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

One of the main sources of Iranian painting is literary books and all kinds of literary works such as Lyric, Epic, Religiousetc. have been applied in paintings. Since, the epic literature and especially Ferdowsi’s Shahnameh, whichdescribes the valor of kings and national heroes as well as the Iranian people, has received more attention than anyother literary genre and at various times Iranian artists used the its theme, which is one of the central pillars of Iranianliterature, in their works. But artists’ encounter to this work was different in each era, and this study examinesthis encounter. The cases in this study is Shahnameh Baysonqori from ancient Iranian painting and comparisons ofits designs with the works of contemporary Iranian artists in terms of content and literary themes. The research is adescriptive-analytical one with a comparative approach and its main purpose is the way ancient and contemporaryIranian paintings encountered the themes of Shahnameh Ferdowsi as the main basis of Iranian epic literature. Thepresent study, while investigating the similarities and differences between theses encounters, seeks to answer thequestion of: what are the causes of these differences and changes? The results of this study revealed the greaterdependency of ancient miniatures to the text, the centrality of kings and their actions, and addressing details. In thecontemporary era, because of the variety of the audiences, the dependence on the text has been reduced and the audienceshave found a special place; also the addressing to detail has been reduced and the artists often focus on nationalheroes and their bravery.

Beginning in the late 13th century A.D, decorative motifs were employed differently by the Iranian painters in illustrated literary books. This new illumination technique gradually became popular during the 15th A.D under the Timurid rule. The illumination used in the most important literary works of the era, i.e. Baisonqori Shahnameh and the Shahnameh of Shah Tahmasb, indicate the existing ties and progress of the art of book illumination during the two aforesaid periods, and their distinctive features provide ample basis for their study.
Employing desk study of library resources, the study has been conducted using comparative-descriptive method of research aiming to investigate the visual features of the two epopees dating to Timurid and Safavid eras and identify the similarities and differences in their illumination components. Questions in the survey include: What colors are more used in illumination of these two epopees? In what direction and to what extent is the development of Illumination? What is the different between shapes, motifs and forms used in these two epopees?
The results indicated that in the illumination of Baisonqori Shahnameh, foral patterns (Khatai) and arabesques designs have been employed in separate frames with the arabesque designs used in the margins. The floral patterns (Khatai) and arabesques designs in illumination of Shahnameh of Shah Tahmasb show a high diversity and have been used alongside each other in regular curves. Gold and blue color constitutes the dominant colors in this work of art as well while the use of colors such as red and black have increased. As compared to Baisonqori Shahnameh, the decorations used in the context of Shahnameh of Shah Tahmasb are more detailed and its tables are more comprehensive. In general, despite being influenced by the art of the pervious eras, the illumination of Shahnameh of Shah Tahmasp have more delicate motifs and designs and more diverse templates.