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

" Recognizing the art of Ruling (Jadval( since the 9th century; Based on texts, documents and manuscripts"Ruling (Jadval) is an ancient decorative element found in Islamic manuscripts, commonly used in manuscripts produced in Iran. The continued use of ruling led to the development of various styles during the 9th and 10th centuries AH. In addition to serving as decorative lines, ruling also dictates the placement of elements such as text, illuminations, and images on pages. Despite its significance, little research has been conducted on ruling.The goals of this study include examining the importance of ruling, introducing ruling artists, exploring the cost of ruling, presenting ruling tools, and revising Qazi Munshi Qomi's explanations of ruling styles. The research addresses questions such as the importance of the art of ruling based on texts and documents, and how Qazi Munshi Qomi's definitions of ruling styles can be clarified through stylistic studies. This fundamental research analyzed data qualitatively by examining historical texts and documents chronologically. Information was collected from library and electronic resources, and the structures of rulings in 333 manuscripts were scrutinized. Investigations revealed that ruling has been a common element in manuscripts since the 9th century, with some ruling artists mentioned in books and documents. A comparison of the ruling fee with the costs of writing, painting, and gilding in the "Baravord" document from the late 9th century suggests that the amount specified for drawing the rulings of the manuscript was reasonable. Additionally, this article corrected the descriptions of ruling styles in the book Golestan Art in the 10th century by comparing them with the ruling styles used in manuscripts.Key words: Manuscript, Book Art, Ruling, Jadval, illumination, 9th century AH.

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 the late Safavid period and the period of Nader Shah, Poets such as Moshtag, Asheg, Tabeb Isfahani, Lotfali Azar Bigdeli and ... followed the original Indian poets instead of Indian style. With the establishment of monarchy in the dynasty of Qajar and the establishment of relative tranquility, masnaths, sonnets, rubais, parts and secrets, which is another of his other moral and educational writings for prose. Of the 9 manuscripts identified by this poet, a copy in the Tabriz National Library and a copy in the Marashi Library of Ghom, three copies are in the Library of Malek Tehran, three copies are kept in the Library of Majles and one copy at Tehran University; Obviously, due to the diversity and variety of works and strength of the poems and the contents of the poem, the critical correction of this work, especially in order to identify its poetry as one of the scientific and literary capital of the country, is a necessity. . In this research, which is devoted to a full version of Golpayegani's Divan, based on the style of its text, the information is gathered in a library way, and in the lightness analysis, a case study of 6700 bits is also available. The findings of this part of the research show that, by following the style of Khorasani's poetry in the poems and imitating the style of the Iraqi poetry in Ghazaliyat, the successful poets, especially in the influence of Elementary, Farrokhi, Hafez and Saadi, are considered.

Throughout the history of human civilization, genealogy writing has been one of the ways of providing genealogical information, which has been written in different forms such as ancestor list, family tree, genealogy, pedigree, etc.).                                             
In ancient civilizations, genealogies are part of the cultural material that, in order to identify and check the lineage of each family, they have been a source of pride for that culture and civilization. Genealogies or tree of life are among those manuscripts that are abundant in Iran. It is available in the form of a booklet and a scroll .These versions require research and visual reading. Currently, very limited studies have been carried out in this field and they are still pristine and first-hand.
There are several copies of such works in libraries and museums, which require deep cultural and anthropological research. In this article, one of these manuscripts, called "Tohfa Suleimani or Sabhat Al-Akhbar (926-974 A.H.)" which was written by the order of one of the Ottoman kings named Shah Suleiman and according to the narration of Yusuf Ibn Abd al-Latif has been chosen to be studied and analyzed in terms of the motifs in this genealogy from the perspective of Panofsky iconography. This manuscript is kept in the library of the Islamic Consultative Assembly of Iran under registration number 17966. This booklet is written in Naskh calligraphy on 72 pages. It has a grid and golden circles and black, red and gold symbols which are simultaneously and comparative deals with the narratives of several dynasties including Ottoman Turks, Iran, Prophets and Mongols and their classification in different countries over time.                                                                           
 The intention of iconography is to describe the subject and content of this artwork through Erwin Panofsky's three-step reading, i.e. description, analysis and interpretation of the image. The process of analysis is from the whole to the parts and in three levels of pre-iconographical description, iconographical analysis and iconological interpretation, from the general description of what is evident to the analysis and interpretation of the hidden layers of meaning and content in the work.
The purpose of this article is to analyze and examine the images, relationships and visual arrangement of the pages in order to discover their meaningful relationships. In order to achieve this goal, the following questions were raised: 1. What were the goals of the Ottoman rulers in ordering this genealogical copy? 2. Based on Panofsky's theory, what hidden meanings and concepts do the arrangement of text and motifs imply?
This research is of qualitative analysis type and analyzes data based on iconography theory. The first step is to describe the preview of the version. This stage is a primitive level and a natural subject. The second level includes the decoding of images in the framework of artistic meaning. In this case, unlike the previous case, we are not dealing with a tangible meaning, but with something reasonable, that is, literary content. The third level deals with the intrinsic and inner meaning of the image. It takes into account the time and place of image creation and the prevailing culture at that time and place and the wishes of the forerunners. This level is a combination of interpretation that combines data from various sources and includes cultural foundations, available contemporary texts, texts transferred from past cultures, artistic backgrounds and such things. Data collection is a library and in some sources references are in the form of URLs. The studied version was prepared from the first-hand documents of the Majlis Library and in the analysis of research cases and referencing, books and articles from reputable websites of Iran and the world have been used.
As a result of research and in order to obtain answers to the questions of this research, it was found that after many conquests, the Ottoman family achieved relative stability in the kingdom, especially during the rule of Sultan Suleiman. In this period, in order to elevate their government and acceptability among the subjugated tribes and superiority over their neighbors, they created works of this kind. To give more legitimacy and stability to their kingdom by connecting their ancestors with divine prophets. Also, by capturing Baghdad and other Islamic cities and establishing an Islamic government, the Ottomans benefited from the cultural influence of the peoples under their rule. Paying attention to relative roots is one of the honors that was especially important among ethnic groups, especially Arabs and Muslims, and the tradition of genealogy has been remembered since these days. This also caused the creation of many genealogical manuscripts during the Ottoman era. After the conquest of Baghdad by the Ottomans, the influence of Baghdad book-making, especially the genealogical branch, can be considered in the form, simplicity, and black spacing of motifs. On the other hand, following the transfer of Iranian artists and writers to the Ottoman art workshops, Iranian influence can be seen in the copies of this Ottoman era.
In the reading of the different levels of these images, it was determined based on Panofsky's three levels, the template used in this version consists of several circles that are connected to each other by simple black lines and creates a form of a genealogy booklet in which the oldest human ancestor at the beginning and the last ones are on the last pages. From the examination of the beginning and end of these lines, the narration of several levels of the history of different dynasties is comparatively going on in this version. This format has turned the book into an ancient infographic that depicts the entire human history up to the 11th century AH simultaneously in the most complete and simplest way possible.
The approach of the discussion resulted in the fact that the thinking used in the way of arrangement and visual arrangement of the genealogical maps of this version was the result of the spirit of its time and like other Ottoman works, it was influenced by the atmosphere of Iranian book design. In addition, this version borrows the thoughts of the Byzantine painting tradition and the Baghdad school. These influences are repeatedly evident in the composition of the symmetry, spiral, fringes, and golden halos. Also, all the colors are metaphorical and formed according to the mystic-Islamic symbols ruling the time. The purposeful use of golden, red, blue, and black colors in different proportions for different people and families shows this claim. This version, while being abstract, has the most allegory and color perspective and authority. The existence of Iranian, Baghdad and Byzantine painting characteristics in a new fusion, shows the roots of the formation of the work and speaks of the creation of a new style of Ottoman painting based on these principles.

Garshasp-nama is a poetic and agonistic story about the adventures of Garshasp ancestor of Rostam, which was written by Asadi Tusi, a poet of the 5th century. There are 39 complete and incomplete copies of Garshasp-nama, few of which are illustrated. The purpose of this essay is to introduce the British Museum version with the number or.12985 and the date of writing 981 AH/1573 AD and explore the visual structure and formal characteristics of its paintings to gain more knowledge of historical and abandoned Iranian documents and knowledge of the visual culture of the past. This illustrated sample has 8 illustrations that have the pictorial and stylistic characteristics of the Qazvin school. The present article tries to answer the question, what are the formal features of the index and the common aspects of the paintings? The descriptive-analytical and historical research method was conducted in a qualitative and inductive way. The results of the study showed; the illustrations of the edition are depicted in two themes of war and banquet, which are more prominent in the development of the theme and artistic expression due to the epic theme of the work. Although in contrast to the characteristic feature of Asadi's poems in describing the scenes of marvel, we are faced with the cautious and naturalistic approach of its writers. The centrality of the hero's character in the image and his facelessness, attention to the richness and color effects as well as the proportional composition are the most important common visual features of Garshasp-nama's paintings.

From the earliest centuries in Islamic civilization, illumination was used in manuscripts because it was used in conjunction with calligraphy. So Muslim artists have paid attention to it. One of the exquisite and artistic copies produced in the middle of the ninth century AH (846 AH), during the Timurid period in Harat, is the Nezami’s khamsah (Add ms 25900), which is preserved in the British Museum. This manuscript has been studied many times by researchers due to its excellent illustrations. Some of them are attributed to Behzad. This manuscript has 316 folios and its Dimensions is (leaf): 19.1 × 12.1 cm. This manuscript has been written by nastaʿlīq script and it has 19 miniatures and 5 Illuminations.Although this manuscript has a lot of great illuminations. But unfortunately the illuminations of this manuscript have not been specifically analyzed up to now. Therefore, the aim of the authors in this article is to show the approach of the artist or artists in designing the illuminations in this manuscript by showing the amount of diversity used in the structure of illuminations (390 inter-text panels) in this manuscript. As a result, these questions were raised to achieve this goal. 1- Considering that there are many decorated panels in this manuscript, how much variety is used in these panels? 2- Is the date of design of the illuminations coincides with the date of writing the manuscript (Timurid period ninth-century AH)? 3- How can small intertextual panels in this manuscript (390 panels) be classified? This article has been done by descriptive and analytical method, and the necessary information has been obtained from library sources and study of manuscript illuminations.This manuscript has four full decorated pages at the beginning of the manuscript. At first glance, they look similar, but studies have shown that they are different in detail. This manuscript has five Title pages, four of which were decorated in the Timurid period and one of them (Sharaf nameh section) was decorated in the Safavid period. The decoration of each of them is different from the other. In addition, this manuscript has 390 panels in the text. The first study was done on the size of these panels. The length of all these panels is equal to two of the four columns of the text, but in contrast, their width is different. 50 inscriptions (panels) were randomly selected from the beginning to the end of the manuscript and the ratio of their length to width was determined. The length of the inscriptions was a fixed number A and the width of the inscriptions was a variable number B and the ratio of a to b in each inscription was considered to be N. The numbers obtained for N were divided into three groups: Inscriptions whose n is less than 3: wide, Inscriptions whose N is between 3 and 3.99: Normal, and Inscriptions whose N is more than 4: Narrow. Results of the study: 7 inscriptions less than 3 (wide inscriptions), 12 inscriptions more than 4 (narrow inscriptions) and 31 inscriptions between 3 to 3.99 (ordinary inscriptions). So the percentage of inscriptions will be equal to: wide 14%, narrow with 24% and ordinary inscriptions 62%. Studies have shown that the width of the inscriptions varies, although a large group of these inscriptions (62% of them) are about the same size. In the second part of this study, the panels were classified according to their structure, Patterns, and colors. For example, 22 inscriptions without medallions: 21 inscriptions of Arabesque ornaments only, 1 inscription of Khatai ornaments only. 368 inscriptions with medallions: 64 incomplete inscriptions. 304 complete inscriptions: 164 inscriptions with Arabesque theme only. 131 inscriptions with Arabesque and Khatai background design and 9 inscriptions with Khatai and ... Studies and comparisons showed that the decoration of each panel is different from the other. It is necessary to mention that panels in the Sharaf nameh section remain incomplete and they also belong to the Safavid period. It was also found that Arabesque ornaments were used much more than foliage (Khatai) ornaments in illuminations, and ultramarine color uses more than golden color.Prior to this research, some researchers had noted the diversity in the design of frontispiece. But it is important to observe this amount of variation in the small textual inscriptions in this manuscript. It is very important to see the great variety in the panels of this manuscript. Because the illuminator or illuminators, due to the large number of panels and manuscript papers, could easily execute many panels like each other without the audience noticing the similarity. Therefore, this attempt to create different frames and panels in this manuscript can be considered as originating from the thought and worldview of the decorator or the decorators of this manuscript. By studying other examples, it is possible to attribute this kind of attitude to other illuminator or illuminators in Islamic civilization.

Badi 'al-Zaman Abu al-'Izz ibn Isma'il ibn Razzaz al-Jazari is a Muslim scholar of the sixth century AH who spent the last three decades of his life in the region of Diyarbakir (ancient Amidia) in Turkey during the reign of three rulers of the Artuqid dynasty and had passed away in 602 AH. He had the title of "Chief of Operations", which meant Chief of Engineers. He is one of the most important scientists and artists of "Sina'at al-Hiyal" who has been in the scientific and artistic field of producing efficient, useful and, of course, wonderful products in his time. "Hiyal" is one of the most practical scientific tools in Islamic civilization, which is the science of the solution to change and launching to meet the various needs of life; from the design of timepieces to solutions for easy withdrawal of water from wells and springs, to the construction of devices that are needed in medicine and have other applications, all are defined in the field of Hiyal. If there are different mechanisms in the devices, this science is close to mechanical engineering and the people who have done research in the field of Hiyal have been mechanical engineers, but in many ways, the science of Hiyal or at least the "Sina'at al-Hiyal" that aspect Art is being considered as part of the history of product design (industrial design) which, by using art and creativity, has identified the needs well and provided appropriate answers for them. Jazari was an inventor and has written a description of his innovations and the development of the innovations of his predecessors in an engineering and artistic way in his book entitled "Al-Jami' Bayn al-'Ilm wa al-'Amal al-Nafi' fi Sina'at al-Hiyal (A Compendium on the Theory and Useful Practice of the Mechanical Arts)". Numerous manuscripts of this book are kept in libraries around the world. Before this research, 20 copies of it were officially introduced by Iranian researchers, and in this research, 4 more copies are introduced for the first time. This book, with other titles such as "Fi Ma'rifat al-Hiyal al-Handasiyya", "Aja'ib al-Sana'ei", "al-Alat al-Rahaniah" and "Kitab al-Hiyal", is apparently the only book left from Jazari, and has 50 automatic devices invented or completed by him, in 6 groups Introduced and illustrated. Elephant water clock is an example of products designed by Jazari that is of special importance and is considered as one of the manifestations of the progress of science and technology in Islamic civilization. This device is an automatic water clock that could display and announce time along with symbolic functions, before the advent of hands clock. This product is an artificial elephant with a four-column palace on the back. A person sits on the neck of an elephant with a hammer in his right hand and an ax in his left, holding two beautiful cups on either side. Inside the palace, a secretary is sitting on a circular platform holding a pen. Above it, two dragons turn their tails around an axis and their heads protrude from the palace. At the top of the palace is a dome and on top of it sits an eagle. The other two eagle heads are visible in the front view of this device, on either side of the person sitting on top of the palace. Above this person is a graded page with 15 cells that represents time. The way this important Jazari’s invention works is that inside the elephant's belly, there is a water tank and a container with a small hole in the bottom floats on this water tank. Gradually, over a period of time, the container fills with water and sinks slowly into the water, pulling down the three chains to which it is attached. This, according to a controlled mechanism, causes the eagle to rotate over the dome and release a metal sphere, which in its path, from the top of the palace, reaches the mouth of one of the two eagles and from there falls into the mouth of the dragon. The weight of this metal sphere causes the dragon to descend, so that the sphere falls from its mouth into one of the two cups next to the elephant, making a resounding sound. Meanwhile, the person raises and lowers his hands to indicate the passage of half-time, the secretary spins on a circular platform, and on the top plate of the palace, the size of the half-unit changes. In the next half of the time, the same thing happens on the other side of the machine. The method of this research is descriptive-analytical and there is a partial comparative approach in the study of samples. During this article, the collected library data and manuscripts of Jazari book have been observed and described and based on these data, analysis and study have been done. The study population of this study is all known manuscripts of the book "Fi Ma'rifat al-Hiyal al-Handasiyya", which led to the identification of new versions of this book. The illustrations of the original shape of the elephant water clock in these versions were examined as much as possible. Out of 24 manuscripts, 11 had the mentioned image, 9 copies were definitively devoid of this shape, and the status of the other 4 copies remained unclear in this regard because did not have the necessary access to determine the presence or absence of this image in them. In the next step, 11 images of the elephant water clock were displayed and analyzed, and by presenting a summary of its illustration in the form of a table, a kind of comparative study was performed. In general, it can be said that 8 examples of this image are paintings with good, average and poor qualities, and the other three examples can only be called illustrations. Also, 3 examples of these images can be defined in the Abbasi International School (Baghdad school), two of which were depicted in the workshop of the court of the Artuqid and the other one in the workshop of the Mamluks. The other 3 copies can be attributed to the style of Indian Mongol painting. It is "Sina'at al-Hyial" that, in addition to the mechanical functions of the product, pays attention to the user interface, user experience, aesthetics, identity and symbolization. This study showed that the international language of Jazari in designing a leading clock in his time, as a scientific achievement, showed the superiority of Muslims, and its installation in the city of Diyarbakir, which is a destination for foreign businessmen and ambassadors, could be a sign of domination of Muslims over other nations. The nations whose symbols were used, namely India, China, Egypt and Iran, were in fact the greatest nations of the civilized world at that time, and in a way, showed the scientific, political and cultural superiority of Islam over these nations. It can be said that the use of many signs and symbols of the world by Jazari, such as the Indian elephant, the Chinese dragon, the Egyptian eagle, the Persian carpet in a completely advanced and progressive product in its time, indicates the existence of product design process in Jazari work, and brings it transcends engineering and closer to the concept we know today as industrial design.

The written element of script is considered as one of the basic elements used in writing and manuscripts and the main purpose of this research is to derive and study an unknown style of script that has written in Lataif-Al-Tafsir book. It was also known in manuscripts during the history of calligraphy. Traditional calligraphy has been used with various shapes in different parts of Islamic realm, in a way that in each place, it took its own specific zonal style and sometimes with the introduction of writers and calligrapher, it took a new shape. Thus, in several manuscripts written in ninth/fifteenth and early of tenth/sixteenth century in India, a particular method can be found that within a different and unknown style of calligraphy can be seen. This way of writing has been named Bihari in some appendix. However, until now, a definite analysis of visual features of this style and its relation to traditional calligraphy has not been introduced and only we can see concise ideas and hints about this script in appendix. With this purpose, a manuscript from Lataif-Al-Tafsir book (Library, Museum and Document Center of Iran Parliament, No. 12298) is chosen and the morphology of its script will be studied by historic, analytic and comparative style. Until now, the features of this style have been considered lesser in appendix. However, the visual analysis of Lataif-Al-Tafsir's script and its comparison with styles of traditional calligraphy can be effective in knowing this script style.
With this introduction, in this article it is tried to specify the main features of scripts in manuscript and derive the relation of this script with traditional calligraphy in order to partly show the unknown features of the script. In the present article, the main hypothesis is that, given to the diversity and variety of scripts, different methods in script of manuscript known as Bihari script use the features of traditional calligraphy and within the initial letters are similar to Naskh and distance between letters can show some features of early Kufic scripts. Thus, whatever makes the features of this script different probably return to the combination of characteristics in different scripts that is also accompanied with some new features such as exaggeration in the size of letters, contrast in the weight, frequent use of kashida and variation in letters, by this it took a different feature. Another hypothesis is the use of qalam in writing this script that it seems most letters were written by the nish of qalam and kashida was written by the whole nib of qalam. This shows the extensive capability of traditional calligraphy in writing and calligraphy, 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. As a result, script of Lataif-Al-Tafsir's manuscript and similar examples known as Bihari are inspired from naskh script which were combined with some features of different scripts and were known among Indian Persian speakers during ninth/fifteenth and early of tenth/sixteenth.

One of the worthy works in the study of history of Persian painting is illustrated manuscripts that contain Persian painting evolution. In this article, we will present the most historical and important illustrated manuscripts of “Nezami's Khamseh” with attendance of the World Heritage Committee and UNESCO representative in Iran that was registered on 16 January 2010. This prescription is important because if we consider death of Zabihulla Safa in 619 H.A, then the death of the author of this work is less than one hundred years away, but according to the foreign and Iranian written sources, another version of the oldest "Nezami's Khamseh" has been proposed and this prescription could be one of the nearest to Nezami’s work and has been manipulated less than other manuscripts. Although this work was registered in 2010, it is propounded to the oldest version of "Nezami's Khamseh" in the Iranian and foreign reference and evidence. For identifying this prescription from Tehran University, the oldest version introduced to the art of information should be amended. The current article aims to introduce the “Nezami’s Khamse" from Tehran University and then compare it with the JALAYERI version. The Tehran University Khamse, has been written in 21*30 cm size and has four headers in Lazuli, Golden and Black colors that have been benighted by Khatayee inscription and illustrated with 17 paintings from Mongolia duration.
The Tehran University Khamse, has written in 21*30 cm size and has four headers in Lazuli, Golden and Black colors that have been benighted by Khatayee inscription and illustrated with 17 paintings from Mongolia duration. These paintings were created about its description of words and related to their texts. We can see a kind of strong combination with Sols, Naskh, Nastaliq and Broken scripts that have been sorted professionally. These scripts include “the poems of Eskandar nameh, Haft peykar and Leily & Majnoon”. The kind of paper is “Samarkand” too and uses in the other eightieth century scripts. Although there are Mongolian and Chinese cultures, a little influence of Seljuk duration is able to see in these paints. In fact, the paints are link between writing and painting of Seljuk and Mongolian periods. This version was not ordered by royal palace, because was far from some elegance method of writhing in the other similar scripts and we can say; this version was for business and selling targets, because before attack and domination of “Timor” was common in Shiraz. Therefore Shiraz was trade center for its security in that period.
In the result of article we perceive that an Iranian artist painted his work in the celestial and heavenly imagination firstly because his mind is joined by Literature that was influenced by traditions, believes, Islamic theosophy, social conditions and he considered to mystical concepts about the sorting of objects and some elements and their usages too, but it had faded gradually in the end of eleventh century was shaped terrestrial so far from celestial implications that was influenced by European paints. This perceptible changes and metamorphose was slow and gradually among four centuries but had been exist all days and its rate of changes completely depends on social, political and cultural conditions in its period and times.