دانشگاه شاهد فصلنامه نگره 2676-7244 21 77 2026 04 01 A Comparative Study of the Visual Components of the Ascension of the Prophet in the Khavaran-nameh of Ibn-Hassam Khosfi and Khamsa Tehmasabi مطالعۀ تطبیقی مؤلفه‌های تصویری معراج پیامبر(ص) در خاوران‌نامه ابن‌حسام خوسفی و خمسه تهماسبی 194 213 4969 10.22070/negareh.2024.19595.3428 FA پریسا گل آقائی دانشجوی دکتری پژوهش هنر، دانشگاه علم و هنر، یزد، ایران. 0009-0006-4889-5685 Journal Article 2025 04 08 <strong>Introduction: </strong>The subject of the Ascension of Prophet Muhammad (PBUH) has always been of interest in the history of Islamic culture, art and civilization, and the illustration of this religious belief has been created across different periods according to the taste of patrons, kings and painters, and based on the mystical ideas of that time. This has caused a distinction between the depiction of fixed image elements in the illustrated versions of the Ascension books, such as Prophet, Baraq, Angels, Gabriel, etc. Thus, during the Timurid period, the versions: Mirhaydar, Khavaran-nameh, and Khamseh Nizami, and during the Safavid period, the versions: Heft Aurang Jami, Khamseh Tehmasabi, and Falnameh Tehmasabi were illustrated. Overall, these works are based on the influence of religion and mysticism, and government conditions. Among the most important and valuable illustrated versions of the Ascension of the Prophet (PBUH), we can mention Khavaran-nameh of Ibn-Hossam Khosfi in the Timurid period and Khamsa Tehmasabi attributed to Sultan Muhammad in the Safavid period. These two paintings are based on the influence of religion and mysticism, and the governmental conditions of their time have been illustrated; therefore, while having commonalities in their pictorial components, they also have differences. The importance of the current research is that, according to the social and intellectual conditions governing society, art adopts a specific language and form at each historical stage, and in the case of Iranian painting, the artists affected by the intellectual conditions of the society use visual and symbolic elements to express their opinion and point of view. Therefore, the visual arrangements and symbolic techniques of each of the examined paintings tell about the meaning, intention, and narrative intended by the artist.<br /><strong>Purposes & Questions: </strong>The main goal of this research is to study the comparative elements of the Ascension of the Prophet (PBUH) in Khavaran-nameh of Ibn-Hossam Khosfi and Khamsa Tehmasabi, and to discover their commonalities and differences. The main<strong> </strong>question raised is: What are the aspects of difference and commonality of visualization and iconography in the pictorial narration of the Ascension of the Prophet (PBUH) in Khavaran-nameh of Ibn-Hossam Khosfi and Khamsa Tehmasabi?<br /><strong>Methods: </strong>This research helps to develop studies in the field of the analysis of visual works. The research method is descriptive-analytical in terms of its nature and method of implementation with a comparative approach, and fundamental in terms of its goal. The method of collecting information was conducted through documentary and library research. The comparative study of these two works from the point of view of visual elements and visual analyses, and how they work, if combined with the historical, artistic, and intellectual conditions of the time, provides very useful information that can be obtained from each of the works to give information that will help to better understand and interpret them from various aspects.<br /><strong>Findings & Results: </strong>After studying each of the pictures, and examining and comparing their visual components, the conclusion showed that: Among the obvious effects of depicting the face of the Prophet (PBUH) in the middle period of Iranian painting history, especially in the Timurid period are attention and respect for the Muhammadan religion, and the depiction of scenes of religious themes. In the illustrated version of Ibn Hossam Khosfi's Khavaran-nameh during the Timurid period, there was no covering on the face of the Prophet (PBUH), and the details of his face, such as the state of the eyes, nose, and features, are clearly visible. In this period, facial expressions are still under the influence of the previous period, i.e., the Ilkhanid period, and Mongolian influences, such as almond-shaped eyes, can be seen in these pictures. Also, the obvious details in the face painting with beard and mustache influenced by Central Asian painting are depicted in a realistic way with careful attention to show the inner states of the spirit. However, during the Safavid period, and the uprising of Shah Ismail I, religious trends and strict prejudices in the course of sectarianism created new visual factors in the scenes of the Ascension of Prophet Muhammad (PBUH), especially in the new era of Iranian painting history. Special effects of depicting the Ascension of Prophet Muhammad (PBUH) with visual elements such as: The way of drawing the shape and size of his turban, the arrangement of a niqab or a white veil on his face or an image of golden light instead is very important, because the followers of Sheikh Safi in the Safavid era were very much influenced by the sectarianism and strict prejudices of the Shiites, for this reason the face of the Prophet (PBUH) is covered with a white veil (burqa), which is clearly visible in the image of Khamsa Tehmasabi. In general, the visual components in Khavaran-nameh, such as characterization, color variation, and figure design, are weaker than those in the Khamsa Tehmasabi. <strong>مقدمه:</strong><strong> </strong>معراج­‌نگاری حضرت محمد(ص) در تاریخ فرهنگ، هنر و تمدن اسلامی همواره موردتوجه بوده است. مصورسازی این باور دینی در طول اعصار مختلف با توجه به سلیقه حامیان و پادشاهان و نگارگران و بر مبنای اندیشه‌­های عرفانی آن زمان انجام‌شده است. این امر موجب تمایز میان تصویرسازی عناصر تصویری ثابت در نسخه­‌های مصورسازی‌ معراج­‌نامه‌­ها همچون پیامبر، براق، فرشتگان، جبرئیل و... شده است. یکی از مهم‌­ترین نسخه­‌های مصور ارزشمند معراج پیامبر(ص)، در دورۀ تیموری خاوران‌­نامه ابن­حسام خوسفی و در دورۀ صفوی خمسه تهماسبی منسوب به سلطان محمد است. این دو نگاره، مبتنی بر نفوذ مذهب و عرفان و شرایط حکومتی زمان خود مصور شده­‌اند. بر همین اساس، در عین داشتن وجوه اشتراک در مؤلفه‌های تصویری خود، تفاوت­‌هایی نیز دارند.<br /><strong>اهداف و سؤال‌ها:</strong> هدف اصلی این پژوهش، مطالعۀ تطبیقی مؤلفه‌های تصویری معراج پیامبر(ص)<strong> </strong>در خاوران­‌نامه ابن­‌حسام خوسفی و خمسه تهماسبی و کشف وجوه اشتراک و افتراق آن‌­ها است. پرسش<strong> </strong>اصلی پژوهش این است که وجوه افتراق و اشتراک بصری و شمایلی در روایت تصویری معراج پیامبر(ص) در خاوران­‌نامه ابن­‌حسام خوسفی و خمسه تهماسبی چیست؟<br /><strong>روش‌ها: </strong>روش پژوهش ازنظر ماهیت و روش اجرا، توصیفی-تحلیلی با رویکرد تطبیقی و ازنظر هدف، بنیادی است. روش جمع­آوری اطلاعات به شیوۀ اسنادی و کتابخانه‌­ای انجام‌شده است.<br /><strong>یافته‌ها و نتایج:</strong><strong> </strong>پس از مطالعۀ هر یک از نگاره­‌ها و بررسی و تطبیق مؤلفه‌های تصویری آن­‌ها، این نتیجه حاصل شد که مؤلفه‌های تصویری در خاوران‌­نامه همچون پیکره‌­سازی، تنوع رنگی و طراحی فیگورها ساده­‌تر از خمسه تهماسبی انجام‌شده است. همچنین، وجود گرایش‌های مذهبی و تعصبات سخت در جریان فرقه‌­گرایی عصر صفوی منجر به ایجاد تفاوت­‌هایی در برخی مؤلفه‌های تصویری، همچون چهرۀ پیامبر(ص) شده است. به‌طوری‌که در خاوران‌­نامه هیچ پوششی بر چهرۀ پیامبر(ص) نبوده و جزئیات چهرۀ ایشان به‌وضوح قابل‌مشاهده است، اما چهرۀ پیامبر(ص) در خمسه تهماسبی قابل‌مشاهده نیست و به‌واسطۀ نور سفیدرنگ پوشانیده شده است. https://negareh.shahed.ac.ir/article_4969_258ad112dcbb2f70302bdf29a21c61b9.pdf