چکیده:
The history of Iran throughout the Islamic era until the rise of the Safavid dynasty, and for a short period during the Buyid era, has never witnessed the rule of a Shia state. In fact, it can be said that 9 centuries after the arrival of Islam in Iran, with the rise of the Safavids, we can witness the revival of national identity and ancient values, as well as the rule of the Shia religion and the connection between Sufism and politics in Iran. This relationship between Shiism and Iranian culture was very strong. During the Safavid era, religion played an important role in the process of studying culture and art. Naturally, through this path, the subject of art was not exempt from the change in ideology and social transformations that occurred in the Safavid era. In fact, in addition to the people, Iranian and Shia artists also tried to reflect Shia thoughts, elements, and devotion to the family of the Prophet (PBUH) and the Pure Imams, especially the person of Ali ibn Abi Talib (AS), as well as topics such as Quranic verses and Divine Names, Hadiths and sacred and prophetic narrations, the Ascension of the Prophet, the Shia Shahadatayn, the Great Salawat or the Fourteen Infallibles, literary poems and verses in praise and lamentation of the Pure Imams (AS), especially the person of Imam Ali (AS), and expressing devotion and loyalty to that great Imam, and remembering the loneliness, thirst, and oppression of Abul Abdullah al-Husayn (AS)—both in terms of verses and poems and in terms of Ashura-related metal symbols, etc., which were within the realm of Shia thought—in their art and artistic works. A notable point is that during the Safavid rule, the connection between art and religious laws was well-established. During this period, illustrated manuscripts, architectural buildings, and artistic artifacts were all expressive of Shia elements, which is considered one of the characteristics of this era. This article aims to recount some of the aforementioned Shia concepts and elements of the Safavid era by approaching carpet weaving, Persian painting (miniature), and metalwork reflected in the art of this period.
خلاصه ماشینی:
Zaki Mohammad Hassan says in his book titled "Art of Iran": "In fact, metal works in the Safavid era are distinct in terms of beauty and form, and most of the writings we see on them are poetry or historical texts in the Persian language; also, the names of the twelve Imams(a) can be found on many of them" (Mohammad Hossein 1377:222).
“The art of inlaying brass objects, which had declined during the Mongol and Timurid periods, flourished again at this time, and copper vessels were often "In search of the 'spiritual dimensions' of an artwork, in the Safavid era, perhaps we can find the closest answer in a unique and brilliant work, namely the painting 'The Ascension of the Holy Prophet' by Sultan Muhammad the Painter.
The Safavid era is called the golden age of Iranian art, a designation that truly applies to decorative and applied arts such as metalwork, carpet weaving, miniature painting, calligraphy, architecture, etc.
During this period, various types of arts reached their highest level of perfection, which should be attributed to the existence of prominent and unique artists of this era in various fields such as architecture, painting and miniature, metalwork, carpet weaving, pottery, fabric, and textiles.
This article aims to recount part of the aforementioned Shiite concepts and elements of the Safavid era by approaching the art of carpet weaving, Iranian painting (miniature), and metalwork that are reflected in the art of this period.
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