An Intertextual Reading on Relations of Pilgrimage Photography in Holy Mashhad with Ghahve-Khaneh Painting

This research tries to show Congruences and links between Pilgrimage photography with Ghahve-Khaneh painting through an intertextual approach. Its main reason, on the one hand, is Pilgrimage photography’s popularity and its deep, unbreakable bond with everyday life, Formed on the basis of religious traditions, on the other hand, people’s tendency to make record of spiritual events by means of these photos, as this type of photography especially in the holy city of Mashhad as the capital of pilgrimage photography in the Muslim world, has continued to be popular up to now. In addition, Ghahve-khaneh painting- Iranian Folklore painting- that peaked at the end of Qajar and early Pahlavi simultaneously with the Iranian Constitutional Revolution, has a great importance to the art of Iran for its highly valued and narrative features, and non-school painters like Hossein Qollar Aqasi, the founder of Ghahve-khaneh painting, have drawn the shrine paintings for pilgrimage photographers. For this reason, the authors have used Ghahve-khaneh painting as a source for the implications of pilgrimage photography, with using intertextual reading which creates a conversation and interrelationship between texts as the meaning of texts gain through their referencing of other texts and generates related understanding in separate works. Therefore, the paper aims at explaining intertextual relations of Pilgrimage photography with Ghahve-Khaneh painting, so this way, cen be obtained a more different and deeper understanding of the semantic and functional layers of Pilgrimage photography. For this purpose, the following question is what similarities and relations can be found between Pilgrimage photography with Ghahve-Khaneh? This research done on the basis of descriptive-comparative method with an intertextual approach; the descriptive method is for a separate study of pilgrimage photography and Ghahve-khaneh painting and the comparative method is also intended to explain the relations between the two arts through the interdisciplinary reading . Intertextual readings are also based on Roland Barthes’s theory, a French literary theorist, about the importance of the role of the audience in interpreting and denying the myth of the Genealogy in the text. The data were collected through library research by referring to visual and verbal documents. The most important findings of this study indicate 2 apparent and interior relations; Apparent relations which explain the exterior and explicit connotation of these two arts in the initial encounter, can be noted in sharing in popular (folklore) culture, national and religious roots, Nabis artists (who didn’t go to school), Attention to the audience's demands, covering the boundary between reality and imagination, which reflects similar roots of their formation. In interior relations, the narrative factor plays an important role in identification, rebuilding of experiences and common perceptions, In which, by activating the role of the audience against the passivation of the painter and the photographer in the creation of the next meaning of the work, leads to the death of the author in the theory of Bart's reception. Thus, the same structure can be distinguished in the intertextual reading of these two arts Which have achieved the similar expression through semantic substitutions and the exchange of signs.