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

Rulings (Jadwal, Decorative frames, Cadre, or Border) are an old and continuous element in manuscripts. Rulings are seen in the oldest Qurans produced in Islamic civilization. Because the rulings are used on all the pages of a manuscript, as a result, they have a significant contribution to embellishing the manuscripts. Previous studies have shown that red rulings were the first rulings used in Persian manuscripts and after them, drawing rulings with gold has been popular since the middle of the 7th century. Since the 9th century, decorative rulings have become one of the important elements in the book art. But unfortunately, we see that few studies have been assigned to the rulings. Examining the manuscripts shows that the rulings were used in different styles in the manuscripts produced in the 9th to the 12th centuries AH. Therefore, the importance of the present research is due to two reasons. The first thing is that the stylistics and typology of rulings, which are necessary for a better understanding of book art in the Timurid and Safavid periods, have not been done until today, and the second thing is that by recognizing the type of rulings, manuscript researchers can accurately date undated manuscripts. It is reminded that the stylistics of rulings in the manuscripts produced before the 9th century have been identified and introduced in previous research. Therefore, the present study complements previous research.  As a result, the first purpose of this article is to identify the different styles of rulings based on their structure from the ninth to the twelfth century AH, and the second purpose of this article is to identify the rules governing the structures of the rulings. To achieve these goals, these questions have been answered: 1- What are the stylistics of rulings in the 9th to the 12th centuries AH? And 2- what were the rules governing the structure of the golden rulings? In this article, the rulings of more than 450 manuscripts with decorative rulings that are preserved in reliable libraries inside and outside of Iran were identified and analyzed using a descriptive-analytical method, and the necessary information was collected from library sources. The results of this study showed that the golden rulings in the manuscripts produced in the Timurid and Safavid periods (ninth to twelfth centuries AH) can be an important indicator in the classification of ruling styles. Therefore, in the first stage, basic styles were formed based on the number of golden lines, which are:one golden line, two golden lines (Dawaleh), three golden lines (Morassa), and four golden lines. In the second step, based on the number and placement of colored lines (including lapis lazuli, red, and green) next to the golden lines, the subgroup styles of each style were formed as follows: eight subgroups for one-golden rulings, eight subgroups for two-golden rulings (Dawaleh), three subgroups for three-golden rulings (Morassa) and two subgroups for four-golden rulings. Also, by examining the structure of the ruling, it was determined: 1- The main golden ruling (the last golden rule, the mother gold ruling) is always the thickest compared to other golden rulings. 2- Three contours (thin black lines: Tahrir) one contour on the front and two contours on the back are always used for the main golden rule (mother gold ruling). 3- lapis lazuli ruling is the last ruling in the structure of ruling. 4- Contrasting and complementary colors are used in the structure of the rulings (gold and lapis lazuli, green and red).  Also, the investigations showed that due to the non-uniform thickness of the ruling lines, the use of two colors with the highest contrast (gold and lapis lazuli) and complementary colors (green and red) and drawing three contours instead of two contours for the main gold table (mother gold ruling) have been the methods by which the ruling artists have given dynamism and attractiveness to the static structure of the rulings. The study of the stylistics of golden rulings, in addition to revealing the rules governing them, also specified how styles were formed as follows: Before the ninth century, one golden line with two black contours and one lapis lazuli line became popular ruling, and in the ninth century, drawing three black contours replaced the drawing of two black contours for the golden line. The ruling with two gold lines and one lapis lazuli line (Dawaleh) branched off from the previous ruling, and after that, all rulings with three, four, and five golden lines were formed based on the structure of the Dawaleh ruling.

In some of the archeological museum, the variety of blue object are nominated as Egyptian Blue, Lapis lazuli and Lapis lazuli paste. In this research, it was found that there are many mistake in this classification. Lapis lazuli, a brilliant azure-blue color gemstone, is a mixture of minerals, primarily containing the lazurite (blue) with small amounts of calcite, sodalite, and gold-color flecks of pyrite. It has been prized as an ornamental stone for over 6000 years. The most valuable lapis lazuli is the uniform dark blue stone from Badakhshan of Afganistan. This semiprecious blue stone was, and still is, used for jewelry, mosaics and small carvings. Lapis lazuli was also ground and purified to make natural ultramarine blue pigments. The Egyptian blue is the earliest known multicomponent synthetic pigment produced in ancient times in Egypt since the Fourth Dynasty of the Old Kingdom in the 3rd millennium BC, where it has been found as a pigment and formed into small objects such as amulets or beads. Egyptian blue frit is a multicomponent material that was produced by firing a mixture of quartz, lime, a copper compound and an alkali flux to a temperature in the range 850-1000 ◦C. Its principal components are calcium-copper tetrasilicate crystals (cuprorivaite), which produce the blue color, and partially reacted quartz particles bonded together by varying amounts of glass phase. In Mesopotamia from about 1200 to 900 BC, the best information on artefacts of Egyptian blue comes from the destruction debris of Hasanlu in north-west of Iran. Also, the range of Egyptian blue production in the Achaemenid period is the best represented in the excavations at Persepolis. It must be emphasized that "Lapis lazuli Paste" is a wrong term which is not truly exist. In this research, considering the wrong terms which is used for nomination of the collection of blue objects; in the labels, registration records, catalogs and etc, some scientific research was done to specify their characterization. 10 objects from different archaeological sites including Hasanlu, Ziwiyh and Persepolis from the period of 1st millennium BC to Achamenid were selected for this research. These objects were in different size and dimensions, including high jug with a variety of blue color from dark to pale blue, censer, plaque, small head of a young prince or princess and etc. At first, all of the samples were documented and then, structural investigation was realized by binocular microscope, to know condition and texture of their surfaces. Scientific and analytical research was done by SEM-EDX and XRD. As a result, all of these objects was identified as Egyptian blue. Finally, it was required to consider and overview the classification of the group of blue objects, which was wrongly nominated as "lapis lazuli paste", in fact, it does not exist.