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- Volume 85 - Année 2016
- Actes de colloques
- Special edition
- Studying Functions of Visual Elements and Pictorial Provisions in Iranian Painting
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Studying Functions of Visual Elements and Pictorial Provisions in Iranian Painting
(Case Study of Sultan Muhammad’s Mi’raj Painting in Khamsa of Nizami)
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Version PDF originaleAbstract
Ascension event as one of the most miraculous events of Islam history has attracted attention of scholars and artists over different ages and eras and has been manifested within many artistic works directly or symbolically. Meanwhile, painting art has paid special attention to this astonishing event either in conceptual or in aesthetic part. Many images have been created in Iranian painting with centrality of ascension (mi’raj) of Islam prophet. However produced works vary in terms of quality and narrations based on Iran painting style and affected by doctrinal conditions of its own time and viewpoint of proponents. In this respect t, famous and prominent painting of ascension from Safavid era of Khamsa version painted by Sultan Muhammad with unique and noticeable features. This paper aims to examine feature of Iranian painting art and visual components of art through descriptive-analytical approach and with documentary method. For doing so, ascension image of Sultan Muhammad, famous painter of Safavid era has been selected as sample due to similarity of texture and text and comprehension of depicted images. The main question of the paper is that from which narration do visual elements of images originate and what meaning and notion do they imply? Findings suggest that adoption of pictorial components and visual elements results in occurrence of mysterious, mystic and interpretational narration in Khamsa image.