A Comparative Comparison of the Images of the Demons by Mohammad Siah Qalam with Iranian Paintings (Miraj-nameh and Khavaran-nameh)

Name: A Comparative Comparison of the Images of the Demons by Mohammad Siah Qalam with Iranian Paintings (Miraj-nameh and Khavaran-nameh)
Author: Mohammadreza Khabiri

İsim	A Comparative Comparison of the Images of the Demons by Mohammad Siah Qalam with Iranian Paintings (Miraj-nameh and Khavaran-nameh)
Yazar	Mohammadreza Khabiri
Konu	Painting, Iranian
Tür	Kitap
Dil	Farsça
Dijital	Evet
Yazma	Hayır
Kütüphane:	Danimarka Kraliyet Kütüphanesi
Demirbaş Numarası	ISSN: 1735-708X, EISSN: 2676-7759, DOI: 10.22034/ias.2020.104193
Kayıt Numarası	cdi_doaj_primary_oai_doaj_org_article_2db0a0b0db0840f78e0f755a6c017dae
Lokasyon	DOAJ Directory of Open Access Journals
Notlar	Abstract Throughout the history of Iranian painting, prominent figures have emerged that each had a significant role in the advancement of Iranian painting. Renowned painters such as Kamal-al Din Behzad, Sultan Mohammad, Reza Abbasi among others are notorious figures that adequate information in regard to their biography and style of work is readily available. Nonetheless, "Master Mohammad Siah Qalam" is among the artists in which less information is available and his status is in a state of ambiguity. Perchance, one reason for this obscurity can be due to the prowling of Siah Qalam’s artwork that were transferred to the Ottoman court along with other Iranian cultural and artistic works. The study of the artworks of Mohammad Siah Qalam have been the focus of many Eastern and Western scholars for decades; a topic that has been the subject of research for many years. So far no clear theory has been put forward to determine the personality and the number of artworks of Master Mohammad Siah Qalam for scholars and researchers. Therefore, this paper, accomplished through a descriptive-analytical method and library data collection technique seeks to address such issues. The results of this study indicate that Master Mohammad Siah Qalam, is “Ghiyasuddin Mohammad, the painter” who worked at the Amir Alishir Navai Library; furthermore, one of the reasons that led Iranian painters not to intimate the drawings of the demon by Mohammad Siah Qalam was that the artworks of this artist was transferred to Turkey by Sultan Salim and no painting attributed to him was not available for artists. Correspondingly, Mohammad Siah Qalam was deprived of court support because of his modification in artistic preference; and hence, his style gradually demolished. Research aims: 1. To examine the identity of Mohammad Siah Qalam and his works with emphasis on his depiction of the figure of the demon. 2. To Investigate the influence of the demon motif in the paintings of Master Mohammad Siah Qalam with the demons of depicted in Iranian paintings (Miraj-nameh and Khavaran-nameh) Research questions: 1. Has Mohammad Siah Qalam's depiction of the demon motif influenced Iranian painting particularly the two manuscripts of the Miraj-nameh and Khavaran-nameh? 2. What are some commonalities between the comparison of the images of Mohammad Siah Qalam's images with Iranian painting artworks (Miraj-nameh and Khavaran-nameh)?
Görüntüle	Hunar-i Islāmī, 2020-02, Vol.15 (36), p.186-220

Kaynağa git Danimarka Kraliyet Kütüphanesi Royal Danish Library

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Danimarka Kraliyet Kütüphanesi

Kaynağa git

A Comparative Comparison of the Images of the Demons by Mohammad Siah Qalam with Iranian Paintings (Miraj-nameh and Khavaran-nameh)

Yazar Mohammadreza Khabiri

Konu Painting, Iranian

Tür Kitap

Dil Farsça

Dijital Evet

Yazma Hayır

Kütüphane Danimarka Kraliyet Kütüphanesi

Demirbaş Numarası ISSN: 1735-708X, EISSN: 2676-7759, DOI: 10.22034/ias.2020.104193

Kayıt Numarası cdi_doaj_primary_oai_doaj_org_article_2db0a0b0db0840f78e0f755a6c017dae

Lokasyon DOAJ Directory of Open Access Journals

Notlar Abstract Throughout the history of Iranian painting, prominent figures have emerged that each had a significant role in the advancement of Iranian painting. Renowned painters such as Kamal-al Din Behzad, Sultan Mohammad, Reza Abbasi among others are notorious figures that adequate information in regard to their biography and style of work is readily available. Nonetheless, "Master Mohammad Siah Qalam" is among the artists in which less information is available and his status is in a state of ambiguity. Perchance, one reason for this obscurity can be due to the prowling of Siah Qalam’s artwork that were transferred to the Ottoman court along with other Iranian cultural and artistic works. The study of the artworks of Mohammad Siah Qalam have been the focus of many Eastern and Western scholars for decades; a topic that has been the subject of research for many years. So far no clear theory has been put forward to determine the personality and the number of artworks of Master Mohammad Siah Qalam for scholars and researchers. Therefore, this paper, accomplished through a descriptive-analytical method and library data collection technique seeks to address such issues. The results of this study indicate that Master Mohammad Siah Qalam, is “Ghiyasuddin Mohammad, the painter” who worked at the Amir Alishir Navai Library; furthermore, one of the reasons that led Iranian painters not to intimate the drawings of the demon by Mohammad Siah Qalam was that the artworks of this artist was transferred to Turkey by Sultan Salim and no painting attributed to him was not available for artists. Correspondingly, Mohammad Siah Qalam was deprived of court support because of his modification in artistic preference; and hence, his style gradually demolished. Research aims: 1. To examine the identity of Mohammad Siah Qalam and his works with emphasis on his depiction of the figure of the demon. 2. To Investigate the influence of the demon motif in the paintings of Master Mohammad Siah Qalam with the demons of depicted in Iranian paintings (Miraj-nameh and Khavaran-nameh) Research questions: 1. Has Mohammad Siah Qalam's depiction of the demon motif influenced Iranian painting particularly the two manuscripts of the Miraj-nameh and Khavaran-nameh? 2. What are some commonalities between the comparison of the images of Mohammad Siah Qalam's images with Iranian painting artworks (Miraj-nameh and Khavaran-nameh)?

Görüntüle Hunar-i Islāmī, 2020-02, Vol.15 (36), p.186-220