جستجوی مقالات مرتبط با کلیدواژه "jami al-tawarikh" در نشریات گروه "هنر و معماری"

The Ilkhanate head of state due to their attendance in Iran, needed to legitimize themselves by any means conceivable. One feature of this legitimacy has been the protest of the power and potential aptitude of this people and their elected head of state to govern and wage war. Consequently, in this period, legitimacy is shaped based on the origin of power and "power" seems in the center of attention of historical books and Shahnamehs. Therefore, not only is the writing of historical books a tool for the legitimacy of the Mongols, but also the miniature and illustration of these books has been very operative in this direction. One of these books is Jami al-Tawarikh by Sheikh Fazlullah Hamedani, which will be studied as a case study with the approach of the concept of Foucault power. By means of the concept of power discourse, Foucault introduced a new technique for historical and social analysis and is now one of the most practical thoughts for genealogical analysis. In this regard, first Foucault's theories of power and discourse are scrutinized and on this basis the evolution of the place of power in Jami al-Tawarikh is inspected.Now this investigation intends to answer this main question based on library studies and descriptive-analytical method 1- Rendering to Foucault's theory of power, how did the power and dissertation of the Ilkhanate head of state give the impression in drawings of Jami al-Tawarikh? Based on this study, it was found that the exhibition of power in Mogul art in Jami al-Tawarikh has been in line with political issues and the presentation of the king's power, and history and art have been used as a tool to show power in political discourse.

The present article is an attempt to comparatively study two different versions of Jāmiʿ al-tawārīkh (Compendium of chronicles). The Rampour Library version has been illustrated over three centuries. The illustrations of this version were embellished in the Timurid, Safavid royal courts. After that, they were transferred to India, and were merged and re-illustrated in the royal court of Mughal Emperor Akbar. The work was finally left unaccomplished in 1003 AH (1604 AD). Therefore, this version of the book contains illustrations from the school of Herat, the school of Tabriz and the Indo-Iranian school. Jāmiʿ al-tawārīkh (the Golestan Palace version) was written and illustrated during the Emperor Akbar period in 1004 AH (1605 AD). The author of the present article believes that the painters of the Mongol royal court were influenced by the interactive discourse dominant over the elements of power and consequently over the royal library and painting galleries, as well as the influence of religion on Akbar Shah's "Din-e Elahi" ) Divine Religion( as a greater cultural framework. This project led to invitation of artists with different perspectives from different parts of India and other countries such as Iran, whose contribution to the project is truly represented by the artwork under study. In other words, artists freely created artworks using the interactive discourse created within the context of "Din-e Elahi" propounded by Akbar Shah.According to Norman Fairclough, the fate of art texts is decided by discourses. In other words, discourse determines the type of text to be produced, the manner in which it is distributed, the manner in which it is consumed, and the extent to which it is consumed. Finally, a series of statements and ideas interact. Discourse can be personal or institutional, but when carried out within the society it falls within the category of institutional discourse. The interaction of various institutional discourses in society leads to the emergence of a discourse that is dominant over other discourses and is referred to as dominant discourse. The first step in the process of critical discourse analysis proposed by Fairclough deals with text description which is associated with the first act of the artwork. According to Fairclough, every work of art or literature covers three kinds of value: experiential values, relational values, recitative values. In more specific words, in an attempt to trace these three values ​​in an artwork, one can correspond them with styles, schools and theories, which refer to individuals, an institution of related individuals, and the society as a whole, respectively.The second stage of Fairclough's critical discourse analysis is referred to as discourse interpretation that is related to the second act of the artwork. According to Fairclough, discourse should, under ideal conditions, be distributed based on common sense or common-sense principles, but ideologies often break this rule. Fairclough believes that discourses can move either horizontally (diachronically), or vertically, (synchronically). Finally, the third stage of Fairclough's critical discourse analysis deals with the social explanation that is related to the third act of the artwork. In this study, Fairclough discourse analysis is used to figure out why a manuscript was reproduced (Jāmiʿ al-tawārīkh the KAkh-e Golestan version), while another version of the manuscript (Rampour version) had already been completed one year before. the results showed that Emperor Akbar could only show his connection with history by merging new illustrations into the primary illustrations of the historical narrative as part of an attempt to reproduce a new version of the artwork. By moving to the heart of history and by illustrating the course of history, he probably sought to create a kind of important genealogy for himself and consequently show his conscientiousness towards his Mongol ancestors. Moreover, taking into account the "Din-e Elahi " and Akbar Shah's unrestrained attitude, religions and ideas, and his unbiased attitude towards monarchy, it can be argued that painters were able to work with free will and create works as they wished. On the other hand, since illustrative sources, including Indian, Iranian, Turkmen, European sources were abundant, the creation of artworks with complete freedom in using personal styles was deemed to be much more appealing.After analyzing the visual and written texts, this article, succeeded in deciphering the hidden layers of the texts, and finally, using the relations within the text, situational, social and political context, he found that the interactive discourse of the royal painting institute derived from religion was made by Akbarshah. "It led to the invitation of artists with different perspectives, and this was reflected in their works.Thus, it seems that both reviewed versions gave Mughal artists a unique opportunity to artistically revive their patron role as the revivalist of interactive Islam and the herald of the millennium. Discussed, using old patches and adding roles in their contemporary style, Not through imitation but by emphasizing the characteristics from which they separate their work, they enter a historical lineage. In this version, the historical nature of the text and its drawings are particularly striking. A series of historical periods from a not so distant past, as the lineage and ancestors of the Mughals. It can be an explanation for using the old part in the drawings of Rampour version. In doing so, they emphasized the historical uniqueness of the appendages of the image, and in a way served to emphasize the contemporary or newness; of Mughal artistic term. This time writing and illustrating a complete version in a new representational way, that is, based on the new discourse that was created in the institution of the monarchy and in the nature of the institution of the painting. These stylistic elements and features have freed themselves from the distinctive features of Iranian painting to such an extent that it has become an independent style that affects various European, Indian, and Iranian-born schools. That is, it is the combination of different styles, including being influenced by European paintings, and achieving a style that, while almost freeing itself from the Iranian style and trying to be independent in style. Create a work of art together. In the Rampour version, of course, due to the single style of different periods, it cannot create the purity of the new style in all images. This, it seems, could be a reason to abandon the Rampur version and create another version of Jamiut- Tawarikh in the new "contemporary" style of Mughal. The product of this new creation, of course, was the version of Golestan Palace, which is completely pure in Mughal style, and opens with the desired arrangement and intended by the patron (Akbarshah) of the images. We find out how the artist can determine the fate of a work of art according to his position and the position of the supporting power. Thus, in the end, Akbar Shah succeeded in showing his selfishness towards his ancestors in showing power-oriented in illustrating historical narrations.

The story of Noah's Ark has been a topic of interest among illustrators since ancient times due to its marvelous and unique features. The theme can be seen in works of art from the Ilkhanate and Timurid eras among others, which show the emergence of different visual elements in illustrations with the same theme, but from different times. It seems that the stylistic rules of each period and the views of the authors and patrons of these works have influenced the illustration method of this Qur'anic story. During the Ilkhanate and the Timurid periods, the support of art and culture was mixed with religious contexts. There are many similarities in the religious contexts and conditions leading to the writing of the books Jami' al-Tawarikh and Majma' al-Tawarikh. Since these two books have common features, including a historical-religious section and illustrations that are influenced by the text, and also considering that they are the first examples of teamwork among Iranian artists, the comparison and analysis of Noah's Ark illustrations in these two books can offer useful information for identifying the first examples of Qur'anic illustrations created by the tradition of teamwork of Iranian artists. This study aims to find the most faithful illustration of the Qur'anic narrative of Noah's Ark in Jami' al-Tawarikh and Majma' al-Tawarikh. The main research questions are as follows: how are visual elements (line, color, and composition) used to express this Qur'anic story in the two illustrations and which is the most faithful to the Holy Qur'an's narrative of Noah in terms of visual features. Accordingly, first, the narratives of Noah's Ark in the Holy Quran, Jami' al-Tawarikh, and Majma' al-Tawarikh were reviewed. Then, the features of Tabriz I and Herat illustration schools and also the visual elements of two paintings, as the target population, were compared in detail. The research method used in this study was descriptive-analytical-comparative. The review and data collection method was secondary research through observation and a qualitative method was used for analysis. According to the findings, the use of visual elements, and visual arrangements in the Jami' al-Tawarikh illustration of Noah's Ark do not reflect the prominent details of the Qur'anic narrative. In this illustration, Noah's Ark is in fact a boat carrying only seven people with no sign of the animal pairs. The oar and the anchor are two of its key elements, suggesting that the vessel is being sailed by its passengers. This goes against the Qur'anic narrative that the movement of Noah's Ark was by God's will. Furthermore, the foamy waters—an element of Chinese illustration—fail to reflect the violent waves of the storm or the "waves like mountain" in the Qur'anic sense. All of these go to show that the illustrator was not completely faithful to the details of the story of Noah as expressed in the Holy Qur'an. In Majma' al-Tawarikh, the illustration of Noah's Ark features more details of the Qur'anic narrative than the previous illustration. At the first glance, the use of visual elements is such that it conveys the distress and anxiety caused by the storm to the viewers. In order to express the grandeur of Noah's Ark, the illustrator has painted it such that it protrudes from the three corners of the frame, and the ark's front and sails are on the frame whereas its back is drawn under the frame. This somehow conveys the movement of the ship to the audience. In this illustration, a series of animals are depicted individually and not in pairs, which is more in line with the Qur'anic narrative compared to that of the Jami' al-Tawarikh version. The illustration also depicts Noah's disobedient son, who is hanging on to the ark as if hoping for salvation, whereas in the Qur'anic narrative he escaped from the ark. Nevertheless, the existence of this element indicates that this illustration is more similar to the Qur'anic narrative comparatively. Overall, it can be concluded that the illustration of the narrative of Noah's Ark in Majma' al-Tawarikh is more in line with the Qur'anic narrative of the story of Noah.

Among the Jamiʿ al-Tawarikh manuscripts produced in the Rabʿ-i Rashidi, four copies have survived: one in Arabic and three in Persian. A century after their transcription, all these manuscripts were in the possession of the Timurid ruler, Shahrukh. Since these manuscripts were incomplete, Shahrukh ordered Hafiz-i Abru to complete the Persian copies. In the process of completion of one of these codices, considerable changes were made both in the text and the images. Since the Timurids were staunch followers of Sunnism of the Hanafite school of jurisprudence, the study of their manipulation in the section on the early Islamic history would have been of great significance. This investigation, which is a result of the examination of the original manuscripts held in the Topkapı Palace Library, was conducted with the application of comparative and codicological methods. In a textual examination, it explains the importance of codicological studies of the manuscripts, their life history and migrations for the process of their edition. This paper also compares the images added to these codices in the Ilkhanid and Timurid periods. The main questions are as follows: To what extent has Hafiz-i Abru manipulated the text of the Jamiʿ al-Tawarikh? Among the images of the Rashidun Caliphs, which caliph was more important to the Timurids and why? Some evidence shows that the recent printed edition of the Jamiʿ al-Tawarikh is in fact Hafiz-i Abru’s Majmaʿ al-Tawarikh that has been mistakenly identified as Rashid al-Din’s work. As a result, it can be stated that in the manuscripts completed by Hafiz-i Abru, there is a certain emphasis on Abu Bakr. This is evident in Hafiz-i Abru’s manipulation of the text, as well as in the images depicting the Rashidun Caliphs.

Unlike Christians who illustrated the Bible to teach religious subjects, Muslims faced many barriers to draw religious imagery. The passage of time and diminishing strictures led some painters to depict historical and religious events. The presence of the Mongols in Iran also contributed to this process. Jami’ al-tawarikh is a work of literature and history, produced in the Mongol Ilkhanate and written by Rashīd al-Dīn Faḍlullāh in 8th AH in which the influence of Chinese, Byzantine and Sassanid art is evident. In this book, there are eight paintings of the Prophet of Islam, one of which is a picture of his birth. In Christianity, special attention is paid to the events of the birth of Jesus, Nativity, and is depicted in different ways. There is a fresco of the Nativity in the Arena Chapel in Italy, painted by the Italian painter and architect Giotto in 14th AD In this study, first, these two artworks have been studied separately. The historical background of each has been considered and their structure has been analyzed. Then, by comparative analysis of the two works of art, their similarities and differences are investigated. In the end, attention is paid to the different atmosphere of the two paintings and the cultural differences between the two environments in which these pieces of art are presented.

The bibliophile character of the Timurid ruler Shahrukh (r. 1405–1447) and his patronage of historical, religious, poetical and scientific books in Herat are well known. He commissioned his court historiographer, Hafiz-i Abru (d. 1430) to compose a series of historical and geographical works. Hafiz-i Abru was also commanded to complete several fragmentary copies of the Jamiʿ al-Tawarikh, which had been transcribed for Rashid al-Din (d. 1318) in the early fourteenth century. One of these Jamiʿ al-Tawarikh manuscripts is preserved in the Topkapi Palace Library with the inventory number of “Hazine 1653” and is in part an autograph of Hafiz-i Abru. Since the pre-Islamic part of Hazine 1653 was missing, Hafiz-i Abru replaced the missing part with the first volume of his own Majmaʿ al-Tawarikh. Some years later, a further manuscript was copied from Hazine 1653 and nowadays is known as the “dispersed manuscript.” The contents of these two manuscripts are almost identical and thus their pre-Islamic sections comprise the first volume of Hafiz-i Abru’s Majmaʿ al-tawarikh and their other sections consist of Rashid al-Din’s Jamiʿ al-tawarikh. These two manuscripts are the only surviving illustrated copies of the Majmaʿ al-tawarikh. The Dispersed Manuscript is one of the eight surviving illustrated books produced for Shahrukh. In the beginning of the twentieth century, the manuscript was transferred to the West, and for the first time, as a whole was included in the International Exhibition of Persian Art in the Pennsylvania Museum in 1926. Evidence shows that immediately after the exhibition of 1926, the manuscript was divided into two fragments and found its way into collections of Emile Tabbagh in Paris and Parish Watson in New York. These two dealers of oriental art dismounted the manuscript and started to sell the illustrated leaves before 1928. The dispersal of the codex in more than fifty public and private collections around the world restricted the opportunity for its careful examination by scholars. The book once had 407 folios, of which one hundred fifty are illustrated. Presently, 238 unillustrated folios of this manuscript belong to the Art and History Trust Collection, and the illustrated leaves are widely dispersed. After seven years of research, 146 illustrated folios have been identified. By means of comparison of the text and images of this codex with Hazine 1653, which was copied by Hafiz-i Abru, three distinct groups of painting can be discerned. The first is the established “historical style of Shahrukh,” but the second and the third styles posses several problems. Careful examination of the text and image shows that these paintings have been executed over the text, and as a result, at the location of these miniatures a considerable amount of the text is missing. Moreover, in most of the cases, these repetitious or stereotyped compositions bear no relation to the text. This paper, which surveys the history of the manuscript, shows that approximately half of the illustrated leaves of the dispersed manuscript are manipulations done by the greedy European dealers of oriental art in the early twentieth century.