نوع مقاله : مقاله پژوهشی
عنوان مقاله English
نویسندگان English
Introduction: Mural painting, like other artistic disciplines, reached significant development during the Safavid period. One of the major concerns of Shah Abbas I was the expansion and beautification of urban spaces through architectural projects, decorative elements, and visual representations. The entrance of Qaisarieh Bazaar in Isfahan, as one of the most important economic and political centers of the Safavid capital and a passageway for domestic and foreign merchants, contains valuable examples of Safavid decorative arts. The entrance structure includes murals on its northern, western, and eastern facades, which belong to the reign of Shah Abbas I and represent important historical and cultural themes. Among these works, the mural on the northern side is particularly significant because it depicts the war against the Uzbeks and the Safavid victory over them. This mural, which has been affected by environmental conditions and prolonged exposure to sunlight, requires further investigation as a historical and artistic document.
From the pre-Islamic period onward, symbolic motifs have occupied an important position in Iranian painting, functioning both as decorative elements and as carriers of cultural meaning. Iconography, introduced as a systematic method by Erwin Panofsky, provides a comprehensive approach for understanding the relationship between visual forms and their underlying cultural, political, and philosophical meanings. Unlike purely formal analysis, iconographic study examines the themes represented in artworks and interprets them within their historical context. Therefore, analyzing the northern mural of Qaisarieh Bazaar through Panofsky’s method can reveal the meanings embedded in its visual elements and provide a deeper understanding of Safavid political and social values.
Purposes & Questions: The purpose of this research is to conduct an iconographic analysis of the northern mural at the entrance of Qaisarieh Bazaar in Isfahan based on Panofsky’s approach. The study aims to identify the visual characteristics of the mural and interpret the meanings and themes reflected in its motifs and composition. The research seeks to answer two main questions: First, what visual elements and formal characteristics can be identified through the pre-iconographical description of the northern mural of Qaisarieh Bazaar? Second, what themes and meanings can be revealed through the iconographic analysis of these visual elements in relation to the social, political, and cultural conditions of the Safavid period?
Methods: This research employs a descriptive-analytical method with a case study approach. Data were collected through both library research and field observation. The mural was examined through direct visual analysis, and the collected information was interpreted based on Panofsky’s iconographic framework. In the first stage, the visible features of the mural, including lines, colors, figures, motifs, composition, and spatial organization, were described. In the second stage, these elements were analyzed in relation to the historical background, political circumstances, religious beliefs, and cultural conditions of the Safavid era. Relevant historical documents and written sources were also examined to support the interpretation of the mural’s visual components and symbolic meanings.
Findings & Results: The findings indicate that the northern mural of Qaisarieh Bazaar represents the war between Shah Abbas I and the Uzbeks in the Khorasan region and depicts the Safavid victory over them. The analysis shows that the visual structure of the mural reflects political and religious concepts associated with the authority of the Safavid government and the strengthening of Shiite identity. The Uzbeks, who had long-standing conflicts with the Safavids and Shiite communities, were represented as opponents whose defeat reinforced the legitimacy and power of Shah Abbas I’s rule. The recovery of Khorasan and Herat, which held significant religious importance for Shiites, was presented as a symbol of the strength of the Safavid state and its role in protecting Shiite beliefs. Through the arrangement of figures and visual elements, the mural emphasizes victory, sovereignty, and justice as essential qualities of Shah Abbas I’s government. Therefore, this mural should not be considered merely a decorative work within an urban environment; rather, it functions as a visual narrative that communicates historical memory, political authority, and religious identity. The iconographic analysis demonstrates that Safavid mural painting served as a medium through which artistic expression and ideological representation were combined, transforming public spaces into platforms for conveying the values and achievements of the ruling system.
کلیدواژهها English
