چکیده:
In each society, according to its beliefs and culture, the use of color in different aspects of life and daily activities of people is used with a different approach and reflects the spirit of that period. As the master Iranian writers and painters who used color as an effective tool in illustration, imagination and transmission of concepts and created unique works of literature and art in the history of Iran, their elements provide readability and understanding of the popular culture of that time. One of them is Jami’s HaftAwrang, which was illustrated in Mashhad book designing school during Safavid period and is known as Sultan Ibrahim Mirza’s HaftAwrang. Despite the importance of recognizing Iranian popular culture from literary and artistic remnants, it seems, so far, there isn’t any study has examined the use of color in the context of Iranian culture in these paintings. The question is: Which colors and elements in the paintings of Ibrahim Mirza’s HaftAwrang reflects the culture, public life and daily life of Iranians in the mid-seventeenth century in Safavid period? And what’s the relation between the use of color in paintings and the popular culture and daily life of courtiers, citizens, villagers, caravans and nomads at that time? The method of this research is historical-anthropological analysis and the method of collecting information is library-documentary.Findings show the use of color in these paintings, in addition to showing the quality of material elements such as clothing, tools (tools and handicrafts) and buildings, consistent with the popular culture and daily life of the Safavid period, it also expresses some of the behavioral and speech traditions of Iranian culture, in the court, urban, rural and nomadic classes in accordance with the space of the painting, but there is no distinction in the use of the color of the caravans.
خلاصه ماشینی:
Similar to skilled Iranian writers and painters who have utilized color as an efficient tool in imaging, imagination, and conveying concepts, creating unparalleled literary and artistic works in Iranian history that allow for the reading and understanding of popular culture of that time, such as the Jami’s Haft Awrang manuscript, which was depicted in the Mashhad school of bookbinding during the Safavid period and is known as the Seven Orangs of Ibrahim Mirza.
The findings of the research show that the use of color in the paintings of Ibrahim Mirza’s Haft Awrang, in addition to displaying the quality of material elements such as clothing, tools (utensils and handwoven fabrics) and buildings, is consistent with the popular culture and daily life of the people of the Safavid period, showing some behavioral and verbal traditions of popular culture and daily life of Iranians related to courtly, urban, rural and nomadic classes by using color differentiation appropriate to the space of the painting, but this color differentiation is not seen in the depiction of caravan life.
٢. Research Background Due to the interdisciplinary nature of this research, we will examine the existing sources in two categories: the first category is research related to the reflection of popular culture and daily life of Iranians in the Safavid period and in 174 Haft Awrang of Jami: Nabizadeh and colleagues (1398) in their article entitled “Comparative Study of the Impact of Culture on Architecture and Clothing Design with a Focus on the Historical Period of the Safavid Era” address the effects of cultural factors on buildings and costumes of the Safavid era and introduce culture as a determining factor in the formation of architecture and clothing of the Safavid era, but they have not investigated the use of color in painting.
(
, 
, 
)
