شناسایی وجوه بصری بن‌مایه‌های قهرمانی در نگاره‌های مجالس رزم شاهنامه بزرگ ایلخانی

Some myths, such as epic heroes, are created as models and to show the proper way to achieve success. The myth of heroism is the most common and well-known myth all over the world, from ancient Roman and Greek mythology to the Far East and even primitive tribes today. An ideal embodiment of a demi-god and a strong being with great physical strength who fights with the devil in various forms such as: demon, dragon and snake and saves his people from death and destruction.
The hero and his vision play an important role in shaping the epic content. The art of painting, by placing itself next to literary concepts, describes the meanings and concepts in a detailed and clearly visible way, along with the details, with the help of visual and image capabilities and qualities.
In the paintings of battle councils of the great Mongol Shahnameh, the painter uses visual elements and possibilities to express, narrate and represent, space and original scenes to convey hidden concepts. Due to the national identity, the painter considers himself to be its heir and by maintaining loyalty to the themes, he goes beyond it and portrays the meanings of heroism in the heart of the epic. The purpose of this research is to study and analyze the pictures of the battle councils of the great Mongol Shahnameh to discover the relationship between the visual features of the pictures and the heroic themes of the Shahnameh and to find visual equivalents to achieve suitable visual patterns in this period.
This research, while introducing the motifs of heroism in the Shahnameh and exploring them in the pictures of the battle councils, answers these questions: 1-What are the effective factors in choosing the type of visual quality and the method of displaying the elements of heroism in their form? 2-In each picture, the role of which technique or visual quality chosen by the painter to show the concept of heroic elements is more specific?

The current research is qualitative and fundamental in terms of direction and purpose. The manner of collecting data is library-based, and the interpretational method is descriptive-analytic.
The images are fully calculated and have been selected from among the battle councils according to the types of battles in Persian epic literature, which include: Hand-to-hand battle: 1- The image of Rustam shooting Esfandiar in the eyes 2- The battle between Iskandar and Fur. 3- The battle of Ardeshir with Bahman son of Ardavan. The battle with the dragon: 1- Fereydon testing his sons 2- The battle of Iskandar and his companions with the dragon 3- The battle of Bahram Gur with the dragon. Massive battle: 1- Fighting Rashnavad with the Romans. 2- The battle of Iskandar's army with the Indian army. Battle with huge animals: 1- Alexander's battle with the rhinoceros. 2- Bahram's battle with the wolf.
The images are studied and interpreted according to the principles of visual literacy, and then the visual qualities used to show the hero and the elements of heroism are identified. Based on the findings of the research, it can be concluded that: the type of battle has an effect on choosing the type of heroism and the type of visual quality used or how to depict it. For example, in a mass battle, courage, strength and violence are more obvious. Bahram is seen with a dragon and a wolf, emphasizing the presence of Divine Farrah. While in a battle with a dragon or a huge animal, the emphasis is on race or having the divine hair and going into battle with one body. From the visual qualities in the paintings, we can place the hero in the closest plane or in the focal points of the frame. The general results of the research acknowledge that: the type of battle, either one-on-one or group, has a significant impact on choosing the theme of heroism and the visual quality that manifests it, and the most obvious element of heroism depicted in paintings is courage. Despite the diversity in the execution of paintings and the number of artists who painted the great Mongol Shahnameh, but it seems that the most obvious quality or visual technique visible in the martial arts analyzed in this research is the choice of composition appropriate to the type of battle and the arrangement of various elements in the frame according to The position of the hero and the use of different color contrasts, both cold and warm and complementary, are to portray the hero and the elements of the hero as best as possible.