Change of the representation in the illustrations and paintings of prophet Muhammad made for Dante's inferno

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dc.authoridIŞIK, Vildan/0000-0001-7794-9263en_US
dc.authorwosidIŞIK, Vildan/KDM-7638-2024en_US
dc.contributor.authorIsik, Vildan
dc.date.accessioned2024-08-23T16:03:41Z
dc.date.available2024-08-23T16:03:41Z
dc.date.issued2023en_US
dc.departmentDüzce Üniversitesien_US
dc.description.abstractItalian Medieval poet Dante Alighieri's Comedy, written in Italian at the beginning of the 14th century, using the Christian scriptures, the myths of the period, Islamic sources and his own imagination, consists of the Inferno (Hell), Purgatorio (Purgatory) and Paradiso (Heaven) parts, respectively. It is a satire with political and philosophical aspects in which the story of a fictional journey to the other world, which is thought to be taken after death, is told through poetry. The visualization of Dante, in which he included the Prophet Muhammad in the Inferno, with various illustration techniques that started shortly after he wrote this eschatological narrative, has continued for almost seven hundred years. In this study; the illustrations of the Prophet Muhammad, made for or inspired by the Inferno, have been researched through visual and written sources, including manuscripts, frescoes, drawings and prints from the beginning of the 14th century to the present. There are three parts in the research: in the first part under the title of Rumors; in the second part under the title of Malebolgia, the general structure of hell described in the Inferno and Canto 28, which is mentioned about the Prophet, are mentioned. In the third part, titled Illustrations, there are manuscripts, frescoes, drawings and printmaking samples made from the 14th century, based on the lines of this canton, where we can see the figures representing the Prophet. After the 1950s, illustrations using deformation, abstraction and distortion were added to the expressive and mimetic representations in these illustrations, which have been going on for centuries, and there is also a representation of the Prophet Muhammad, which is open to connotation, blending the narrative in Inferno, which was made as an oil painting, although it was limited to a single example. The visualization of this eschatological narrative first appears in the manuscripts prepared on parchment with different dialects of Italian in the second quarter of the 14th century in various regions of Italy, and continues with murals in public spaces. After the printing press began to be used in the middle of the 15th century, parchment was replaced by paper and reproductions began with the use of sangin, charcoal, graphite, silver pen, ink and watercolor, as well as various printmaking techniques such as woodcut, metal printing, and lithography. With the translation of Comedy into other languages in the late 18th century, illustrators and artists from different countries such as France, the United Kingdom and the United States also painted Dante's lines. Photography in the 19th century and digital reproduction techniques in the 20th century are involved and a larger audience is reached. After the mid-20th century, figurative paintings based on mimetic and narrative; Prophet representations using abstraction, deformation or distortion are added. They are not mimetic and narrative-based and show that what is meant to be represented can be conveyed through other means of illustration. The only extraordinary example made in the 21st century is the evocative oil painting of Arrivabene, which blends the Christian, Muslim and Jewish narratives, as the image and the name he gave to the painting.en_US
dc.identifier.doi10.29135/std.1115192
dc.identifier.endpage101en_US
dc.identifier.issn1300-5707
dc.identifier.issn2636-8064
dc.identifier.issue1en_US
dc.identifier.startpage31en_US
dc.identifier.trdizinid1201046en_US
dc.identifier.urihttps://doi.org/10.29135/std.1115192
dc.identifier.urihttps://search.trdizin.gov.tr/tr/yayin/detay/1201046
dc.identifier.urihttps://hdl.handle.net/20.500.12684/13865
dc.identifier.volume32en_US
dc.identifier.wosWOS:001080227000002en_US
dc.identifier.wosqualityN/Aen_US
dc.indekslendigikaynakWeb of Scienceen_US
dc.indekslendigikaynakTR-Dizinen_US
dc.institutionauthorIsik, Vildanen_US
dc.language.isoenen_US
dc.publisherE.U. Printing And Publishing Houseen_US
dc.relation.ispartofSanat Tarihi Dergisi-Journal of Art Historyen_US
dc.relation.publicationcategoryMakale - Uluslararası Hakemli Dergi - Kurum Öğretim Elemanıen_US
dc.rightsinfo:eu-repo/semantics/openAccessen_US
dc.subjectDante Alighierien_US
dc.subjectDivina Comedyen_US
dc.subjectInfernoen_US
dc.subjectProphet Muhammaden_US
dc.subjectCaliph Alien_US
dc.subjectIconographyen_US
dc.titleChange of the representation in the illustrations and paintings of prophet Muhammad made for Dante's infernoen_US
dc.typeArticleen_US

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