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

The long affinity between “literature” and “painting” in illuminated manuscripts has had an old and deep effect on the form and structure of Persian Painting. In the middle of the Safavid era, creating single-leaf miniature expanded increasingly. It seems that in this era, the connection and struggle between the medium of painting and literature found a new form; Therefore, examining the works of Mo’in Mosavver, as the last real representative of the Isfahan school of painting, is of great importance in this regard. Research

The purpose of this study is to show how the historical connection between “literature” and “painting” evolved in at the later years of the Isfahan school of painting through a formal and structural evaluation of the relationship between “image” and “text” in the works of Mo’in Mosavver.Research

In this study, the paintings of Mo’in Mosavver were examined using an analytical-comparative approach and the findings of this analysis were interpreted with a historical approach in the evolution of Persian painting in the middle of the Safavid era.

The image of the “pregnant moment” in the illuminated manuscripts of Mo’in Mosavver represent a type of “implied temporality” that reminds us of the sequence of verbal narrative actions. also in single-leaf miniature of Mo’in Mosavver, a higher level of homogeneity can be observed between the medium, the content and the method of perception, since, apart from the narration, these works are limited to the arrangement of objects and beautiful figures. The traces of aesthetics deepening based on these works can be recognized in the miniatures of that era. These traces are seen where the number of figures and narrative micro-scripts are reduced in the images of these paintings and the painting focused more on illustrating the “pregnant moment”. As a result, it seems that in Mo’in Mosavver’s works, the connection and struggle between the text and image can be considered as a movement from “text” towards “image”, his movement, which is also seen in the Isfahan school, found more chance for growth and expansion outside the court’s conservative taste to create glorious and elegant illuminated literary manuscripts. This led to the creation of paintings with mimetic and stronger sensory aspects. At the time, this was reflection of a movement towards independence and further separation of the painting medium and from verbal narration.

Persian civilization coincided with the formation of the heavenly religions depending on the diversification of the social structure of this country is included in each period. The kind of look and attitude of the central government Safavid art and culture, religions, especially Jews, consideration, review and research. The atmosphere of the city in the 17th century AD in a way that might have been Jewish themes borrowed from literary masterpieces of Muslim Persians and inspired by book layout techniques and traditions prevalent in the Safavid court art workshops or private workshops artists of the era, to produce their own illustrated books. The particular type of culture and art among the Jews formed that is known to Judeo-Persian. Judeo-Persian art from the book layout of this religious minority in Iran. At the same time the presence of the Safavid state in the seventeenth century, a certain type of book layout consists of Hebrew and Judeo-Persian miniature paintings of this period are formed that its special time. This study sought to interpretation, explanation and exploration of the dark activities of Jewish art book to comprehensively analyze their illustations. Also looking root of the image, and finally matching them with samples of his counterpart in the Safavid era and the result, the formation of this particular image according to aesthetic principles of doctrine and especially illustrated books, painting seventeenth century in Isfahan. At the same time formed the roots of the culture of Isfahan in Safavid era can be for Jews in this century origins of the book layout also be evaluated. In this period due to the growing demand nongovernmental paintings such as single portrait for artists can be traced to their roots as well as Judeo-Persian painting. special Jews manuscripts consists of lines of Hebrew and figures are taken from the Painting School in the seventeenth century and the origins of this art is in the sixteenth century. This could be why the Iranian Jews as a great and ancient minority is rooted in the country. Armenian Christians cannot see something special paintings. But there are differences in image quality, most images are revealed to aesthetic issues. This may be due to high cost or high cost of gold is the artist of the century. So that we can say that actually the Safavid workshops did them. But according to image matching with samples available from the School of Isfahan can be traced illustrious artists of the era, illustrated by the Reza Abbasi and most of all his disciples followed. Especially Judeo-Persian book illustration art sought to revive two components identified in the works. One that can create a sense of patriotism and strong similarities in their technical to Isfahan school miniature artists and painters such Moein Mosavir. And revived their religious beliefs Judaism to survive the subject of stories and using instead of Hebrew script Persian expression that is. A special kind of book layout to any form of religious minorities in Iran eleventh century formed the heavily indebted Iranian painting is unique, of course.