Thematic relation and numerical structure of the composition of the elements and body parts of the personages in Iranian painting, with emphasis on the painting of "revelation in the mosque"

One of the works created by Sheikhzadeh is the painting "Revelation in the Mosque".. The painting of "revelation in the mosque" in this study has been studied and delivered as a sample of studies. The main issue of the present article, is to study the relationships governing the elements of this image and to prove the existence of some special structural principles governing the composition of the work.In order to analyze and study how the body parts of the personages are organized in the ''revelation in the mosque'', have been discussed the location of the head, feet and handwriting and the relationships between the location of these elements. For this purpose, analyzed how to place the obvious elements of the characters in The position of drawing the diameters and longitudinal and transverse axes of the drawing frame as well as the relations between Location of the above elements, The purpose of this study is to identify How the Iranian painter prepares to create the structure of the body parts of the characters in the painting. This article first introduces the painting "Revelation in the Mosque" from Hafez's Divan. Then it has discovered the painter's strategies for expressing the desired image and examining the relationships of the dominant elements in the above painting. then analyzed The relationship between the symbolic meaning of the numbers obtained from these relationships and the meaning of the image.According to the analysis made in the painting "Revelation in the mosque" by Sheikhzadeh, It can be said that the painter has observed these points and items to express his painting:Appropriate composition in terms of the selection of components and the location of each personage, Accuracy in the effective drawing of inscriptions in terms of correct placement and semantic connection, Emphasis on some more important figures in different ways, Provide appropriate solutions to guide and rotate the audience's eyes throughout the image and the relationship of the characters with each other. Also, the results of the analysis in this study indicate that the painter has achieved a regular structure by considering the calculated principles in the placement of the components and visual elements of the personages, including the hands, feet and head of the personages. From the analysis of this image, have been obtained the numbers 0, 2, 5, 10, 16, which have been used in a special sense in this painting. Also, these numbers are thematically related to the drawing and another reason for not improvising in the construction of the substructure of the work and the existence of a strong structure in it. In general, the above study shows that Iranian painting was obtained with a painter's calculator.. This research has been done by descriptive-analytical method and analysis with software and data collection using library resources.