نویسندگان
1 دکتری تاریخ تطبیقی و تحلیلی هنر اسلامی، گروه هنر اسلامی، دانشگاه شاهد، تهران، ایران
2 دانشیار گروه پژوهش هنر، گروه پژوهش هنر، دانشگاه شاهد، تهران، ایران
3 دانشیار گروه هنر اسلامی، گروه هنر اسلامی، دانشگاه شاهد، تهران، ایران
چکیده
عنوان مقاله [English]
نویسندگان [English]
The painting "The Ascension of the Prophet (PBUH)" by Sultan Mohammad belongs to the version of Khamseh Tahmasebi in the Tabriz Safavid period, which was restored by Mohammad Zaman during the Safavid era of Shah Suleiman, It is one of the works that the painter, as the author of the work of art, has created an additional meaning from the work. The remarkable thing in this painting is an angel who is moving towards the Prophet (PBUH) while looking at the audience with a smile and is presenting a crown as if the painter has revealed himself in the work. With the aim of identifying the meaning of the hidden layers, the present research has analyzed the painting in question with Panofsky's iconology method, and has addressed the question of what hidden layers of meaning are there in the painting of "Ascension of the Prophet (PBUH)"? The results of this research show that the cultural factors and social traditions of the Safavid period and common visual elements in painting before the Safavid period had an impact on the clothing and condition of the characters in the painting, and on the other hand, the artist created the work under the influence of the spiritual and social atmosphere prevailing in the Safavid era, In fact, the painting originated from spiritual and religious views at the time of creation by Sultan Mohammad and the political and social view at the time of the restoration of the work by Mohammad Zaman. Sultan Mohammad also created this work under the influence of this mystical attitude and on the other hand, Mohammad Zaman, the restorer of the work, considering the turbulent political and social conditions governing the reign of Shah Suleiman Safavi, in an esoteric and indirect way, considering the biography of the Prophet ,He considers him as a model of religious governance and inculcates his displeasure from the Safavid historical period to the audience of the work.
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