A research on matching the strange creatures of Aja'ib al-Makhluqat of Tusi with the glazed tiles of Salam Hall of Golestan Palace.

Figures of Aja'ib al-Makhluqat (creation wonders) written by Shams-oddin Muhammad Bin Ahmad Salmani Tusi and illustrated tiles of Salam hall in Golestan complex have images focusing on wonder creatures. By studying these figures it's recognizable that there are similarities between these images. The similarities and shape connection between works of two periods, make them suitable case studies for surveying such creatures. Purpose of this project is identifying visual and pictorial quality of some Iranian miniature visual elements by surveying the connection between the figures of Salam hall and Aja'ib al-Makhluqat. Based on this, this article attempts to find answer to this question: What kind of visual connection is there between figures of wonder creatures of Salam hall and Aja'ib Al-Makhluqat? This project is fundamental and adopts the descriptive-analytical and comparative method. Information and sources are based on library and field studies. Research on selected figures shows that miniaturists had used visual expression, they also contain creation of atmosphere and symbol, pictorial elements, snout, wing, tail, etc., visual elements, color, form, and texture, composition, triangle and circle. These have similar pictorial and visual qualities. The difference in terms of coloring is limited and tiles themes in Salam hall has a more dynamic character compared to Aja'ib al-Makhluqat figures. These images are categorized into 4 groups: 1- Strange creatures(combined) and dragon 2- hybrid animals (having natural parts of animals) 3- animals mixed with strange creatures 4- human mixed with animals. The figures of Tusi Aja'ib al-Makhluqat, mentioned in the text, are depicted from wonder creatures in terms of pictorial qualities they are unique. It's probable that the book is written in Nastaliq script by an Iranian calligrapher in 10th century AH.in Ottoman Turkey.The book has 181 images in different sizes and represents unique symbolism in all Iranian versions. The red leather cover of this book is not contemporaneous with the manuscript and probably dates back to the 13th century AH. Salam hall, which is located in the north west of Golestan complex next to Khalvat Karim Khani, is the first royal and state Museum of Iran founded by Naser al-Din Shah. Wonder creature tiles of Salam hall are in octagonal, circle, and one in hexagon frame with warm colors of brown, partly yellow, and red with blue ultramarine background. These pictures attributed to the second half of the 19th century. The frequency of the tiles frame shapes with wonder creatures of the Salam hall in Golestan Palace This Project has chosen 5 images over 181 images of Aja'ib al-Makhluqat, 5 images over 31 images of Salam hall according to wonder creatures and pictorial similarities categories. To answer the proposed question in the research, the selected images will be matched together. In the same vein, the desired topics of case studies of Tusi Aja'ib al-Makhluqat and Salam hall By observing selected images, we find that there is a wide variety of figures, types, and themes in glazes tiles of Salam hall in Golestan complex which are mostly combinations of traditional and western manners of painting and that's why the integrity and unity of Tusi's Ajaib-al-Makhluqat figures cannot be seen in them. In other words, the combination of Iranian painting qualities with western manners and principles has resulted in a kind of contrast and dualism. Colors are mainly warm and earthly. This quality and tendency to naturalism and realism has made an earthly atmosphere in figures of Golestan complex compared to Tusi's Ajaib-al-Makhluqat and Safavid period and before and they are rather envisioning of corporeal world than spiritual and utopian world in former samples. On the other hand, the existence of noticeable and precious samples such as tiles of Golestan complex contradicts with what is supposed in Qajar period tiles. Generally, based on found results, these creatures in terms of visual and pictorial qualities have a wide variety in combination and fusion that each combined member can symbolize something. Wonder creatures are reflections of truths that exist in the real world and in Qajar period had been widely used due to spread of imaginations, fantasies, magic, and spells. In Tusi's Ajaib-al-Makhluqat, creatures are depicted from old tales, legends and religious stories.