Analysis of Nizami Ganjavi’s aesthetic views in the context of intermediality

Abstract

There are dozens of examples of ekphrasis manifestations of intermediality in the classical literature. Nizami Ganjavi's love for the arts and his sufficient knowledge of these topics can be seen in the fact that in each of his poems he devotes more or less space to music, sculpture and painting. In his work, a special attitude to music and painting has been emphasized by many researchers, and various studies have been conducted on the subject.
According to Nizami, art has a unifying energy. Even an episodic image or event in his works reveals the poet's concept of art. In this sense, ideas related to fine arts and music can enter the core of a work and create an intermedial context. Intermediality is worth talking about only if the symbols can become the main elements of cognitive creativity, have any role in shaping the character and essence of the work. Therefore, the attitude to art in Nizami's work is not spontaneous or accidental.
Specialists consider Nizami's work to be one of the most valuable examples of having an idea about the musical art of the time. Although it is found in other works due to its musical elements, “Khosrov and Shirin” is Nizami's poem that gives the most space to music. Khosrov and Shirin's Barbed and Nikisa conversations over music form several chapters. It is possible to show dozens of examples of musical ekphrasis in Nizami Ganjavi's all work, as well as in the descriptive ekphrasis. As we study his great work in the context of intermediality, as well as in other aspects, it is possible to descend to very deep, philosophical, psychological layers, to get acquainted with the details of his artistic and aesthetic worldview.