نوع مقاله : مقاله پژوهشی
نویسندگان
1 مربی گروه فرش دانشکده هنر دانشگاه بیرجند (نویسنده مسئول)
2 استادیار گروه صنایع دستی دانشکده هنر دانشگاه بیرجند
3 دانشجوی دکتری پژوهش هنر، دانشگاه تربیت مدرس
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسندگان [English]
One of the main features of Islamic Arts is the application of decorations. The presence of decorative arrays for
the development of surfaces was common especially in the Timurid paintings. Baysonqori’s Shahnameh is one of
the iconic illustrations of the Timurid period. This version is full of geometric decorative motifs.This article aimed
to identify the geometric nodes of the Baysonqori’s Shahnameh portraits, and study how they are applied in different
parts in terms of the type, technique, color and place of application of these decorations. The data collection
was based on written sources that examine the data obtained from the study samples in a descriptive (analytical)
way. Accordingly, the following questions were raised:
- What are the features of the geometric nodes in Baysonqori’s Shahnameh?
- How are the geometric nodes used in the Baysonqori’s Shahnameh?
The results of the study of Baysonqori’s Shahnameh illustrations show that the application of decorations and geometric
knots is more pronounced in bricks and tiles, and most of the nodes used include the “eight regular”, “Piley
Lyssadar”, “Eight and Sabon” and “ Arrowing “in which nodes are based on the base number of eight. These knots
are often used on the porch, floor and walls and in the form of a wooden stand as a window or door guard. The use
of decorative arrays and the use of surfaces with decorations and geometric arrays have led to an increase in the
visual glory of Baysonqori’s Shahnameh portraits.
کلیدواژهها [English]
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