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

一千零一夜的框架故事和主题是创作一千零一夜作品的起点。《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研究这一点。1000个故事交织在主故事中（沙赫拉扎德救了她的命，告诉沙赫拉亚尔国王扣人心弦的故事）。parergon是一个辅助作品，这里指的是与主故事相关的1000个故事。我们的研究是制作1001件艺术品，而不是插图，以不同的方式审视《一千零一夜》。我建议对《一千零一夜》进行一种新的视觉解读，在这种解读中，讲故事的沙赫拉扎德是无所不能的，因为她在脑海中掌握着整个《一千零一夜》的钥匙，就像艺术家在创造多个世界和作品时无所不能一样。《夜》的原始来源和同时代充斥着大量旁注的伊斯兰微型绘画世界是研究旁注如何赋予整体意义的起点。1001件作品让我可以探索各种研究策略(例如：绘画，编织，16mm胶片)。自18世纪以来，欧洲就有了为《一千零一夜》配插图的伟大传统；原始的C8th阿拉伯语手稿翻译是我的来源。学者们研究过《夜》（欧文、欧阳、华纳）；欧洲中世纪旁注（Camille, Grafton）；一幅画的框架和框架（德里达，杜罗）。“Parergon and The Gutter”展览（David Risley画廊）将德里达的Parergon与漫画中的空白进行了比较，Anja Lutz、Babak Golkar和Pierre Alechinsky在艺术作品中使用了边缘。我的研究使用了一种独特的跨学科方法来研究《夜》的旁注。古老的传统将插图忠实地与故事相匹配；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和“中心”一样重要。它的目的是在伊斯兰手稿边缘未被探索的领域取得重要进展，并揭示为什么某些元素存在于边缘而不是主要图像中。人们对微缩画的兴趣日益浓厚。何杰金氏病,兹亚)。伊斯兰细密画中主象与旁注的关系是学术界一个丰富而未开发的领域；我有机会对知识做出原创性的贡献。通过分析各种故事和框架故事之间的关系，加上《夜》中的边缘人物（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，我的目标是促进人们认识到欧洲如何也受到非欧洲影响的影响，以帮助改变对非西方文化的看法。制作parerga（辅助作品）以一种新的方式照亮了主要作品。我的方法是使用《夜》的框架故事和主题作为起点，生成1001件艺术品。这些可以是艺术品中的艺术品，就像故事中的故事，也可以包括一组艺术品的延伸或边缘，符合项目的目标，即重新塑造边缘，使其与主体同等重要。我将使用文学映射来识别《夜》中的叙事母题，考察反复出现的比喻的功能。女奴隶从破产中拯救主人)，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缩画中的旁注，查看《夜》中旁注人物的历史来源，并对文字和图像之间的关系进行研究。作为一个有东方根源的艺术家，我将以东方根源的东方主义作品（今天的一千零一夜）为基础进行创作。我策划并参与了一个名为“地毯页”的年度群展周期，涉及国际艺术家，将持续10-12年。我的目标是出一本1001部作品的书。导师：Sharon Morris教授（斯莱德，小学），Sophie Page博士（伦敦大学学院历史）。

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).