Formulation of the Seven Principles of Iranian Art A Critique of the Book Seven Decorative Principles of Iranian Art
This article, which is a descriptive and analytical research and its qualitative data has been collected through the research method of libraries, has been organized with the aim of studying the stylistic developments of Iranian art after the Mongol invasion and while trying to review the book “Seve...
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| Format: | Article |
| Language: | fas |
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Institute for Humanities and Cultural Studies (IHCS)
2022-05-01
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| Series: | پژوهشنامۀ انتقادی متون و برنامههای علوم انسانی |
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| Online Access: | https://criticalstudy.ihcs.ac.ir/article_7877_47de03a53416478ce2d740ade152c458.pdf |
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| author | Alireza Taheri Roya Zarifian |
| author_facet | Alireza Taheri Roya Zarifian |
| author_sort | Alireza Taheri |
| collection | DOAJ |
| description | This article, which is a descriptive and analytical research and its qualitative data has been collected through the research method of libraries, has been organized with the aim of studying the stylistic developments of Iranian art after the Mongol invasion and while trying to review the book “Seven Decorative Principles of Iranian Art” written by Yaghoub Azhand and to answer the basic question why in Qazvin school of Safavid period, these themes are mentioned as seven principles of Iranian art? It seems that the drawing of these motifs to the position of the "Seven Principles" was done in line with the policies of Shah Tahmaseb and with the aim of limiting the power of the Ghezelbas. The findings show that in order to achieve this goal, first the royal workshop and library of Tabriz were dissolved as an influential centers and promoters of Ghezelbashi thought, and in the next step, the visual elements of Iranian painting were regulated in two main and sub-areas. Placing elements such as mobility, coloring, and composition in the field of Iranian painting subdivisions meant reducing the importance of the principles governing the Ghezelbashi method, and in contrast emphasizing the arrangement under the heading of the "Seven Principles of Iranian Art" while setting the policy. The nascent Qazvin school in a different direction from Tabriz II school, gave it special credit. |
| format | Article |
| id | doaj-art-c5343d36afbf4efca2dd41666e066b56 |
| institution | Kabale University |
| issn | 2383-1650 |
| language | fas |
| publishDate | 2022-05-01 |
| publisher | Institute for Humanities and Cultural Studies (IHCS) |
| record_format | Article |
| series | پژوهشنامۀ انتقادی متون و برنامههای علوم انسانی |
| spelling | doaj-art-c5343d36afbf4efca2dd41666e066b562025-01-08T05:39:05ZfasInstitute for Humanities and Cultural Studies (IHCS)پژوهشنامۀ انتقادی متون و برنامههای علوم انسانی2383-16502022-05-0122337139310.30465/crtls.2021.33217.20107877Formulation of the Seven Principles of Iranian Art A Critique of the Book Seven Decorative Principles of Iranian ArtAlireza Taheri0Roya Zarifian1Professor of Art History, Faculty of Theoretical Sciences and Higher Art Studies, University of ArtsPhD Student in History of Critical and Comparative Islamic Art History, Tehran Art University, Tehran, IranThis article, which is a descriptive and analytical research and its qualitative data has been collected through the research method of libraries, has been organized with the aim of studying the stylistic developments of Iranian art after the Mongol invasion and while trying to review the book “Seven Decorative Principles of Iranian Art” written by Yaghoub Azhand and to answer the basic question why in Qazvin school of Safavid period, these themes are mentioned as seven principles of Iranian art? It seems that the drawing of these motifs to the position of the "Seven Principles" was done in line with the policies of Shah Tahmaseb and with the aim of limiting the power of the Ghezelbas. The findings show that in order to achieve this goal, first the royal workshop and library of Tabriz were dissolved as an influential centers and promoters of Ghezelbashi thought, and in the next step, the visual elements of Iranian painting were regulated in two main and sub-areas. Placing elements such as mobility, coloring, and composition in the field of Iranian painting subdivisions meant reducing the importance of the principles governing the Ghezelbashi method, and in contrast emphasizing the arrangement under the heading of the "Seven Principles of Iranian Art" while setting the policy. The nascent Qazvin school in a different direction from Tabriz II school, gave it special credit.https://criticalstudy.ihcs.ac.ir/article_7877_47de03a53416478ce2d740ade152c458.pdfiranian artpaintingsafavid eraqazvin schoolseven principles |
| spellingShingle | Alireza Taheri Roya Zarifian Formulation of the Seven Principles of Iranian Art A Critique of the Book Seven Decorative Principles of Iranian Art پژوهشنامۀ انتقادی متون و برنامههای علوم انسانی iranian art painting safavid era qazvin school seven principles |
| title | Formulation of the Seven Principles of Iranian Art A Critique of the Book Seven Decorative Principles of Iranian Art |
| title_full | Formulation of the Seven Principles of Iranian Art A Critique of the Book Seven Decorative Principles of Iranian Art |
| title_fullStr | Formulation of the Seven Principles of Iranian Art A Critique of the Book Seven Decorative Principles of Iranian Art |
| title_full_unstemmed | Formulation of the Seven Principles of Iranian Art A Critique of the Book Seven Decorative Principles of Iranian Art |
| title_short | Formulation of the Seven Principles of Iranian Art A Critique of the Book Seven Decorative Principles of Iranian Art |
| title_sort | formulation of the seven principles of iranian art a critique of the book seven decorative principles of iranian art |
| topic | iranian art painting safavid era qazvin school seven principles |
| url | https://criticalstudy.ihcs.ac.ir/article_7877_47de03a53416478ce2d740ade152c458.pdf |
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