عنوان مقاله [English]
The outcome of the tremendous arrangements of artists like Kamal-Al-Din Behzad in the realm of painting at the end of ninth century was its association with architecture. The depiction of architectural spaces and decorative designs in paintings has its roots in great and glorious buildings surrounding artists. The ample decorations on the surface of buildings that enhanced their sense of unity and effectiveness, manifested even on the statues' clothing. Thus, even though the presence of architectural spaces was mainly as a result of the demands of the stories, the systematic and geometric structure of the architectural decorations changed also into an appropriate tool for color richness, strength of composition and concordance of components in paintings. Despite Behzad's frequent use of architectural buildings, and especially the related decorations in his works, his paintings have been generally explored from the view point of the visual arts' aesthetics. In this research, we will explain the artistic values of "A Beggar at the Door of the Mosque" painting in the realm of architecture and introduce the decorative designs contemporary with the painting. Also, we will analyze the influential values of these decorative elements and compare them with those decorations used in contemporary buildings in Samarkand, Herat, and Iran.
Goals of the current surveys including:
A) Comparison of decorative designs used in Architectural works of Timurid era, from viewpoint of structure, composition and color with decorative designs in painting
B) Estimating the recurrence of each geometrical, vegetative or inscriptional decorative patterns in "A Beggar at the Door of the Mosque" painting.
C) Comparing the location of each architectural decorative pattern in "A Beggar at the Door of the Mosque" with their location in contemporary architectural buildings.
The research method in this study is descriptive and analytical and necessary information are resulted from laboratory studies and documentations. The result of this study has shown that in the “mendicancy on mosque” painting, the decorations are in conformity with real buildings of that era, and we can declare that only the geometrical, vegetative and or line of the painting are drawn from architectural works, they are used in a similar combination and or in new spaces. Therefore, we can use the above-named pictures as reliable and consistent sources of decorative designs for current architecture.