جایگاه گل و مرغ در مرقعات ایرانی- گورکانی

Gol-o-Morgh (Flowers and Birds) Painting in Persian album (muraqqa)

Abstract

The painting of flowers and birds was formed as a theme in Iranian painting during the Timurid period. This style of painting came out of the "Tashiir" that was drawn on the margins of the albums and was noticed by painters such as "Sheikhi Naqash" and "Ghiyasuddin Mohammad", undoubtedly, the influence of Chinese flower and bird painting on them cannot be ignored.
In the Safavid era, the pardaz style underwent a transformation, becoming softer and more refined. The migration of two groups of Iranian painters to the Gurkani court during this period had a significant impact on the painting of flowers and birds in Gurkani albums. Mansur or Mir Musavvir, along with his son Mir Ali, arrived first, followed by Shafi'i, who is considered the most important painter of flowers and birds in the history of Iranian painting. Shafi'i created an independent genre in Safavid painting by preserving past visual traditions, which we now know as the painting of flowers and birds. While Western engravings influenced the depiction of flowers and birds in Gurkani albums, Iranian painters emphasized perspective and often focused on specific elements.
During the Zand-Afshar period, the painting of flowers and birds appeared on the margins of Safavid and Gurkani albums, and these combinations were also visible on the positive and negative spaces of penboxes known as Qalamdan. The representation of flowers and Birds no longer followed a familiar perspective, and the size of the birds and flowers was often the same, sometimes even larger.In the Qajar period, the creation of albums reached its peak, particularly during the reign of Naser al-Din Shah. Artists such as Muhammad Baghir, Muhammad Sadigh, Muhammad Hadi, and Mirza Baba played a significant role in shaping these albums. With the emergence of photography, even photos were included among the pages of calligraphy and painting albums.The pupose of this research is to introduce and classify the historical periods, examine the characteristics and compare painting of flowers and birds in the Timurid, Safavid and Qajar albums. Also, the aim of this research is to answer these questions: First, what is the significance of the works of flower and birds in the Timurid albums? Second, what are the Visual Features of Timurid, Safavid and Qajar Albums? And the Third Question, which artists have greater share in displaying flowers and birds in the Qajar albums?
In the floral and bird paintings of the Timurid period, visual features such as 'diagonal compositions, horizontal frames, and emphasis on bird species' are observed. In Safavid albums, 'vertical compositions, birds painted alone or flowers painted alone with their species identified, imaginary landscapes devoid of perspective, but realistic depictions of flowers and birds' are seen. In Mughal albums, painters extensively use imagination to depict flowers and birds, painting birds realistically with natural backgrounds. This research introduces and names some of the Golestan Palace albums from the Qajar period for the first time, noting 'mainly vertical compositions, identified flower species, imaginary arrangements, colorless backgrounds, birds always positioned below the rose, and an indeterminate light source. Many sketches were drawn for painting on lacquer works.
In conclusion, flowers and birsd painting during the Timurid period can be traced through the works of Sheikh, and in "tashhir," flower and bird painting became an independent art form. While the Eastern style of painting was widespread, it began to fade in the late Timurid period. During the Safavid era, the representation and perspective of flower and bird painting were emphasized, taking into account the influence of Western works. The Zand-Afshar period saw a shift towards more imaginative depictions of flowers and birds, with a focus on Floral Decoration in positive and negative spaces. The art of album making continued to evolve in the Qajar period, with a greater emphasis on the use of photography.
Overall, the classification of albums provides a fascinating insight into the development of Iranian painting over the centuries. The enduring influence of pre-Islamic visual traditions, combined with the impact of Western works and the evolution of new artistic styles, have all contributed to the rich and diverse art of album making in Iran. The depiction of flowers and birds, in particular, has played a significant role in this art form, with each era bringing its own unique interpretation and style to this timeless subject matter.

Keywords:
Dorn album 489, Topkapi albums, Golestan Palace albums, Shafii Abbasi, Ustad Mansur.