dr. alireza khaje ahmad atari

Illumination is one of the most important Islamic arts and Qur'an decoration, which displays a wide range of talents of Muslim artists. From the early days of Islam, Muslim illuminators have always used talent, creativity, and innovation to form various styles of illumination. Among the important book designing centers in the Islamic lands, Shiraz is always known as one of the most important schools of book designing in which various styles of Illumination, Ta'shir and Calligraphy have been created over the course of the years. Among the important styles of book designing of Shiraz school, there are decorated Qur'ans of eight to thirteen centuries (AH) which have formed three important styles of Qur'an decoration of Shiraz School. Recognition and study of stylistics based on form components and achievement of the main features of the important Qur'an decoration of Shiraz School are the main aims of this study. Therefore, in order to achieve this aim, among the Qur'ans of these three eras, a Qur'an of from the Ilkhanate era, a Qur'an from the Teimuri era and two Qur'ans from the Qajar era have been selected purposively. The present study is descriptive-analytical with formalistic stylistics approach. One of the most important results of this study is the introduction of the form structure and stylistic features of these three eras. The eras can be named as Yeganeh, Pardis and Farshineh on the basis of the form structures. The reason for naming these three eras is characteristics of the significant forms used in these three eras or styles.

Among the traditional designs used in various arts, sometimes there are motifs that have not been seen, but they have their own particular value. One of these motifs is the Abry-mary (Cloud-snake) arabesque that is of great visual values. Studies show that these motifs came to be used in abundance on the Safavid era book covers, so that they became one of the commonest motifs of this period. However, few studies have been dedicated to introduction of its types, variety of forms and its compositions with other motifs. The authors have attempted to pursue composition and geometrical structure of the motifs in the context of decorations of the Safavid period book covers. Accordingly, the research questions have been as follows: 1- Where did the Abry-Mary arabesque motifs stand with regard to the composition in decoration of the Safavid period book covers? 2- How was the structural diversity of these motifs? The research method has been descriptive-analytical based on library sources and qualitative analysis.
The results show that these motifs followed two symmetrical and asymmetrical systems in form, and were used to decorate the covers depending on pattern’s location, and to fill the space in the composition. At the same time due to their free and wavelike movements rendered the monotonous and closed compositions of the traditional motifs, more active and dynamic. Abry-Mary motifs were most commonly used as symmetrical structures in repetitive designs on the margins or in the form of or on the center of the book cover. Motifs with asymmetrical structure were used more freely among other elements of design and in composition. They were also used for filling the empty spaces which attests to the more complexity in the relationships of motifs in the Safavid period.