نوع مقاله : مقاله پژوهشی
عضو هیأت علمی دانشگاه شهید باهنر کرمان
عنوان مقاله [English]
There are many images with the subject of The Miraj of Prophet Muhammad in Persian miniature painting but these works are different from each other in terms of stylistic features of Persian miniature painting, technique; quality and narration. They were also impressed by the intellectual situation of their era and the ideas of their patrons. In this regard, there are two prominent and famous miniature painting with remarkable and unique features from Safavid era which are The Miraj miniature paintings of the Khamseh of Nizami and the Falnameh of Tahmasebi referred as Aghamirak. In both of these miniatures the mystic journey of Prophet Muhammad are depicted at the middle of the journey while the angles came to welcome him but in each work, different visual elements and measures had been practiced so that each miniature present different art narration and quality. The main questions are that, in each miniature based on which narration the visual elements and measures were arranged and presented? And what did they transfer in terms of meaning and quality? In order to answer these questions, first visual elements of two miniatures are compared in detail and then the intellectual and artistic situations of their production time are studied. The research method is descriptive – analytical and comparative one and the data are collected by library-based technique.
The results show that the application of visual elements and measures led to the creation of a symbolic, mystic and Hermeneutics narration in Khamseh’s miniature and a Shia, propagandistic and explicit narration in Falnameh’s miniature. In these two cases, quality, narration, intellectual, religious, artistic and patronage situations had important and notable impacts on the production.