عنوان مقاله [English]
One of existing challenges in reading a portrait miniature is assessing the meanings and concepts of the work through a systematic analysis. Such reading with superficial analysis can be helpful to know the values of the portrait miniature of Iran even better. Therefore, in various schools of art, a number of techniques are fundamentally examined in reading the contents of the works and some of them have been developed in reading portrait miniature of Iran. Content and intertexual criticims are of that kind. One of the new techniques in such field is "iconograghy" which can effectively analyse the hidden parts of the work in a systematic way.
The aim of this research is reading the contents of the portrait miniature in a background level and improving the reading of iconograghy in criticizing Iran's portrait miniature works. The depicted image of "the battle of Kay Khosrow and Shidah" has been studied for this reason. Since such kind of criticism is based on social and historic information with some backgrounds of the work and symbols related to the same period the story written, in the first step the research has been carried out through gathering documentary information, then with some adaptation done in two different studies, "composition" and "visual symbols" of the work explored.
The understanding of the atmosphere the image created during that period can be important in revealing some other dimension of the work, knowing the hidden motifs of the story and cultural understanding in which the work depend on, can help the writer to read and perceive the image better as well.
The study demonstrates that the division of the page into two side and colored balance between the component parts of the work, with some complication exist in the atmosphere of the work other than the main characters of the epic, intensifying the confrontation between the two corps and all of these factors show that unlike few corps fighting with each other on the depicted image, a real battle are going on between them. On the other hand, the image's content and adaptation of the work with religious principles and beliefs prevalent during the Safavid dynasty can lead us to revealing some dimension of the work and on this course some similarities among historic, religious and national characters of Iran can be drawn.