A Study of the Structural Compatibility of Two Works Attributed to Sheikh Mohammad by Haft Arang Jami, Freer Washington Gallery

Hafte Arang book shows the strength and glory in the structure of Safavid period paintings. Despite the efforts of researchers to explain the structure of paintings, there is still a need for research on the secret relationships between the elements and structures of paintings. The issue is how the artist deals with the structure in the works in question, so for this purpose, two drawings of an artist from the book Haft Avang Jami were selected. These paintings are attributed to Sheikh Mohammad. The reason for selecting these works is purposeful and there are many commonalities in the appearance of two paintings, which seems to be intentional and requires research. The aim is structural and formal adaptation of these two images. The questions include: What are the structural features of the two paintings of Sheikh Muhammad? What can be the use of using a similar structure in works? This study seeks to answer the research questions with a structuralist approach and with a descriptive-analytical research method and Comparative and the use of library resources. In the studies, four cases were studied: the frame, the placement of the figures, the position of Yusuf and Zuleikha, and the dark-light contrast in the drawings. In both paintings, there is a person watching the scene and Sheikh Mohammad has expanded her frame in the second parliament. The two figures in both drawings function structurally the same despite their different personalities. In the second work, the host and in the first work, one of the halves, which is separated from the others, both have the function of creating sequence and sequential movement in the spiral movement of the drawings, and if they are removed, the spiral frame fails and has no connection with There are other figures. The most important meaning that can be obtained from the analysis of the structure of drawings is that; In the second parliament, the painter implicitly praised his supporter, Sultan Ibrahim Mirza, and thus sanctified him and his government.