Introduction: When there is no possibility of combining and juxtaposing incompatible elements in a world, the grotesque emerges to draw humans into its own world, and when this becomes possible, both the dark nightmare aspects and the joyful aspects can be given meaning side by side. The grotesque refers to characteristics such as incongruity, inconsistency, exaggeration, and abnormality, and has always been associated with the concept of conflict and duality of fear and laughter. Jeffrey Galt Harpham, in his book "About Grotesque: Strategies of Contradiction in Art and Literature", discusses the thoughts of Kaiser and Bakhtin, as well as the theories of pre-process theorists such as Kant, Hegel, Baudelaire, and Ruskin. His research provides a comprehensive examination of the visual arts. He believes that culture always presents assumptions that determine the specific forms of grotesque, and this is done through creating regular and coherent situations, especially in determining which classifications are incongruous with other groups logically or generally. In fact, when culture changes, elements of the grotesque also change. Among the prominent theories of the grotesque, the Harpham theory deals with both the frightening aspect of the grotesque and the humorous aspect of it. From his perspective, the grotesque creates a dual space, and the only way to confront this duality is to create a structure in which the existing dualities in expressing a single meaning are considered normal. Since its appearance in Western culture, the grotesque represents a different place to be and live; a culture mixed with myths that has disappeared. This is an important link in Harpham's theory because he wants to continue working with this basic premise, based on which the grotesque includes the visual or direct presence of mythological and ancient elements in a modern or non-mythical concept. In his theory, Harpham presents a fundamental distinction that was not formed based on other theories of the 20th century. Rather, there is a genuine connection between the grotesque of ancient works of art and the grotto or prehistoric cave paintings. In political, cultural, and psychological dimensions, people create a system of norms and customs to protect them from inferior and marginal threats and to keep them in their central position, and in this process, they become vulnerable to evil, unknown elements, dualities, and ambiguities of life. The famous Falnama in the Dresden edition, which was published as Shah Tahmasbi's Falnama, is "a collection of drawings made during several decades (947-997 AH/ 1540-1588 AD). Based on the function of Falnamas, the illustrated pictures are a collection of good and evil, which mostly have religious themes. The image of Judgment Day is one of the 51 images of this Falnama. The image of Judgment Day depicted in the Dresden Falnama manuscript in the Safavid period is a combination of the juxtaposition of dual contradictory elements of good and evil that appear contradictory in a coherent structure in terms of form and content.
Purposes & Questions: This research aims to analyze the dual world in the image of Judgment Day based on Harpham’s theory of the grotesque. The research questions are as follows: how has the grotesque manifested in the image of Judgment Day? And second, how is the dual world depicted in this image adaptable to Harpham’s theory of the grotesque?
Methods: This research was conducted by collecting information from library sources related to Harpham’s theory of the grotesque and by analyzing its manifestation in the “Day of Judgment” image through a descriptive-analytical approach. So, the method of data analysis is qualitative.
Findings & Results: The findings show that according to Harpham's theory, elements of the grotesque are portrayed in the three distinct realms within the painting: Hell, Purgatory, and Paradise. In Hell, grotesque elements such as death are symbolized through imagery like coffins and shrouded figures, representing the concept of the afterlife and resurrection day. The fiery depiction of Hell, with burning sinners, dragons, venomous animals, and guardians armed with fiery weapons, not only embodies the essence of the grotesque but also signifies his concept of rift or hiatus. Purgatory, situated in the middle of the painting, serves as a transitional space between death and the paradisiacal realm above and the inferno below. Grotesque elements in Purgatory include distorted sinners and naked humans, along with those recognized by their unique combination of wings and human features, embodying the essence of the grotesque according to Harpham’s theory. The amalgamation of grotesque elements creates a contrasting structure among Paradise, Hell, and Purgatory, forming a dualistic world within the painting. The juxtaposition of life in Paradise against the portrayal of death in Hell and Purgatory, the conflict between sinners and the forgiven who have received divine mercy, and the juxtaposition of demonic guardians of Hell with angelic beings, as well as the presence of water in Paradise and fire in Hell, all contribute to a harmonious yet contradictory composition that evokes a unified concept. This duality not only enhances the understanding of the painting but also elicits both fear and humor simultaneously.