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

The book of Kalila and Dimna contains stories that are told in the language of animals. The feature of storytelling and narration has caused this book to be illustrated by Iranian painters in different historical eras, and today there are many manuscripts of it in museums and libraries in Iran and the world. The present research was conducted on the manuscripts of Kalila and Dimna No. 2198, which are currently kept in the library of Golestan Palace. This version was probably prepared in the 9th century of the Hijri, during the reign of the Karakoyunlu kingdom in the court of the Turkmens. The edition contains 107 pages and 35 illustrations. This article has analyzed things such as types of composition, Based on the findings of the research, the illustrations of the No. 2198 have used the same basic pattern in the arrangement of story elements. The types of compositions used can be classified into six types. The version has a variety of animal characters and 26 types of animals are depicted in it. Animals are often depicted in profile. Although the book of Kalila and Dimna is based on animal narratives, the number of scenes in which human figures are used is more than the number of scenes in which animals are depicted.

The expansion of territory and defense of the existing territories has been one of significant importance to the rulers throughout history, therefore, equipping the military and designing new war equipment  was a constant devour for all power institutions. In fact, the construction of war equipments for the purpose of defense, consolidation and expansion of the ruling power has always been the concern of said institutions in different ages.Ilkhans have also needed to build military equipment such as various types of armors and weapons to ensure their authority inside and outside their territory. They needed efficient weapons to show their glory and expand their territory and maintain their power. Therefore, skilled weapon makers were hired. Meanwhile, the attention of Iranian painters has recorded the history and details of war scenes and weapons used. Weapons and war equipments from the Ilkhani period are very rare and have artistic features. Today, despite archeological excavations in Ilkhani sites, not much information has been obtained about these equipment. In the meantime, paintings of the Ilkhani period, due to dealing with battle scenes, are considered as suitable sources to know about the types of war equipments of this period. In other words, the paintings left from the Ilkhani period are pictorial documents that provide us with an image of the war equipments popular in that era. In fact, the realism of paintings in the Ilkhani period compared to other periods of Iranian painting makes it possible to rely on them in order to gain insight about the shape of weapons and to reconstruct the weapons of the Ilkhani period. In addition, writers such as Rashid al-Din Fazlallah Hamdani have recorded the culture of the Ilkhans in Jame al-Tawarikh manuscript in the order of history. The pictures in Jame al-Tawarikh provide us with the details of the life of the Ilkhans. Also, travelers like Marco Polo and Ibn Battuta, who saw the court of Ilkhans and recorded their observations, are considered valuable sources.The present research is to study and analyze the paintings of the Ilkhani period, historical books, texts and travelogues, not only to study the types of war equipment used in this period, but also to present a scheme of them for further familiarization. The purpose of this article is to examine the form, decoration and use of the weapons of the Ilkhani period. in this regard, the present study is a historical, descriptive, and analytical research, and based on manuscripts and written historical sources, aims to answer the question of what kind of war equipments were used in the Ilkhani period? What form and decorations these war equipments had? If the forms and patterns of the war equipment in this period, indicate the military rank of the owner? And if these equipments had a military use or they were just ornamental?The findings of this research show that during the Ilkhanate era, a variety of swords, maces, spears, bows and arrows, defensive shields, armors, helmets and catapults were used during campaigns in the fields of war, and that except for maces with animal heads, other equipments had military use. The evidence shows that arrows and bows were among the most used war equipments in this period, the most frequent of which are in the book Jame al-Tawarikh and Demot's Shahnameh, and it is less common in other manuscripts left from that period. The drawing bows in this manuscript are similar, and only in the book of the Manafe al-Heyvan, a different bow is used. The arrows were carried inside the slings decorated with animal and plant motifs.According to the paintings of this period, in addition to military use and hunting and court ceremonies use, bows and arrows were sometimes used as gifts to the Emperor or Khan. After the bow and arrow, the most abundant are the war maces, which are the most numerous in Demotte Shahnameh and manuscripts Jame al-Tavarikh. Their difference is in the cross-section of the maces, which are multifaceted, winged, spherical, and maces in the shape of animal heads. Winged, round and multifaceted maces are used for military purposes, whereas, maces in the shape of animal heads are more like ornamental maces. This variety of mace in the paintings shows the importance of this war equipment among heroes and powerful people. In the paintings of this period, the mace can be seen in the hands of kings, officials, warriors and heroes in battlefields, hunting, court ceremonies and hand-to-hand combat. The image of a mace is not seen in Manafe al-Heyvan and Al-Athar Al-Bakiyah.Spears come third in popularity. The image of a spear can be seen in the manuscripts of Jame al-Tawarikh and Demotte Shahnameh, but is not present in other manuscripts. Bayonets without blades, short and long, are connected to a long wooden handle, and sometimes a small flag is installed on their upper part.The sword can be seen in all the examined manuscripts, but with less focus compared other equipments. The depicted swords have thin and curved blades and were placed inside a decorated scabbard. This goes back to the fighting style of the Ilkhans, because the Ilkhans were skilled horsemen whose army consisted of cavalry with bows and arrows who aimed shot atop horses. Also, the infantry were mostly equipped with war equipments such as spears, therefore, one of the largest volumes of equipments belongs to these two types. The image of the sword can be seen in court ceremonies, battlefields, hand-to-hand combat and fighting with legendary creatures in the hands of heroes and officials, and in some paintings in the hands of the Prophet and his companions.In terms of military equipment, the most abundant are helmets, which, in addition to covering the head, have a hanger to protect the neck. Most of the manuscripts helmets have a horn-like appendage at the top, which sometimes ends with a cloth ribbon or a bunch of hair. The drawn helmets show the military position of the people, in other words, the helmets of commanders, soldiers and heroes are distinctive. The shields depicted in this manuscript are round and circular, they look easily portable and sometimes their surface is decorated with geometric, eslimi, plant, and animal motifs. Only one example of a shield in Jama al-Tawarikh manuscript is preserved in the University of Edinburgh and one example in Jama al-Tawarikh manuscript is preserved in the Diz collection, a shield in the form of a teardrop (kite) with lion motifs, plant and eslimi motifs, has been observed.Most of the depicted battle armors are full-length armors that cover the entire body in layers. But in the paintings of Demotte Shahnameh and Al-Athar Al-Bakiyah, the battle armors are half-length, layered, and made from cloth or leather. The armor of this period also shows the military position of the individuals. another war equipment worth mentioning from that period is the catapult, whose four forms are depicted in Jamia al-Tavarikh and during the siege of the city by Ilkhans.The greatest abundance, diversity and changes in the form of war equipments of the Ilkhani period are shown in the pictures of Jame al-Tawarikh, Demotte Shahnameh, and there are similarities and differences in the form of each of the war equipment used among the manuscripts. This can be seen even in Jama al-Tawarikh manuscripts and even though all the manuscripts of Jama al-Tawarikh were done in Rab Rashidi and under the supervision of Rashid al-Din Fazlallah Hamdani, however, there are differences in the form on war equipment in Jama al-Tawarikh manuscripts.The equipment depicted in the two manuscripts of Jamia al-Tawarikh preserved in the University of Edinburgh and the Khalili collection are drawn very similar in form. These similarities can be seen more in bow and arrow, archer, spear, armor and shield. Meanwhile, the manuscript of Jame al-Tawarikh preserved in the Topkapisera Museum is depicted in the form of some war equipments different from the other two manuscripts, and in this manuscript, maces in the hands of leaders and commanders with different forms are very noticeable.In terms of form, the greatest similarity between war equipments in the paintings of the Ilkhani period can be seen in the form of bow bag, shield and layered armor, and the greatest difference can be seen in the form of mace and helmet. The motifs used on the war equipments of the Ilkhani period are mostly for decoration and are sometimes influenced by the art of China and Iran. These motifs can be seen in Jame al-Tawarikh with simple shapes, curved lines and sometimes animal motifs. The variety of motifs mentioned in Demotte Shahnameh is more and more delicately displayed, especially on the quiver.

The study of manuscripts shows that one of the important arrangements of the scribes in the process of writing texts was diagonal writing. However, the applications of diagonal writing and how to use it have received less attention. The purpose of this article is to study the application and how to perform diagonal writing in the seventh and eighth centuries AH in the manuscripts of the Malek National Library and Museum. The questions of this research in order to analyze the subject are: 1-What have been the benefits of diagonal writing for scribes? 2-In what cases and to what extent has diagonal writing been used? Also, 3-what form of structure can be considered for diagonal writing? To answer these questions, all 226 manuscripts of the seventh and eighth centuries AH published on the website of the Malek National Library and Museum, which mainly include scientific and literary books, especially poetry, were studied in a descriptive-analytical manner.The topics of the manuscripts selected for this research are diverse. From scientific and medical manuscripts to religious manuscripts, each of which has its own characteristics from the point of view of writing. Writing a version with the subject of geometry, which has a shape and table, has different necessities and page layout from a jurisprudential manuscript. In addition, the quality of the writing and the skill of the scribes in the manuscript are also different. Also, the quality of the calligrapher in writing exquisite manuscripts is superior to conventional manuscripts, which are mostly done in a hurry and for the purpose of transcription or simple writing. Every writer, regardless of proficiency, has been faced with these questions, what are the limitations of each subject and how to write it, given that writing is a difficult and time-consuming task, and at the same time, a mistake in writing is inevitable. Hence, the scribes have chosen different solutions to solve these problems. For example, by creating a margin on each page, they anticipate the possibility of correcting mistakes next to the original text. One of the important strategies of scribes to face these two challenges has been the use of diagonal writing.The findings of this study show that for the scribes of this period, the applied aspect of diagonal writing had a higher priority than the beauty and decoration of the page. The use of diagonal writing has been in the two main parts of completing and correcting the text and creating a distinction in the text. Correction and differentiation of a word or sentence in the text are some of the main goals of diagonal writing in the manuscripts selected in this course. Distinguishing the rhyme in the poem and coordinating the form and text in the scientific manuscripts have been some of the reasons for using diagonal writing. It should also be noted that the movement of the hand when writing without creating a line does not follow a straight line and deviates naturally, which was an unwanted thing for the scribes. Therefore, diagonal writing has also occurred without a practical reason. Diagonalizing the text in the final part of the manuscripts is another way to differentiate. The structure of the diagonal is also obtained by examining the length of the lines and their angle to each other. Examining the practical solutions of scribes in the face of the challenges and problems of writing provides a deeper understanding of their approach. The difference in their creative methods and solutions provides a more complete picture of the writing of this period, which is distinct from later periods. In later periods, more attention was paid to the decorative and aesthetic aspects of diagonal writing, and new structures emerged in the layout. Diagonal writing in the form of a cross (Chalipa) also became very popular for poems.In this research, while specifying the terms of diagonal writing and some related concepts, an attempt has been made to investigate the possibility of distinguishing between practical and intentional types of diagonal writing in some unwanted forms of diagonal writing. In the following, the applications of diagonal writing in correction and differentiation of text and finally the structure of diagonal writing in selected versions have been analyzed.

Islamic books have different artistic aspects. Rulings are among the most common decorations in Persian manuscripts during the 4th- 9th centuries (10th – 15th AD). Rulings are primarily red lines which had surrounded the texts or illustrations. This kind of simple and initial decorative efforts in Islamic manuscripts can be divided to functional and decorative ones. It means that some of the first rulings were just those which have had a function in the text and are called here as functional rulings. These types of rulings were used in scientific manuscripts such as mathematical texts to arrange   numbers or letters. The second type of rulings used to decorate around the text of other decorations. The term “Djadval” itself has many meanings throughout the history, and up to now, we do not have a clear definition of the word ruling (Djadval) as well as any investigation for the possible origins of this art. Despite its importance in the Persian art of book, there is no study on rulings which specifically analyzes the evolution and the role of this decorative element. This paper will focus on Persian historical texts to identify this art. Persian prose and poetry texts convey some clues to clarify the historical development of this art. The authors have studied many early Islamic manuscripts (from the 4th to the 9th century Hegira) to find the rulings which might be compared to those mentioned in historical texts. The Mushafs (Qurans) are among the most important sources to refer to, since the first illuminations appeared in these manuscripts and rulings are commonly classified under Illumination art. The first manuscripts in which rulings encompassed the texts belong to the 6th century AH (12th century AD). Also some astrological texts have tables (Zayjeh) which comprise rulings. We tried to propose a more clear definition for the word “ruling” which involve different forms and styles of this art. The authors studied all the manuscripts, which were dated before the 15th century, in some Iranian libraries to trace this type of rulings. In addition, the historical texts also helped us to clarify the literal meaning of the Djadvals. In many cases Djadvals are drawn not only in square or rectangular forms, but also in hexagonal or even polygonal and circular forms, all of which are called Djadvals in the texts of the same period; a term that is used in an astrological text in the 615 AH (Kuwait, Dar al-Athar, Inv. No.LNS 270 ms,) in which the authors have called polygonal shapes rulings. Therefore functional rulings can be described as those rulings which are drawn in different forms and are divided by cross lines. They are filled by abbreviated scientific facts which may be Arabic alphabets or numbers.   Using decorative rulings in a manuscript layout will result in a cohesive and integrated expression in the look of the book. According to the studied historical evidences, decorative rulings, which are drawn by rulers or compasses, can be described as the lines which have embraced texts or patterns and could be vertical, horizontal, diagonal and curved. Zij, which are mentioned in pre-Islamic texts, are astronomical tables and Islamic texts that showed such tables were drawn by rulings. Ibn al-Nadim (10th century) has addressed such Zijs. Also Tabary speaks about the zij of Kharazmshah. The earliest remaining Islamic manuscript which has red rulings is a collection of mathematical works, written in Shiraz. These drawings are called rulings in the same text. Gradually, well proportioned pages appeared in masterpieces which were produced for rulers, and rulings became a simple but important and laborious art in the Persian art of the book. The first Persian poem which mentions the rulings is a poem by Amir Muizzi (12th and 13th centuries). Based on a poem by Abd al-Rafie al-Hiravi, which is quoted by Awfi’s Lubab al-Albab, rulings may be considered as decorative types and artistic works. Drawing rulings in early Islamic art of the book was not an independent work of art, and it was considered as a branch of illumination and would be done by the scribe him/herself or the illuminator. By the beginning of the 9th century, in the Timurid period for the first time an artist is considered as ruling-designer. This document belongs to Baysunghr; the famous Timurid prince. Rulings are gradually drawn more beautifully and delicately, and with more colored lines (gold, lapis lazuli, silver, orange or even purple). In this paper evidences show that the art of ruling has pre-Islamic origins. Rulings and tables are called forms (Shekl) or shapes (Surat). First evidences are found in medieval prose texts of the 11th-12th centuries. Ruling pen, compasses and ruling sticks, as tools that artists used, and some styles such as golden, silver, double and triple-outlined rulings are introduced.

In this descriptive-analytic study with data and images collected through library and virtual methods, a number of Shi’ah themed manuscripts of the Qazvin school have been introduced. The results of this study indicate that the stories derived from the Qur'an, events and teachings of Islam and Shi'ism, which explicitly or symbolically represent the truth and legitimacy of Shi'ism, constitute the main frame of these images. In addition, the important concepts and notions of Shi'ism such as the right of succession and Imamate of Prophet Ali (PBUH) chosen by God, the infallibility of the Shiite Imams, the belief in the miracles and wisdoms of the Imams; also the intercession of the Imams and the expression of the dignity and status of the Imams, are represented in these paintings. Artists who have created such works have been able to visualize coded and spiritual beliefs, narratives, and concepts by avoiding a realistic approach and by applying symbols, signs and visual and tangible arts; moreover, Shi’ah paintings are distinguished from religious paintings. They have also portrayed sacred figures and icons of Shi’ah Islam in a symbolic manner with the use of special decorative elements, emphasizing their unique and sacred status and directing the audience to their spiritual and intrinsic perfection.

Historical papers with all museum and aesthetic value have considerable cultural and scientific importance which represents how societies were during history improved. Studying historical papers is a way to discover the changes of human’s life in different cases such as economics, culture and politics. Between existing manuscripts prescriptions there are some, which are left unseen unfortunately due to lack of recognition of their writing date. So to understand their originality, we require technical and structural analyses. Quantitative and qualitative methods of analysis and identification of organic paper are able to recognize their structure and thus the probable time of the paper making process or use it as a cultural work.
Today, using scientifically exact methods like radiocarbon dating of organic material such as dating paper results well. Unfortunately, it is impossible to use this method in our country because of high cost and lack of access for most of experts. In this research we seek to know the most used materials in a specific era and to make possible the indirect dating by studying and recognizing fibers and sizing in historical papers. We have used microscopic observations, color reagents and Fourier Transform Infrared Spectroscopy (FT-IR) methods. Results showed that linen, and hemp fibers have a high level of application in studied dated manuscripts and there is conformity in these results with results of studied undated ones.

Methods for studying and analyzing images are important in art studies and art history. Iconography as a non-historical approach in its analyzes, places emphasis on the elements of the form that are placed against content elements. The shape as the external representation of an art leads the audience to an understanding of the concept or meaning implied in it and is the gateway to the content. Painting as a decorative element in monuments and manuscripts has always been of great importance for the transmission of social, cultural and political messages. After the Seljuq's influence in the Abbasid court, there were significant changes in the style of the book design. The result of this influence is the creation of images of some Arabic versions influenced by Iranian and Central Asian works in the Abbasi's writing book. In this paper, by using images of manuscripts in the Baghdad school, a case study of the Varaqe and Golshah treatise with semiotic science is analyzed. The study initially introduced Baghdad schooling. Then, with the emphasis on painting semantics, we find that there is a link between the Arabic and Sassanian illustrations that have played a significant role in shaping the works of the Baghdad school.

Traditional calligraphy is known as one of the most valuable Islamic arts which always contains unknown parts. One of these parts is uncommon and unknown scripts of manuscripts. In Iran, given to the valuation of writing and manuscript as well as the presence of various art schools in different Islamic centuries, many manuscripts have been written and collected which now many of these works are keeping in general and private libraries as well as personal collections. The originality of these manuscripts is so worthwhile that should have specific place in visual studies, while, until now, manuscripts have been evaluated mostly according to their content and the majority of visual research and investigations have been only allocated to common scripts in manuscript and their layout. Therefore, visual features of unknown scripts have been ignored by these studies. On the other hand, manuscripts were not usually available and a few people except particular users were able to access them. Thus, not only the feature of manuscript but also its availability is concerned in this article, so according to the second criterion, among the existing libraries, eventually the library of Islamic Parliament was chosen. Observing more than 20000 manuscripts of library of Islamic Parliament, the author observed manuscript with uncommon and unknown script styles. Among the chosen manuscripts, finally the new, uncommon and unknown samples were selected. One of these manuscripts which is remarkable because of the new and different feature of script is one of Sharh-Al-Shafiye's manuscript which will be introduced and explained later on. This manuscript is chosen among more than 20000 manuscripts in library of Islamic Parliament due to the original and different feature of its script style. In this article, besides choosing and identifying a manuscript from Sharh-Al-Shafiye, the whole structure and visual features of its letterforms which relate to Naskh and Ruqah styles is considered. Also, an effort has been made to study the new and unique features of the script. The variety of script styles used in body text, margins and headlines of this manuscript shows different methods, and it is important because of its unique features which can help reaching a new look in type design and providing different contexts in this field of graphic design. In this article, at first, a general description of Sharh-Al-Shafiye's manuscript will be presented. Then by studying and analyzing the visual characteristics of letterforms, the intact style of script styles used in text, margin and titles are shown in order to identify and present the nearest styles to script in Sharh-Al-Shafiye's manuscript. As a result, it can be concluded that the influence of Naskh and Ruqah styles in the script styles used in Sharh-Al-Shafiye's text, and also the use of inscription structure, recreation in writing and decoration in the titles of script are the uncommon and unknown features of script in Sharh-Al-Shafiye's manuscript. The author hopes that the present research which is considered as the first step in identifying uncommon and unknown manuscripts help other researchers to do future research.