Akademik Veri Yönetim Sistemi
Theoretical Principles of Visual Arts, cilt.7, sa.2, ss.54-70, 2023 (Hakemli Dergi)
The works of Mohammad Siyah Qalam have a special place in the history of painting due to their visual and expressive differences. It seems that some of the pictorial elements used in these works have special meanings in terms of expression and in terms of artistic and cultural relations, they represent special intercultural exchanges. The cane is one of the visual el - ements that is the focus of this study. The thought and thinking about the images of the works of this Muslim painter is subject to the situation and conditions of his time. According to some accounts, he may have traveled to China with a delegation, and works attributed to him have been created along the way. In addition to the figures that make up the majority of the paintings; the entry of various visual elements can be seen in these images. Thus, the purpose of this article is to study the iconography of the cane, how it is represented in the works introduced by the artist and to search for the possible function of the cane in the works. The form, expression and meaning in these works are examined. What is the iconic relationship between the image of the cane in the Siyah Qalam works with the ritual cane of the Lohans in China and Central Asia? It is a question that research seeks to answer. In this regard, the present article intends to study the image of the cane in the works of the Siyah Qalam using descriptive-analytical method and matching the samples. The data of the article have been collected by library method and the iconological approach has been used to analyze thedata.Considering that the painter may havetraveled to Central Asia and China; or have heard or seen descriptions of that area; studying the works requires referring to the visual documents in Chinese art and the painting oftheLohans.Basedonthefindingsofthearticle,itwasfoundthatinboth Shamanism and Buddhism, the cane has a communicative function, and fromaniconologicalpointofview,thecaneisthemanifestationofthetran - scendent form of a sacred thing. In terms of content, the cane in the works of the Siyah Qalam, in spite of signs, expresses an intangible thing and re - flectstheconnectionwithadivineworld.Intheworksintroducedfromthe Siyah Qalam, we somehow see metaphysics. An extraordinary thing per -formed by shamans during their ceremonies and repeated over and over again. During this repetition circuit, actions, movements, and objects such as a cane playing a pivotal role. Examination of the symptomatic factor of the cane in the pictures will reveal its true nature.