نوع مقاله : مقاله پژوهشی
نویسندگان
1 نویسنده مسئول: استادیار، گروه پژوهش هنر، دانشکده هنر، دانشگاه سمنان، سمنان، ایران
2 دانشجوی کارشناسی ارشد پژوهش هنر، دانشکده هنر، دانشگاه سمنان، سمنان، ایران.
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسندگان [English]
Beauty is the essence of art, And among different ethnic groups and nations, it appears with characteristics specific to that region In Islamic art beauty is manifested by decoration. Painting has always had a deep connection with literature. the artist creates beautiful and exemplary images according to the text. Poets and painters have always interacted with each other and have reached a single thought and created masterpieces During the Mongols era, Ahmed Musa compiled principles for painting.During the Safavids, it was recorded as seven decorative principles in Persian painting which took an orderly form Especially in Tabriz II and Qazvin schools, it was followed with strict rules and regulations And it appeared in all kinds of arts, including calligraphy, painting, tile working and geometric designs. These seven types of principals are:Islimi, Khataie,Farangi, Fasali and Niloofar, Abr, waq, and the Rumi bande or Greh Chini style . One of the most prominent lyrical poems in Persian literature, written in an allegorical and mystical format, is Khamsa Nizami, which has five narrative poems. Haft-Pikar or Bahramnameh is the fourth poem of this collection. Khamsa has been a popular subject for illustrated manuscripts. The current study focuses on a manuscript preserved at the Met that has 15 illustrations, seven of which belong to Haft-Pikar the illustrations are attributed to Sheikhzadeh and other students of Behzad. This research aimed to study these 7 illustrations a descriptive-analytical way. Information has been collected in a documentary methhod. the seven mentioned principals are used as the guidelines of the thematic analysis. The question is,to what extent are these principles and rules observed and used in the structure of sample paintings?the results of the study show that six decorative principles were observed in the illustrations of the studied manuscript.It was found that they paid a lot of attention to decoration in the painting of the mentioned school. In all the pictures, the utmost precision, elegance and lightness has been used. The frequency of using different types of slime, error, and knotting is significant, and all types of slime,which are categorized according to Table 1, have been used in appropriate places in the illustrations. Clouds are usually used in the day sky and lotus is an integral part of the pictures. The painter has artistically and keenly used the original Farengi in interesting levels,for example in the musicians' harps. The painter's obedience to the poet in the use of color is worthy of consideration.Balance and symmetry can be seen in all the pictures. the color combination in addition to the hue and saturation of the colors have been equated in the literary text and the image,which evokes an exciting feeling along with curiosity in the audience. The place of the inscriptions inside the images not only helps the viewer to understand the subject but also shows how delicately the artist arranges the compositions.Although, waq principal was used in the arts of manuscript design from the 6th century AH, it was not seen in these images
کلیدواژهها [English]
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