A Study of the Evolution in Representation of Clothing Folds and the Position of Level-Knitting in the Formation of Twisting and Twisting Lines in the Paintings of the Baghdad School and First Tabriz

Iranian painting, especially in the early Islamic centuries, was not used independently to express and convey concepts. In the period of the Abbasid caliphate, the image is complementary to the text, and due to the formation of the Baghdad school of painting, this period is of great importance. In the early Islamic periods, the images are an illustrated narrative, of a historical story or a religious anecdote, but not in the form of a continuous story with continuous images, each picture depicts the most important and familiar event of the story to the audience. In this period, the painter draws on imagination to illustrate, an image that is the continuation of Sassanid art and is formed within the framework of the dominant worldview of society, influenced by the art of other nations such as Byzantium and the Besopotamia. The main components in this research are two important artistic approaches from the period of the Caliphate of the Abbasids. One is the school of painting in Baghdad and the other is the decorative role of the Tiraz in textile weaving, which was considered as one of the most prominent art industries in this period due to the use of linear texts. The emergence of twisting and tangled lines is the most contemplated change in the evolution of Folds of Clothes in the school of Baghdad pictures, which scholars refer to as the Folds of Clothes in the Baghdad school and consider it to be the most important distinction between the two schools of Baghdad and Tabriz 1. The purpose of this study is to investigate two simultaneous variables i.e. painting and Tiraz, in a period of time (Abbasid caliphate) and the effect of one on the other. This research investigates the lines of dress wrinkles in the paintings of the Baghdad school and comparing them with the visual structure and social status of the Tiraz to answer these questions: 1- What is the process of the evolution of Folds of Clothes in the pictures of the Baghdad school and First Tabriz School? 2- What is the position of Tiraz weaving in the formation of winding and tangled lines in the paintings of the Baghdad school and First Tabriz School? This research was conducted in an explanatory - comparative method and with an analytical and comparative approach by library studies. of the findings was done in comparative method. The statistical population is related to the early centuries of the Islamic period, especially the Caliphate of the Abbasids. In order to answer the questions, two artistic approaches, one painting and the other Tiraz weaving in a timeframe, were first studied separately and finally, to show the effect of these two approaches on each other, the findings were analyzed and then compared. In the process of the research, at first 6 books from this time period were studied, 4 books from the Baghdad School of Miniature and 2 books from the early Ilkhanid period (School of Tabriz I), among the images of this book, 6 pictures were selected according to the research approach and image quality and after sorting by date, they were examined. In response to the first research question, the overall format of clothes in the collected paintings was investigated and the way of Chinese designing clothes folds in clothes and its evolution in the paintings of both schools were studied and compared with each other. Also, pictures from two books, one Kalila and Demneh, from the Baghdad School of Miniature and the other al-Baqiyeh from the first Tabriz school were studied. In order to answer the second question, Tiraz as one of the most prominent art in early Islamic periods was studied in terms of the type of role, the method of texture and how to apply on the clothes, then visual cues extracted from both artistic approaches were compared with each other, and by analyzing the content of the paintings from the perspective of how to use different characters in clothing and adapt it to the way they are The final results were extracted in social categories of that period. In this period, the complexity of lines was one of the most important features in Tiraz weaving and the painter had neither the opportunity to accurately represent it nor was it necessary to perform it in detail through the philosophy of Islamic painting. The final conclusion is that the design of the lines of clothing in the painting of the Baghdad school is simple and smooth and similar to the folding of clothes in the first school of Tabriz. The twisting and twisting lines that can be seen in the design of garments in some of the paintings of the Baghdad school have decorative applications and are a way of representing the role of the Tiraz in the paintings.