جستجوی مقالات مرتبط با کلیدواژه "رقم" در نشریات گروه "هنر و معماری"

Riza Abbasi’s signatures were unprecedented in Persian painting in both quality and quantity. Although the advent of signatures in Persian painting goes back to several centuries earlier and it became common practice for painters to insert their generally concealed signatures into their works toward the end of the sixteenth century, Riza, the noted painter of the Isfahan school of art, was the one who dared to trespass on the lofty realm of calligraphers and to use their signing and inscribing manners. In addition to signing his name, he puts conspicuous inscriptions on single-sheet works and also on manuscript illustrations which seldom carried inscriptions previously and thus enunciates autonomy for the art which was broadly considered a heteronomous one; the painter’s name and the painting’s completion date are manifestly provided alongside the calligrapher’s name and execution date. Riza even outstripped calligraphers in recording different aspects of his making conditions in the writings. In fact, he broadened the definition of signing, which formerly was just meant to establish the authenticity of the artwork and to record the name of the painter, and was followed by his epigones in this field, too. This article aims to discuss Riza Abbasi’s presence in his works through his autography and poses two questions: Firstly, what features do Riza’s signatures and inscriptions have and how do they develop through his career? And secondly, how do the autographs represent the painter’s artistic characteristics? Signature is generally categorized as a verbal self-reflective phenomenon, but when its visual features and form are also taken into consideration —such as the execution manner and position— it will change into something more than mere words; with the addition of this aspect, it can take a dual role in examinations. This study, using grounded theory as its methodology, has examined Riza’s writings from both viewpoints. It is comprised of two sections; one is descriptive and the other is analytic. In section one, a detailed description of the artist’s signatures and inscriptions has been provided. First, his signatures have been divided into two categories and their features and transition process have been discussed. This descriptive section shows that unlike the later ones, Riza’s earlier signatures were inconstant and are not to be found in all the works belonging to the first category; a fact which alludes to a transformation in Riza’s perception of his status in the middle of his career. Moreover, other scholars’ statements on the subject have been reviewed in this section, to wit, the contentious issue of the time at which the title of “Abbasi” was conferred upon Riza by Shah Abbas the Great, or conceivably was taken by him of his own volition. The present article, furnishing some convincing evidence (chiefly by denying the authenticity of the pre-1610 signatures which bear the title), has determined the year 1610 AD (1018 AH), which was a turning point in Riza’s career, as the date he earned the epithet; thereafter, he signed each and every one of his works —single-sheet works and illustrations— by using a visually and verbally constant phrase (“Work of the humble Riza-e ‘Abbasi”), calligraphically executed and aesthetically pleasing, which attracts the beholders’ attention at once. No changes were introduced to his signature for about thirty years. This consistency could affirm the genuineness of his works and is an eloquent reminder of the artist’s resolute character. Then, a thorough examination of the inscriptions is provided in which their content and writing manner have been dealt with in detail. The description exhibits the artist’s creativeness, talent, and pertinacity. Lastly, in the analytic section, the manner of signing and inscribing —including the painter’s penmanship, the positions and features of the signatures and inscriptions, and the information they contain— has been analyzed to trace the representation of the painter’s status, state, and viewpoints. The study has observed the manifestation of Riza’s artistic characteristics in his signing and has found his autography to be a true reflection of his presence in his works. Indeed, the artist who enjoys painterly self-consciousness, uses his inscriptions to chronicle his creating conditions. He provides the precise completion date, which is indicative of his worldly concerns. He names either the master whose work has been imitated, the portrayed figure, or the person for whom the work is created, which bears testimony to his preoccupation with individuality. He has noted the reasons and motivations for producing the works, too. By means of inscriptions, Riza has tried to communicate with the audience and by employing certain terms, he has accentuated the distance of representation (the distinction between presentation and representation) and reminded the observers that they are beholding a made-up picture. Riza Abbasi’s signatures and inscriptions are the declarations of the artist’s elevated social status and portray him as a gifted, creative, innovative, perceptive, persevering, adamant, consummate, extrovert, self-assured, and influential painter.

The inclusion of the artist's name or signature in paintings has been common in Iranian art from 9th century. These signatures include information on the name, nickname, father's name, date and name of the patron of the artwork or artist, place of birth and residence, and are now among the few notable sources for researchers to know the artist and his work style. The tradition of signing the artworks continued in the lithographed books of the Qajar period after the illustrations of the manuscripts.  Although the illustrators’ signatures in the lithographic books were more than just mentioning their names, the signatures of Mirzā Ali-Qoli Khoee, the most important artist of this period, have features in terms of form and content that distinguish them from the signatures of many lithographers of his time.This research, which is qualitative in terms of approach and is classified as applied in terms of purpose, seeks to find the answer to the question of how Mirzā Ali-Qoli Khoee has left his mark in the images. This research is based on the comparison of more than sixty of his signatures in the lithographic books of the Qajar period and examines the signatures based on the content, shape and type of calligraphy.Initially, all identified signatures are divided into two major groups, calligraphic and non-calligraphic, and are examined from three perspectives: script, composition, place of registration and content. While the first group of signatures with the upper handwriting indicates the handwriting of a capable calligrapher, the second group consists of handwritten lines by a literate scholar. The excellent calligraphy he used in some of his later works, which is quite different from his calligraphy in the earlier illustrations, suggests that these signatures may have been made by a professional calligrapher by the request of Ali-Qoli.This research shows that Mirzā Ali-Qoli Khoee has always tried to use his signatures not only for registration and badge, not even as an element in image composition, but also as a sign of the artist's presence in the image. The recording of the signatures between two figures, along with the positive and sacred character and hidden in the crowd of visual elements, has caused the artist to appear in the roles of the listener, the believer and the silent observer in the images, respectively. In this way he refers to his religious beliefs and his interest in fascination with stories.Mirzā Ali-Qoli Khoee by carefully choosing the right place and the right words for the signatures, which are sometimes found in unconventional spaces such as the end of the book, places himself not as a book decorator, but in the guise of one of the book's creators, such as scribe, translator, author, publishes and publishes, and registers a person with ideas and opinions. His varied and unique signatures, along with his magnificent and influential illustrations in lithographed books, form an image of a creative, inquisitive, and committed artist in whose minds each book is a platform for rebirth and re-creation.

Raqam or writing the artist's name on the works was used since about the eighth A.H/fourteenth A.D in the Persian painting tradition that prevented the suspicious assignments. Lutf Ali Suratgar Shirazi, a famous artist of Qajar era, has provided short or detailed explanations along some of his raqams that can be considered as the valid documents to awareness about the status of his artist. However, so far, no serious and independent study has been carried out. This study aims at survey the raqams in the Lutf Ali's works, identifying the possible patterns of raqams and to recognize some aspects of the artist's life based on his raqams. The questions of article are: 1. What are the features of the raqams in the Lutf Ali Suratgar's works? 2. What can be understudied from Lutf Ali's raqam? This study was carried out through a descriptive-analytical method and the data collection was done through library (written documents) and field (direct observation). The results showed that Lutf Ali's raqams were accomplished in two different ways. Tughrai's raqams are more formal that have been written based on specific pattern with the reference “Raghmeh al-Abd al-Aghal Lutf Ali” in five lines. In comparison with the Tughrai's raqams, the Nastaliq's raqams are more historical precedence, but they cannot be considered a single model for them. The location of the raqams in the works of Lutf Ali were often in the2:3middle of the screen, which has the most visual impact on the spectator due to the location of the main event or character in this area, based on the type of composition. Traveling to Tehran, Kurdian, Tbilisi and Georgia, and his ideas about these places can be find out from the margin explanations of the letter along raqams.

The value of “Scribing” among Muslims and especially writing Holy Quran as the word of revelation in the Islamic world has such anauthority that has attracteda wide range of arts and artists in the field of book decoration with theintentionof approach to God. Addressing such important affairs and providing the chance of stepping into this sacred area requires competence and dignity which cannot be achieved so easily،but it does not only lead to proficiency in performance. During the history of Islam، few mystics، philosophers and artists have had the honor of achieving such merit، and a few of them dared to register their names as “scribers”. Studying these inscriptions has provided the researchers with valuable and important information about the name of the scribers as well asrecognition of different styles of the Quranic manuscripts in different eras and is، in fact، the identification for these heavenly books. Therefore observation and study of the nationally registered Qurans in the Museum of Holy Quranbecame the main motive and aim of this fundamental research and 6 samples of these Qurans bearing inscription were selected. Finally، the inscriptions were studied with a descriptive - analytical approach and the most important finding is that dissimulation and moral commitment of Quran scribers influenced by religious rituals and spiritual practices have bound the artists to observe humility while registering their names beside the great verses of Quran. Such registration style is less often seen in inscription of non-Quranic manuscripts.

Sultan Ali Mashhadi is one of the greatest calligraphers in Nastaligh script. The reputation of Sultan Ali Mashhadi (841-926 Lunar Hegira) in calligraphy, especially Nastaligh appertains to two issues, that is, the abundance of the manuscripts prepared under the auspices of the Teimurian Administration as well as the authorship of the first educational treatise in Nastaligh in 920 Lunar Hegira. In addition to intelligent and inherent ability of Sultan Ali, undoubtedly the infrastructure of above mentioned two subjects is the Companionship and affection of the great Timurid Art and Literature among Abdol Rahman Jami and Behzad Painter and having special support of Soltan Hussein Baighara and his artist Minister Amir Alishirnavai. there is left more than fifty manuscripts and many artwork that Most of them are hold in libraries and museums abroad, but about a quarter of the total number of his works are provided a rich evaluable collection. Among the numerous works of Sultan Ali Mashhadi, there is an undated script of the Boustan-e-Sa’adi in the library of the Malek National Museum, which is considerably powerful and rich, but it has not been registered in the famous books on the study of manuscripts.Manuscript of Boustan authored by sheikh Mosleheddin Sadi Shirazi, the font Nastaligh "Khafy" and with autograph text of "the writing of This Manuscript was ended with generous king's help and by this poor humble Sultan Ali Mashhadi", written in 298 pages (149 sheets) and the dimension of written text 13.7×7.6 cm. Making use of the librarian references and relying on the documentary, descriptive and comparative methods, this research evaluates the similarities and differences and compares the Nastaligh writing style of the Boustan of the Malek Museum with the style of the works undoubtedly attributed to Sultan Ali Mashhadi. While introducing different kinds of the forgery of the artworks and providing some samples of the forgeries made, the research analyzes the authenticity of the handwriting of Sultan Ali Mashhadi in the said book. Among, what is essential, is observation and study of the entire works of this calligrapher at a process of time, the work which has been done in this paper using part of his work available in Iran. Seeing more related works show the image of Sultan Ali ability in the mind of Iranian calligraphers is lower than the actual position of this old master, because the majority of works of Sultan Ali available in the public and in books and press distributed in Iran, are considered weak to moderate. At the end of the study, we find out that the rhythm of the modes, the continuity between the lines and meticulous juxtaposition of letters and words, arrangement of points and even the handwriting of Sultan Ali in the Boustan-e-Sa’adi of the Malek Museum is convincingly similar to other works of his. This will help us answer this question: Whether the intended Boustan-e-Sa’adi is a work of Sultan Ali’s or belongs to another calligrapher and it was then forged in the name of Sultan Ali in some other era.

Muraqqa Golshan is one of the famous masterpieces manuscripts which is made and illustrated during Jahangir Shah’s reign in India (century 11 Ah). One of the importances of this Muraqqa is about art historic studies of Iranian and Indian paintings at the time of Safaivid and Mugals when Iranian art and culture was noticeable for mugal kings. Furthermore, This is a collection in various types of paintings and calligraphys which is one of the best collections of renowned Iranian and Indian painters and calligraphers such as Bihzad, Abd-al- Samad, Mir Seid Ali, Sultan Ali Mashhadi and Bishindas. Among these painters, Aqa Riza is one of the painters who like some other elites of Iranian society had immigrated to India at the time of Safaivid and started to work for the young Emperor Jahangir when he was as a prince. Little is known of the family background of this painter beyond Jahangir’s reference to him as “Aqa Riza al Heravi”. It is evident from the artist’s signature that most of his works of art was illustrated at the time of Jahangir’s princedom (he called Shah Salim).By the order of Shah Salim, painters practiced and made adaptations from European engravings which most of them had include of Christianity context so Aqa Riza used to apply hem in his paintings too. During these years Jahangir’s taste had been changed a lot. He was fascinated by these topics such as his father Akbar Shah. During these years and years later Indian paintings had confronted with a lot of changes. European realism and aesthetics, shadows, lights had been become to Indian paintings. In this reason Aqa Riza was studying and practice European paintings, engravings and western techniques too. Then elements drawn from European sources, as well as those taken from earlier Mugal painting are placed in his Iranian compositional frame work which is shown in paintings borders. However he remained faithful to Persian aesthetics. The Iranian aspect of his style is clearly evident in some of illustrations which will be introduced in this paper. The main focus of this article is on salim Shah’s studio within his few years of princedom and will be shown Aqa riza’s family background, artistic career, his style, technique and introduce his works of art. The main sources of this artist’s works of art are some isolated pages from Golshan album and illustrations from Anvar-e-Sohaily which is held in British library, but in this article are proceeded to the Golshan Muraqqa. To reach this purpose the author will try to analyze different names of the painter which is came on his signature and also will described about his artistic environment. In addition at the end of the article all of the paintings in that album will be introduced. In this case the author has tried to research among the original sources such as Golshan Muraqqa in Golestan Palace manuscript library and other source books. The way of this research is descriptive and analytical.