مجله رهپویه هنر
سال پنجم شماره 2 (پیاپی 15، تابستان 1401)

In Islamic thought and mysticism, there is a perfect relationship between matter and meaning. That is, every material thing has a spiritual form. The basis of this idea is Greek and Plato(Famous Greek philosopher) has spoken about it in his works. But this idea was accepted as a principle by Muslim thinkers. Mir fenderski is one of these thinkers. He sang in a famous poem:" The universe is very beautiful with these stars, What is in the higher world has a form in the material world. If one ascends from earth to heaven with the power of knowledge, He realizes that the material face is the same as his celestial face." Muslim artists tried to create their works based on this theosophical principle. The materials used by the artists were also of theosophical interest. For example, factors such as color, light, geometry, stone and….. Color is one of the most important elements in the manifestation of meaning in form, For this reason, it has been discussed in philosophical and theosophical sources, For example in the works of thinkers such as farabi, Avicenna, sheikh Eshrag And mystics whose name I will mention. So for two reasons, colors and stones have a spiritual and transcendental status in Islamic and Iranian culture. The first reason is the presence of religious verses and hadiths in the Qur'an and Islamic texts and hadiths. For example, there are verses in the Qur'an about the colors green, yellow and white And also about stones like black stone (حجرالاسود) In Islamic traditions, there are hadiths about sacred stones such as agate and turquoise. Some verses of the Qur'an in this regard are: 'Call on your Lord, ' they said, 'to make known to us what her color shall be. ' 'Your Lord says: "The cow is yellow, a rich yellow pleasing to the onlookers." ' (Sura 2: AL-BAQARA. 69) In this verse, God refers to the psychological effect of yellow on the spectators. In another verse, God also considers green the favorite color of the heavenly beings: Upon them there will be garments of green silk, rich brocade, and they will be adorned with bracelets of silver. Their Lord will give them a pure beverage to drink. (Sura 76: AL-INSAN (MAN). 21) There are also narrations in Islamic hadiths about the sanctity of turquoise color and stone. For example, In one of these narrations, Mufaddal Ibn Umar, who is one of the disciples and relatives of the Imam Reza (the eighth Imam of the Shiites) says: I entered Imam Sadegh while I was holding a turquoise ring. He told me : " O Mufaddal, turquoise is the cause of joy and happiness for the believers, It is repeated and it is added that whoever holds turquoise and pursues something will have his needs met or he gets what he wants." And the second reason is to pay attention to the spiritual aspects of colors in mystical texts Like the votes of Najm al din Kobra ,Ala Al-Dawlah Semnani, Najm Razi and Khajeh Rashid al-Din Fazlullah and Hafez. for example see this poem by Hafez (Mystic and famous Iranian poet(: "The stone and the clay, the ruby and the cornelian, maketh with auspicious glance, Whoever the value of the breath of the breeze of Yaman knew."or this important point that Najmuddin Kobra mentions in his important works, Fawaih al-Jamal and Fawatih al-Jalal: From now on, the heavenly truths will be shown to the mystic with colors. Also, an important and significant discussion that Alaa al-Dawla Semnani has brought in some of his works. He speaks of a system of seven colors in this works. Ala al-Dawlah Semnani uses colors to explain the stages of the mystic's ascent to the spiritual worlds and attributes each stage to a prophet. Like the colors green, yellow, black and white This theory seems to have had an important impact on Islamic art and architecture. Important research has been conducted in the Islamic world that shows that artists and architects have paid attention to mystical theories The relationship between spirituality and color in Islamic civilization is due to the principle of correspondence in Islamic thought. This principle implies that every object in this world has the form and Ideas of a transcendent world. Therefore, color and stone also represent a spiritual matter. This is especially true for some colors and stones. This article has researched about stone and turquoise color in Islamic and Iranian civilization. This color will be researched in religious, historical, artistic and architectural texts. In particular, the dome of Soltanieh will be discussed as one of the most important Iranian buildings. And the relationship of this building, especially its turquoise dome with religious and historical texts will be discussed.

Manichaean art is one of the rich and influential arts that began in the third century AD at the beginning of the Sassanid rule and continued until several centuries after Islam. Mani and his followers have left very exquisite works of visual arts, the most prominent of which is the art of painting. With an overview of the structural features of Manichaean works reveals symbolic elements that are often repeated in most paintings and have specific meanings. These symbolic elements are: pearl, tree of life, lotus flower, ship, blue sky and halo of light. All these symbolic elements are related to Manichaean religion and are designed for the pure truth of human existence. The purpose of this study is to investigate the symbolic elements in Manichaean paintings and to find out the evolution of the halo of light and to understand its visual similarities. Question of this research: what elements are used in Manichaean painting and what are their meanings? Why did the Manichaean use the halo of light in their paintings and what are the characteristics of this halo of light? In Manichaean paintings, pearls symbolize the saved soul, the tree of life symbolizes life and righteousness, the lotus flower symbolizes purity and transcendence, the ship symbolizes the journey of the soul, the blue sky symbolizes the source of light and the place of gods, and halo symbolizes light and holiness. By examining and analyzing these symbolic elements, we can understand the concepts of Manichaean paintings. Some of the pictorial symbols, such as the lotus flower, the halo of light and the pearl, are seen more in the drawings together, as if they are intertwined. The lotus flower, on which the gods appear sitting or standing with a halo of light, and the pearls, which are sometimes part of motifs inside the halo and sometimes around the gods, seem to complement each other. Therefore, these three elements are related both visually and semantically because all three refer to purity and excellence. Some of these elements alone have specific themes, such as the ship, which has the theme of soul travel. Wrestling is the story of the ways that Manichaean man goes through to reach his ultimate transcendence and salvation. In general, the set of these symbols are common in meaning and concept and refer to the salvation of the human soul and reaching the realm of light and liberation from darkness and gloom. Among these elements, the sacred halo was one of the most important and frequent elements among other symbolic elements, which was located around the head of a heavenly person in Manichaean paintings. The sacred halo has long been used as a manifestation of light and divinity, which In Manichaean painting, in addition to having a sacred and spiritual aspect, is one of the ways to recognize the position and role of Manichean gods. The design, colors, and size of the light halo help us to understand this. In Manichaean art, the halo of light was always depicted in circle but in different sizes, patterns and colors. The halo of light in Manichaean paintings is red, orange, white, brown, blue, green, gold and other colors and there were no restrictions in choosing the color of the halo for them, but the most widely used color in most Manichaean halos it is a golden color that was used both to display light and to decorate their paintings. Also, if there is more golden color in the halo of light, it means that the person holding the halo is more important. The design and color of the halo of light changed according to the position of each person; The more important a person was, the more glorious his halo of light was drawn. The present research has been done by descriptive- analytical method using library resources. The statistical population of this study is five Manichaean paintings that have a sacred halo and are analyzed by deductive method. Reflecting and searching in Manichaean painting, it becomes clear that these paintings have been formed in a reasoned and firm way with a symbolic expression, and the main elements used are influenced by Mani concepts and commands and have an obvious clarity. However, despite the simple appearance of Manichaean painting, symbolic elements open a new meaning to the painting of this period. In the present study, after expressing and looking at Manichaean elements, first Manichaean art and Manichaean living conditions were expressed and it was determined that these elements used were related to Manichaean religion and were used in Manichaean  painting for various purposes and not only decorative aspects. As a result, the main purpose of designing these symbolic elements is to show the purity and spirituality of human existence and ways to get rid of darkness and achieve salvation and paradise of light.

Wonderology is one of the words used in connection with a tradition rooted in Iranian art and literature. What has been studied and analyzed in this research includes the objective manifestations of the tradition of miracle painting in Iran during the ilkhanid period as an important part of the art and literature of the post-Islamic period. This study aims to achieve a specific context in the characterization and creation of imaginary and miraculous atmosphere in the art of the ilkhanid period, based on a comparative approach between a selection of works of art and fiction, legal and religious texts left from this period, citing Historical studies and descriptive and analytical methods, taken from library and electronic sources, and in general, by classifying miraculous manifestations in the mentioned works, have classified and examined the similarities and differences between them, and asked the question: "What are the flagship versions of the ilkhanid and Jalayerian Iran?" Has answered. Qualitative analysis of data by extracting objective samples and collecting and classifying them in the form of various categories and disciplines such as historical periods, artistic methodology and visual aesthetics and rooting out cognitive and content and inferring theoretical issues related to They take place. In this regard, and by studying numerous visual works as well as literary works and illustrated manuscripts of ilkhanid Iran, it was concluded that the tradition of using forms of wonders in this period due to the use of coherent jurisprudential principles such as imagination, example, myth , Symbolism and cryptography, anthropomorphism and religion, as well as due to various stylistic commonalities and intertextual influences with themes from the Far East and Byzantine civilizations, have a continuous and patterned chain from pre-Islamic times to centuries after the arrival of this religion in Iran. And this, in addition to sharing visual cognitive style, has caused similarities and at the same time special differences. The present study is of a fundamental type and has been compiled by examining previous researches in the field of history, literature, cultural studies and historiography of Iran. The Mongol invasion led by Genghis Khan in 120-21 AD (661 AH) brought the northern parts of Iran under Mongol rule. This period underwent a great change. From a traditional perspective, the relatively short reign of Ghazan Khan is the end point of the intellectual and cultural turmoil resulting from the Mongol invasions. By the middle of the seventh century AH, the Mongols were no longer an external threat, and Hulagu was the hope of a people who looked to the East instead of the Arab West. One of the prominent features of Iranian visual arts is its reliance on myths and religious principles. Therefore, the issues raised in religious religions and rituals have been extensively portrayed for a higher explanation to the followers as well as the memorial aspect. Of course, the approaches of the rulers and their ruling tastes have had a great impact on the formation of artistic contexts of each period; But the spirit of works of art based on intellectual and doctrinal themes has always been current and enduring. This course has appeared in the post-Islamic period in the form of paintings in manuscripts and industrial arts. One of the common features between the art of ancient and Islamic Iran is the attention to the image of supernatural beings and wonders. The creation and embodiment of imaginary creatures and wonders in the visual arts of the land of Iran, has many and varied manifestations. The methods of using visual elements in the structure of these creatures, regardless of the common artistic traditions in each period, are influenced by theoretical sources and special legal principles, each of which has influenced the artist's point of view and imaginary actions of his mind. The continuation of the historical course of this long-standing tradition is known today as "miracle painting" and is manifested in the works of art of Iran, in various formats such as reliefs, statues, textiles, paintings and illustrated manuscripts. In this research, while reviewing the cultural, political and social situation of Iran in the patriarchal era, in a two-way process, the content of various texts left from this period and the study of illustrated copies were tried. In this way, selected texts that contain objective manifestations of miraculous were selected and their theoretical content analysis, typography and stylistics were considered. Also, their imaginary, mythical and supernatural elements and beings were extracted and presented in the form of an illustrated table. The result is that there are several examples of forms of wonders extracted from the texts of the patriarchal period arising from ancient traditions and even cosmic myths and hybrid beings of the pre-Islamic period, especially the Sassanid period. On the other hand, many of these forms of wonders are related to copies of Shahnameh and Wonder books, which have been met with great success by the patriarchal court, especially in this era. The manifestations found in this article are divided into four categories: mythological, mythical, religious and imaginary from a theological and theoretical point of view. This category overlaps in many cases. This means that many creatures that fall into the category of mythology, based on pre-Islamic intellectual heritage are based on religions such as Zoroastrianism and in this sense are also considered religious.

Reading images in the field of art studies has always been the focus of many enthusiasts who have approached this issue with different approaches and different theories and methods in this field have always been proposed. Ervin Panofsky (1892-1968) was one of the theorists who, by emphasizing the views of great philosophers and artists such as Hegel and Warburg, formed his ideas and discussed the field of iconography. He made a methodical distinction between iconography and iconography. An icon is a symbol that refers to the subject that represents it only through the forms of the subject itself. Panofsky’s idiomatic theory can be applied to any pictorial platform that depends on the field of content and meaning. And this method includes a wide range of visual references. In the discussion of iconology, it is necessary to first examine the concept of iconography. The term “icon” is used only where the visual cues are legible and their meaning and concept outside the realm of the image are their concern. The pictorial language of the icons is primarily symbolic, and the verbal and narrative values are secondary. The icon is a mystical image that goes beyond the apparent values of historical events. Iconography is both the artist’s way of writing the image and what the image itself writes, the story that the image tells. The purpose of iconography is to define the subject and content of the work of art. It can be acknowledged that the image of the battle of Rostam and Ashkboos on the royal wall of the Shiraz court building from the Zandieh period is the only sculptural work related to this historical period that has a narrative-epic aspect. Unlike other sculptural works of this period, which remain in buildings such as Karim Khan Citadel, Vakil Mosque, Bagh-e Nazar Mansion, etc., and all of them are abstract and natural images of plants, bergamot, flowers and plants. The artistic values of this work and the symbols embedded in it have received less attention from researchers. There is no independent research in recognizing and introducing this sculpture, and this work is very different from other sculptural motifs of its time. Ervin Panofsky’s methodology of iconography makes it possible to discuss and recognize a new reading in this field. In this reading, the relationship between the literary aspect of the work, the cultural and social characteristics of the Zand era in the formation of the work and the use of the building will be examined. Accordingly, the purpose of this study is to study and analyze the conceptual aspects of the work and reading of carving based on the iconic theory of Ervin Panofsky and seeks to answer these questions: what is the image of Rostam and Ashkboos in carving? And what does the sculpted role have to do with the social and functional context? In order to achieve the research goal and answer the questions raised in this field, the research method is descriptive-analytical. At first, Ervin Panofsky’s iconic theory has been studied and then his views on the relief of the courthouse have been challenged according to its role and function in order to analyze the content of this work based on Panofsky’s theory. The tools used are library studies, visuals and field observations. Iconology as a method of artistic analysis created a new opportunity in the sculptural study of the battle of Rostam and Ashkboos in the Divankhaneh mansion. A work that has many symbolic and artistic values. Karim Khan Zand is depicted in the symbol of Rostam, Ashkboos and Khaqan in the symbol of enemies. The iconological analysis of the work states that the battle of Rostam and Ashkboos, taken from the war of the seven divisions of Kamusi Keshani in Shahnameh, is a symbol of the victory of the Iranians over the Turanians. There are pictures. Rostam with his own panther costume and hat, which have such features in almost all of his illustrations and can be seen well in tiling and painting. Ashkboos is also depicted with his shotgun, which is described in great detail in the Shahnameh. The iconic interpretation of the work shows that this sculpture serves as a visual medium to express the political power of Karim Khan and to overcome the enemies and those who intend to invade Iran. The selection of this sculpture in the court building with the use of a court (justice) and the meeting place of ambassadors and ministers shows the clever look of Karim Khan. The building has been both a place of public litigation and a meeting of properties. The significance and symbolic function of this role throughout Zand’s history has remained on the building of Karim Khan Court, which is the place of court proceedings, and has retained its value.

The history of Afghan painting has always been associated with many ups and downs. The anonymity of prominent artists and the forgetting of artistic talent and taste, as well as the lack of access to the themes of their works have been the result of these ups and downs. Just as artists have been forgotten in the period of Sultan Mirza or the period of Saduzai and Mohammadzai. Although, there are references in foreign languages and Persian about the history of the former art of Afghanistan but no book is available on late artists. Despite all the difficulties, painting in Afghanistan, with its visual richness, is dynamic and timeless. However, due to the limited research in this field and the lack of access to them, it has made it difficult to discover themes in contemporary Afghan painting. The history of Afghan painting can be divided into four periods: pre-Islamic, post-Islamic, realist and the end of the civil war. The history of painting in the third and fourth periods, which covers the governorship of Shah Amanullah Khan, ie from 1923 to the present day, is known as the history of contemporary painting in Afghanistan, which witnessed dramatic changes in painting such as the multiplicity and variety in both style and theme. Also in this period, we see a wide acceptance of painting by people, especially women. The themes of contemporary Afghan paintings are diverse. These themes may include critical, narrative, naturalistic, or other forms.In order to understand the contemporary painting of Afghanistan and explain its place in the art of the Middle East and the Islamic world, it is necessary to collect and prepare archives, classify and analyze these paintings. The question is, what are the main and secondary themes and primary codes in the descriptive thematic analysis of contemporary Afghan painting? This study is a qualitative research which has been done by descriptive thematic analysis method using archival, library and internet resources. Thematic analysis is an inductive analysis in which the researcher achieves an analytical typology through data classification and modeling of inputs and outputs. In fact, thematic analysis tries to determine what the data tells us by encoding and analyzing the data. Theme is a repetitive and distinctive feature in the text that, in the researcher’s opinion, indicates a special understanding and experience in relation to research question. In this study, the type of sampling is non-random with purposive sampling method and paintings from the second period of Amanullah Shah’s reforms (1923) to the end of Hamid Karzai’s presidency (2014) are studied. The number of samples is the work of 192 painters who have at least one of the following characteristics: Someone whose biography or work has been published in authoritative books. Artists who have studied painting at art universities in or outside the country and own work in archive. Individuals who have been selected at prestigious art festivals at home, such as the Afghan Painting Biennial, or abroad. People in Reputable galleries inside or outside Afghanistan has had at least one solo or group exhibition. Then, the most significant indicators in each period were identified and analyzed. Findings of the research show that The main (and secondary) themes are: painting with religious subjects (Quranic concepts, Buddhist themes), Theme less painting (formalistic works, calligraphy), Ethnographic painting (historical monuments, daily life, urban landscapes, games), Social and political themes (women, war, children, national pride, the situation in Afghanistan, Landscapes (gardens, forests and rivers of Afghanistan, still life (fruits, flowers, flower baskets and fruits), Face-related themes (portrait of political or wealthy people, cultural celebrities, ordinary people), Mystical themes (dance, face). In some cases, Afghanistan’s indigenous issues, problems and honors are reflected as the primary codes in the painting.Such as Quranic concepts and Buddhism (religious themes), mystical themes, aesthetics of calligraphy (non-thematic painting), Afghan customs (in ethnographic painting), critique of war, women’s rights, stoning and national pride (political and social themes).It should also be noted that landscape painting generally focuses on the geographical beauty of Afghanistan rather than on common patterns of Western landscaping. The themes of contemporary Afghan painting, on the one hand, are consistent with common Western themes such as still life, and in a way, it is a repetition of Western teachings that are done for education, practice and sometimes income generation,on the other hand, it is highly critical. The principles and content of contemporary Afghan critical paintings generally conform to Western definitions of keywords such as freedom, women’s rights, independence, and similar slogans. Religious themes, both Qur’anic and Buddhist, have been used more in men’s artworks. However, Quranic concepts appear only in the works of miniaturist women. Social and political themes occupy the highest proportion in the work of men and women and are seen more in the works of women, and women’s issues are the main theme of the majority of contemporary Afghan women painters. Ethnographic themes are also more common in male’s work. The difference between the works of men and women who have painted with this theme is that in the works of women, the technique of working with miniature principles and methods is done, but in the works of men, it is very realistic. The themes of historical monuments, urban landscapes and especially Buzkashi play are abundant in male’s works, but in women’s works, scenes such as weddings, bringing water from river and women’s circles can be seen.

In this article treid, without attention to optical formation of graphic creation, to analyze inter-mythical relations in discursive situation of eighth and tenth biennial. Theoretical and methodological framework of this analysis is Laclau and Mouffe’s discourse analysis that is combined with theory of archi-myth. We need for assessing the impact of political discourses on art domain of society that divide this domain into two section of aesthetic imagination and subjectivity and codify tow models of antagonism and agonism. Findings driven from applying these models show that tenth biennial is more correspondent to antagonistic model and eighth is relatively correspondent to agonist model. Because discursive situation in the time of eighth biennial was not agonist and hegemon discourse removed other discourses.In this article, the method of research and theoretical framework, is discourse analysis. This is for discourse analysis is a perfect paradigm that contains both the method of research and theoretical framework simultaneously. Discourse analysis is a method for studying written or spoken language in relation to its context. It aims to understand how language is used in real life situations. When you do discourse analysis, you might focus on: The purposes and effects of of language. Indeed in this article is tried to analyse the conection between discourses in Iran’s political sphere and discursive circumstances of the 8th and 10th Tehran International Poster Biennial.Discourse analysis is used in this article, studies language in political context and focuses on the political purposes and effects of spoken communications in Tenth and Eighth biennial. The presupposition of this political analysis is that the political, determined in “micro-physics” of power. A “micro-physics” of power is a strategy, and we need to decipher it in a system of relations that can be called political anatomy. Power is not a property but a strategy evident in the relations between people. Power relations operate and exist through people. They go right down into society and in this article these relations analysed in the 8th and 10th Tehran International Poster Biennial.Befor considering the finding that conclude from applying of discourse analysis’s heuristic tools to atmosphere of these Biennials, should said that atmosphere of 8th Biennial was agonistic and atmosphere of 10th Biennial was antagonistic. These tow concept deive from Michel Foucault’s thought and applied in Laclau and Mouffe’s discourse analysis. Agonism emphasizes the potentially positive aspects of certain forms of conflict. It accepts a permanent place for such conflict in the political sphere, but seeks to show how individuals might accept and channel this conflict positively. Agonists are especially concerned with debates about democracy, and the role that conflict plays in different conceptions of it. The agonistic tradition to democracy is often referred to as agonistic pluralism. Beyond the realm of the political, agonistic frameworks have similarly been utilized in broader cultural critiques of hegemony and domination, as well as in literary and science fiction. In return, Antagonism is hostility that results in active resistance, opposition, or contentiousness. Agonism is not simply the undifferentiated celebration of antagonism: Agonism implies a deep respect and concern for the other; indeed, the Greek agon refers most directly to an athletic contest, but emphasizing the importance of the struggle itself a struggle that cannot exist without the opponent. Victory through default, or over an unworthy opponent, comes up short compared to a defeat at the hands of a worthy opponent—a defeat that still brings honor. An agonistic discourse will therefore be one marked not merely by conflict but just as importantly, by mutual admiration.Disourse analysis in this article, leads to the following findings  Correspondence of 10th Tehran International Poster Biennial with antagonistic model is more than 8th Tehran International Poster Biennial. Because, discursive circumstances in political sphere, was not antagonistic and even a powerful discourse outfights other discourses and became hegemon both in political spheres and in aesthetics and this hegemon discourse extends antagonistic relations to aesthetical domains, such as 8th and 10th Biennial (Of course this extension limited to objectification of subjects of graphic designers in two Biennial). But despite the extension of hegemon discourse’s antagonism to objectification of subjects of graphic designers, hegemon discourse’s chain of equivalence cannot affect the process of visual content production in tow Biennial and this process is immune to the effects of the hegemon discourse and its antagonistic relations with its peripheral environment.The most important point about 8th Biennial is that only aesthetical aspects of graphic designs considered and because of existence of agonism in relations between several discourses and the importance of visual and aesthetical aspects of artworks in this Biennial is more than their themes. In this agonist situation in 8th Biennial that the form is more important than content, several meta-myths could determine theme and visual aspects of artworks and all of them compete for hegemony.

From the earliest centuries in Islamic civilization, illumination was used in manuscripts because it was used in conjunction with calligraphy. So Muslim artists have paid attention to it. One of the exquisite and artistic copies produced in the middle of the ninth century AH (846 AH), during the Timurid period in Harat, is the Nezami’s khamsah (Add ms 25900), which is preserved in the British Museum. This manuscript has been studied many times by researchers due to its excellent illustrations. Some of them are attributed to Behzad. This manuscript has 316 folios and its Dimensions is (leaf): 19.1 × 12.1 cm. This manuscript has been written by nastaʿlīq script and it has 19 miniatures and 5 Illuminations.Although this manuscript has a lot of great illuminations. But unfortunately the illuminations of this manuscript have not been specifically analyzed up to now. Therefore, the aim of the authors in this article is to show the approach of the artist or artists in designing the illuminations in this manuscript by showing the amount of diversity used in the structure of illuminations (390 inter-text panels) in this manuscript. As a result, these questions were raised to achieve this goal. 1- Considering that there are many decorated panels in this manuscript, how much variety is used in these panels? 2- Is the date of design of the illuminations coincides with the date of writing the manuscript (Timurid period ninth-century AH)? 3- How can small intertextual panels in this manuscript (390 panels) be classified? This article has been done by descriptive and analytical method, and the necessary information has been obtained from library sources and study of manuscript illuminations.This manuscript has four full decorated pages at the beginning of the manuscript. At first glance, they look similar, but studies have shown that they are different in detail. This manuscript has five Title pages, four of which were decorated in the Timurid period and one of them (Sharaf nameh section) was decorated in the Safavid period. The decoration of each of them is different from the other. In addition, this manuscript has 390 panels in the text. The first study was done on the size of these panels. The length of all these panels is equal to two of the four columns of the text, but in contrast, their width is different. 50 inscriptions (panels) were randomly selected from the beginning to the end of the manuscript and the ratio of their length to width was determined. The length of the inscriptions was a fixed number A and the width of the inscriptions was a variable number B and the ratio of a to b in each inscription was considered to be N. The numbers obtained for N were divided into three groups: Inscriptions whose n is less than 3: wide, Inscriptions whose N is between 3 and 3.99: Normal, and Inscriptions whose N is more than 4: Narrow. Results of the study: 7 inscriptions less than 3 (wide inscriptions), 12 inscriptions more than 4 (narrow inscriptions) and 31 inscriptions between 3 to 3.99 (ordinary inscriptions). So the percentage of inscriptions will be equal to: wide 14%, narrow with 24% and ordinary inscriptions 62%. Studies have shown that the width of the inscriptions varies, although a large group of these inscriptions (62% of them) are about the same size. In the second part of this study, the panels were classified according to their structure, Patterns, and colors. For example, 22 inscriptions without medallions: 21 inscriptions of Arabesque ornaments only, 1 inscription of Khatai ornaments only. 368 inscriptions with medallions: 64 incomplete inscriptions. 304 complete inscriptions: 164 inscriptions with Arabesque theme only. 131 inscriptions with Arabesque and Khatai background design and 9 inscriptions with Khatai and ... Studies and comparisons showed that the decoration of each panel is different from the other. It is necessary to mention that panels in the Sharaf nameh section remain incomplete and they also belong to the Safavid period. It was also found that Arabesque ornaments were used much more than foliage (Khatai) ornaments in illuminations, and ultramarine color uses more than golden color.Prior to this research, some researchers had noted the diversity in the design of frontispiece. But it is important to observe this amount of variation in the small textual inscriptions in this manuscript. It is very important to see the great variety in the panels of this manuscript. Because the illuminator or illuminators, due to the large number of panels and manuscript papers, could easily execute many panels like each other without the audience noticing the similarity. Therefore, this attempt to create different frames and panels in this manuscript can be considered as originating from the thought and worldview of the decorator or the decorators of this manuscript. By studying other examples, it is possible to attribute this kind of attitude to other illuminator or illuminators in Islamic civilization.

Prior to the formation of the modern government and bureaucracy overseeing the culture and the arts, one should consider the monarchy and the royal patrons as important and fundamental in the support and expansion of the arts as well as the fields of literature and the sciences in Iran.‌Therefore, it can be said that according to the system of power and rule in the world of Iranian arts, kings and princes support was at the center of the arts, henceforth, their tastes and decisions were considered as influential on the arts of their time. Kings and aristocrats whom had direct influence within the art community of Iran, can be divided into two main groups. One group is “King / Artist” who, apart from ruling and supporting the arts, were also considered artists themselves. Whilst the other group is “King / Art Lover”, whose interest in the arts played an important role to its growth within their time. This article will focus on the latter, “King / Art Lover,” and how they interacted with artists. The geographical area of this research will focus on what can be called a subset of “Persianate culture”. Which is: any culture influenced by the Persian language and culture, such as regions of Central Asia, the Mughals of India, the kingdom of the Deccan dynasty as well as the Ottomans and beyond. The time frame of this research is also the period of prosperity within the arts of “ Persianate world,” which also extends from the middle of the Ilkhanate dynasty, from the time of Ghazan Khan to the middle of Safavid period. The reason for choosing this time period is the rise of many fields within the arts, especially art related to book decoration, including calligraphy, illumination, and especially miniature painting. An era in which the interest of royal patrons played a decisive role in the prosperity of the arts. Hence, the manner and amount of support of kings and princes was an important factor in artistic developments. In fact, due to the authoritarian structure of the ruling dynasties in Iran, at some point in time only kings and some special princes were able to spend money on art, training and hiring important artists. The paradigm for supporting artists in the courts was mainly defined as a subset of the Royal Libraries. Each of the powerful patrons of the arts attracted artists to their court in various ways, which gave a new look to the Iranian art world. Therefore, the interaction between royal patrons and artists was highly dependent on the motivation and tastes of the royal patrons. In the form of libraries, court patrons recruited artists, commissioned works, gave financial support, and sometimes influenced and associated with the artist. This gave artists advantages that were only possible, due to the close proximity to the monarchy. Job security, welfare, trade union and social prestige, legitimization of art, and even attainment of military and court officials were among the most important achievements and titles for artists whom had close proximity to the court. But on the other hand, the lack of supportive institutions outside the courts, the ruling dictatorial system, as well as the temperament and the vision of art patrons were among main factors that endangered the status of the artists. In many ways, the professional status, and even the life of the artists were subject to the whims and desires of the royal supporters; Therefore, depending on each royal patron and their vision, the work and life of the artists would also be affected. Uprising against the verdict of the supporters could have been forgiven, but it could have also cost the lives of the artists as well. Artists were in some ways the property of kings, and the interaction of kings with artists varied according to the mood of each king. One should also bare in mind that most historical texts of this period are official chronicles written for the kings, making it impossible to fully study the various aspects of the interaction between artists and their court patrons.

The The first attempts to identify Iranian art were made in Arthur Upham Pope’s comprehensive work entitled A Survey of Persian Art. Special attention to Iranian art and especially Iranian painting led to the formation of a kind of Iranian painting historiography in which special attention was paid to the classification of historical periods and the naming of painting schools. It has been created in those periods. By identifying and separating schools; The works, artists, and painters of the creator of the work were categorized, and then the individual style characteristics of each of the painters, theologians, and scribes were examined, as well as the manuscripts according to their beginnings, conclusions, and dates. The contents of them or the names of the scribes and commissioners, as well as the manner of execution of the headings and inscriptions and the lines written in them are attributed to these courses. In Iranian painting, a large part of the identity of a painting owes to the artist who created it as a painter. One of the most important factors in recognizing the creator of a work is the existence of the signature (Raqam) that the artist leaves on the work. Also, one of the most important topics in Iranian painting is attributing the name of the first painter painting, which has been honored to sign the painting and its work. Ernst Kuhnel was one of the first researchers to signature (Raqam) the work in Iranian painting. In his notes, he first refers to the version of “Humay and Humayun” by Khajo-ye Kermani, which was illustrated during the reign of Sultan Ahmad Jalayer, and then introduces Junaid Baghdadi as the first painter painter who was able to Soltani to Raqam his work entitled “Wedding day of Prince Humay and Humayun” in 799 AH. This title was awarded to Junaid during his activity in Baghdad by Sultan Ahmad Jalayer. Kuhnel’s statement has been confirmed and republished by many scholars. However, it should be noted that Kuhnel made a mistake in attributing the date of this version to 799 AH, and this mistake caused other writers and researchers who have studied the version of Humay and Homayoun Khajo-ye Kermani, this mistake of his Repeated in books and articles, and this illustrated work is mentioned on the same date, in the year 799 AH. Attribute. They do not appear to have seen the expiration date of the illustrations for Khajo-ye Kermani, now housed in the British Library, or to have mistranslated the Arabic text. Therefore, in this article, an attempt has been made to question these views first, and then to claim that there were undoubtedly other paintings that belong to the period before Junaid Baghdadi and by painters who lived before Junaid. Have been active, signed. Therefore, in order to achieve the accuracy of this issue and to respond to this skepticism and claim, examples of works by Iranian painters who worked in the library - royal workshops of other kings before Junaid have been examined, until The truth or falsity of this claim should be clarified. Therefore, the purpose of this article is to study paintings that have several features; First, that the paintings have a signature or Raqam, and second, before Junaid’s time of activity; That is, they were produced before the creation of the painting “Wedding day of Prince Humay with Humayon”, in 798 AH. Therefore, in this article, eight signed paintings or figures, which have been obtained and collected from libraries and museums of the world, have been examined. An examination of the eight paintings in this article shows that in the Jalayerid period - the period before the reign of Sultan Ahmad Jalayer - as well as the Seljuk period, paintings were created with the Raqams and signatures of painters such as Ahmad Musa, Mir Dolatyar, Mir Khalil, Sultan Uways Jalayer and Abd al-Mu’min ibn Muhammad al-Naqash al-Khoie are. These paintings were produced in the second half of the seventh century (650 AH) to 798 AH in different parts of Iran, which was the capital of kings. The result of the present study shows that contrary to the opinion of Ernst Kuhnel and other scholars like him, the first Iranian painter to be able to sign his work was Abd al-Mu’min ibn Muhammad al-Naqash al-Khoie, who painted around 650 AH. The romantic poem of Vargeh and Golshah depicts Ayyoughi in the Seljuk period. The time interval between the production of this work and the creation of Junaid Baghdadi’s painting in 798 AH in Baghdad is 148 lunar years. In the period between these two works, other works have been depicted that have been mentioned in this article. Historical information and documents, as well as library resources have been used to achieve the purpose and answer the questions of this article. The illustrations in this article and related information are also available online from the British, Berlin, and Istanbul Libraries. The research method in the background section is historical with a critical approach and in the drawing section, it has a historical, descriptive-analytical approach.