Persian Miniature Painting Research Papers (original) (raw)

In 1955, Jean Cocteau commented on the retrospective exhibition of Hosayn Behzad's works at the Musée d'Art Moderne, Paris: "Hosayn Behzad is an enchanter of the East of the storytellers. (...) No doubt, in our country (...) there is only... more

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- Discourse Analysis, Testimony, Iranian Studies, Biography
- by Atefeh Amiri
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- Astrology, Iconography and Iconology, Persian Miniature Painting, Iranian Painting
- by Abolala Soudavar
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- Safavid Persia, Islamic Calligraphy, Shah Tahmasb I, Persian Miniature Painting

طبق نظریۀ بیش¬متنیّت ژنت، شاهنامه یک پیش¬متن است و نگاره¬های شاهنامه که بر مبنای آن تولید شده و برای روایت متنیِ شاهنامه یک روایت تصویری خلق کرده¬است، بیش¬متن به شمار می¬آید. حال پرسش این است که بیش¬متن نگاره¬ها در چه مواردی مطابق با پیش¬متن شاهنامه بوده و در چه مواردی دچار تراگونی و تغییر شده¬است؟ برای پاسخ به این پرسش به خوانش تطبیقی و بینانشانه¬ای متن و تصویر می¬پردازیم. به این منظور روایت «گذر سیاوش از آتش» را که یکی از پربسامدترین مجالس در سنّت نگارگری ایرانی است، انتخاب می¬کنیم. به¬این¬ترتیب پژوهش حاضر به نقش روابط بینامتنی در تولید اثر توجه دارد و بر آن است تا با رویکرد بینامتنی چگونگی گشتار (انتقال) روایت متنی به روایت تصویری را بررسی و تبیین کند. پرسش¬های تحقیق به این شرح است: از نظرگاه روابط بینامتنی، نگارۀ گذر سیاوش از آتش چه میزان ارجاع¬های صریح به متن دارد؟ با توجّه به روابط بینامتنی، روایت تصویری تا چه حد دچار تغییر شده و تا چه حد یکسان و بدون تغییر باقی مانده¬است؟ روش پژوهش به این شرح است که نخست با بیان روایت متنی به تأویل و نمادشناسی عناصر اصلی پرداخته و سپس با رویکرد تطبیقی روایت تصویری نگارگران را بررسی می¬کنم. پس از آن نگاره-ها را با رویکرد بیش¬متنیّت ژنت از دو منظر گشتار همانگونی و تراگونی تحلیل می¬شود. هدف تحقیق ارائۀ نمونه¬ای عملی برای تبیین کارکرد نظریۀ بیش¬متنیّت در پیکرۀ مطالعاتی هنر ایرانی است.

This dissertation entitled “Traversing the Extremes through the Miniature: Art in Orhan Pamuk’s My Name Is Red” probes into the portrayal of miniature art and the blissful effect of art as such in the Turkish lives. Art forms the very material with which the work is made of. This dissertation consists of four sections, the second and third being the core chapters. The introductory section traces down the history and development of Turkish literature to Orhan Pamuk and then elaborates on his style and his works with particular reference to My Name Is Red. Core one delves into the evolution of miniature art and its portrayal in My Name Is Red. The book is built up on the foundations of miniaturist tradition that is inextricably interwoven into its soul where the story of the miniature art becomes the story of the miniaturists. Pamuk have given in tremendous effort to minutely portray the art as if he witnessed the miniaturists at work first hand in the era. The chapter elaborates on the budding and blooming of the art and how meticulously Pamuk imbibes the history and tradition of the art to form a potent soul that gives texture to the book.
Core two examines the effect the book renders to the reader in all its totality where mere art becomes a transcendental element that is capable of relieving the soul and transcending man and his perspectives. Art becomes the breath and beat of transcendental spirituality in the book; a mode to see the divine vision and to revel in the divine concept of beauty and perfection. Eyes become mere adornments for the face when the miniaturists wilfully surrender the gift of sight for the power of insight and the perfection attained from blindness. Miniaturist concept of oneness with the divine power, the merging of the mortal with the immortal becomes possible through devotion and selfless dedication to art. The deep connection that art shares with man is elucidated with references from the book.

- by Gayathri Jayakumar
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- Art, Plato, Philosophy of Art, Poetics

One of the difficulties of topics related to Islamic architecture, especially lack of historical documents, architectural maps, and architecture theoretical dissertations. Although many Iranian paintings from this period remain, but little attention to them as historical documents has been and where the integrated, method and system are not suitable. The purpose of this research is to provide a method to use Iranian paintings that are illustrated the Iranian architectural monuments for understanding features of architectural space. Studied paintings are in the Iranian cultural range and between years 617-1000 AH/1220-1591 AD. Methodology of this research is discursive method. This Research first plans discursive framework based on three aspects: cognitive, aesthetic and historical aspect, then analyzes methods of understanding painting and architecture. Capabilities and shortcomings of each method are determined and finally a method is offered to understand the architectural spaces by Iranian paintings. That is based on four stages. The four stages are: 1) formal search; 2) typological and semiotic search; 3) symbological and phenomenological search 4) intuition thinking (wisdom). Refer to the first phase of the three layers of semantic postponed to the fourth stage. In the fourth step, there comes a semantic network. This meaning may confirm each other (convergence), denial (divergence) or they are impossible to time. In the last stage an intuitive semantic network is achieved. This method subsidiary include: historical documents method; monographic method; evolutionary method; conceptual approach; thematic approach; typological method. This research showed that by this method can understand from paintings some functional, formal structure, social - cultural, symbolic and Spiritual meaning of Iranian architectural space. Also, in some cases historical typology of spaces can be achieved approximation.

The snake is considered an important symbol of creation
and good in Ancient Egyptian civilization; however, it
sometimes even symbolized evil. Furthermore, this symbol
was used by Coptic artists in many paintings, sculptures, and
applied arts. The snake appeared in many pictorial
presentations derived from religious stories. This pattern
was still in use during the Islamic era. The snake appeared in
many miniatures that tell Adam and Eve's story, the Devil
temptation, and their expulsion from heaven along with the
snake, the peacock, and the Devil. Despite that symbolism
of evil and temptation to disobedience, the snake's
representation played another role when it appeared in the
Islamic hospitals as a symbol of healing, and on other
occasions, as a symbol of protection stinging away evils and
pests. The research aims to study snake symbolism in
Coptic, Byzantine, and Islamic periods contemporary to the
Renaissance in Europe and Shed light on snake symbolism
in various forms of art, such as painting, miniatures,
sculpture, and applied arts.

Album of reproductions of the Central Asian (Mawarannahr) miniatures preserved in the French public collections (XV-XVIth c.), with some remarks on their origin and style.

- by Abolala Soudavar
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- Art History, Safavid Persia, Persian Miniature Painting

وجد الإنسان فأوجد التصوير، ولعّله جعله من ضروريات حياته كالمأكل والمشرب والنوم، فقد اخترع الإنسان البدائي الصورة ليتصل سواء مع أفراد عشيرته أو مع القوى الخفية التي يعتقد أّنها تسير حياته و حياة من حوله ، وعلى الرغم من اختراع الكتابة التي تعتبر المنعرج الحاسم في التاريخ، إلا أن الصورة الفنية لم تتراجع بل وجدناها في تقدم مستمر ينبئ بأن المجتمعات الإنسانية لم تتمكن من الاستغناء عنها و استبدالها بأيٌة وسيلة اتصالية كانت, و هذه الورقة تناقش تحديدا تلك الصورة الفنية التي تشكلها و تلونها يد الفنان المبدع دون غيرها من الصور , ودورها في تفسير العمارة الإسلامية والحفاظ عليها، و إن كان يدور في فلك فن التصوير و اللوحات الإبداعية فإنه سيختص بتناول هذا الفن التصويري المصّغر (المنمنمات) حيث تعد المنمنمات الإسلامية من أرث التاريخ الإسلامي وأهم مرجع للتصوير الإسلامي .
وفي وقتٍ مبكِّرٍ من تاريخ الحضارة العربية الإسلامية ظهر هذا اللون الخاص من فن التصوير وكانت وظيفته الأساسية هي توضيح تجارب طبية أو علمية أو رسم نباتات وأعشاب طبية أو أجزاء الحيوانات المفيدة وتسمى مرحلة الرسوم التوضيحية ، الذى يُعرف اليوم باسم : المنمنمات , وقد طوَّر الفنانُ المسلمُ هذا الفنَّ الذى ورث أصوله من الحضارات السابقة على الإسلام ، خاصةً الحضارات الهندية والفارسية .. وهو ما يؤكِّده بشكل مباشر ، أنَّ أولَ كتابٍ عربي ظهرت فيه المنمنمات كان كتاب ( كليلة ودمنة) وهو في أصله كتابٌ هندي ، ترجمه الفرس إلى لغتهم قبل الإسلام بعِدَّةِ قرون ، ثم ترجمه ابن المقفَّع إلى اللغة العربيـــة في أوائل القرن الثاني الهجـري .
ويهدف هذا البحث إلى التعرف على دور المنمنمات أو التصوير الإسلامي في تاريخ العمارة الإسلامية سنتعرض خلال البحث عن المنمنمات ونشأتها وتطورها وأهم مدارسها وخصائصها العامة، والتعرف على بعض السمات الجماليات لها وعصور العمارة الإسلامية في المنمنمات التاريخية .
يتبع البحث منهج وصفي تحليلي في رصد بعض السمات الجماليات لفن المنمنمات الإسلامية .كما تمت الاستعانة بالمنهج التاريخي في جوانب من هذه الدراسة وفَقا لطبيعة البحث و التي تستوجب مّنا العودة إلى الماضي لتقصي حقائق تاريخية معينة .

- by Reem Alsabban
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- Art History, Design, Architecture, Cultural Heritage

This article examines calligraphic inscriptions found in some manuscript paintings from the early years of the Safavid dynasty in Iran. This was a golden age of Persian art, and these are some of the most exquisite miniature paintings ever executed in the Islamic world, yet they have not given up all their secrets by any measure. Here I focus on the inscriptions added to buildings, such as palaces, in paintings in two manuscripts in the Metropolitan Museum of Art, a Khamsa of Nizami of 1524–25 and the (dispersed) Shahnama of Shah Tahmasp of ca. 1522–1540. Inscriptions in paintings are frequently banal, but a number seem to be more meaningful, in that they are poetic verses or otherwise potential carriers of significance beyond simple wishes of “blessings to the owner,” religious formulae, and the like. Most remain obscure to a general readership, having only been translated in the scholarly literature; more seriously, some of the translations that have been made have mistakes, leading to flawed interpretations which I hope to correct. Finally, some of the inscriptions are interesting for the connections they reveal to the world beyond the paintings, including links to Safavid metalwork and even Ottoman architecture.

- by Burzine Waghmar
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- Middle East Studies, Middle East History, Iranian Studies, Middle Eastern Studies

Ali Şir Nevâyî (1441-1501), Timurlu başkenti Herat’ta siyasi ve kültürel kimliği ile büyük ün yapmış şair, devlet adamı ve dilcidir. Doğduğu coğrafyada, Timurlu Sultanları bölgeyi hem siyasi amaçlarına uygun, hem de bilim ve sanat koruyuculuklarını ön plana çıkararak yönettiklerinden Nevâyî, yüksek bir kültür ortamında eserlerini yazar. Dil ve edebiyat eserleri, dini ve ahlaki eserler, tarihi eserler, biyografik eserler ve vakfiyeler kaleme alan şair, Çağatayca yazarak Orta Asya Türk dilinin ve edebiyatının gelişmesinde büyük rol oynar. Türk-İslam coğrafyasında beğenilerek okunan şairin eserlerinin kopyaları, bugün dünya müze, kütüphane ve özel koleksiyonlarında bulunur.
Nevâyî henüz hayattayken, eserlerinin resimli nüshaları saray atölyesinde hükümdar, şehzade ve devlet adamları için hazırlanmaya başlanır. Çeşitli kültürel ve siyasî ilişkiler sonucu, ünü Herat çevresi dışına çıkan şair, İslam ve Türk edebiyatında kalıcı izler bırakır. Nitekim Nevâyî’nin eserlerinin resimli kopyaları sadece Timurlu coğrafyasında üretilmekle kalmamış, bu örnekler içerik ve tarzlarıyla Anadolu ve Orta Asya başta olmak üzere birçok üretim merkezini hem üslupsal hem de ikonografik açılardan etkilemiştir. Önce Timurlular için, ardından siyasî ve kültürel etkileşim sonucunda yayılarak üretimi devam eden resimli Alî Şîr Nevâyî kopyaları Akkoyunlular, Safevîler, Osmanlılar, Özbekler, Babürlüler için Herat, Şiraz, Tebriz, İstanbul, Şahruhiya, Kazvin ve Buhara gibi merkezlerde hazırlanmaya devam etmiştir. Aralarında Sultan Yakub, Sultan Hüseyin Baykara, Abdülaziz Bahadır Han, Kanuni Sultan Süleyman , Şah İsmail, Şah Tahmasp’ın da bulunduğu sultanların nakkaşhanelerinde hazırlanan bu resimli el yazmaları, Türk dünyasında ortak bir kültürel mirasın büyük bir saygı ve beğeniyle devam ettirildiğini gösteren önemli bir örnektir.

Persian and Indian paintings exhibited at New York, NY, March 2022

- by Joachim K Bautze and +1
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- Mughal painting, Persian and Indian Miniature Painting, Persian Miniature Painting, Pahari Paintings

Four copies of the Jamiʿ al-tawarikh produced at Rashid al-Din’s scriptorium survive: one in Arabic and three in Persian. These codices are fragments of the second volume, which include the history of the non-Mongol peoples of Eurasia, including Ughuz Turks, Chinese, Jews, Franks and Indians. Interestingly, all these manuscripts were in the possession of the Timurid ruler Shahrukh, who ordered his scriptorium to complete the three Persian copies. Considering the section on the
history of other nations, none of the Persian copies remains intact, because these parts have been refurbished or completed in Shahrukh’s workshop. These sections in the three Persian codices contain calligraphy and illustrations from both the Ilkhanid and Timurid periods. Since these manuscripts were produced in the royal workshops of the Ilkhanid and Timurid rulers, they reflect the different international relations of the time. These reflections are obvious in the nature, the number and the placement of the illustrations. This paper examines the foreign relations of Iran in the beginning of the fourteenth and fifteenth centuries via the codicological study of these manuscripts.

مدارک تصويري ازجمله مهم ترين مدارک در مطالعه تاريخ و به خصوص تاريخ معماري است. مدارک تصويري انواع مختلفي دارد که نقاشي نوعي مهم در ميان آن هاست که ظرفيت هاي آن چندان شناخته شده نيست و کمتر در تحقيقات معماري مورد استفاده قرار گرفته است. اين مقاله به شناخت اين ظرفيت ها و نکات لازم در استفاده از آن ها مي پردازد. اين نکات از مرور جامع ادبيات اين موضوع، شناخت پيشينه و منابع نقاشي ايراني و تامل بر وجوه مختلف آن استخراج شده است. در نهايت، اين مقاله مشخص مي کند جايگاه انواع نگاره در مطالعه تاريخ معماري چيست و چگونه مي توان آن ها را دست مايه تحقيق در معماري ايراني قرار داد.

Curso teórico-prático ministrado no Museu de Arte Sacra de São Paulo. A arte persa em miniatura destinava-se a ilustração de livros ou álbuns, os chamados Muraqqa, tornando-se um gênero significativo na arte persa no século XIII, com... more

- by Silvana Borges
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- Persian Literature, Achaemenid Persia, Ancient Persia, Persian Culture

اسب از موجودات اساطیری و نمادین در فرهنگ شرق و غرب است و گاه مرکب خدایان به شمار می¬آید. در برخی از داستان¬ها اسب پهلوان همپایه او ارزشمند و ارجمند است نظیر رخش رستم، شبرنگ سیاوش و شبدیز خسرو پرویز. رخش، اسب رستم، یکی از مهم¬ترین جانوران در ادبیات فارسی است که فراتر از یک مرکب، یاور و همراه همیشگی جهان پهلوان است. اهمیت رخش در ادب حماسی سبب شد که نقش آن در متن و تصویر را بررسی کنیم. این پژوهش شامل دو بخش است: در بخش نخست اهمیت اسب در ادبیات را بررسی و ابیات شاهنامه در توصیف رخش را ذکر می¬کنیم. در بخش دوم به بررسی جایگاه اسب در هنر ایران می¬پردازیم و سپس تصویر رخش را در نگاره¬های «گزینش رخش توسط رستم» بررسی می¬کنیم. حاصل پژوهش نشان می¬دهد که نگارگران در ترسیم رخش به سه ویژگی رنگ زعفرانی، بور ابرش، کهری رنگ رخش توجه داشته¬اند. همچنین دریافتیم که توصیفات فردوسی از رخش انتزاعی نیست بلکه می¬توان در عالم واقع نمونه¬هایی از آن یافت.

Probablement l'une des plus luxueuses et mystérieuses scènes du manuscrit, « La vision du Prophète Daniel sur quatre bêtes », décore de haut en bas la marge du folio 129a du Lectionnaire écrit et illustré en 1286 sur l'ordre du prince Het'um II 1. Cette représenta-tion est, comme les autres images marginales de ce manuscrit, un exemple incomparable dans la peinture arménienne. Sa particularité n'est pas seulement le thème, dont quelques exemples sont connus, mais aussi le style qui est, dans l'art arménien, une totale innovation. Au-dessus de la marge de la page, Dieu le Père est dessiné dans le médaillon rayonné, et la vision elle-même se développe dans la marge latérale. Au-dessus de la page un ange s'approche de l'image de Daniel endormi horizontalement, et le touche de la main. Au-des-sous on peut distinguer avec difficulté, dans l'image marginale, les quatre bêtes entrela-cées avec des dessins feuillus et des formes animales. La première ressemble à un lion, la deuxième à un ours, la troisième à un léopard ; la quatrième a de grandes dents en fer et ses dix cornes forment un demi-cercle autour de la tête. Même si, naturellement, cette image n'est pas la représentation littérale de la vision, cependant le miniaturiste a tout fait pour donner à la scène une impression percutante. Dans la prophétie de Daniel la première bête est décrite ainsi : « La première ressem-blait à un lion, et avait des ailes d'aigle. Pendant que je regardais, ses ailes ont été arra-chées, elle a été soulevée de terre et mise debout sur ses pattes comme un homme, et un coeur d'homme lui a été donné » 2. Dans l'image du Lectionnaire de Het'um, la tête et les ailes du lion sont clairement visibles, mais les ailes ne ressemblent pas beaucoup à celles 1 Erevan, Maténadaran M. Maštoc', manuscrit 979, folio 129a, image 1. 2 La prophétie de Daniel 4–5.

- by Emma Chookaszian
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- History, Art History, Medieval History, Medieval Studies

A scrapbook compiled between 1660 and 1687 by Gesina ter Borch (1631-1690), a female artist from the small town of Zwolle in the Netherlands, contains an intriguing painting on paper of a full-length portrait of a young Iranian. Although the figure wears the attributes in vogue at the Safavid court of Isfahan, certain elements seem rather incongruous and peculiar. The general composition appears static and rigid, an impression reinforced by an unusual black painted background. Stylistic differences within the painting were also observed, hinting at alterations to the original painting. To investigate the history of the painting and to reconstruct the original composition and identify the later additions, perhaps made by Gesina herself, the painting was examined with different imaging and analytic techniques available at the Conservation and Science Department of the Rijksmuseum. This allowed the research team to discriminate between pigments used for the original composition and pigments used to conceal damaged areas of the painting and added pictorial elements. After interpreting scientific results, as well as historical findings, it was possible to shed light on the use of specific pigments, namely lead white and smalt, and on the possible misinterpretation of some details, such as the cup held by the young man. The results of macro X-ray fluorescence scanning (MA-XRF) and lead isotope analysis, viewed in the light of information about the economic and cultural exchanges between Iran and the Netherlands in the seventeenth century, fed new theories about the origin and history of this painting. The painting, originally made in Iran in the style of Riza Abbasi, the head of the Emperor Shah Abbas' library, ended up in Gesina ter Borch's workshop and may have been 'restored' by the artist to improve its condition and to match her tastes.

Hazine 1653 is in part the oldest surviving Persian copy of the Jamiʿ al-Tawarikh. It was produced in the scriptorium of its author in 714/1314. It contains the second part of the second volume of the Jamiʿ al-Tawarikh, which covers the events from the time of creation up to the extinction of the ʿAbbasid dynasty and a section on the history of the non-Mongol peoples of Eurasia. In the subsequent century, Hafiz-i Abru, who was charged by the Timurid ruler Shahrukh to complete the manuscript, replaced the pre-Islamic section of the book with the first volume of his own Majmaʿ al-Tawarikh. The pre-Islamic section of the book, which is an autograph of its author, is again the oldest dated copy of the first volume of the Majmaʿ al-Tawarikh. In its current state, Hazine 1653 consists of 435 folios, of which 143 are illustrated. It is for the first time that one of the earliest copies of the Jamiʿ al-Tawarikh has been published in its entirety.
To order the book, please contact the publisher: info@mirasmaktoob.ir

When the tradition of book illustration in the Turkish-Islamic World is considered, it is seen that some literary works stand out more. Among these, Khamseh of Nizami Ganjavi, who guided many poets after him as the founder of the Khamseh genre, takes the first place. The fact that the work was loved so much at the time it was written, constantly copied and reproduced, and that its illustrated copies were prepared in almost all palaces from the earliest centuries when the tradition of book illustration began, adds a special importance to this work.
The main subject of this research is the miniatures of the story “Majnun Taken By His Father To The Ka'bah” from Layla and Majnun Masnavi, which is the third masnavi of the Khamsa, written in Persian in less than four months at the request of Shirvanshah Celâlüddevle Ahsitân in 584 (1188). The production of illustrated manuscripts bears the traces of the period in which they were prepared, the patrons who placed the order and the painters who prepared it. In iconographic studies, it is important to reveal the conditions under which the work was prepared and for what purpose in order to establish intercultural connections. In this context, miniature examples within the scope of the study reveal how the same story was constructed by painters in different centers.
The production of illustrated manuscripts under the auspices of important art patrons such as Shahruh, Baysungur, Mohammed Cuki, his wife Ismet al-Dunya, Shah Ismail, Shah Tahmasp, Ebülgazi Bahadir Khan shows how much Khamseh of Nizamî is loved through all over the Islamic geography. The pictures associated with this story in the illustrated manuscripts in important museums and libraries such as Berlin Staatliche Museen, Dublin Chester Beatty Library, Istanbul Topkapi Palace Museum Library, St. Petersburg Hermitage Museum, London British Museum, London Royal Asiatic Society have been identified, and studied chronologically.
In this study, the earliest examples available have been limited to the ones that date from 1420 to the 17th century. Depicted in Shiraz, Herat, Tabriz, Kazvin, Bukhara styles in the court ateliers and manuscript production centres in Timurids, Safavids, Turkmens, Uzbeks, these paintings give information about how iconography has evolved. The fact that this topic is commonly depicted as a theme highlighting the healing aspect of Islam's holiest place of visitation indicates that beliefs influence the choice of stories. Apart from Khamsa of Nizami, the use of the same subject as a pattern, with some changes in composition, in works such as Falnâmeh, Majalis al-‘Ushshaq, is also of great importance in terms of determining the continuity of the traditional miniature painting.

The essay explores many aspects of Indo-Persian Miniature painting.

- by Filiz Adıgüzel
- •
- Art History, Islamic Art, Persian Culture, Sanat Tarihi

During the reign of Shah Abbas I, Isfahan as a new capital of Iran, became a symbol of power and stability.
Political-administrative centralization of the Safavid dynasty in Isfahan, the establishment of numerous studios, king's support for artists, the expansion of Iran’s relations with the west and the east, following the western art all these attributes create a platform for the establishment of Isfahan miniature school.
Reza Abbasi is the founder and one of the most famous representatives of XVII century’s Isfahan school. Artists of this school abandoned their former traditions and typical style of persian painting. This was due to existence and availability of western art and the direct contact of locals with european artist residents in Isfahan.
While studying the Matenadaran’s persian artworks, specially the iranian armenian poet and novelist Louisa Aslanyan’s donated pieces and her homonym collection (with the tag of 1999), that consist of 18 different units, we came to the conclusion that majority of the illustrated ones are belonged to Isfahan school’s miniature style. Some of them are replicas of Reza Abbasi’s miniature paintings but there is one, which in our opinion is artist’s unsigned artwork.

- by Yvette Tajarian
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- Persian Miniature Painting

الملخص:
هذا البحث هو محاولة لتقديم تحليل عام لشكل الـﭽتر الذى يُعتبر أحد العناصر التي امتازت بها تصاوير المخطوطات الإسلامية المصورة، وذلك على اختلاف المدارس التصويرية المختلفة، بل تعدى ذلك إلى التحف التطبيقية، وأصبح هو وحامله من السمات المميزة للأسلوب الفني التصويري في عدد من المدارس. وتهدف الدراسة إلى عمل تأصيل للـﭽتر. يبدأ بالمقصود به على اختلاف الأمكنة والأزمنة، والعصور التى استُخدم فيها الـﭽتر سواء العصور القديمة أو العصر الإسلامي، والأشخاص التى كان يُرفع فوق رؤسهم من الخلفاء وأبنائهم، والسلاطين، وزوجات السلاطين وأبنائهم، والوزراء، ورسل السلاطين، أيضاً سيتم التعرض بالدراسة الوصفية والتحليلية للتصاوير التي وجِدت بها رسوم للـﭽتر، في مخطوطات والبومات المدرسة المغولية الهندية، ومايعاصرها من مدارس محلية هندية للوقوف على أهم أشكاله المختلفة في كل مدرسة، وألوانه، والزخارف المصاحبة له، والموضوعات التصويرية التى رُفع فيها.

- by saleh fathy
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- Mughal painting, Persian Miniature Painting

With the formation of civilizations, one of the most important tools in the transmission of science, culture and art is undoubtedly writing. For this reason, wherever and however it has been written, generations have not only benefited from it by being able to find out about their own culture and history closely, but they have left a heritage for future generations as well. However, the invention of paper, a material that will facilitate the
transfer of this heritage, has accelerated the work considerably. Paper, which is used both in the transfer of information and on which the art itself is embroidered, appears as an indispensable material in both the east and the west. Along with the discovery of paper, the raw materials from which civilizations have obtained it have differed according to geography and century, constantly changing places between the west and the east depending on their types, commercial relations, and ease of use.
In this research, it is aimed to demonstrate the production activities in the court ateliers through the miniatures showing the paper making stages in the book production centers in different centuries in the Islamic geography, by focusing on the historical adventure of paper and its raw materials in general.
Especially at the end of the 15th century, with the appearance of daily life scenes in the paintings in the Timurid period in Herat (1370-1507), the people who prepared the paper for writing and drawing began to be seen in the pictures showing the madrasa in literary works. Moreover, this influence continued in the Safavid (1501-1736) and Uzbek Khanate (1500-1599) period in the sixteenth century, and later, in the Mughal
period (1526-1858), it was seen in pamphlets with pictures in which the court ateliers were portrayed, and as margin painting in albums. Looking at these depictions, the papermaking stages and the tools used in its production as well as its treatment, that is, how it is made suitable for calligraphy, illumination and miniature painting, are reflected in a way that supports the sources of the period.
Keywords: Paper, court atelier, manuscript, miniature painting, burnish

- by Fatima-Arianaz Mahvan
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- Art, Persian Literature, Literature, Persian Language

بررسی نگاره های داستان خسرو و شیرین

- by Hoda Zabolinezhad
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- Persian Language, Iranian Literature, Persian Culture, Iranian poems

Timurid period is one of the brightest periods of Iran regarding various arts such as architecture and painting, and Baysonqorid Shahnameh as the masterpiece of Herat painting school that made in royal library of Timurid prince, Baysonqor Mirza in 833 AH, is one of the most magnificent remain opuses of this painting style. In 6 images of 22 images of this manuscript, royal buildings are painted which used as castle and palace that in the first view, the azure tile decorations bring the facade of Timurid buildings to the viewers mind. Drawing plant, geometric and inscription motifs of these buildings were done carefully. 5-images buildings have Kufic and Suls inscriptions. This research tries to answer this question that what are the features of building inscriptions of Baysonqorid Shahnameh images? The main aims of this research are comparing building inscriptions of Baysonqorid Shahnameh Images and buildings of eastern territory of Timurids, since the beginning of formation of this dynasty in 771 AH till the year of constructing this manuscript in terms of type script, colour, decorations and location, and also examining the importance of these images in architectural studies of Timurid based on their inscriptions. The reserch informations collected by library method and presented with descriptive_comparative and analytic method. The research results show that most of the features of Baysonqorid Shahnameh inscriptions are consistent with inscriptions of buildings of Timurid eastern territory. Based on the text of Suls inscriptions of the images of Zal and Rudabeh and Golnar and Ardeshir visit, the depicted monuments in the paintings are inspired by the buildings of Baisanqar Mirza. Since many buildings of Prince Baysonqor or other Timurid rulers in Central Asia have been destroyed over time, these images can be considered as a reliable source in the reconstruction of their architectural and decorative features.
Keywords: Baysonqorid Shahnameh images, Eastern territory of Timurid's, Tile work, Kufic inscription, Suls inscription.

- by Abolala Soudavar
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- Mughal painting, Persian Miniature Painting, Reza Abbasi, Aqa Riza Jahangiri
- by Olga Yastrebova
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- Art History, Rare Books and Manuscripts, Manuscript Studies, Codicology
- by Markus Ritter
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- Art History, Islamic Art, Iranian Art History, History of Art