solmaz amirrashed

Objective

 Considering that the Qurans of the Ilkhanid period have been prepared in different art centers, the purpose of this research is to do a comparative study of the characteristics of each group and to determine new patterns of illumination in the Ilkhanid School.

The research method in this article is descriptive-analytical and comparative. In this research, gilded Qurans during the Ilkhanid period in three art centers of that time; Baghdad, Mosul, and Hamadan; Tabriz and Maragheh; and the local versions of Shiraz were studied. Four factors of decorative motifs (calligraphy background), Sar soura format, trances (connected and disconnected), and in-text signs were exemplified and compared.

Some elements of the Seljuk school, such as octahedrons, fringes on the sides of the pages, and the use of circles to obtain decorative patterns were also used in the Ilkhanid period. Knotting or interweaving patterns appeared in the last Seljuk works and became a widely used element in the Ilkhanid period. Based on the use of geometric and non-geometric elements and forms, the gilding of Ilkhani Qurans in three main groups, despite being prepared in the same period, showed different types as distinctive features.

The works prepared in different cities show differences, but in general, each of the examined Qurans was prepared in its way based on the book layout principles of the Ilkhanid period. Some elements such as geometric motifs show great progress compared to the Seljuk period, especially in the group of Qurans prepared in Baghdad, Mosul, and Hamadan, and the sample presented with the date 736 (image 20) shows that probably until the end of the Ilkhanid period, gilding with geometric motifs was combined. It has continued with plant motifs in this group. In the works of the northwest, this stage has been completed earlier with the use of plant motifs. In most of the Qurans of the order of Uljaito, which were prepared in Baghdad and Mosul, the background of calligraphy is simple and without decoration, instead, the signs, trances, and inscriptions were made very exquisitely. There is no independent page for the sun in this group; According to Blair's research, this element first appeared in Tabriz and Maragheh Quranic manuscript groups. In the comparison made by Khoddam about the 5-verse toranjs, connected or disconnected toranjs, this element is often seen in Baghdad and Mosul versions along with geometrical, Khata'i, and Islamic elements inside the cedar-like frame. But in Tabriz and Maragheh khatai flower editions, it is also used independently of the circle or cedar frame. According to the research of Khoddam, there were delicate shortfalls around the azure-colored sign from the Seljuq period, and in the Ilkhanid period, changes that radiated with shortfalls (like Shamseh) are seen in the Korans of Tabriz, Maragheh, and three cases in Baghdad. Snak arabesque and inaceolate leaf motifs was introduced as a new element in the gilding of Ilkhanid period. This research also shows that these two roles are abundantly used in the works of all three groups.

Ali shah Mosque in Tabriz is one of the remaining buildings from the Ilkhanid period in the region of Azerbaijan in Iran. In historical documents, this building is mentioned with different names such as citadel and mosque. Despite the research done on this building, researchers still have disagreements regarding architectural specifications. In this research, based on archaeological and architectural evidence, the authors seek to answer the following basic questions in the manner of field studies and libraries, which are based on descriptive-historical and analytical-comparative, how are the architectural features of this building represented by the texts of historical documents? How is the porch connected to the tomb? Also, what is the relationship between Ali shah Citadel and the school of the two minarets of the Erzurum in terms of physical and trinity elements? The following hypotheses are raised: according to the results, the pillar behind the altar is originally the tomb of Alisha. The main altar was located inside it and had a green dome with skylights. The way to reach this tomb and the altar were from the stairs leading to the porch. After the huge columns on either side of it, which may have been turned into a minaret, space has become smaller with an indentation. The school and monastery were connected to its western and eastern sides. This general form of composite buildings in a complex is a feature of most buildings of this period. Other results of this study show that the model of the mosque-school of the Erzurum is derived from this building, which shows the cultural connections between the two regions.

After the fall of the unified Mongol political system in Iran and China, the establishment of the anti-Islamic Ming dynasty in China and the Timurid Muslim rule in Iran; Interactions between the two lands were interrupted as in the pre-Mongol period. Contemporary, with the rule of Daiming Khan Ming and Shahrukh Teymouri, steps were taken by the two warring governments to establish political relations and to exchange diplomatic missions. Ghiasuddin Mohammad Naghash, one of the members of the embassy sent from Herat court to China in 822 AH. The present study seeks to answer the following question: What was the position of Ghiasuddin Mohammad Naghash in the influence of Iranian painting on Chinese painting? In order to answer to this question, it is assumed that with the presence of Ghias-ud-Din Mohammad, a painter at the Chinese court, and the creation of Ajaib al-Lataif and an illustrated one (the shrines of the Topkapi Museum), the ground for an Iranian painter's acquaintance with Chinese painting was provided and the Chinese pattern was reflected in his works in terms of subject matter.

This research has been done by descriptive-analytical method and relying on library resources. In this research, first historical reports from the Timurid embassy to the Chinese court were extracted from first-hand historical sources and compiled with the contents of the written embassy of Ajab al-Latif Ghias-ud-Din Mohammad Naghash. Reports related to the embassy have been compiled, and finally, by proving the attribution of these works to Ghias-ud-Din Mohammad Naghash, the influence of Iranian painting on Chinese painting has been examined in terms of subject matter in the works.

Relations between the Timurid and Ming dynasties improved during the reigns of Shahrukh Teymouri and Daming Khan Ming. The two sides sent embassy delegations to each other with the aim of normalizing relations. After receiving four delegations from the Chinese embassy and sending two ambassadors to the Ming court, Shahrokh Teymouri sent a high-ranking embassy delegation to the Ming court on behalf of himself and other Timurid princes. Ghiasuddin Mohammad Naghash, one of the prominent artists of Basanqar Mirza Library, was also on the board. During this embassy trip, he has recorded what he has seen and heard in the form of a travelogue. Although the original version of this travelogue is not available, a copy of it has been preserved in the well-known chronicles of Hafiz Abru and the informant Saadin Abdolrazaq Samarkandi. There is also an Ottoman Turkish translation of this work called Ajaib al-Latif. The reports in this travelogue correspond to the references in the Turkish Topkapi Museum with the signature of Professor Mohammad Siah Ghalam. . The most prominent manifestations of the correspondence between the written travelogue of Ghias-ud-Din Mohammad Naghash and the shrines of Master Mohammad Siah Ghalam can be reflected in the images of demons and other mythical creatures of Chinese temples, desert cows, dervishes and Chinese ascetics, chants and horses. In the travelogue, he referred to the mentioned places.

Mohammad Siah Ghalam is the same as Ghias-ud-Din Mohammad Naghash, a member of the delegation of Herat Embassy to China. The painter Ghias-ud-Din Muhammad was faithful to his style of painting in terms of form, but he owed Chinese painting in terms of the subject matter of his works. The Chinese pattern used by Ghias-ud-Din Mohammad Naghash later appeared in the works of Sheikhi or Yaghoubi, a painter at the Tabriz School of Painting in Turkmenistan. Sheikhi owes a lot to Chinese painting from a thematic point of view, and the clothes and decorations in his works have the color and glaze of Chinese paintings by the painter Maab Ghias-ud-Din Mohammad.

Animal painting (Zoomorphism) and the use of animal motifs in natural landscapes have been among the most widely used subjects in royal murals. Sadeghi Beyk has described the nature and importance of animal painting in his treatise Majma 'al-Khawas. This tradition of mural painting has continued in Qazvin and Isfahan schools during the Safavid period. The similarity of Chehel Sotoun Palace murals of Isfahan and Qazvin with the murals of the Tabriz school is a proof of this claim. These murals, made by artists trained in the Tabriz and Qazvin schools, also undergo changes and developments in a short period of time. The motifs of mythical and trapped animals are the least used in them.The authors' hypothesis is based on the fact that the original murals of Chehl Sotoun the palaces of Isfahan and Qazvin, which belong to the period of Shah Tahmasb and Shah Abbas I, correspond in style. They belong to the painters who studied in Tabriz and Qazvin schools.This article answers these questions: What are the similarities between the Animal drawing style in the murals of Chehel Sotoun Palace in Qazvin and Isfahan, and what are the differences that they have for about fifty years?The method in this research is descriptive-comparative, and it uses library resources and field research or field observation. The visual information in the Chehel Sotoun Palace in Qazvin and Isfahan was collected by visiting the Chehel Sotoun Palace and cooperating with Qazvin's cultural heritage. Library resources, digital resources and the statements of Hossein Aghajani, the restorer of Chehel sotoun in Isfahan, have been used during the interview. The main purpose of this article is to investigate the use of animal motifs in the Qazvin school and its continuation in the Isfahan school. Therefore, the common animal motifs between the murals of Isfahan and the Chehel Sotoun palace of Qazvin were identified and classified, and the art schools of Tabriz and Qazvin were analyzed and compared.The result of the study showed that the freedom discussed in Isfahan school is not seen in these paintings, because the murals with animal motifs in nature are related to the style of Qazvin and Tabriz schools According to Sadeghi Beyk Afshar, although murals include all three methods of animal painting, in the remaining works in two important buildings of the Safavid period, there is no motif of mythical animals such as dragons and phoenixes (Simorgh) and the scene of animal fights in these murals is very limited. The mentioned changes and developments in animal painting have started from the last years of Tabriz II School and have been displayed in the Chehel Sotoun murals of Qazvin and Isfahan. The animal motifs used in the Chehel Sotoun of Qazvin are less varied. The animals in nature are full of flowering trees and a variety of flowering shrubs, Khitan flowers, and leaves, and show paradise views similar to those in the Second Tabriz School.Plant motifs for moqarnas and plants such as flowering trees and flowering shrubs were used for landscaping in the two murals. Here, arabesque frames - in the form of Toranj and Sartoranj - are just as easily placed in the middle of the painting next to the natural landscape, just like the murals of the Chehel Sotoun of Qazvin, where the branches of the flower grow from a rocky bed. The blossoming tree is one of the characteristics of Tabriz school, but it is less found in the works of Qazvin, Mashhad and Isfahan schools. The blossoming tree is used symmetrically in the wall painting of Chehel Sotoun Palace in Isfahan in the red field. However, the artist seems to be more inclined to the Timurid school in the green field because, as in most Timurid works, the background is full of flowering plants and animals painted on the bushes' side.The plants painted in them already existed in the field of painting in Tabriz school, but here they are bigger and have been painted more clearly. The size of the bushes is so large that the animals next to them look very small. None of the murals use motifs of legendary creatures such as dragons and ostriches. This cannot indicate the obsolescence of this type of motif in the school of Isfahan because they have been used a lot in the tiles of the Hasht Behesht Palace in Isfahan.

The purpose of this study is to examine the structure of the library and other cultural institutions, how they are managed and the selection and use of human resources in the Ilkhanid period.

In this study, artistic management theory is used to evaluate inductively, using Ilkhan's practices, management and planning, and their success in transforming ideas into action or defining values and goals to the stage of implementation of library outputs (works). To be consolidated. The sources of this library research and images are from digital sources in museums.

The importance and value of preserving ancestral information among the Mongols led to the writing of books on Mongol history as well as an increase in historiography during this period. The Mongols, by gaining military and political power and conquering vast territories, not only needed to run the country but also had to build cultural infrastructure. Art and writing were two essential elements for introducing, propagating, justifying and bringing cultures together by combining them. The purpose of the Ilkhanid is clearly stated in the Ghazan reforms and Oljaito's words about combining the law and policy of Genghis with Islamic laws. It is considered to be the most important duties and deeds of the Mongol and Ilkhanid rulers. The design and painting of patterns in this period began and expanded in relation to architectural decorations. Then, from the Ghazan period onwards, the same colors, patterns and ritual values ​​manifested in the art of architecture were transferred to the art of book decoration. The subjects of the paintings are inspired by the subjects of books written, translated and compiled by the Ilkhanid. Paintings are intersexual works and are the same subjects that the Ilkhanid were interested in or wanted to visualize in order to become familiar with religious subjects. The predominance of dark blue, light blue and gold colors in gilding is precisely related to the colors mentioned in the description of the values ​​of the Ilkhanate religion. Attention to geometric patterns and support of geometric sciences, which led to an increase in patterns in this period. Geometric patterns expressing the sun and Khaqan in a symbolic pattern can be found not only in gilding but in all works of this period. These motifs have found Islamic meanings after Ilkhan became a Muslim. To implement the cultural composition strategy, they likely selected and employed artists and writers tailored to the organization's goals. This first affects the transfer and implementation of values ​​and also facilitates the institutionalization of values.

The results show that speech values are compiled. Topics such as astronomy, geometry, wisdom, medicine and history were supported. Religious values were used in architectural decoration, then combined in Islamic design and painting.

The purpose of this study is to analyze decorative borders in Khamse Nezami Shah Tahmasb and compare them with the paintings and decorative borders of this period, first to identify the type of writing and the way of designing works, and then to identify the painters of these decorative borders.

The research is inductive and details of each artist's established works and practices have been used to reach a general conclusion about him/her. The sources of this research are library and website of British museums and other museums mentioned in the text.

Khamseh Nezami as the last work of Tabriz II School represents the peak of progress in Siyah Kalem design. This work has inspired artists who have worked on the Ghorkani School in India. The study goes beyond Arthur Pope's general arguments based on Sadeghi's remarks and Ali Afandi on Agha mirak, ending the notion that these works were performed by an artist and his students. Detailed comparisons and studies illustrate the work of the features of the pen and the style of the artists of that era Khamseh is one of the few works of the Safavid period that has been praised until then and its decorative borders are more beautiful than their predecessors. It is a bit difficult to distinguish the artist's style based on the paintings, but the repetitive elements in Mirza Ali's paintings and decorative borders were very helpful in this version. Some of the pages are linked to other corners of the work in the same and earlier versions. Khamseh's Decorative borders on the cross-sections are mainly of different designs. But there was no accurate information on which decorative borders were performed by any of the artists other than the probabilities. The excellent praise of Effendi and Sadeghi Big from Agha Mirak the painter and his emphasis on illumination have led the researchers to conclude that Decorative borders should be attributed to this painter. However, the analysis and comparison of the decorative borders with the works of one artist expresses something else. Some decorative borders have a significant relationship with the paintings, especially the details used in the background of the paintings. The results show that painters such as Mirza Ali, Sultan Mohammad, Ghadimi, Mir Seyed Ali, Mozafar Ali and Agha mirak played major roles in these decorative borders. Although certainty in assigning works is impossible, Examination of the works shows that the great designs were performed by these artists. The motifs used in the decorative borders are mostly quaint in earlier works such as Shahnameh and others but painting with Color is different from Siyah Kalem painting. As a result, those who have the skills to work with limited colors and Pointillism are more likely to be successful in Decorative borders.

The results show that painters such as Mirza Ali, Sultan Mohammad, Ghadimi, Mir Seyed Ali, Mozafar Ali and Agha mirak played a major role in performing these decorative borders. Some of the decorative borders have a significant relationship with the paintings, especially the details used in the background of the paintings.

Veli jan Tabrizi, the famous student of Siavash Beig Gorgi, went from Tabriz to Ottoman by his will. According to the signatures of the veli jan from the seventies to the second half of the 11th century, he worked in Iran and Ottoman Empire. veli jan was educated in Qazvin school and played an important role in transferring the achievements of the schools of Tabriz and Qazvin to the Istanbul school. The veli jan, like Shah Quli (Saz style invented), learned the elements of the Turkmen and Tabriz schools in Tabriz and Qazvin, but in Istanbul, with a new composition of these elements, which was called  Saz style and a style that was popular in the Ottoman court, Compositions are not seen in the painting of the Safavid period. He played a major role in the development of Saz style in Istanbul's paintings. He was influenced by the evolution of the Istanbul School of Painting from the late decades of the tenth century, along with the painter Osman. He has been impressive, but his stylish works are not as delicate and prolific as Shah Quli's works, but because the continuation of this style is very much considered. In all of his works, the elements of the Tabriz and Qazvin schools are known, and his distinctive patterns can be distinguished, and perhaps his loyalty to the style of the Safavid painting has led him to be proud, which hinders further learning in the field of art. Among the several colorful and pen drawing of the veli jan, besides a few works that are commonly found in the painting style of the Safavid paintings, it shows the rest of the Saz Style features, in particular the fairy-tale group, the body of young women and men, and the leaves of the Saz, the images and the compositions Of the birds have a single style. veli jan paid attention to detail in his early work, but he gradually avoided this. Like the painters of the Tabriz and Isfahan schools, he was also interested in illustrating Dervishes. In the paintings in the albums, the name of the veli jan is written in various forms (Fig. 18) in the picture of the angel. The signature in the form of the "veli jan Pen" is written in a long line of suspension and authenticity is confirmed. In the image of the angel at the Jacques-Mart Andre-Paris Museum, the artist signed the "Veli Jan Ibni Qasem", and in the second form in the same museum, with the signature of the "Veli jan" with the suspension line, it was written only in different forms (clinging or separating). Among the signatures, the signature form of the H.2168 can be described as the usual signature of the artist. In this research, since this artist in Iran, as it should not be known, while addressing his character, the characteristics of his pictures, the errors that have taken place in the history of some of the works and proportions are being examined.

The fall of Tabriz after the loss at Chaldoran (1514 AD. / 920 AH.) paved the way for looting the major part of material and moral wealth of Safavid capital. Meantime, considerable number of artist elites of Tabriz had been transplanted to Ottoman territories. This compulsory migration transmitted the accomplishments of Safavid Tabriz Miniature School, the heir of artistic schools of Herat, Jalayerids, and Turkmen to the Istanbul School. Some of these miniaturists such as Sha Quli, the painter, and his students had created and flourished a new style called Saz. This research will review the historical events which are related to the transmission of Tabriz School miniaturists into Istanbul and study the role of these artists in formation of an evolution in the Ottoman miniature art.