مطالعه تطبیقی نگاره سد اسکندر در مقابل یاجوج و ماجوج در نسخه خطی دقایق الحقایق نصیر الدین محمد هیکلی (671ه. /1272م.) و نقشه کاتالان (776ه./1375م.)

This study conducts a comparative analysis of the depiction of Alexander’s Wall against Gog and Magog in two significant medieval works: Daqāʼiq al-Ḥaqāʼiq, a 13th-century Islamic manuscript by Nasir al-Din Muhammad Haikali (d. 671/1272), and the Catalan Atlas (d. 776/1375). These works, originating from distinct cultural and artistic traditions, offer unique interpretations of a shared narrative. The study explores how these depictions reflect the priorities of their creators, as well as the broader intercultural exchanges they signify. By examining these two works, the research sheds light on the ways shared stories transcend cultural boundaries while adapting to distinct ideological contexts.
The narrative of Alexander’s Wall against Gog and Magog occupies a central place in both Islamic and Christian traditions. In Islamic texts, Alexander is often identified as Dhul-Qarnayn, a Quranic figure endowed with divine guidance and moral responsibility. The Daqāʼiq al-Ḥaqāʼiq reflects this perspective, focusing on his completed task and the divine protection offered by the wall. Unlike other versions of the story, the manuscript omits depictions of Alexander, Gog, and Magog, shifting the focus instead to the wall’s defensive features and magical artifacts, such as equestrian figures holding musical instruments atop towers.
In contrast, the Catalan Atlas integrates historical recounting with eschatological prophecy, aligning with the Christian medieval worldview, where history and theology frequently intersect. Alexander is portrayed as a Christian king combating apocalyptic forces, aided by divine powers and magical devices. The depiction includes vivid details of Gog and Magog alongside their apocalyptic connotations, extending the narrative into the eschatological future. The elaborate artistic style of the Catalan Atlas, with its vibrant colors and intricate imagery, underscores its alignment with European cartographic traditions, demonstrating a deliberate intent to merge geography with theology.
The question addressed include: How do these works visually narrate the story of Alexander’s Wall? By investigating this question, the research uncovers the theological, artistic, and historical contexts embedded in these works.
Methodologically, the research adopts a descriptive-analytical and comparative approach, focusing on visual and symbolic analysis of the primary sources. The data collection involves a detailed examination of the illustrations in Daqāʼiq al-Ḥaqāʼiq and the Catalan Atlas. Data analysis involves qualitative content analysis to interpret artistic styles, symbolic elements, and narrative structures, revealing thematic patterns and cross-cultural influences.
The findings highlight both commonalities and divergences in these depictions. Both works emphasize the use of magical artifacts to signify divine protection against Gog and Magog. In Daqāʼiq al-Ḥaqāʼiq, equestrian figures atop towers symbolize vigilance and supernatural intervention, while in the Catalan Atlas, bronze trumpets are depicted emitting fearsome sounds, linking the concept of sound to divine protection. Despite these shared motifs, the works diverge significantly in their theological and narrative focuses. The Islamic manuscript presents Alexander as Dhul-Qarnayn, highlighting his moral leadership and divine guidance. By omitting the dramatic elements of confrontation, the manuscript reflects an introspective and historical tone, emphasizing the power of divine protection through subtle visual cues.
Conversely, the Catalan Atlas integrates apocalyptic prophecy, presenting Alexander as a Christian hero confronting eschatological threats. Gog and Magog are depicted as agents of chaos, confined behind Alexander’s wall but destined to reappear during the end times. This dual perspective combines the historical recounting of Alexander’s achievements with the prophetic anticipation of apocalyptic events, reflecting the Christian medieval worldview where historical and theological narratives intertwine seamlessly. The vivid and detailed representation of the wall and its inhabitants aligns with the European tradition of integrating geographical knowledge with eschatological themes.
This comparative analysis underscores the role of shared narratives as cultural bridges. While Daqāʼiq al-Ḥaqāʼiq offers a retrospective account grounded in historical and theological reflections, the Catalan Atlas combines historical recounting with a forward-looking eschatological vision. These differences highlight the distinct ways Islamic and Christian traditions reinterpreted the same story to address their ideological, theological, and cultural priorities. The analysis further emphasizes the significance of visual storytelling in medieval intercultural exchanges. Both works reflect shared mythologies while showcasing unique adaptations shaped by their respective cultural contexts.
The findings reveal that the integration of sound as a protective mechanism, the portrayal of Alexander’s Wall as a divine safeguard, and the inclusion of apocalyptic motifs demonstrate the fluidity of ideas and symbols across cultural boundaries. This analysis highlights the dynamic interplay between shared narratives and cultural specificity, offering a nuanced understanding of how medieval art and storytelling mediated theological and ideological concerns.
By analyzing the artistic, symbolic, and theological elements of these works, the study contributes to a deeper understanding of medieval intercultural interactions. It reveals how visual representations of Alexander’s Wall against Gog and Magog transcend cultural boundaries, serving as a site for both convergence and divergence.