نوع مقاله : مقاله پژوهشی
نویسندگان
1 استادیار دانشکده هنر های کاربردی دانشگاه هنر شیراز
2 استادیار گروه آموزشی فرش، دانشگاه هنر شیراز، ایران
چکیده
کلیدواژهها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
The subject of the birth of Prophet Muhammad (pbuh) is one of the events that, based on the descriptions of religious books, were accompanied by extraterrestrial events such as the descent of angels, and it is rarely depicted in manuscripts. Among the remaining examples in this field, we can mention the illustrations of the Ottoman "Siyer-i-Nebi " book belonging to the 16th century AD in the Topkapi Palace Museum in Istanbul, which have scenes of the annunciation, the birth and the selection of the Prophet's nanny and similarities with some Iranian paintings are evident in it. This book, in six volumes and with 814 paintings, is one of the most complete and best pictorial sources in describing the life of the Prophet (PBUH). The main question of this research is: What are the origins and characteristics of the pictorial elements used in the birth announcement painting of the manuscript of Siyer-i-Nebi? This research was done with the aim of investigating how to use visual elements and finding the roots of motifs in the mentioned paintings.
This research was done with analytical-comparative method and a comparative approach and is based on library and documentary sources. In tracing the roots of the visual elements of the birth announcement painting, analyzing motifs and comparing the visual elements of the Prophet's birth announcement painting and the paintings with similar pictorial elements in this edition, with the pictorial elements of the Iranian Ascension paintings, which belong to the Timurid and Safavid styles, has been used. This kind of research is important in identifying and introducing the relationships of influencing and being influenced by painting in Iran and other countries.
The results indicate that the selection of elements and subjects used in the mentioned painting was based on historical sources and with an emphasis on the transcendental aspect of this event, but in visual details, it is greatly influenced by the ascension paintings of the Timurid and the Safavid school of Iran. Therefore, subjects such as the representation of angels, the horses of the prophets, the representation of the Kaaba and the composition of this work can be compared with Iranian ascension paintings, but the summarization and omission of details indicate an attempt to create a distinct and independent style from Iranian styles.
In this work, by choosing symbolic elements in the three dimensions of characterization, space creation and action creation, the painter emphasizes the importance of a predictable and effective event. The visual elements used, although in terms of details and form, they have distanced themselves from the factors of Iranian painting; But in terms of content and symbolism, they are efficient and effective in creating the intended meaning and this style is repeated later in epics and other Ottoman paintings.
کلیدواژهها [English]
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