جستجوی مقالات مرتبط با کلیدواژه "خوشنویسی" در نشریات گروه "تاریخ"

Art as a social phenomenon is formed under the influence of political, religious, economic, and cultural contexts existing in every society. This fact exists in the Timurid era (807-913 AH), which is considered one of the brilliant periods in the history of Iranian-Islamic art, and art was not a separate category from politics and religion; As during the time of Shahrukh Timuri, in the one hand, art was intertwined with politics and religion, and on the other hand, it was influenced by the multi-religious situation of the society of that day. Therefore, to understand the state of the art in this period and to examine the factors of its progress and stagnation, we must analyze its political and religious roots in the society of that time. The current research, with descriptive and analytical methods, while explaining the political and religious contexts governing the period of Shahrukh Timuri, aims to show the impact of his policies on the growth and stagnation of all kinds of art in that period. The findings of this research show that as a result of Shahrukh's support policies for architecture and calligraphy, based on the number of works produced and innovation in the styles used in each of them, it has progressed in terms of quantity and quality, and against poetry despite Quantitative growth turned into qualitative decline, and music and painting did not rise as they should have. This finding was obtained with a comparative approach between the common arts of this period.

One of the Qur’ans preserved in the library of Astan Quds Razavi is a Qur’an transcribed in Eastern Kufic script, which was restored and bound in the 9th century AH in the art scriptorium of Timurid Ibrahim Sultan in Shiraz, and its handwriting is attributed to Imam Jaf‘ar Ṣādiq (A.S.). This copy was donated to the Holy Shrine of Imam Reza (A.S.) in the Safavid era and is now kept in Astan Quds Razavi Qur'an Museum. Examining the artistic features and the manuscript characteristics of this Qur’an is the main objective of this research, which is conducted in light of the following questions:What information does the general features and the information stored in the endowment deed, notes, and registrations provide about the history of this Qur’an?
What points do the codicological features, including the script, gilding, and the binding contain in order to identify the place of production of this Qur'an?

Research Method/Approach: 

This research is descriptive-case study.

The findings show that given the characteristics of the script, this manuscript belongs to a center that produced important manuscripts such as the Qur'an of ‘Alī Ibn Shādhān al-Rāzī (Chester Beatty Library), and the Qur'an no. 2224 (Astan Quds Razavi Library). However, the exact place of its production is not precisely guessable, and one can only guess the extent of the prevalence of that style in Rayy and Khurasan. Also, the simple form of its illumination, especially in the marginal marks, shows the approximate time of its production in the early 6th century AH. The oldest registration note recorded on the manuscript shows the year 1266 AH, whereas this Qur'an has been kept in the Holy Shrine of Imam Reza (A.S.) since 1008 AH, which shows that the Qur'ans attributed to Imams were not counted as among the conventional list of library Qur'ans until the middle of the 13th century and probably had a different control and counting system.

Scribe women in the Abbasid era were active in various political, social, and cultural fields. Analyzing Iraq scribe women, specifically Baghdad, in the fourth era of the Abbasid caliphate (448-656 AH), the present study seeks to answer the question of what was their roles in cultural changes and the development of Islamic sciences and culture. This study has used a historical research method based on the descriptive-analytical method. Findings indicate that scribe and calligrapher women had a special position in this period. They played a greater role in the development of Islamic sciences and culture, especially religious and narrative science such as ḥadīth, preaching, sermon, and jurisprudence (Fiqh) and many scholars and celebrities attended their classes. Scribe women let students narrate ḥadīth so that some of them became part of the Baghdad military instructors later. Some women were experts in calligraphy and trained famous students in this field. Because of their beautiful handwriting, they wrote Amali of various scholars for others and earned a living in this way. Also, scribe and calligrapher women influenced the court of the Abbasid Caliphate and wrote letters and Tawqi‘ of them. They taught calligraphy to the courts. Some of the scribe women wrote Diwan of great poets or wrote poetry themselves and in this way helped the development of Arabic poetry and literature. The importance and sanctity of the Holy Qur'an encouraged scribe women to transcribe, illuminate and interpret the Qur'an on a large scale. Some Shīʿa scribe women also played an effective role in the publication and promotion of Shiite sciences during this period.

Religion in the Safavid period has influenced various cultural and civilizational aspects so religion was an important factor in the rise and fall of various arts in society and its registration in the historiography of this era has played a great role. In this study, the position of religion and its impact on art in five categories of historical sources including political historiography, art historiography, art treatises, travelogues and memoirs have been studied. The research method in this article is the historical and library method and with a descriptive-analytical approach seeks to answer the main question that what effect religious beliefs have on the art of the Safavid era based on the historiography of this period? The research findings indicate that the view of each of these historiographies on the issue of art is different according to the religious perspective of the society. The order of importance of arts in Safavid historiography based on religious importance is first devoted to calligraphy and in the next step and with special consideration to painting and music.

In the tradition of calligraphy education, which is still alive, the students learn the twelve theoretical components as a basis for the practice. These components are sometimes considered wrongly as principles. A survey on historical sources about caligraphy shows that the concept of the principles in the sense of "twelve components" is recent: the interpretation of the principles has been altered over the course of history. The concept of principles had a general sense and a specific sense, by the way even its components were variant. From the 10 century AD onwards, the general sense of principles got fixed as  Ibn Muqla's geometric principles; and after the middle of the 14 century AD, the specific sense, i.e. the comprehensive set of other components of calligraphy, emerged. During this century, ʿAbdallāh Ṣayrafī presented its eight calligraphy components, but in Tuḥfat al-moḥibbīn, the other treatise on the subject, the components were six. Finally, in the 16th century AD, the twelve components were introduced in the Adab al-mashq by Bābāshāh Isfahānī.

With the establishment of the Abbasid caliphate and their political stability, the Abbasid caliphs made a great effort for encouraging the artists and the spreading of art in various fields. The Abbasid ministers, who were skilled calligraphers, paved the way for the organization of administrative writing lines in the Dar al-Khalafah, and in the shadow of their attention and the reduction of the economic concerns of the artists, prominent calligraphers emerged in this era. This study aims to investigate the influence of the ministers of the Abbasid court in the development of calligraphy from the rise of the Safachr('39')ah caliphate to the end of Al-Radhi caliphate (1329-329 AH) by reviewing the historical texts. The obtained results indicated that the ministers of this era were often appointed from among the court scribes and by having political power and economic support for calligraphers and their training, they provided the grounds for the creation of delicate and original lines in the third and fourth centuries AH. The research method is a descriptive-analytic study organized based on historical texts.

At the beginning of the Abbasid state) of 132-656. AH) flourished Calligraphy market. and for fancy and beauty, was found several ways in writing. The types of Kufic writing was more than fifty different .And the first Nask writing found a large variety because of the font size and writing formation that wasn’t to recognize and read and write all of them easy task.At this time appeared fonts or methods brighter and better. That the writing are known six pens.Abu Ali mohammad ibn Ali ibn e Hussein Abdullah Baydawi Shirazi (272- Shawwal 328 AH / March 886 AD -940, wellknown as Ibn Moghleh, scholar, calligrapher and Abbasid minister and the inventor of the six different pens .in fact, Ibn Moghleh distincted this writing between the different writings and made them regularly.He created first interlaced Kufic script and first Nask writing and the new initiative, creations six pens. First, he created simple linear and legible and it called (mohaqaq) and it was made regularly .. Then,he succesd In shaping and creating the Nask writing.and after them ,he invented to shape the Ragha and Toghih writtings. Most of scholars,regarded Ibn Moghleh whom the first initiator and originator of Islamic calligraphy as an art that After him , his students learned his way and in particular,they brought the Sols writing to perfection . 

For the art of painting,it must be said that although it was not forbiddento represent human beings in Islam,it was at odds with Islam. Of course,itcan be claimed that sanctions,abusiveness of paintings in Iran did notemerge as it was emerged in other Islamic countries,in other words,itseffect was less. In the third,fourth AH centuries,with the adventof the Safari,Dylamites dynasties,some had changes happened to theview of people towards the subtleties industry in Iran,paying muchattention to painting had resulted to its promotion.The Iranians were veryinterested in decorating the enamel ware,the fabrics,books,wallsof their buildings,castles,and they created their works under theinfluence of Sassanid art. About calligraphy,it must be said that Arabicletters can be written freely,in various forms. This feature has helpedcalligraphers in creating different lines,evolving lines from simpleKofis to modern Persian lines. In the Safavid era literature had witnessedchanges that were not fundamental changes comparing to the past,butit had led to the prevalence of a kind of literature that was more popularto the people than to the kings. For this reason,it had gone far awayfrom its delicate,luxurious treasure. This popularism of the Safavidliterature was remarkable,had resulted in the promotion of poemsand thoughts that had links with the level of consciousness of the people.

Iran, in the early tenth century, has undergone political, social, economic changes. These transformations, which pioneered the Safavids into the modern era, gradually surfaced when Safavid dynasty rose to power with King Esmaeil I in 907 Hejri. Researching the Safavid era requires that cultural and artistic issues of the period be paid ample attention. That is because the royalty of this dynasty has held the art and artists significant and most kings and princesses of the period are considered either artists or patrons of the art. The courts in Harat, Mashad, Shiraz, Ghazvin, Tabriz and Isfahan were the active artistic circles and each core political conditions heralded the artistic production of precious value in various fields. The court and the royal library in the significant town of Mashad was ruled by an artistic princess, Abolfath Soltan Ibrahim Mirza, who succeeded to make the town a well-known artistic center for about two decades. A science-loving, artistic patron and himself an artist, he encouraged and patronized artists in various fields such as calligraphy, painting, illumination and music during his reign in Mashad. Through his measures, he transformed Mashad Royal workshop into a significant artistic center in Safavid era.

The link of the Calligraphy and Tashayyo, Timurids are Turkish – Mongolian dynasty that ruled on Iran and maoraalnehr generally in 771- 913 years. The migrating and settling life at the same time in Joghatay Alus and central Asia led to brief familiarizing of Timur and his substitutes with Islam and Iranian culture.
Therefor, the factors of Iranian Identity including Iranian art and shia religion found more time for growthing and unifying. Torelarant policy of timurids governors, the link of Sufism with the shia, individual or poral Shiites trying made the context for developing shia in the social dimension particulariy. On the other hand, Iranian art and its numerous branches, particulariy calligraphy in this time are like context that the other components of Iranian identity for example shia are its texts. The calligraphy as sacerd and Islamic art, had close contact to the shia in the timurid era.
Spiritual inspiration and modeled the character of Imam Ali and application of Shiite culture in the system of the master – apprenticeship are the theoretical dimension and writing manuscripts, poems and inscriptions are placed in a practical dimension of shia. The present research aimed at defining the role of the calligraphy in the publication and display of religious belief in the Timurid community and how to communicate this with shia at this time. On the other hand, are looking to investigate the causes of this communication. The method of this article is descriptive – analytic and is based on historical and artistic documents or resources.

Writing and painting memories are among important phenomena in the history of human culture; Such activities go back to the beginning of human life. Although the desire for immortality and survival is the primary factor causing these phenomena، soon، with the construction of religious sites and kings` majestic monuments، written memorials in these buildings which were supposed to be more durable and immortal than common structures become more popular. The issue was taken seriously، especially in religious places، holding sacred and respecting spiritual memories of tomb owners. Such writings، despite being concise and summarized، are pithy. Besides، they reflect the psychology of different historic periods. Furthermore، regarding the ruling ideology and religion in a specific period، they are very precious، but there are not a lot of information and sources available about them. In addition to the previously mentioned cases، artistic values and visual attractions of Pirbakran mausoleum associated with verses and phrases in writing memorials could be tempting to anybody. Pirbakran mausoleum is among the most important structures in the Ilkhanid period. Its special situation considering its location on the way of the local communication paths، and beyond that public belief in the religious status of this place has always welcomed believers and pilgrims. The connection between written memorials of this historic mausoleum and sacred concepts and religious rituals and also attention to historical psychology of the people who straightforwardly talked about their times and lives in the past are defined as the characteristics of these writings. Actually، the present article is an entrance to written memorials in mausoleums of Isfahan and intends to analyze and assess the ignored values of such writings، taking advantage of field studies.

Beginning of the SafavidEmpire, ie, the reign of Ismail and Tahmasp was the era of prosperity and development of calligraphy in Iran. This era can be divided into three periods of approximately equal length. The first was a period of transition from Timurid Herat to Safavid Tabriz. The second period, which coincided with the first years of the reign of Tahmasp and his interest in art of the book, was the period of rgularization of some scripts, specially nasta’liq and its use for a copy of Quran for the first time. In the third period, which coincided with the Tahmasp repentance and his withdrawal from painting, calligraphy continued its artistic life. Calligraphy in this era had two specific functions. First was artistic function and second was an administrative use. The aim of this essay is the survey of evolutions of calligraphy, various kinds of scripts used by safavid calligraphers, the role of patrons, eminent nasta’liq calligraphers and their social status in the early safavid period.

Various aspects of art such as painting, architecture, illumination, bookbinding, woodcarving, mosaic (Moarraq) and book decoration had such a splendid development during Timurid Period (771-912 AH/1370-1506 AD) which it has been known as the age of art prosperity. The aim of this article is to study the artistic genre of calligraphy according to documents and sources based on descriptive-analytical approach. Patronage and interests of Timurid princes, nobility investments, enjoyment from experiences of artistic and scientific centers of Ilkhanid era, and the importance of learning this genre of art, along with political, cultural and social function of calligraphers and various usage of calligraphy paved the way for its evolution in Timurid period.Yet the important accomplishment of calligraphy in 9th century was its relation with Iranian identity and its characteristics. The extent of Persian literature (verse and prose works) during 7th and 9th century is one of the reason that made Iranian feel the necessity of having special handwriting on their own and independent of Arabic handwriting. Innovation and evolution of Taliq, Shekasteh Taliq and specially Nastaliq during 8th and 9th century and its relation with Iranian and Islamic cultural characteristics such as Persian poem, language and literature, Shiite faith made calligraphy one of the main characteristics of Iranian identity.

During the history of Iran after Islam, the 9th /13th century, coinciding with the Timurids reign in this land, can be considered as the thriving age of various branches of art such as painting, architecture, illumination, book ornament, and music. Similarly, the prevalence and development of scripts such as nasta‘līq and ta‘līq in calligraphy, besides flourishing this art, caused it to establish an enduring homogeneity with the Iranian culture.Various useful functions of calligraphers and their respectful status in society during Timurid era drove the lower class strata towards learning this art within the institutions engaged in teaching calligraphy. Writing fatḥnāmas (dispatches announcing victory) and manāshīr-i shāhāna (Royal mandates) and the impact of their art on the Timurids’ international relations can be pointed out as among the political functions of these strata, who rendered such services as secretaries and notaries. Teaching calligraphy, technical and ethical training of novices, promotion of art-loving culture, production of cultural products, and inculcation of religious values, particularly in the context of Shi’ism are among their cultural functions. Furthermore, calligraphers as members of a social guild within art workshops fulfilled people’s orders including writing epitaphs, contracts, sijillāt (registers, official records), and composing letters. This art used to be taught in such institutions as libraries, schools, art schools, high schools, chanceries (dār al-inshās), and writing schools (maktabs). The present research tries to explicate the functions and status of calligraphy and calligraphers, as well as the important institutions and centers for this art such as Tabriz, Shiraz, and Heart, using the descriptive and analytical methods and relying on manuscript documents and library sources.

The land of Andelus, i.e., The remotest western zone of the Islamic Empire, has had many ups and downs, but due to its long distance, it has attracted the least attention of people, The Muslims in Andelus, whether in architecture or in fine arts such as ceramic or tile making, in textile weaving, carpet weaving, ivory work, metal work, calligraphy, and the like, have undergone a lot of difficulties. It is noteworthy that the Muslim commanders-in-chief have had a great contribution to this matter, for they were the real supporters of these artistic affairs. Nowadays, many samples of these artistic works can be found in many museums and in other public places in Spain.A number of ceramic works such as plates, bowls, long-necked pots and pottery painted with the pictures of birds, plants, and calligraphic work in Iranian style, and silk embroidery cloths with golden threads, and marginal-sewn with gems in Maryeh, Qartabeh, and Maleqeh in Isbilieh of Qarnateh and at Mercieyyeh, have been discovered.In addition, Andelus rugs with the pictures of birds, animals, and natural human beings were woven over there. The same decorative paintings were also engraved into ivory gifts.In general, at the end of the seventh and eighth centuries A.H., the artists in Andelus ornamented metalic and decorative things with calligraphic and plant decorations. Calligraphers coined another calligraphy called Maqribi, instead of Kufi writing, which was well-known all over the world of Islam.