Volume 29, Issue 2 (2022)                   AIJH 2022, 29(2): 53-73 | Back to browse issues page

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1- Associate Professor, Department of painting, Faculty of Art, Alzahra University, Tehran, Iran , shad@alzahra.ac.ir
2- Department of Islamic Art, Faculty of Art and Architecture, TarbiatModares University, Tehran, Iran
Abstract:   (1323 Views)
Composite paintings “figure in figure” have always been taken into account by Iranian and Indian painters. Drawings that consisted of a combination of different and smaller figures within a main body include human, animal, and in some cases, plant figures that are carved into a larger body. This method was used in Iranian and Indian paintings, the Mongol Gurkhani period and despite the fact that they indicate the beauty and creativity of artists of that period, they have differences in perspective and performance. The purpose of this article is a comparative analysis of this style of painting in Iran and India in the 10th and 11th centuries AH and also to identify differences between the methods applied that are very close in structure, to answer the main question of this article that what is the difference between the method of execution and expression of composite drawings in Iran and India? And how is the difference between them defined? In this article, two paintings from the Safavid period of Iran and two from the Mongol Gurkhani period are analyzed and compared with each other to determine their characteristics, similarities and differences. According to the findings, Indian painters performed an imaginary subject with an objectivist and realistic look, but the Iranian painter had an aesthetic and idealistic view of imagining the real world, like an exemplary and paradisiacal world. This article is done with the analytical-comparative method and going through library materials.
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Article Type: مقالات علمی پژوهشی | Subject: Arts and Humanities (General)
Received: 2021/04/21 | Accepted: 2021/07/16 | Published: 2022/06/27

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