An Intertextual Study of Nizami’s Poetry and Behzad’s Painting in “Chinese and Roman Painters’ Debate” Tale
International Journal of Literature and Arts
Volume 5, Issue 6, November 2017, Pages: 89-96
Received: Nov. 17, 2017; Accepted: Dec. 4, 2017; Published: Dec. 25, 2017
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Zohreh Hosseinabadi, Department of Handcrafts, Faculty of Art, Alzahra University, Tehran, Iran
Zahra Pakzad, Department of Painting, Faculty of Art, Alzahra University, Tehran, Iran
Mehdi Mohammadzadeh, Faculty of Islamic Art, Tabriz Islamic Art University, Tabriz, Iran
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One of the brightest schools of painting was Herat School from whose greatest artist, Behzad, beautiful paintings have remained. Some of these paintings are associated with poetry and literature and reflect verbal narratives. Using Gérard Genette intertextuality approach, the present study investigates one of the paintings which exists in both verbal and pictorial forms: the verbal form is derived from Nizami’s Sharaf-nama which was painted by Behzad. The purpose was to investigate the meaning of a text in its connection with other texts; in other words, this study tried to find the relationship between words and image, and uncover the underlying theme that ties them together.
Behzad, Chinese and Roman Painters’ Debate, Intertextuality, Nizami, Painting
To cite this article
Zohreh Hosseinabadi, Zahra Pakzad, Mehdi Mohammadzadeh, An Intertextual Study of Nizami’s Poetry and Behzad’s Painting in “Chinese and Roman Painters’ Debate” Tale, International Journal of Literature and Arts. Vol. 5, No. 6, 2017, pp. 89-96. doi: 10.11648/j.ijla.20170506.13
Copyright © 2017 Authors retain the copyright of this article.
This article is an open access article distributed under the Creative Commons Attribution License ( which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.
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