidden form: to borrow paintings even the same poem of Nizami a text without citing the references that Ganjavi has been repeated. indeed is plagiarism. 2. Paratextuality: Gérard Genette named Implicit Intertextuality: in this kind of the elements that accompany the main text ...... Transtextual Study of Four Paintings of the Contemporary Artist and are able to change or influence the another of which it speaks without reader’s perception “paratextuality”. It necessarily citing, in fact sometimes even can be divided into 2 general categories: without naming it” ( Genette, 1997:4). epitext and peritext. In metatextuality, hypertexts can Epitext: all elements that are outside of deny, explain or approve the hypotexts. the text; such as interviews, advertisements, The best form of this relation is a review reviews, private letters and other authorial or criticism. The present essay itself and editorial discussions. functions as a paratext for artworks of Peritext: all elements which are within Aghdashloo and according to the critical the text; such as titles, subtitles, prefaces explanation and interpretational qualities and notes (Allen, 2001:150). can also be considered a metatext for For example, The title of Aghdashloo’s those artworks. On the other hand, if we “Orientals” cycle, as pretext directs take into account Kristeva’s concept of the perception of the reader. The word intertextuality, which says that any text “Orientals” reminds the reader of the is in communication with its previous philosophical, cultural and geographical and following texts, we understand that features of the East. It evokes the binary Aghdashloo’s paintings of Fath Ali Shah opposition of oriental and occidental, are paratexts for Qajar paintings and which the painter has a cycle by the name their critical and interpretational features, of “Occidental”. Also the title of these which denied and rejected the Qajar 75 four paintings, Fath Ali Shah, conveys painters, make them metatexts for them. information about this historical character 4. Architextuality: The most implicit to the spectators. The themes of “death”, and abstract of all transtextual relations is “destruction” and “evanescence” are architextuality. “It links texts by genres: visible in most of Aghdashloo’s paintings. thus, it is only explicit when the name of Aghdashloo has also mentioned this in genre is incorporated in the title or subtitle his interviews that the idea of destruction of the text” (Nadal, 1994:3). and annihilation has been with him since Some words, for example novel, poem his youth. This is khayyamic4 mindset or story may appear on the cover of the and it should come as no surprise since books, which usually doesn’t happen Khayyam is his favorite poet, whose according to Gerard Genette. This is poems are ever present in Aghdashloo’s either due to the fact that it is obvious or artworks. These kinds of interviews are is a refusal to classify the text. One should examples of epitext, which can guide the know that the genres are not supposed perception of the spectator and make the to be declared. However the genres are meaning of artwork clearer. only one aspect of architexts. Words like 3. Metatextuality: Genette gives a “verse”, “prose” or “narrative” etc. are brief explanation of metatextuality, as not normally declared. One even might he has done for intertextuality. He says: believe that expressing the generic status “it is the relationship most often labeled of the text is not the responsibility of commentary, it unites a given text to the text, but it is the readers’ and critics’ Quarterly Seventh Year, No. 29 Winter 2019 ......

duty (Genette, 1997:4). Paintings do not Safavid times. This cultural and artistic identify themselves explicitly as paintings relation led to the formation of the school or usually do not declare their styles. of royal figurative painting. This school It is due to one or both of the reasons began in the Zand5 era and reached its already mentioned above. Aghdashloo peak, by using the Zand cultural heritage, also believes that the responsibility during Fath Ali Shah’s reign (1797 – 1834 of determining the generic status of AD/ 1212 – 1250 AH). Despite western his artworks should better lie with his influences, there were many Iranian spectators or critics. Some works exhibit elements visible in these paintings. mixtures or combinations of different Ancient Iranian painting traditions such styles and genres, as we see in the as idealism, preferring fantasy to reality Aghdashloo’s artworks, which combines still alive in them (Soudavar, 2001:14). painting, poetry and calligraphy. We can Everybody is depicted in an established also find different styles in these four formula, with little regard for their real paitings of Aghdashloo. As the style of appearance. In this school, men are shown hypotexts of these four paintings belong to with long beards, a small waist, and a Qajar School of royal figurative painting, piercing gaze; people from any age or these paintings of Aghdashloo (hypertexts) status in their real life appear young and relate to this style indirectly. We can also attractive (Pakbaz, 1999:148). Due this 76 say that due to the historical context in the tradition in the painting, Fath Ali Shah paintings of Fath Ali Shah, these paintings was never as an old person. are related to historical paintings. Also the Since Qajar dynasy lacked legitimacy, different points of view in these paintings art was used for political purposes and (hypertext) represent different styles and propaganda. The image of the monarch different periods which are the hallmarks was utilized to centralize authority of postmodernism. under the crown and help foster political since all the hypotexts of these four relations with foreign embassies. That is paintings of Aghdashloo are related to why, in this period all attention of artists royal figurative painting, it is necessary concentrated on the art of painting and to know more about this painting school, portraiture (Diba, 1998:15). Due to the fact before we elaborate on the hypertextual that the main aim of this type of painting relations. was to impress the spectator, the artist exaggerated the grandeur and the glory Royal Figurative Painting of the king. Because of the similarities Iranian artists, throughout most of their and the use of fixed formulas in different history didn’t use perspective and the portraits of Fath Ali Shah, and to avoid real shapes of objects in their artworks. It wordy explanations about each portrait was only under the influence of western we will only analyze the hypotext of the style of painting that these issues entered first painting of Aghdashloo of Fath Ali the Iranian paintings. Cultural relations Shah in this essay, We chose the hypotext of Iran with the West began during the of the first painting since Abdollah Khan ...... Transtextual Study of Four Paintings of the Contemporary Artist

Naghashbashi is a well – documented Karim Khan6, ruling from 1751 to 1779, painter in this era. (Table 4, Fig. 9) and the Afsharid Nader The hypotext of the first painting Shah7, from 1736 to 1747, (Table 4, Fig. (Table 3, Fig. 1) is painted by Abdollah 10), since they are all painted in the same Khan Naghashbashi (Table 3, Fig. 7). way though much simpler compared with Abdollah khan (years active: 1810- 1850 the lavishness of the paintings of Fath Ali AD/ 1225 -1266 AH) was the chief painter Shah. and architect in the courts of Fath Ali Looking directly at the spectator Shah until the enthronement of Nasser in paintings, which gave the character al-din Shah (Pakbaz, 2005:153). Since formality and authority, didn’t exist any hypotext is based on texts before until 17th century AD/11th AH, its it, Abdollah Khan’s artworks were also introduction into Iranian art was due to based on the works of painters before his the cultural relations with the Europeans period or those of his contemporaries. during the Safavid dynasty8, along with For example, one of the first painters of the humanistic tendencies of the western Qajar period is Mirza Baba, who painted artistic traditions (Jafari jalali, 2003:85). a large painting of Fath Ali Shah in 1799 This direct gaze may also suggest that the AD/1213 AH. Most portraits of Fath Ali king is alert and all-seeing. Aghdashloo Shah are of a later date than this. The tried to add new themes to his paintings; painter did not use warm or red colors, such as death and destruction; themes 77 which are to be used in the later paintings which were naturally absent in the Qajar of Fath Ali Shah. What’s more, the Shah period paintings of the king. He, therefore, lacked the arrogant posture and the many wisely chose the king whose portraits pieces of jewelry he would later have in were the most magnificent. the other paintings (Falk, 1972:25) (Table 5. Hypertextuality: the relation between 4, Fig. 8). a text “hypotext” and the following text Some alterations in the style of painting “hypertext” is called hypertextuality were introduced by Mehr Ali, another (Žindžiuvienė, 2003:148). The hypertext famous painter of that period. He depicted can transform, modify, elaborate or the king with his eyes staring directly at extend the previous text. According to the spectator, with more dilated whites Genette, this relation can not become of the eyes, darker and fuller beard and a commentary-like one. So this feature more striking eyebrows, using a brighter separates it from metatextuality. that the palette, more dramatic contrasts among relationship among texts often labled colors, specially red and warm colors commentary. A distinction can be made (Raby, 1999:11). Mehr Ali’s style became between Genette’s hypertextuality and the model for later painters of the Qajar Kristeva’s intertextuality, as the former period, which we also see in Aghdashloo’s believed that the author uses the hypotexts paintings of Fath Ali Shah. Also the intentionally and the latter considered the hypotexts of Abdollah Khan can be traced use of previous texts an unconscious act. back to paintings made of former kings, One can easily detect the conscious and Quarterly Seventh Year, No. 29 Winter 2019 ......

intentional use of hypotexts in the artworks new situation. It is one kind of indirect of Aghdashloo. As Dariush Shaygan noted transformation (Namvar motlagh, 2008: in the introduction to “Aydin Aghdashloo: 129). selected paintings”: “Nothing in his art is (2) Transformation: the second text, left to chance” (2012: 7) hypertext, is created by making changes In fact with this method, hypotext is to the first text directly (ibid). challenged by hypertext. So each work Artworks, discussed in this essay, of art combines at least two simultaneous all are related to the second part, which voices, the voice of hypotexts and the voice is transformation. All four paintings of hypertexts. It reminds us of the theories of Aghdashloo are simple and direct of polyphony and dialogism of the Russian transformation of the earlier forms. By philosopher Mikhail Bakhtin, who defined transforming the paintings minimally, parody as double-voiced, since parodic he has recreated the paintings of Qajar texts are based on the previous texts painters in different perspectives. (Bakhtin, 1984:185). Although according Man has long discovered that he cannot to Bakhtin’s theory, real polyphony is always create new forms and he must the co-existence of all voices on an equal be content to invest old forms with new footing, so all voices can be heard and no meanings. The merit of hypertextuality one voice dominates the others. Existence lies in the fact that it constantly launches 78 of different voices can create a dialog as old works into new circuits of meaning and an antidote to monologism. Aghdashloo the past is not reduced to commemoration has based his paintings on the works of (Genette, 1997: 398). Qajar painters, so according to Bakhtin, it To change the hypotexts and create the has two voices But it seems far from a real hypertexts, there are some ways which polyphony. As polyphony does not mean will be discussed in the following part. the previous authoritative voice must 1) Quantitative transformation: be suppressed or subsumed by the new i) Reduction voice. One can see how Aghdashloo has ii) Augmentation suppressed the former voice by replacing One way to change the text is to change Qajar motive and value system with his the size of the hypotext without changing own. We will discuss this replacement in its content. “If we abridge or shorten the detail in hypertextuality section. hypotext, we will call it reduction and if we extend the hypotext, we will call it The study of hypertextual augmentation” (Arab Yousef Abadi et al. relations in four paintings of 2013: 133). Aghdashloo has recreated Aghdashloo new texts through reducing and extending According to Gérard Genette, the hypotext. This is seen in the above- hypertextual relation are divided into two mentioned paintings. By adding a piece categories, imitation and transformation. of paper and adding the word “expired” (1) Imitation: the intention of the author on his works, by tearing off parts of the is to preserve the first text, hypotext, in a hypotext, by painting a cross “X”, he has ...... Transtextual Study of Four Paintings of the Contemporary Artist managed to change the hypotexts. his kingdom. Aghdashloo removed and Through these simple and direct suppressed these motives and substituted means, he succeeded in creating new and them with new ones. Contemporary artists different meanings. This reminds us of think differently from their counterparts another kind of changes, that is “pragmatic in the past, since they have experienced transformation”. different historical events, such as 2) Pragmatic Transformation: monarchy, the constitutional revolution, Contrary to the changes in the last and other national and international category, the changes here are to contents revolutions. In this vein, Aghdashloo gave and meanings. Many events and themes his personal motivations to the paintings of the original text will change (Genette, according to social and cultural context 1997: 309). of his own time. He added new motives It is an aspect of semantic such decadence and fall instead of glory transformation that can be divided and supremacy, death instead of mortality, into different categories, including republicanism and democracy instead of transmotivation and transvaluation. In all monarchy, etc. artworks of Aghdashloo of Fathali Shah, b) Transvaluation transmotivation and transvaluation can be i) Revaluation: the character of a seen clearly. Transmotivation is one of the text will be changed by way of pragmatic main processes of semantic transformation. or psychological transformation (Genette, 79 It has three parts: motivation, demotivation 1997:341). and their combination, transmotivation. ii) Devaluation: “the inverse a) Transmotivation thematic move is that of devaluation, the Motivation: it is the positive aspect of most brutal instance maybe Fieldings’ these three parts. The author of hypertext Shamela (1741), which is a refutation of introduces a motive to the hypotext which Richardson’s Pamela (1740)ˮ (ibid,352). the hypotext lacks. iii) Transvaluation: it is the Demotivation: it is the negative aspect combination of the two parts and it of the three. The author of hypertext will happens to the same characters. suppress or remove the original motive of Transvaluation can be seen in these the hypotext. paintings, as there is a complete reversal Transmotivation: the author replaces of a system of values. The main character the original motive with a new motive of paintings “Fathali Shah” has lost his (Rahimi, 2012: 87). grandeur and glory, his uniqueness and There is transmotivation in all four his indisputable heroism. By displaying paintings of Aghdashloo. The motivation death, destruction and disloyalty of life, of hypotexts, as mentioned before, Fath ali Shah was converted into a man was political, regime propaganda and like others, who had to leave everything giving the Qajar dynasty legitimacy. The behind and face death. Qajar painters wanted to show the royal The main themes of most artworks of glory and the immortality of him and Aghdashloo are mortality and destruction, Quarterly Seventh Year, No. 29 Winter 2019 ......

an issue that has preoccupied the minds of and conscious way is what makes the people since the dawn of life. The dominant artworks of Aghdashloo good examples ideas behind the artworks of Aghdashloo of transtextual relations. are mostly based on Khayyam and his As we discussed above, all five way of thinking. This relation becomes categories of transtextual relations are obvious when one reads some poetry applicable to the paintings of Aghdashloo. of Khayyam on some of his paintings. In these four paintings, Aghdashloo Even when other poets are chosen over reproduced the earlier paintings belonging Khayyam, the mindset is still very much to the school of royal figurative painting in line with that of Khayyam. Aghdashloo of the Qajar court. Through these, not only is a rational person like Khayyam. has he conveyed a memory and the visual Although he has a vivid imagination, it tradition of the past to the next generation, does not drive him towards an unrealistic but he has also placed his identity and his idealism. Such attention to reality has desired meanings in his artworks, using made the duality of life and death his minimal transformation, transmotivation central theme. Aghdashloo reproduces the and transvaluation. hypotexts carefully and in contrast to such Using new theories in the study of intricate beauty and glory of the earlier artworks can lead to a deeper analysis artworks, he then proceeds to disfigure and understanding. Theories like 80 them by creating oppositions in form or transtextuality can help us understand by introducing semantic oppositions. contemporary artworks better, but not just that. They can also shed light on the Conclusion social, historical, cultural backgrounds of One of the noticeable theories in the artworks. the twentieth century is the theory of Intertextuality. It discusses the Acknowledgements interrelationship between texts. French The authors wish to thank the staff of theorist, Gérard Genette, took Julia Art faculty of Alzahra University who Kristeva’s theory of Intertextuality and helped us throughout this project. changed it systematically and called his theory Transtextuality. He divided transtextuality into five categories, Endnotes including intertextuality, paratextuality, 1. Qajar dynasty: A royal family of metatextuality, architextuality and Turkic origin which ruled Persia (Iran) hypertextuality. from 1785 to 1925. Genette believed in studying the 2. Fath Ali Shah: The second Qajar conscious and intentional relations Shah of Persia. between texts. This makes Genette’s 3. Nizami Ganjavi: He was a 12th Transtextuality different from Kristeva’s century Persian poet. Intertextuality. Recreating paintings 4. Omar Khayyam: He was an 11th and from past artworks in an intentional 12th Persian mathematician, astronomer, ...... Transtextual Study of Four Paintings of the Contemporary Artist philosopher, and a very famous poet. Jalali jafari, Behnam. (2003), naghashi 5. Zand dynasty: An Iranian dynasty ghajarie naghd zibaishenasi; Tehran: that ruled Iran in the 18th century. kavosh-e-Qalam 6. Karim Khan Zand: The founder of Jefferson, Ann. (1990), «Autobiography the Zand Dynasty, ruling from 1751 to as Intertext: Barthes, Sarraute, Robbe- 1779. Grillet», Intertextuality: theories and 7. Nader Shah Afshar: He ruled as Shah practices, 108-29. of Persia in the 18th century. Nadal, Marita.(1994), «William 8. Safavid dynasty: One of the most Golding’s Rites of Passage: A Case of significant ruling dynasties of Persia. The Transtextuality», Miscelánea , No 15, Safavids ruled from 1501 to 1722. 405-20. Namvar Motlagh, Bahman. (2008) References «Taramatniat, ravabet yek matn ba matn Raby, Julian. (1999), Qajar portraits; digar»,Oloum Ensani, No56, 127-142. IB Tauris. Namvar Motlagh, Bahman. (2011), Allen, Graham. (2001), Intertextuality; Daramadi bar beinamatniat, nazarieha Trans. Payam yazdanjoo, Tehran: Markaz. va karbordha; Tehran: sokhan. Arab yousef abadi, Faezeh, et al. pakbaz, Ruyin. (1998), Daeratolmaaref (2013), «Transtextuality in Maghamat honar; Tehran: farhang moaser. Hamidi», comparative literature studies, ______. (2001), Naghashi Iran az 81 No 1, 121-139. dirbaz ta emrooz; Tehran: zarin va simin. Bakhtin, M. Mikhail Mikhailovich Rahimi, said. (2012). «Barrasi va and Caryl Emerson. (1984), Problems tahlil sher sabk hindi bar asas nazarie of Dostoevsky’s poetics; University of taramatniat», PHD diss., university of Minnesota Press. Tarbiat Modares. Diba, Layla, Maryam Ekhtiar, and Shaygan, Dariush. (2012), Aydin Basil William Robinson. (1998), Royal Aghdashloo, bargozide asar; Tehran: Persian paintings: the Qajar epoch, 1785- Negar. 1925; IB Tauris. Soudavar, Abolala. (2001), Art of the Eco, Umberto. (1983), Postscript to Persian courts; Trans. Nahid Mohamad The Name of the Rose; Trans. William shemirani, Tehran: karang. Weaver, San Diego: Harcourt Žindžiuvienė, Ingrida .(2003), Falk, Stephen John. (1972), Qajar «Transtextual Bridge Between the paintings: Persian oil paintings of the Postmodern and the Modern: the Theme 18th & 19th centuries; Faber & Faber of the “Otherness” in Monique Truong’s Frow, John. (2005), Genre; London Novel the Book of Salt and Gertrude and New York Stein’s The Autobiography of Alice B. Genette, Gerard. (1997), Palimpsests: Toklas (1932) », Literatūra, No 49, 147- literature in the second Degree; Trans. 155. Channa newman and claude Doubinsky, University of Nebraska press Quarterly Seventh Year, No. 29 Winter 2019 ......

Table 1. Four Paintings of Aydin Aghdashloo.

FIG 1.Fath Ali shah FIG 2.Fath Ali shah FIG 3.Fath Ali shah FIG 4.Fath Ali shah qajar,Aydin aghdashloo. qajar,Aydin aghdashloo. qajar,Aydin aghdashloo. qajar,Aydin aghdashloo. 82 source: www.aghdashloo. source: www.aghdashloo. source: www.aghdashloo. source: www.aghdashloo. com com com com

Table 2. Intertextual relationships

FIG 5. Falling calligraphy/3, Aydin Agh- FIG.6. Flowers, Aydin Aghdashloo. dashloo. source:Shaygan,1391:63 source:Shaygan,1391:137 ...... Transtextual Study of Four Paintings of the Contemporary Artist

Table3.Comparison of Hypertext to Hypotext in Paintings of Aydin Aghdashloo.

FIG 1.Fath Ali Shah Qajar FIG.7 Fath Ali Shah Qajar, ,Aydin Aghdashloo, Source: .Abdollah khan naghashbashi, 83 www.aghdashloo.com 19th Century ,Oil on Canvas. Source: Jalali-Jafari,2003:17

Table 4. Possible Hypotexts for Painting of Abdollah khan Naghashbashi

FIG 8. Fath Ali Shah FIG 9.Karim Khan Zand, FIG 10. Nader Shah Af- Seated,Mirza Baba,18th anonymous painter,18th Cen- shar, Muhammad Reza Century, Oil on Canvas. tury. Source: Hindi,18TH Century, Oil on Source: Raby,1999:11 Canvas. Source: Diba, 1998:180 Diba, 1998:139