Volume 14, Issue 27 (3-2024)
mth 2024, 14(27): 0-0 |
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Sadeghi Ghoroghaghaei M, salehi kakhki A, Khosravi Bizhaem F. (2024). A comparative study of composition of visual elements and calligraphy changes of inscriptions in Ilkhanid and Timurid coins. mth. 14(27), : 4
URL: http://mth.aui.ac.ir/article-1-1991-en.html
URL: http://mth.aui.ac.ir/article-1-1991-en.html
1- M.A in Islamic Art, Majoring in Calligraphy and Persian Painting, Faculty of Handicrafts, Art University of Isfahan, Isfahan, Iran.
2- Professor, Faculty of Conservation and Restoration, Art University of Isfahan, Isfahan, Iran.
3- Professor, Faculty of Conservation and Restoration, Art University of Isfahan, Isfahan, Iran. ,Farhadkhosravi121@yahoo.com
2- Professor, Faculty of Conservation and Restoration, Art University of Isfahan, Isfahan, Iran.
3- Professor, Faculty of Conservation and Restoration, Art University of Isfahan, Isfahan, Iran. ,
Abstract: (4595 Views)
One of the principal archaeological documents of Ilkhanids and Timurids are the coins struck with various motifs and fonts. These coins have some information about calligraphy, language, and history. Their study leads to a better identification of the history of these two eras. One of the principal archaeological documents of Ilkhanids and Timurids is the coins struck with various patterns and fonts. In addition to valuable historical and social data, these works decomposed from an artistic point of principal questions raised in this research are what is the composition of the visual elements of the coins? What were the changes in the calligraphy of the coins, and what were the possible reasons for these changes? Based on this information, descriptive and comparative methods have been used to analyze the composition of visual elements and recognize the changes in the calligraphy of coins. After library studies, the studied samples have been selected in a purposeful cluster manner to achieve the desired results. Based on this, 20 coins of the Ilkhanid era and 15 samples of the Timurid era from the Ashmolean, David, Malek, and Kumesh Semnan museums have been studied. The samples of this research have been adapted and categorized from the perspective of visual aspects and composition of calligraphy, calligraphy fonts, chair, and study ratio. Based on the results, the most used calligraphy fonts in the Ilkhanid era, Kufi, and the Timurid era are the aghlam sites. About the rules of calligraphy like seat and ratio, it can be said that the most used seat examples are the Ilkhanid and Timurid eras linear. Also, the results state that the indicator of "proportion" in the Ilkhani samples has been complied with. It is regular in the Timurid era. The diversity used in calligraphy fonts in the Ilkhanid era belongs to the Ghazan, and the Timurid era belongs to the Shahrukh.
Article number: 4
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