Analysis of the Ironic Implications of the Visual Elements of Color in Hafez’s Poems

Document Type : Research Paper

Author

Ph. D student, Islamic Arts, Tabriz Islamic Art University, Tabriz, Iran.

Abstract

Although colors in their physical form are only a reflection of a certain wavelength, they have become a means of expressing emotions, descriptions, imaginations, codes, and symbols in human culture. In the western and eastern perspectives, many sources have been written to study the semantic meanings of color, but unfortunately, in the Iranian-Islamic civilization, despite a large number of mystical and literary texts, not much attention has been paid to this issue. Colors have been used in Persian literature, both in poetry and prose, with various forms and concepts. Which do not conform to the principles of Johannes Itten or Kandinsky et al. From this perspective, Hafez’s poetry is a remarkable example due to its literary and spiritual richness. The question is, what functions of color does Hafez’s poetry have, considering its unique characteristics in the field of form and meaning? What is the semantic range of the ironic functions of color in his poems? this research, with a descriptive-analytical method that has been done through the collection and classification of colors in Hafez’s poems, concluded that the colors in Hafez’s poetry, either ironically or non-figuratively Ironically, they are present. Hafez has also created ironic meanings with a special irony style, combining colors with other words, such as “black slogan”, “black eye”, “black dot”. Hafez’s most use of colors is as an allusion to an adjective. The main and important finding of this research is that Hafez has used the visual element of color in its inherent meaning and not in combination with other words metaphorically. In the expressions “black combs”, “crooked black”, “after black should not be colored”, “white face”, respectively, black allusion to “violet” (irony of the name), “hair style” (irony) He used “noun”, “the essence of everything” (irony of relation) and “divine names and attributes” (irony of adjective), which confirms Hafiz’s visual knowledge in the field of color principles.

Keywords

References

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Journal of Art and Civilization of the Orient
Volume 9, Issue 31
April 2021
Pages 31-40

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