Islamic Art Mirrored in Fotovat Naméh; emphasis on the FotovatNaméh of Chitsazan

Scrutinizing the FotovatNaméh in Islamic culture is amongst the best known rudiments for the cognition of Islamic art history and the relation between art and theology. Artists who endeavor in this rightful art, apart from having an occupation, venture in a religious act; therefore, such arts are never categorized as fancy or highly extravagant for they were strongly allied with sincere and theological standpoints. In past times, seniors and mentors of various castes attempted to write books about the chivalry of their professions and trades; such books were named as “FotovatNaméh”. By investigating the context of such writings, particularly the FotovatNaméh of Chitsazan, one can become acquainted with a complete and comprehensive nurture scheme that has paved the way for a major art revivification. In contrary, many arts lacked such a scheme and did not choose to have a FotovatNaméh for their own specific trade; hence such professions are classified as illegitimate and dishonest arts.Investigating the degree of impact of FotovatNaméh on Islamic art. Introducing the main elements of the Chitsazan album.Questions:Has religious knowledge influenced traditional art?How was the FotovatNaméh of different professions first established?