1 گروه هنر اسلامی و صنایع دستی دانشکده هنر دانشگاه سوره
2 کارشناس ارشد هنر اسلامی دانشکده هنر دانشگاه سوره، تهران، ایران
عنوان مقاله [English]
Decorating the margins and sometimes the text of the pages with a small pen and using gold to create animal and plant motifs in a capricious and delicate way Which flourished in the three schools of painting of the Safavid period. Isfahan School Artists as a last step in painting this period, a redoubled effort to complete and refined various arts, including “Stylistics Tasheir”. The question of this research was what are the characteristics of Isfahan school's “Tasheir” With the aim of gaining a better understanding of Safavid painting. Extensive attention to “Tasheir” in this period and more and more specialized knowledge of them has doubled the need for research. This research is of a fundamental type that has been done by descriptive-analytical method and its study reference is also a library and observation of illustrated copies preserved in museums. The statistical population of the study by purposeful sampling method included ten illustrated copies available in prestigious museums and a selection of drawings from the mentioned copies, which is one of the most important “Tasheirs” of Isfahan school. The result is that in some works of Isfahan school, plant motifs have been carefully drawn for gilding. Imaginary motifs including Killin, Simorgh and Dragon are used in less than 50% of the works. Similar to animal motifs, more accurate volume and extensive use of processors to create more details are the features of the imaginative motifs of this period. The role of man has no share in the “Stylistics Tasheirs” of this period and artists have paid more attention to the decorative side of “Tasheir”. Landscaping in Isfahan school, as in the past, is associated with decreasing clouds, increasing the special space of rocks, stabilizing the role of rock and reducing the atmospheric water, but compared to before, the form of clouds has changed and the central spiral core in them has become a mass of multiple spirals. The role of man has no share in the “Tasheirs” of this period and artists have paid more attention to the decorative side of “Tasheir”. The composition of the works has followed the traditional principles and is based on the distribution of animal and imaginary motifs, with the difference that with the increase of the scale of landscape motifs, these motifs in some cases, they have become the main elements of the composition. The same trend can be seen in the case of the technician.