نوع مقاله : پژوهشی
نویسندگان
1 دانشیار گروه تاریخ دانشگاه الزهراء(س)، دانشکدۀ ادبیات، تهران، ایران
2 دانشیار گروه تاریخ، دانشگاه الزهراء(س)، دانشکدۀ ادبیات، تهران، ایران
چکیده
کلیدواژهها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
Art in the post-Ilkhanid period, alongside religion, became an element of identity and legitimization for governments. The advancement of calligraphy and miniature painting, alongside other arts, led to dynamism in society, creating diversity and multiplicity within the framework of a Mongol-Turkic and Iranian identity. The Shiraz school of calligraphy under the Al Injou and Al Muzaffar in the 8th century pioneered this movement. Baghdad and Tabriz under the Jalayirids achieved innovation by combining the legacy of Shiraz and the ingenuity of Tabriz. The Nastaʿliq script was the manifestation of this dual mixture, reaching its peak in Tabriz. With the forced migration of Tabrizi artists to Samarqand and Herat, the artistic center also shifted its location. With the rise to power of the Qara Qoyunlou and Aq Qoyunlou rulers, the Turkmen school of calligraphy regained strength with its distinct characteristics. This research, using a historical-analytical method, identifies the variety of Nastaʿliq calligraphy types within the Turkmen domain. Based on the lineage of the script, six parallel currents of calligraphy activity were identified, which, according to the master-head, can be referred to as the:"Khwarazmi Style", "Abd al-Hayy Astarabadi Style", "Khalvati Tabrizi Style", "Harawiyan Style", "Azhar Tabrizi Style" & "Miscellaneous Style". There were competitions and collaborations between these styles. This typology is based on specialized aspects of script recognition and the master-student relationship. The present research demonstrates that the Turkmen period cannot be overlooked due to the brevity of its political rule. The article's objective is to show the continuation of the calligraphy tradition beyond the borders and court of the Timurids. The progress of calligraphy during these dynasties is comparable to the progress of the Timurid and Safavid periods. Furthermore, the main origin of the Timurid School of calligraphy was the western provinces of Iran, which was transferred to the Turkmens somewhat unchanged and later, provided the basis for the formation of the Safavid School. However, the position of the Turkmen school should not be reduced merely to an intermediary and transitional tool; rather, it added to the aesthetics and subtlety of the penmanship.
کلیدواژهها [English]
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