فهرست مطالب hamidreza rohani ravari

The history of Kerman pottery is as old and ancient as the history of this land; The productions of Kerman's pottery workshops have played a revitalizing and continuing role in Iran's cultural and artistic life, especially at a time when Iran is embroiled in political and historical damage. However, the brightest pottery season in Kerman is in the Safavid era; At this time, many species, especially blue and white pottery, have been produced on a large scale in the workshops of this city and the surrounding areas. One of the reasons why Kerman has been considered as a pottery center during the Safavid period is the geographical location of this city and its proximity to Bandar Abbas for the export of these works between china and the Europe. From within the blue and white species, new and creative varieties emerged in terms of decorations which are called Kerman polychrome ceramics. However, the exact location of its production is not definite in the vast Kerman province. Indeed, the multi-colored pottery of Kerman is a significant part of the history of Safavid painting. Kerman polychrome ware is often made with the underglaze painted technique in the frit body. Our goals in this study are Introducing Kerman's polychrome ceramics as well as the discovery of the distinctive and recognizable features of these paintings. To do this, we have collected many examples from the most popular museums in the world; And by the study and interpretation of forms and symbols and adapting it to the previous researches, we presented a new classification of this paintings. Methods of gathering data for this research is a combination of historical documents and some field evidence (library and field). We respond to a main question: What are the specific formal features in Kerman polychrome ceramics?  In these paintings, a range of floral, animal, human, written and geometric motifs and literary narratives have been combined with elements of Chinese paintings of the Ming and Yuan dynasties. The motifs of Dianthus flowers and ivy-like leaves are the hallmarks of Kerman's under-glazed paintings. The results of the research indicate that the Kerman's polychrome ceramics has evolved from the blue and white species with an innovative step-by-step approach. step one: Application of black color and its expand to the motifs and borders of the image; It should be noted that the use of black was due to the dominance of the azure color. Step 2: Painting with limited colors on monochrome and celadon bodies; In some cases, the motifs have been scratched. Step 3: Application of green, red and black colors in combination with blue and white. The design and brushstrokes of these works are different. In some works, Chinese and Iranian motifs are combined; two styles of drawing are so obvious that it was probably produced by two separate people. In other works, the painting is completely filled with Iranian motifs; These works, in addition to showing the background of ancient Iranian motifs, in some cases have focused on aspects of objectivity and natural landscapes of Kerman.

In Persian literature and Persian painting, versifying and illustrating Khamsa were common for centuries. After ferdowsi's “Shahname”, khamsa of Nizami is known to be the most popular poetry book in Persian literature. The Khamsa (Quintet) is a collection of five narrative poems called:“Makhzan Al-Asrar”, “khusraw and shirin”, “layla and Majnun”, “Haft peykar” and “Iskandar nama” composed by Nizami Ganjavi in 6th century.Khamsa Nizami dated 904 A.H. Accession No. 2012.25.5 keeps in “Islamic Art Museum of Kuala Lumpur, Malaysia”. This manuscript has sixty eight miniatures and five further double-page miniatures at the start of each book, followed by an illuminated heading with title in white tawqi' script in a gold-ground cartouche, binding with punched and gilt-stamped decoration consisting of chinoiserie cloud bands and interlacing vegetation, with doublures of cut-leather filigreework on blue and gold ground cartouches and cornerpieces,The text is written in a small and neat nastaliq hand within four columns,typical of the period, whilst the doublures also display an intricate interlace of cut-leather filigree.And headings in gold tawqi. There is no evidence about the calligrapher, painter(s) and patron. One of the seals on the opening leaf is that of “Abd al-Rashid Daylami” (1670),the nasta’liq calligrapher who was lived about a hundred years after manuscript had made, so he could sealed the book as the owner or as the Royal Librarian manager in Mughal court of Shah Jahan.The place of origin is not noted too, but most probably it must be done in Shiraz. This manuscript has been illustrated in Turkman style, which was common in second half of ninth and beginning of tenth century in east, middle and south of Iran. Turkman painting came to fruition under the Qara - Qoyunlu and Aq - Qoyunlu rulers.There are some common features in Turkman school which are presented in Khamsa Nizami 904 A.H. too: Figures are of medium-large size, and mostly their limbs well coordinated; they are squat and sturdy with rather large heads and full round faces.The depictions of architecture are rather simple with little indication of depth. There are two method of rendering the ground (i) in a pale color with simple rocky horizon and stylized grass and plants, and (ii) in green, covered with large bushy masses of vegetation often picked out with yellow or a lighter green, and with no rocky horizon. expanse of lush, floriferous greenery or green on green.Dynamic compositions combined with vibrate colours. Except from some cases there is not much significant differences in manuscripts quality.Bulky bodies and stylizism are significant characteristics of this manuscript.This study attempted to provide a better understanding of Persian Painting in Turkmanan dynasty through studying Khamsa 904 A .H. and introducing this book as a document in Turkman style.The research method is descriptive-explanatory and in data collecting beside, the library method and online data bases, corpus study have been also used. Based on achieved results from the reaserch, Khamsa 904 A .H. probably is a royal manuscript.