Volume 10, Issue 19 (9-2020)                   mth 2020, 10(19): 1-18 | Back to browse issues page

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1- MA student, Art Research, Faculty of Art and Architecture, University of Mazandaran , Mazandaran, Iran.
2- Associate Professor, Faculty of Art and Architecture, University of Mazandaran, Mazandaran, Iran. , f.mahmoudi@umz.ac.ir
3- Professor, Faculty of Art and Architecture, University of Mazandaran, Mazandaran, Iran.
Abstract:   (1266 Views)
In this paper, the images of two manuscripts of Ilkhanid dynasty Great Shahnama  and Samak-e- Ayyar of Ale- Injoo   have been studied in terms of sociology of art. both of these works are related to the late Ilkhanid dynasty of the 8th century. Socially, the late Ilkhanid era was a time when the dissatisfaction of various Iranian classes had reached its peak, and the power of the Mongolian Ilkhanid rulers had reached its lowest level. The two selected manuscripts are from two different cities with different social conditions. The aim was to investigate the images of these two manuscripts and the meaningful structures of images. Then the Iranian society and the existing classes of that period were studied and their main structures were identified. The artists of these two works belonged to two different social classes and had different worldviews, attitudes, and aspirations. The research method is descriptive-analytical and is based on Goldmans genetic structuralism approach in two stages of understanding and description. The research question is: What is the relationship between the meaningful structure of the paintings and the social class of artists in the Ilkhanid period? The result of the study indicates that the characteristic of artworks does not arise from the totality of society, but is rooted in social classes, and the reason for the stylistic differences between the two books of the Great Shahnama of Ilkhanid and Samak- e- Ayyar is the difference between the categories of artists belonging to the two groups of artists in Tabriz and Shiraz. It was also shown that the meaningful structures in the book of the the Great Shahnama of Ilkhanid are identical with the main structures of the elite and Iranian elders residing in Tabriz, and the meaningful structures of Samak-e-Ayyars book illustrate the main structures of local artistsclasses living in Shiraz, who felt close to the lives of rural people and urban artisans
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Type of Study: Research | Subject: Visual Arts