جستجوی مقالات مرتبط با کلیدواژه "کتاب آرایی" در نشریات گروه "کتابداری و مدیریت اطلاعات"

The main objective of the research is to study and analyze the function and role of libraries during the Safavid dinasty.

According to the nature of the research, a library method based on books, manuscripts, and first-hand (primary) documents, has been used.

The present study shows that in general, two distinct periods can be considered in the life and function of Safavid libraries. The first period, which is related to the 16th century and the reign of Shah Ismail and part of the time of Shah Tahmasb, is a continuation of the role and function of the 15th century libraries, especially the Timurid libraries in Khurasan, where the main task of libraries is to produce and create exquisite manuscripts using the highest level of book design arts. The second approach was to pay attention to libraries in the position of preserving and maintaining the written works of Shiite scholars and jurists, which is considered a significant change in the role and function of important libraries of this period. In this regard, a fundamental change took place in Shia jurisprudential-theological texts, most of which were written by scholars who had migrated to Iran from the Jabal Amel region of Lebanon. The transfer of the personal libraries of this group of immigrant scholars caused many Arabic works to be transferred to Iran. In addition to this kind of texts, attention to Persian language as the language of writing jurisprudential-religious works and used by the public is one of the other features of this period. In addition to the necessity of the time and the need of the Safavid government to gain legitimacy and explain the jurisprudence principles of the Shia religion by using the books and treatises that appeared, including authoring, translating, summarizing and rewriting, another factor was also raised, which was: the negative view from some jurisprudential thoughts to the category of painting, which specifically caused Shah Tahmasb to close the art workshop of his royal library in Qazvin. The change of the capital from Qazvin to Isfahan was also formed in a context affected by these developments. In Isfahan, Shah Abbas committed himself to the establishment of the royal library, which was located in the building complex known as Dowlatkhaneh. In addition, he and his great contemporary scholar, Sheikh Bahai, by taking advantage of the tradition of endowment, gave increasing prosperity to the libraries of the holy shrines, which in particular should be the important collections dedicated to the mausoleum of Sheikh Safi in Ardabil and the library of Imam Reza Shrine in Mashhad (Astan-e Quds-e Razavi). Despite the variety of works that later influenced the collection of the Astan-e Quds library, most of the works available in that place and in other libraries of the second Safavid period, were dedicated to religious and jurisprudential texts, which are generally found in the libraries of schools, mosques, and holy shrines or personal collections were kept.

The function and position of libraries during Safavid period can be seen in two different ways. In the first, the continuation of the function of the libraries was like the previous period, in which the main task of the libraries was to create exquisite manuscripts by using the well-known painters, calligraphers, and book designers. In the second stage, more attention was paid to libraries as a place to preserve the written works of Shiite scholars and jurists, which is considered a significant change in the role and performance of important libraries of this period.

The purpose of this study is to investigate the characteristics of arrays and decorations in the manuscripts of the Qajar period in the in-text section and to study the patterns and colors widely used in the manuscripts of this period.Research

The method of this research is descriptive-analytical. In this regard, first, the typographic characteristics of selected array pages are described. and inductively, common features are enumerated and analyzed.Statistical Society: By purposeful sampling method, 77 art manuscripts with a scribe and writing date from Qajar period were selected from the exquisite manuscripts of the National Library And was analyzed and 34 sample images of these manuscripts are presented in this research.

Qajar illumination has continued the Safavid style. With the difference that the congressional margin is observed with a regular rhythm and large head-pieces.Qajar book decoration style has a special place as a coherent and school style in Iranian painting. And it has all the features(property) of a thematic and applied education of a painting school. Basically, the art of book decoration was mostly dependent on the court. and kings, princes, and local rulers were the most important clients of works of art and sponsors of art.Half of the studied Qurans have four or two pages with arrays in the opening papers (containing a list of chapters and prayers before recitation).The opening pages of all manuscripts of the Quran and prayer books and 76% of the literary books and 90% of the selected scientific manuscripts have head-pieces and inscriptions.In all Qurans, there are two opening pages and in the other manuscript, there is an opening page with a head-pieces and inscription. Most of the design of the head-pieces is the same as the dome or altar pattern. Ornate colored flowers have been used extensively in the text of gilding and sometimes in the layout of the head-pieces.The use of Arabesque in gilding the opening pages of the manuscripts under study is less varied.The flowers and leaves of Khatai are abundantly seen in the arrays of the opening pages of selected manuscripts. The purity and radiance of the colors used in the arrays of these books has created a kind of freshness and radiance.All Qurans and prayer books and 35% of literary books and 50% of selected scientific manuscripts have array margins on the opening pages.In the margins of the gilded and jeweled of the books, various types of Khatai flowers and leaves and Arabesque motifs are drawn on a golden or azure background and in some samples on the paper itself.In the inscriptions of this period, Arabesque motifs are mostly designed in the form of frames or headbands, and the various thorns of the inscription are filled with Khatai motifs and small flowers.