BEYOND THE FRAME: MARGINALIA AND PARERGONALITY IN ART AND THE 1001 ARABIAN NIGHTS - using the frame tale of the 1001 nights to generate 1001 artworks

超越框架：艺术中的边缘性和平等性以及一千零一夜——利用一千零一夜的框架故事生成了一千零一件艺术品

• 批准号: 2243182
• 金额: --
• 依托单位: University College London
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2019
• 资助国家: 英国
• 起止时间: 2019 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2243182
• 关键词: BEYOND; FRAME; MARGINALIA; PARERGONALITY; ART

The frame tale and motifs of the 1001 Nights are a starting point to generate 1001 artworks. The 1001 Nights' frame tale includes tales within tales: I will investigate this through interdisciplinary and visual research. 1000 tales weave through the main tale (Shahrazad saves her life, telling King Shahriyar cliffhanger tales). A parergon is an auxiliary work, here as the 1000 tales relating to the main tale. The research is to make 1001 artworks, not illustrations, that will interrogate the 1001 Nights differently.I propose a new, visual reading of the Nights where Shahrazad the storyteller is all-powerful in that she holds the key to the entire 1001 Nights in her head, just as the artist can be all-powerful in the creation of multiple worlds and works. Primary sources of the Nights and the coeval world of Islamic miniature painting abundant in marginalia are a starting point to investigate how marginalia give meaning to the whole. 1001 works allow me to explore various research strategies (eg. painting, weaving, 16mm film).Since the 18th century there has been a great European tradition of illustrating the 1001 Nights; the original C8th Arabic manuscript translations are my source. Scholars have worked on the Nights (Irwin, Ouyang, Warner); European Medieval marginalia (Camille, Grafton); a painting's frames and the parergon (Derrida, Duro). 'The Parergon and the Gutter' show (David Risley Gallery) compared Derrida's parergon to the gaps in comics and Anja Lutz, Babak Golkar and Pierre Alechinsky have used marginalia in artworks. My research uses a unique interdisciplinary approach to the Nights to investigate marginalia. The older traditions match the illustrations faithfully to their stories; I will use the 1001 texts as structural bases to make artworks.My research aims to show why the marginal is as important as the 'centre'. It aims to make important inroads into the unexplored field of Islamic manuscript marginalia and uncover why certain elements exist in the margins and not in the main image. There has been a growing interest in miniatures (eg. Hodgkin, Sikander). The relationship between the main image and marginalia in Islamic miniature painting is a rich, unexplored area in scholarship; my opportunity to make an original contributino to knowledge. By analysing the relationship between the various tales and the frame tale, plus that of the Nights' marginal figures (including slaves, different races and women) and the main figures, I will investigate why one of the world's most famous frame tales was told by a woman. More broadly I aim to contribute to an awareness of how Europe has also been shaped by non-European influences to help change perceptions of non-Western cultures.Making parerga (auxiliary works) illuminates the main works in a new light. My methodology is to use the frame tale and motifs of the Nights as a starting point to generate 1001 artworks. These can be artworks within artworks, like the Nights' tales within tales, and can comprise extensions or margins to a set of artworks, in line with the project aim of recasting the margin to be of equal importance to the main. I will identify narrative motifs in the Nights using literary mapping, examining the function of recurring tropes (eg. female slave rescues master from bankruptcy) which can be explored in the same artwork. I will use Medieval marginalia study techniques to study marginalia in Islamic miniatures, look at historical sources of marginal figures in the Nights adn draw on research into the relation between word and image.As an artist with Oriental roots I will make works based on an Orientalist work with Oriental roots (today's 1001 Nights). I curate and participate in a cycle of annual group exhibitions called 'Carpet Pages' involving international artists which will last 10-12 years. I aim to produce a book of the 1001 works.Supervisors: Prof Sharon Morris (Slade, primary), Dr Sophie Page (UCL History).

1001夜的框架故事和主题是产生1001件艺术品的起点。《一千零一夜》的框架故事包括故事中的故事：我将通过跨学科和视觉研究来调查这一点。1000个故事编织通过主要的故事（Shahrazad救了她的命，告诉国王Shahriyar扣人心弦的故事）。一个parergon是一个辅助工作，在这里作为1000故事有关的主要故事。这项研究是为了制作1001件艺术品，而不是插图，以不同的方式来询问1001个夜晚。我提出了一种新的视觉阅读的夜晚，在那里，讲故事的Shahrazad是全能的，因为她在她的脑海中掌握着整个1001个夜晚的钥匙，就像艺术家可以在创造多个世界和作品中全能一样。《夜》的主要来源和同时代的伊斯兰微型绘画中大量存在旁注，是研究旁注如何赋予整体意义的起点。1001作品让我可以探索各种研究策略（例如。绘画，编织，16毫米电影）。自18世纪以来，欧洲一直有一个伟大的传统，说明1001夜;原来的c8 th阿拉伯手稿翻译是我的来源。学者们研究了《夜晚》（欧文、欧阳、华纳）;欧洲中世纪的旁注（卡米尔、格拉夫顿）;一幅画的框架和平行画（德里达、杜洛）。“Parergon and the Gutter”展览（大卫·里斯利画廊）将德里达的Parergon比作漫画中的空白，安雅·卢茨、巴巴克·戈尔卡和皮埃尔·阿列钦斯基在艺术品中使用了旁注。我的研究采用了独特的跨学科的方法，夜调查边缘。古老的传统将插图忠实地与他们的故事相匹配;我将使用1001个文本作为结构基础来制作艺术品。我的研究旨在说明为什么边缘与“中心”一样重要。它旨在对伊斯兰手稿边缘的未开发领域进行重要的探索，并揭示为什么某些元素存在于边缘而不是主要图像中。人们对微缩模型的兴趣越来越大（例如。Hodgkin，Sikander）.伊斯兰微型绘画中的主要图像和边缘之间的关系是一个丰富的，未探索的学术领域;我有机会对知识做出原创性贡献。通过分析各种故事与框架故事之间的关系，以及夜的边缘人物（包括奴隶，不同种族和妇女）和主要人物之间的关系，我将研究为什么世界上最著名的框架故事之一是由一个女人讲述的。更广泛地说，我的目标是帮助人们意识到欧洲是如何被非欧洲的影响所塑造的，以帮助改变对非西方文化的看法。制作parerga（辅助作品）以新的视角照亮了主要作品。我的方法是使用框架故事和主题的夜晚作为起点，产生1001艺术品。这些可以是艺术作品中的艺术作品，就像故事中的夜故事，可以包括一组艺术作品的扩展或边缘，符合重铸边缘与主体同等重要的项目目标。我将确定叙事主题的夜晚使用文学映射，检查功能的重复比喻（如。女奴救主人于破产），这可以在同一件艺术品中探索。我将使用中世纪的旁注研究技术来研究伊斯兰微型画中的旁注，研究《夜》中旁注人物的历史来源，并借鉴对文字和图像之间关系的研究。作为一个有东方根源的艺术家，我将根据一件有东方根源的东方主义作品（今天的《一千零一夜》）创作作品。我策划并参与了一个名为“地毯页”的年度团体展览，涉及国际艺术家，将持续10-12年。导师：Sharon Morris教授（Slade，小学），Sophie Page博士（UCL历史）。