وزارت میراث فرهنگی، گردشگری و صنایع دستی
عنوان مقاله [English]
It is commonly thought that miniature is just a court art and separate from social life. It is also often said that miniaturists have been and are captivated by the world of imagination and even their imagination and illusions. And they do not pay any attention to the real world and seek to create their own ideal world - in the Platonic and illuminated sense. But there is evidence that challenges the above view and even refutes it. The present article tries to prove that the image of Ghezelbashi hat as a special visual element in the miniatures of the first half of the Safavid era is a symbol of Safavid militarism and its emergence is directly related to the social and structural changes of the military force of this period. The importance of the present research is that it is possible to open a path between the conventional social thoughts of a particular period through the analysis of works of art. A period in which most written sources are silent about popular thought. The purpose of this article is to clarify the hidden idea that is hidden in the miniatures of the first half of the Safavid era and according to the author can be called a kind of militaristic art. The subject of the present article is also the sociology of art and deals with the main issue of how militaristic tendencies are manifested in the art of Safavid miniatures.
This article has been written by library method and descriptive-analytical method and has tried to adapt the historical documents with the appearance of the image of Ghezelbashi hat in the miniatures of the first half of the Safavid period (Miniatures of Shah Tahmasebi Shahnameh, Khamseh Nezami 954 AH, Shahnameh 984 AH and Rashida Shahnameh). This article also tries to show that the miniaturists' attention to the use of this image was completely in line with the real conditions and social and military life of their time.