Mīyān-i Sā'at va Bastar: Chahār Ravāyat az Tārīkh-i Naqāshī-yi Urūpāyī: Persian 1402

Specialists in the analysis and interpretation of images usually have a cold and harsh dissection of images and make the understanding of the images a painful thing. Pain and pleasure are side by side in the interpretation of the images and maybe there is no middle way, also in the analysis of the images and the death of a thousand wounds or the Chinese death penalty where the body parts of the criminal are cut off one by one Order and sequence are important. Between the clock and the bed, I have messed with this order and sequence of art historians and executioners, and sometimes I have not started the description of an image from a usual point. Choosing these images and paying attention to the four categories, the body, the landscape, and the frame, serves a philosophical narrative of the history of European painting. This history deals with the map that images play. In this book, I have not looked at painting only as an object of aesthetic experience, and I have considered painting as a theoretical object.