A comparative study of Qur'anic and non-Qur'anic gilding methods of the Timurid period - the practical title of gilding design and implementation with an emphasis on the principles of gilding of the above period

Academic Dissertation in Master of Handicrafts

Traditional Drawing and Painting Trend

Abstract

The Timurid period is one of the most important artistic periods in Iran in the field of book design and related arts, including gilding, which is manifested with its own characteristics in the form of Herat, Shiraz, and Samarkand schools. Knowing the gildings of this period in the Quranic manuscripts shows a kind of abstraction that is in accordance with the word of God and on the other hand in accordance with the type of lines used to write the Quranic verses. In comparing this type of gilding with similar types in non-Qur'anic versions, differences are also found in addition to the uniqueness of the method in the design and use of motifs of this period. In this research, by using the descriptive-analytical method and studying the structures of Quranic and non-Quranic gildings of the Timurid period, it has been observed that animal motifs, slimy clouds, and angel motifs were not used in Quranic gildings, while the use of these motifs in non-Qur'anic gildings was common. Other findings of this research include the difference in the index pages and the use of photography in this version. Keywords: Timurid period, gilding, Qur'anic version, non-Qur'anic version. Introduction: At the beginning of the Islamic era and considering the value of books, especially the Quran, the work of decorating their pages and covers was noticed by Muslim artists, and the margins, pages, headings, and The headboards were beautifully decorated using all kinds of salamis, khatais and geometric motifs. It is worth mentioning that in the Timurid period, these decorations with unique characteristics and with a regular, coherent and powerful appearance were manifested in the layout of books, mainly in the majority of Herat and Shiraz schools.

According to the studies and researches conducted in relation to the gilding of manuscripts, it seems that the majority of researches and treatises in Iran are focused on Quranic gildings and in different artistic periods of Iran, and less on Non-Qur'anic gildings have been noted. In this thesis, in addition to studying the features of the gilded Quranic manuscripts in the Timurid period, the non-Quranic gildings of this period, which enjoyed significant prosperity, are also addressed, and in this way, a comparative comparison is made between the structures used in the above-mentioned two types of gilding.

To carry out this thesis, the author has defined, described, adapted and analyzed the gilding schools of the Timurid period in five separate chapters.

In the first chapter of this research, the generalities of the research and topics such as statement of the problem, research method, goals and so on.

In the second chapter, after a brief mention of the historical and cultural contexts of this period, a brief definition of the terms of gilding is given, as well as the course of gilding and its characteristics in different artistic periods, especially the Timurid period, are examined.

In the fourth chapter, which itself consists of two parts, firstly, in the first part of this chapter, the gilding of the Qur'anic manuscripts is structurally analyzed, and in the second part of this chapter, the gilding and decoration of the non-Qur'anic manuscripts are examined, and in this way, the general structures of gilding in the Timurid period are determined.

Finally, in the fifth chapter, The findings of this comparative research and the author's conclusion are the end of this research. Chapter 1: Research Overview: Statement and Importance of the Problem: The art of calligraphy and religious book design has been and continues to be of special importance to Iranians since before Islam. After the arrival of Islam in Iran, this position and importance remained in the writing and arrangement of the pages of the Qur'an. The Timurid period is undoubtedly one of the distinguished periods of art in Iran based on the works left behind in various fields of art, among the arts of this period was the writing of the Holy Quran, which as a result of this practice, writing and calligraphy were considered among the valuable arts. Following the writing of the Qur'an, the writing and gilding of popular literary versions such as Ferdowsi's Shahnameh, Khamsa Nizami and so on. also found a prominent position.

As mentioned, with the emergence of the Timurid period, a new style of gilding in book design emerged. Some of the gilded Qurans of this period, especially those provided for Shahrukh and Baisanghar, are among the most beautiful gilded manuscripts.

Shiraz artistic workshops of the Timurid era, unique copies of Qurans.

The art workshops of Shiraz during the Timurid era had created unique copies of Qurans and literary books, the best works of which can be seen in the Herat Nir school. Versions with the utmost precision, elegance and a special order that, with the conservative approach of that period, limited color and special design had ruled the thinking of Timurid painter artists.

By searching in the studies and researches done in relation to the subject of gilding, it seems that the main focus of researches and treatises in different artistic periods of Iran is only on Quranic gildings and less attention has been paid to non-Qur'anic gildings. Therefore, in this treatise, in addition to studying the characteristics of the gilded Quranic manuscripts in the Timurid period, the non-Qur'anic gildings of this period, which have also enjoyed significant prosperity, are discussed, and in this way, a comparative comparison between the structures used in the above-mentioned two types of gilding is on the agenda. Gilding in Quranic and non-Franic versions in the Timurid period is the aim of this research.

1-3- Research questions

In order to fulfill the research objectives, we are forced to pose the following questions so that by answering these questions we can reach the structural similarities and differences of the two types of gilding. What is the index of gilding in the non-Quranic versions of the Timurid period? 3-What are the structural similarities and differences between the Quranic gildings and the non-Quranic gildings of the Timurid period? In general, the articles and writings that have been written in this field have introduced the embellishments of Qur'anic and non-Qur'anic versions.

The present research has been carried out using the descriptive-analytical research method and with field studies in the field of decorations of both Qur'anic and non-Qur'anic versions.

1-5- Background of the research

Given that in quoting the background material, the main focus should be on the knowledge related to the subject. Therefore, the emphasis in the background is on that part of the sources that somehow contains a message related to the research topic and method. In this regard, the backgrounds can be reported in two parts, thematic and method. Thematic backgrounds are related to researches that have answered part of the research questions or hypotheses. Methodological background refers to those types of research that can be effective in conducting the present research in terms of research method. Martin Lings (1373) in the book "Qur'anic calligraphy and gilding" in the three chapters five, six and seven of the above book has mentioned about the characteristics of Quranic gilding in different periods of Islamic art in Iran. Of course, he provides information about gilding in general.

An article by Ahmadzadeh (1380) has been published in the Quarterly Book, titled "Illumination in the Art of Book Layout in Iran", which reports the general course of gilding in Iran. Among his findings, we can point out the prevalence of the shapes of plants and flowers in the titles and books of the Timurid period. Panahianpour (1383) in his article titled "The trend of gilding in Iran" refers to the general characteristics of gilding in different periods of Islamic art without focusing on a specific period or a specific school. The Qur'an of Great Khorasan to the Timurid Era: Five Hundred Years of Writing the Qur'an" in which he paid attention to the general study of book layout in the Qurans of this five hundred year period. Mehrgan (1383) in his article on the topic of "the art of book layout of the Timurid period, the role of ancient myths, paintings of native peoples in the framework of decorative motifs and gilding" to the spiritual and semantic analysis of motifs in book layout of the Timurid period.

Fadaei Tehrani (1383) in an article entitled "Examination of Timurid Period Quranic Works, Introducing the Great Quran of Baysanqormirza in the Mir Emad Calligraphy Museum" has examined the Quranic works of this period, especially Baisanqormirza's Quran. e. Q)" which has examined the pagination of pages from Baysanghari's Shahnameh.  

Shaisteh Far (1388) in his article entitled "Libration and Illumination of Timurid Qurans" has investigated the features of Timurid book arrangement art in collections available at home and abroad.