Portraying Strange Creatures in Animation Based on Qazvini鈥檚 Book (678 A.H.) and Sinbad Animation (1975 A.D.)

<!DOCTYPE html> <html lang="en"> <head> <meta charset="utf-8" /> <title>Portraying Strange Creatures in Animation Based on Qazvini鈥檚 Book (678 A.H.) and Sinbad Animation (1975 A.D.)</title>  <link rel="shortcut icon" type="image/ico" href="./data/ira/coversheet/favicon.ico" />  <meta name="viewport" content="width=device-width, maximum-scale=1, initial-scale=1, user-scalable=0" />   <meta name="keywords" content="Strange Creatures,Giant,Demon,Sinbad" /> <meta name="description" content="Abstract: The role of strange creatures in global popular culture has been significant for a long time. They are particularly prominent in ancient Iran due to the original and folk culture, with many manuscript findings left behind. These manuscripts contain strange legends and stories depicted with humans, animals, and strange images. This research examines the similarities and differences between Mohammad-ibn Zakaria Qazvini鈥檚 book "Ajayeb al-Makhluqat va Qarayeb al-Mojudat" (678 A.H.) and the animated series "Arabian Nights: The Adventures of Sinbad" directed by Fumio Kurokawa (1975 A.D.), both of which contain numerous fantastic images and stories. The book "One Thousand and One Nights" is one of the common points between these two works, which includes various stories and anecdotes about the presence of demons and giants. This book, which has a long history, has played an important role in showing the wonders of creatures in the book of Qazvini and in the animation of Sinbad. The purpose of this article is to study the re-creation of the appearances of strange creatures taken from the book mentioned in this animation to show the capabilities of this book in creating animated works and using folk literature and ancient Iranian legends. This research is descriptive and analytical. During the visual comparison of both works, it was found that Qazvini's book and Kurokawa's animation both depict strange creatures despite being set several centuries apart. The creatures have retained their inherent identities and have not changed in form, nature, behavior, and personality characteristics. The works display a creative approach and utilize different performance techniques to tell the story.Background: Strange creatures have been mentioned in many books, Especially in Qazvini's book "Ajayeb al-Makhluqat va Qarayeb al-Mojudat" which deals in detail with celestial, terrestrial, plant, and sea creatures in four sections. This issue has been analyzed and reviewed in books. For example, Parviz Tanavoli has pointed out the importance of magical objects and the use of images of strange creatures in changing people's attitudes in the book "Talisman: Traditional Iranian Graphics."聽Introduction: Imagery dates back to the Neolithic, when early humans in Lascaux Cave used images to express emotions and tell stories. These efforts, along with the development of different beliefs and religions, led to the creation of oral literature and folk tales. The rise of Islam strengthened this trend, and several books were written on the subject of clairvoyance, including " Ajayeb al-Makhluqat va Qarayeb al-Mojudat " by Qazvini which deals with strange creatures. The human soul is fascinated by strange things (Ibn Khaldoun, 1996, 17). These are the classic texts of the life experiences of our fathers that have been handed down to us (Barati, 2019, 66).Wonders in the New Age: Observing and examining the ancient books and artworks sparks inquiries about their origins and the intentions behind these representations. What is the description of the illustrations drawn in the wonder books? Where did the strange creatures come from and based on what thinking? McHale believes that in a parallel world, supernatural beings and phenomena exist, and many ancient philosophers and artists attributed these inspirations to gods and myths. Some books not only reference these creatures in the past but also predict their presence in the future (Kingsley, 2015, 128). Today, there is fierce competition in the film industry to create unique creatures, which have evolved into modern video characters. In 1896, Georges M茅li猫s created the first spark in the horror genre of cinema with the film "House of the Devil," which featured supernatural elements such as demons and witches (Barnes, 1998, 144-154).The Wonders of the Creatures in Sinbad Animation: In the course of this study, an analysis was conducted to compare the visual and thematic elements present in the illustrations featured in Qazvini's work, "Ajayeb al-Makhluqat va Qarayeb al-Mojudat," with the animated representation of "The Arabian Nights: The Adventures of Sinbad." Specifically, the examination focused on entities such as a large whale, a colossal bird, a Dualpa demon, a jinn and a giant, a dragon, and a massive serpent. Qazvini's use of subdued color palettes and curved lines in the illustrations contrasted with Sinbad's two-dimensional approach, vibrant colors, and simplified lines in the animation. Both depictions capture a shared subject matter, exhibiting distinct artistic paradigms and intentions across disparate temporal contexts.Conclusion: Miracles and strange creatures have been created by the human mind and are passed down through history, rewritten from hand to hand through manuscripts and different copies. These wonders have existed among people for thousands of years. They are recognized in the modern era, and cinema has transformed imagination into a precious industry. Iran possesses numerous literary and cultural resources full of ancient ideas. Cinematographers are expected to produce valuable works based on ancient folk literature that can showcase authentic Iranian culture. A comparison of the image and content between the book "Ajayeb al-Makhluqat va Qarayeb al-Mojudat" and the Sinbad animation revealed that although both works deal with relatively similar topics, the performance technique has evolved according to the audience's taste and the needs of the time. This evolution has helped maintain the value of these stories throughout history, preserving their beauty and influence while passing them down from one generation to another." /> <meta name="title" content="Portraying Strange Creatures in Animation Based on Qazvini鈥檚 Book (678 A.H.) and Sinbad Animation (1975 A.D.)" /> <meta name="googlebot" content="NOODP" /> <meta name="citation_title" content="Portraying Strange Creatures in Animation Based on Qazvini鈥檚 Book (678 A.H.) and Sinbad Animation (1975 A.D.)" /> <meta name="citation_author" content="ZarinGhalam, Mohammad" /> <meta name="citation_author_institution" content="M.A in illustration, Faculty of Art, Islamic Azad University, South Tehran Branch, Tehran, Iran" /> <meta name="citation_author" content="Emami, Mona" /> <meta name="citation_author_institution" content="Ph.D. in Art Research, Faculty of Theoretical Sciences and Advanced Art Studies, Iran University of Art, Tehran, Iran" /> <meta name="citation_abstract" content="Abstract: The role of strange creatures in global popular culture has been significant for a long time. They are particularly prominent in ancient Iran due to the original and folk culture, with many manuscript findings left behind. These manuscripts contain strange legends and stories depicted with humans, animals, and strange images. This research examines the similarities and differences between Mohammad-ibn Zakaria Qazvini鈥檚 book "Ajayeb al-Makhluqat va Qarayeb al-Mojudat" (678 A.H.) and the animated series "Arabian Nights: The Adventures of Sinbad" directed by Fumio Kurokawa (1975 A.D.), both of which contain numerous fantastic images and stories. The book "One Thousand and One Nights" is one of the common points between these two works, which includes various stories and anecdotes about the presence of demons and giants. This book, which has a long history, has played an important role in showing the wonders of creatures in the book of Qazvini and in the animation of Sinbad. The purpose of this article is to study the re-creation of the appearances of strange creatures taken from the book mentioned in this animation to show the capabilities of this book in creating animated works and using folk literature and ancient Iranian legends. This research is descriptive and analytical. During the visual comparison of both works, it was found that Qazvini's book and Kurokawa's animation both depict strange creatures despite being set several centuries apart. The creatures have retained their inherent identities and have not changed in form, nature, behavior, and personality characteristics. The works display a creative approach and utilize different performance techniques to tell the story.Background: Strange creatures have been mentioned in many books, Especially in Qazvini's book "Ajayeb al-Makhluqat va Qarayeb al-Mojudat" which deals in detail with celestial, terrestrial, plant, and sea creatures in four sections. This issue has been analyzed and reviewed in books. For example, Parviz Tanavoli has pointed out the importance of magical objects and the use of images of strange creatures in changing people's attitudes in the book "Talisman: Traditional Iranian Graphics."聽Introduction: Imagery dates back to the Neolithic, when early humans in Lascaux Cave used images to express emotions and tell stories. These efforts, along with the development of different beliefs and religions, led to the creation of oral literature and folk tales. The rise of Islam strengthened this trend, and several books were written on the subject of clairvoyance, including " Ajayeb al-Makhluqat va Qarayeb al-Mojudat " by Qazvini which deals with strange creatures. The human soul is fascinated by strange things (Ibn Khaldoun, 1996, 17). These are the classic texts of the life experiences of our fathers that have been handed down to us (Barati, 2019, 66).Wonders in the New Age: Observing and examining the ancient books and artworks sparks inquiries about their origins and the intentions behind these representations. What is the description of the illustrations drawn in the wonder books? Where did the strange creatures come from and based on what thinking? McHale believes that in a parallel world, supernatural beings and phenomena exist, and many ancient philosophers and artists attributed these inspirations to gods and myths. Some books not only reference these creatures in the past but also predict their presence in the future (Kingsley, 2015, 128). Today, there is fierce competition in the film industry to create unique creatures, which have evolved into modern video characters. In 1896, Georges M茅li猫s created the first spark in the horror genre of cinema with the film "House of the Devil," which featured supernatural elements such as demons and witches (Barnes, 1998, 144-154).The Wonders of the Creatures in Sinbad Animation: In the course of this study, an analysis was conducted to compare the visual and thematic elements present in the illustrations featured in Qazvini's work, "Ajayeb al-Makhluqat va Qarayeb al-Mojudat," with the animated representation of "The Arabian Nights: The Adventures of Sinbad." Specifically, the examination focused on entities such as a large whale, a colossal bird, a Dualpa demon, a jinn and a giant, a dragon, and a massive serpent. Qazvini's use of subdued color palettes and curved lines in the illustrations contrasted with Sinbad's two-dimensional approach, vibrant colors, and simplified lines in the animation. Both depictions capture a shared subject matter, exhibiting distinct artistic paradigms and intentions across disparate temporal contexts.Conclusion: Miracles and strange creatures have been created by the human mind and are passed down through history, rewritten from hand to hand through manuscripts and different copies. These wonders have existed among people for thousands of years. They are recognized in the modern era, and cinema has transformed imagination into a precious industry. Iran possesses numerous literary and cultural resources full of ancient ideas. Cinematographers are expected to produce valuable works based on ancient folk literature that can showcase authentic Iranian culture. A comparison of the image and content between the book "Ajayeb al-Makhluqat va Qarayeb al-Mojudat" and the Sinbad animation revealed that although both works deal with relatively similar topics, the performance technique has evolved according to the audience's taste and the needs of the time. This evolution has helped maintain the value of these stories throughout history, preserving their beauty and influence while passing them down from one generation to another." /> <meta name="citation_id" content="7938" /> <meta name="citation_publication_date" content="2024/08/15" /> <meta name="citation_date" content="2024-08-15" /> <meta name="citation_journal_title" content="Interdisciplinary Researches of Art" /> <meta name="citation_issn" content="3060-7043" /> <meta name="citation_volume" content="2" /> <meta name="citation_issue" content="1" /> <meta name="citation_firstpage" content="139" /> <meta name="citation_lastpage" content="158" /> <meta name="citation_publisher" content="University of Guilan" /> <meta name="citation_doi" content="10.22124/ira.2024.28078.1026" /> <meta name="DC.Identifier" content="10.22124/ira.2024.28078.1026" /> <meta name="citation_abstract_html_url" content="https://ira.guilan.ac.ir/article_7938_en.html" /> <meta name="citation_pdf_url" content="https://ira.guilan.ac.ir/article_7938_602b180f341b74c38edf9d7de7e87cf2.pdf" /> <meta name="DC.Title" content="Portraying Strange Creatures in Animation Based on Qazvini鈥檚 Book (678 A.H.) and Sinbad Animation (1975 A.D.)" /> <meta name="DC.Source" content="Interdisciplinary Researches of Art" /> <meta name="DC.Date" content="15/08/2024" /> <meta name="DC.Date.issued" content="2024-08-15" /> <meta name="DC.Format" content="application/pdf" /> <meta name="DC.Contributor" content="ZarinGhalam, Mohammad" /> <meta name="DC.Contributor" content="Emami, Mona" /> <meta name="og:title" content="Portraying Strange Creatures in Animation Based on Qazvini鈥檚 Book (678 A.H.) and Sinbad Animation (1975 A.D.)" /> <meta name="og:description" content="Abstract: The role of strange creatures in global popular culture has been significant for a long time. They are particularly prominent in ancient Iran due to the original and folk culture, with many manuscript findings left behind. These manuscripts contain strange legends and stories depicted with humans, animals, and strange images. This research examines the similarities and differences between Mohammad-ibn Zakaria Qazvini鈥檚 book "Ajayeb al-Makhluqat va Qarayeb al-Mojudat" (678 A.H.) and the animated series "Arabian Nights: The Adventures of Sinbad" directed by Fumio Kurokawa (1975 A.D.), both of which contain numerous fantastic images and stories. The book "One Thousand and One Nights" is one of the common points between these two works, which includes various stories and anecdotes about the presence of demons and giants. This book, which has a long history, has played an important role in showing the wonders of creatures in the book of Qazvini and in the animation of Sinbad. The purpose of this article is to study the re-creation of the appearances of strange creatures taken from the book mentioned in this animation to show the capabilities of this book in creating animated works and using folk literature and ancient Iranian legends. This research is descriptive and analytical. During the visual comparison of both works, it was found that Qazvini's book and Kurokawa's animation both depict strange creatures despite being set several centuries apart. The creatures have retained their inherent identities and have not changed in form, nature, behavior, and personality characteristics. The works display a creative approach and utilize different performance techniques to tell the story.Background: Strange creatures have been mentioned in many books, Especially in Qazvini's book "Ajayeb al-Makhluqat va Qarayeb al-Mojudat" which deals in detail with celestial, terrestrial, plant, and sea creatures in four sections. This issue has been analyzed and reviewed in books. For example, Parviz Tanavoli has pointed out the importance of magical objects and the use of images of strange creatures in changing people's attitudes in the book "Talisman: Traditional Iranian Graphics."聽Introduction: Imagery dates back to the Neolithic, when early humans in Lascaux Cave used images to express emotions and tell stories. These efforts, along with the development of different beliefs and religions, led to the creation of oral literature and folk tales. The rise of Islam strengthened this trend, and several books were written on the subject of clairvoyance, including " Ajayeb al-Makhluqat va Qarayeb al-Mojudat " by Qazvini which deals with strange creatures. The human soul is fascinated by strange things (Ibn Khaldoun, 1996, 17). These are the classic texts of the life experiences of our fathers that have been handed down to us (Barati, 2019, 66).Wonders in the New Age: Observing and examining the ancient books and artworks sparks inquiries about their origins and the intentions behind these representations. What is the description of the illustrations drawn in the wonder books? Where did the strange creatures come from and based on what thinking? McHale believes that in a parallel world, supernatural beings and phenomena exist, and many ancient philosophers and artists attributed these inspirations to gods and myths. Some books not only reference these creatures in the past but also predict their presence in the future (Kingsley, 2015, 128). Today, there is fierce competition in the film industry to create unique creatures, which have evolved into modern video characters. In 1896, Georges M茅li猫s created the first spark in the horror genre of cinema with the film "House of the Devil," which featured supernatural elements such as demons and witches (Barnes, 1998, 144-154).The Wonders of the Creatures in Sinbad Animation: In the course of this study, an analysis was conducted to compare the visual and thematic elements present in the illustrations featured in Qazvini's work, "Ajayeb al-Makhluqat va Qarayeb al-Mojudat," with the animated representation of "The Arabian Nights: The Adventures of Sinbad." Specifically, the examination focused on entities such as a large whale, a colossal bird, a Dualpa demon, a jinn and a giant, a dragon, and a massive serpent. Qazvini's use of subdued color palettes and curved lines in the illustrations contrasted with Sinbad's two-dimensional approach, vibrant colors, and simplified lines in the animation. Both depictions capture a shared subject matter, exhibiting distinct artistic paradigms and intentions across disparate temporal contexts.Conclusion: Miracles and strange creatures have been created by the human mind and are passed down through history, rewritten from hand to hand through manuscripts and different copies. These wonders have existed among people for thousands of years. They are recognized in the modern era, and cinema has transformed imagination into a precious industry. Iran possesses numerous literary and cultural resources full of ancient ideas. Cinematographers are expected to produce valuable works based on ancient folk literature that can showcase authentic Iranian culture. A comparison of the image and content between the book "Ajayeb al-Makhluqat va Qarayeb al-Mojudat" and the Sinbad animation revealed that although both works deal with relatively similar topics, the performance technique has evolved according to the audience's taste and the needs of the time. 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href="./article_7938_602b180f341b74c38edf9d7de7e87cf2.pdf?lang=en" target="_blank">Portraying Strange Creatures in Animation Based on Qazvini鈥檚 Book (678 A.H.) and Sinbad Animation (1975 A.D.)</a></span></h1> <div> <div class="margin-bottom-3"> </div> <p class="margin-bottom-3">Document Type : Original Article</p> <p class="padding-0" style="margin:12px -2px 0 -2px"><strong>Authors</strong></p> <ul class="list-inline list-inline-seprator margin-bottom-6 ltr"> <li class="padding-3"> <a href="./?_action=article&au=69303&_au=Mohammad++ZarinGhalam&lang=en">Mohammad ZarinGhalam</a> <sup><a href="mailto:m.zarrinqalam61@gmail.com" data-toggle="tooltip" data-placement="bottom" title="Email to Corresponding Author"><i class="fa fa-envelope-o" ></i></a></sup> <sup class="ltr"><a class=" text-green" href="https://www.orcid.org/0009-0005-4596-8167" data-toggle="tooltip" data-placement="bottom" data-html="true" title="ORCID: 0009-0005-4596-8167" target="_blank"><i class="ai ai-orcid size-13" ></i></a></sup> <sup><a href="#aff1" >1</a></sup> </li> <li class="padding-3"> <a href="./?_action=article&au=69304&_au=Mona++Emami&lang=en">Mona Emami</a> <sup class="ltr"><a class=" text-green" href="https://www.orcid.org/0009-0000-1334-5380" data-toggle="tooltip" data-placement="bottom" data-html="true" title="ORCID: 0009-0000-1334-5380" target="_blank"><i class="ai ai-orcid size-13" ></i></a></sup> <sup><a href="#aff2" >2</a></sup> </li> </ul> <p class="margin-bottom-3 ltr" id="aff1"> <sup>1</sup> M.A in illustration, Faculty of Art, Islamic Azad University, South Tehran Branch, Tehran, Iran </p> <p class="margin-bottom-3 ltr" id="aff2"> <sup>2</sup> Ph.D. in Art Research, Faculty of Theoretical Sciences and Advanced Art Studies, Iran University of Art, Tehran, Iran </p> <div class="margin-bottom-3 ltr" id="ar_doi" title="DOI"><i class="ai ai-doi size-25 text-orange"></i> <span dir="ltr">10.22124/ira.2024.28078.1026</span></div> <p style="margin:12px -2px 0 -2px"><strong>Abstract</strong></p> <div class="padding_abstract justify ltr"><strong>Abstract:</strong> The role of strange creatures in global popular culture has been significant for a long time. They are particularly prominent in ancient Iran due to the original and folk culture, with many manuscript findings left behind. These manuscripts contain strange legends and stories depicted with humans, animals, and strange images. This research examines the similarities and differences between Mohammad-ibn Zakaria Qazvini’s book "Ajayeb al-Makhluqat va Qarayeb al-Mojudat" (678 A.H.) and the animated series "Arabian Nights: The Adventures of Sinbad" directed by Fumio Kurokawa (1975 A.D.), both of which contain numerous fantastic images and stories. The book "One Thousand and One Nights" is one of the common points between these two works, which includes various stories and anecdotes about the presence of demons and giants. This book, which has a long history, has played an important role in showing the wonders of creatures in the book of Qazvini and in the animation of Sinbad. The purpose of this article is to study the re-creation of the appearances of strange creatures taken from the book mentioned in this animation to show the capabilities of this book in creating animated works and using folk literature and ancient Iranian legends. This research is descriptive and analytical. During the visual comparison of both works, it was found that Qazvini's book and Kurokawa's animation both depict strange creatures despite being set several centuries apart. The creatures have retained their inherent identities and have not changed in form, nature, behavior, and personality characteristics. The works display a creative approach and utilize different performance techniques to tell the story.<br /><strong>Background: </strong>Strange creatures have been mentioned in many books, Especially in Qazvini's book "Ajayeb al-Makhluqat va Qarayeb al-Mojudat" which deals in detail with celestial, terrestrial, plant, and sea creatures in four sections. This issue has been analyzed and reviewed in books. For example, Parviz Tanavoli has pointed out the importance of magical objects and the use of images of strange creatures in changing people's attitudes in the book "Talisman: Traditional Iranian Graphics." <br /><strong>Introduction:</strong> Imagery dates back to the Neolithic, when early humans in Lascaux Cave used images to express emotions and tell stories. These efforts, along with the development of different beliefs and religions, led to the creation of oral literature and folk tales. The rise of Islam strengthened this trend, and several books were written on the subject of clairvoyance, including " Ajayeb al-Makhluqat va Qarayeb al-Mojudat " by Qazvini which deals with strange creatures. The human soul is fascinated by strange things (Ibn Khaldoun, 1996, 17). These are the classic texts of the life experiences of our fathers that have been handed down to us (Barati, 2019, 66).<br /><strong>Wonders in the New Age: </strong>Observing and examining the ancient books and artworks sparks inquiries about their origins and the intentions behind these representations. What is the description of the illustrations drawn in the wonder books? Where did the strange creatures come from and based on what thinking? McHale believes that in a parallel world, supernatural beings and phenomena exist, and many ancient philosophers and artists attributed these inspirations to gods and myths. Some books not only reference these creatures in the past but also predict their presence in the future (Kingsley, 2015, 128). Today, there is fierce competition in the film industry to create unique creatures, which have evolved into modern video characters. In 1896, Georges Méliès created the first spark in the horror genre of cinema with the film "House of the Devil," which featured supernatural elements such as demons and witches (Barnes, 1998, 144-154).<br /><strong>The Wonders of the Creatures in Sinbad Animation: </strong>In the course of this study, an analysis was conducted to compare the visual and thematic elements present in the illustrations featured in Qazvini's work, "Ajayeb al-Makhluqat va Qarayeb al-Mojudat," with the animated representation of "The Arabian Nights: The Adventures of Sinbad." Specifically, the examination focused on entities such as a large whale, a colossal bird, a Dualpa demon, a jinn and a giant, a dragon, and a massive serpent. Qazvini's use of subdued color palettes and curved lines in the illustrations contrasted with Sinbad's two-dimensional approach, vibrant colors, and simplified lines in the animation. Both depictions capture a shared subject matter, exhibiting distinct artistic paradigms and intentions across disparate temporal contexts.<br /><strong>Conclusion: </strong>Miracles and strange creatures have been created by the human mind and are passed down through history, rewritten from hand to hand through manuscripts and different copies. These wonders have existed among people for thousands of years. They are recognized in the modern era, and cinema has transformed imagination into a precious industry. Iran possesses numerous literary and cultural resources full of ancient ideas. Cinematographers are expected to produce valuable works based on ancient folk literature that can showcase authentic Iranian culture. A comparison of the image and content between the book "Ajayeb al-Makhluqat va Qarayeb al-Mojudat" and the Sinbad animation revealed that although both works deal with relatively similar topics, the performance technique has evolved according to the audience's taste and the needs of the time. This evolution has helped maintain the value of these stories throughout history, preserving their beauty and influence while passing them down from one generation to another.</div> <p class="padding-0" style="margin:12px -2px 0 -2px"><strong>Keywords</strong></p> <ul class="block list-inline list-inline-seprator margin-bottom-6 ltr"> <li class="padding-3"> <a class="tag_a" href="./?_action=article&kw=34952&_kw=Strange+Creatures&lang=en" >Strange Creatures</a> </li> <li class="padding-3"> <a class="tag_a" href="./?_action=article&kw=34953&_kw=Giant&lang=en" >Giant</a> </li> <li class="padding-3"> <a class="tag_a" href="./?_action=article&kw=34954&_kw=Demon&lang=en" >Demon</a> </li> <li class="padding-3"> <a class="tag_a" href="./?_action=article&kw=34955&_kw=Sinbad&lang=en" >Sinbad</a> </li> </ul> <p class="padding-0" style="margin:12px -2px 0 -2px"><strong>Main Subjects</strong></p> <ul class="block list-inline list-inline-seprator margin-bottom-6"> <li class="padding-3"> <a href="./?_action=article&sb=102&_sb=Mythology+and+art&lang=en" >Mythology and art</a> </li> </ul> </div> <hr> <div class="page_break"></div> <div class="panel"> <div class="panel-heading card-header"> <h4 class="panel-title "> <a data-toggle="collapse" data-parent="#accordions" href="#collapsesRef"><i class="fa fa-plus"></i> References</a> </h4> </div> <div id="collapsesRef" class="panel-collapse collapse"> <div class="panel-body justify"> <div class="padding-3 margin-top-3 ltr justify">Holy Quran. </div> <div class="padding-3 margin-top-3 ltr justify">Barati, P. (2009). Iranian Wonders: Narrative, Form and Fantasy Structure of Wonders along with the text of Seventh Century Wonders, Tehran: Afkar. (In Persian) </div> <div class="padding-3 margin-top-3 ltr justify">Barati, P. (2019). Divnameh: Imagination in Iranian texts and the aesthetics of the face of the devil, fairy and dragon.Tehran: Cheshmeh. (In Persian) </div> <div class="padding-3 margin-top-3 ltr justify">Barnes, J. (1998). The Beginnings of the Cinema in England 1894-1901. University of Exeter Press. </div> <div class="padding-3 margin-top-3 ltr justify">Bayernas, J. (1991). Comprehensive History of Religions. Tehran: Elmi farhangi. (In Persian) </div> <div class="padding-3 margin-top-3 ltr justify">Caiozzo, A. & Demartini, A. E.(2008). Monstre et imaginaire social, Creaphis. </div> <div class="padding-3 margin-top-3 ltr justify">Ibn Khaldoun, A. (1996). Introduction Ibn Khaldoun, (M. Parveen Gonabadi, Trans.). Volume 1, Tehran: Elmi farhangi. (In Persian) </div> <div class="padding-3 margin-top-3 ltr justify">Kingsley, P.(2006). Dark Corners of Wisdom, Hero of Delara,(M. Sharare, Trans.). Tehran, Sokhan. (In Persian) </div> <div class="padding-3 margin-top-3 ltr justify">Penglase, Ch. (1994). Greek Myths and Mesopotamia: Parallels and Influence in the Homeric Hymns and Hesiod. New York: Routledge. </div> <div class="padding-3 margin-top-3 ltr justify">Qazvini, M. (1279). Ajaib<em> al-</em>Makhluqat<em> and </em>Gharaib<em> Al-</em>Mawatyat. (In Persian) </div> <div class="padding-3 margin-top-3 ltr justify">Tanavoli, P. (2007). Traditional Graphic Talisman of Iran. Tehran: Bengah. (In Persian) </div> <div class="padding-3 margin-top-3 ltr justify">Zanganeh, N. (2016). Dictionary of Mythical Creatures of Nations. Tehran: Pandar Qalam. (In Persian) </div> <div class="padding-3 margin-top-3 ltr justify">Zulfiqari, H. (2015). Folk Beliefs of Iranian People. Tehran: Cheshmeh. (In Persian)</div> </div> </div> </div> </div> </div>   <div class="col-lg-3 col-md-3 col-sm-4"> <div class="panel panel-default my_panel-default margin-bottom-10"> <div class="panel-body ar_info_pnl" id="ar_info_pnl_cover"> <div id="pnl_cover"> <div class="row" > <div class="col-xs-6 col-md-6 nomargin-bottom"> <a href="javascript:loadModal('Interdisciplinary Researches of Art', './data/ira/coversheet/871728727898.png')"> <img src="data/ira/coversheet/871728727898.png" alt="Interdisciplinary Researches of Art" style="width: 100%;"> </a> </div> <div class="col-xs-6 col-md-6 nomargin-bottom"> <h6><a href="./issue_1081_1082.html?lang=en">Volume 2, Issue 1 - Serial Number 2</a><br/>July 2024<div id="sp_ar_pages">Pages <span dir="ltr">139-158</span></div></h6> </div> </div> </div> </div> </div>  <div class="panel panel-default my_panel-default margin-bottom-10 panel-lists"> <div class="panel-heading"> <h3 class="panel-title"><a data-toggle="collapse" data-parent="#accordion" 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(2024). Portraying Strange Creatures in Animation Based on Qazvini鈥檚 Book (678 A.H.) and Sinbad Animation (1975 A.D.). <em>Interdisciplinary Researches of Art</em>, <em>2</em>(1), 139-158. doi: 10.22124/ira.2024.28078.1026</p> </div> </div> </div> </div> <div id="cite-mla" class="modal fade" tabindex="-1" role="dialog" aria-labelledby="myModalLabel" aria-hidden="true"> <div class="modal-dialog"> <div class="modal-content">  <div class="modal-header"> <button type="button" class="close" data-dismiss="modal" aria-label="Close"><span aria-hidden="true">×</span></button> <h4 class="modal-title" id="myModalLabel">MLA</h4> </div>  <div class="modal-body"> <p>Mohammad ZarinGhalam; Mona Emami. "Portraying Strange Creatures in Animation Based on Qazvini鈥檚 Book (678 A.H.) and Sinbad Animation (1975 A.D.)". <em>Interdisciplinary Researches of Art</em>, 2, 1, 2024, 139-158. doi: 10.22124/ira.2024.28078.1026</p> </div> </div> </div> </div> <div id="cite-harvard" class="modal fade" tabindex="-1" role="dialog" aria-labelledby="myModalLabel" aria-hidden="true"> <div class="modal-dialog"> <div class="modal-content">  <div class="modal-header"> <button type="button" class="close" data-dismiss="modal" aria-label="Close"><span aria-hidden="true">×</span></button> <h4 class="modal-title" id="myModalLabel">HARVARD</h4> </div>  <div class="modal-body"> <p>ZarinGhalam, M., Emami, M. (2024). 'Portraying Strange Creatures in Animation Based on Qazvini鈥檚 Book (678 A.H.) and Sinbad Animation (1975 A.D.)', <em>Interdisciplinary Researches of Art</em>, 2(1), pp. 139-158. doi: 10.22124/ira.2024.28078.1026</p> </div> </div> </div> </div> <div id="cite-vancouver" class="modal fade" tabindex="-1" role="dialog" aria-labelledby="myModalLabel" aria-hidden="true"> <div class="modal-dialog"> <div class="modal-content">  <div class="modal-header"> <button type="button" class="close" data-dismiss="modal" aria-label="Close"><span aria-hidden="true">×</span></button> <h4 class="modal-title" id="myModalLabel">VANCOUVER</h4> </div>  <div class="modal-body"> <p>ZarinGhalam, M., Emami, M. Portraying Strange Creatures in Animation Based on Qazvini鈥檚 Book (678 A.H.) and Sinbad Animation (1975 A.D.). <em>Interdisciplinary Researches of Art</em>, 2024; 2(1): 139-158. doi: 10.22124/ira.2024.28078.1026</p> </div> </div> </div> </div> </div> </div>   <section class="alternate padding-xxs"> </section>   <div class="container"> <footer id="footer"> <div class="scrollup" id="scroll" href="#"><span></span></div> <div class="row"> <div class="col-md-2">  <h4 class="">Explore Journal</h4> <ul class="footer-links list-unstyled"> <li id="fli_home"><a href="./?lang=en">Home</a></li> <li id="fli_about"><a href="./journal/about?lang=en">About Journal</a></li> <li id="fli_Edb"><a href="./journal/editorial.board?lang=en">Editorial Board</a></li> <li id="fli_submit"><a href="./author?lang=en">Submit Manuscript</a></li> <li id="fli_contactus"><a href="./journal/contact.us?lang=en">Contact Us</a></li> <li id="fli_glossary"><a href="./journal/glossary?lang=en">Glossary</a></li> <li id="fli_sitemap"><a href="./sitemap.xml?usr&lang=en">Sitemap</a></li> </ul>  </div> <div class="col-md-3">  <h4 class="">Latest News</h4> <ul class="footer-posts list-unstyled"> </ul>  </div> <div class="col-md-3">  <div></div>  </div> <div class="col-md-4">  <h4 class="">Newsletter Subscription</h4> <p>Subscribe to the journal newsletter and receive the latest news and updates</p> <form class="validate" action="" method="post" data-success="Subscription saved successfully." data-toastr-position="bottom-right"><input type="hidden" name="lang" value="en" /> <input type="hidden" name="_token" value="c3e2ab7f5549ac0fe8ac22500710ea829ba9649c5a915432"/> <div class="input-group"> <span class="input-group-addon"><i class="fa fa-envelope"></i></span> <input type="email" id="email" name="email" required="required" class="form-control required sbs_email" placeholder="Enter your Email" oninvalid="this.setCustomValidity('Enter a valid email address.')" oninput="this.setCustomValidity('')"> <span class="input-group-btn"> <button class="btn btn-primary mybtn" type="submit">Subscribe</button> </span> </div> </form>   <div class="margin-top-20"> <a class="noborder" href="https://www.linkedin.com/in/journalofira/" target="_blank" class="social-icon social-icon-border social-facebook pull-left block" data-toggle="tooltip" data-placement="top" title="Linkedin"> <i class="fa fa-linkedin-square" aria-hidden="true"></i> </a> <a class="noborder" href="https://guilan.academia.edu/ira" target="_blank" class="social-icon social-icon-border social-facebook pull-left block" data-toggle="tooltip" data-placement="top" title="Academia"> <i class="ai ai-academia"></i> </a> <a class="noborder" href="./ju.rss?lang=en" class="social-icon social-icon-border social-rss pull-left block" data-toggle="tooltip" data-placement="top" title="Rss"><i class="fa fa-rss-square" aria-hidden="true"></i></a> </div> </div> </div> <div class="copyright" style="position: relative"> <ul class="nomargin list-inline mobile-block"> <li>© Journal Management System. <span id='sp_crt'>Powered by <a target='_blank' href='https://www.sinaweb.net/'>Sinaweb</a></span></li> </ul> </div> </footer> </div>  </div>   <a href="#" id="toTop_old"></a>  <div id="preloader"> <div class="inner"> <span class="loader"></span> </div> </div>  <script type="text/javascript">var plugin_path = './themes/base/front/assets/plugins/';</script> <script type="text/javascript" src="./themes/base/front/assets/js/scripts.js?v=0.08"></script>   <script type="text/javascript"> $('ul.nav li.dropdown').hover(function() { if (window.matchMedia('(max-width: 767px)').matches) return; $(this).find('.dropdown-menu').stop(true, true).delay(200).fadeIn(500); }, function() { if (window.matchMedia('(max-width: 767px)').matches) return; $(this).find('.dropdown-menu').stop(true, true).delay(200).fadeOut(500); }); var btn = $('#toTop_old'); $(window).scroll(function() { if ($(window).scrollTop() > 300) { btn.addClass('show'); } else { btn.removeClass('show'); } }); btn.on('click', function(e) { e.preventDefault(); $('html, body').animate({scrollTop:0}, '300'); }); window.cookieconsent.initialise({ "palette": { "popup": { "background": "#222" }, "button": { "background": "#f1d600" } }, "content": { "message": "This website uses cookies to ensure you get the best experience on our website.", "dismiss": "Got it!", "link": "" } }); </script> </body> </html><div id="actn_modal" class="modal fade" tabindex="-1"> <div id="" class="modal-dialog modal-dialog madal-aw"> <div class="modal-content"> <div class="modal-header"> <button type="button" class="close pull-right" data-dismiss="modal" aria-hidden="true" href="#lost">×</button> <h5 class="modal-title"></h5> </div> <div class="modal-body"></div> <div class="modal-footer"></div> </div> </div> </div>

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Portraying Strange Creatures in Animation Based on Qazvini鈥檚 Book (678 A.H.) and Sinbad Animation (1975 A.D.)