INSCRIPTION WRITTEN IN PERSIAN PAINTING METHOD OF “ NÈGARGARI ” Ahmadamiraghai Mehrdad
Abstract: Negargari is one of the Persian visual arts that consists of very delicate and fine decorative patterns. In the last years of the seventh century, the Sassanid era ended and started of Islamic era, with a slight delay and with the benefit of Persian old traditions and painting methods, this art style was developed by Iranian Artists. Slowly Negargari became a Persian artist in book illustration plus manuscripts. At first most technical and scientific books were illustrated and shortly after were used in literature and history subjects. An interesting point of this type of illustration is an inscription at the image surface that expresses the painting subject, for instance, poems on the subject of the painting. Visual balance in these inscriptions is unavoidable.
Key Words: Persian Negargari, Thematic features, Structural features, (composition and movement) Functional features, Inscription written Researcher, Iranian cultural heritage, handicrafts and tourism organization
INTRODUCTION
The painting method that today is known as Persian Nègargari, is a specific manner of visual arts in Iran that dates back to it millenniums B.C. Images have been found in caves
such as (Mirmelas) and (Doushe), (karshourab) canyon or rock paintings of (Kouhdasht) and belonged to the troglodyte Of The Iranian plateau. This art style has been that its applications, and themes and has been transformed in its historic development, as a visual art of Iran, still has a special place and is an example of an ancient culture and folk art of Iranian with narrative appearance and fantasy intrinsic.
1. Thematic feature
The subject of the painting is one of the characteristics of Persian Nègargari. Pre-historic patterns were usually Plants and geometric designs or human and animal images and motifs such as mountains, raging water, sun and moon. In later periods mythical creatures and animal motifs with special characters were formed that in most cases can be seen as base relief such as the ones in Persepolis etc., these mythical creatures had been shown as a combination of man and animals with four legs or wings. Before the beginning of the Islamic era, hunting scenes, trees and ivy designs, and human figures with short stature, round faces and narrow eyes which are Manichaean art features, had been formed in paintings and changes found the way to the Islamic era Nègargari. By the beginning of this period, a new approach was developed in Persian painting providing a context for the expression of artist’s talents in the illustration of books. Over time, Nègargari became more associated with mystical literature and epic and lyric poems with roots in ancient beliefs and histories like the heroic battles of the Shahnameh stories or stories such as Varghe and Golshah, Joseph and Zoleikha. These links were not only in the subject’s appearances, but also Painter had a common bond with the Creators of works in cases like the metaphor of Beloved stature to cypress, lips to flower bud, face to moon, bow to the brow and… However few topics with religious themes, as specific and separate works of book illustration, by several artists including Soltan Mohammed were emerged. “Meraj” which is a painting about the spiritual journey of the Prophet Muhammad at Night of ascension, royal and romantic scenes and portraits were some of the works that can be mentioned. Over time, based on the above themes and by taking advantage of the specific characteristics of each school, unique works were presented to Persian art history.
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2. Structural feature(composition and movement)
The composition principle is one of the Structural features of Nègargari which organizes all components of artworks to create a coherent whole with artistic expression. (Pakbaz,1999, P.161)
The composition principle is a set of rules and methods that are based on the artist’s vision and taste. In addition to the design and geometry, these rules can also take advantage of other
elements like colour. In other words, the composition can be known as an eye-catching and reasonable classification of the constituent elements of an artwork. In the visual arts, a variety of configurations have been used to convey the thoughts and feelings of the artist. The application of composition principles is related to the artwork subject to make it more able to transfer concepts. For example curve and circular composition help induction movement in viewers, while triangle shapes transfer a different feel.
Although the composition principle was used in past Persian artworks like palaces, buildings and designs of pottery and steelworks in the early Islamic era, according to illustration prohibition, they had been used only in applied Tools such as handicrafts. Bypassing of time Nègargari had grown and
developed especially by the time that Nègargari found its way separated from book illustration and was manifested as an independent characteristic in the years between the 12 to 15 Centuries.
A study of these period works shows that the composition structure of Persian Nègargari is based on circles curves forms and spiral movements. Despite of diversity and distribution of
images and characters, the center of vision and attention remains fixed. It is in full compliance with Muslims’ monotheistic belief in the unity that is the source and outcome of all diversities and distributions. ( Whatever he was, he returns to it)
The results of these composition usages are the creation of a systematic and meaningful structure by artist. The artist expresses abstractly the elements and structures by using a rational composition that indicates his thoughts and feelings. In practice, it is assumed that the vision focus is more or less high because characters have been painted from low to high levels at the painting surface. It seems that the characters and landscapes of the painting are seen from high altitudes and the horizon is placed above the painting space…. The last effect of this composition of forms on the concept is a circle of the horizon that is used in most Persian miniatures. On the other hand, this method has the advantage of diverting realism. Spirals patterns allow greater diversity and flexibility of image combinations in both forms and concepts. (Mousavi, 1982. P.72) In Heratschool, this composition has been applied in the best way with a variety of works of Master KamaluddinBehzad. In most of his work’s space segment, the multiplicity and variety of objects and diversity of people with mobility are evident. In fact, by using geometric methods of feature composition and colour interaction, he joined different parts of the image and achieved a general unification. Master Behzad used specific scales in his works with architecture concepts but in most cases, the design of the composition structure and its elements are based on circles. Putting elements in a circle organization makes the feeling of an internal movement that became powerful by elements forms. (Pakbaz,2007, P.82). After him, the Nègargari ornamental dimension became more and according to the complication of elements relationship and showing numerous events in artworks, the structure had been much more varied, but as the main structural characteristic of Nègargari, Composition had remained.[2] Movement factor is the result of other factors of the work such as line, dot, level, rhythm, and dimension… and causes the movement vision of viewers in different ways:
a. Line movement
b. Rhythmic movement( repetition of forms, colors, level,
b-1. Regularly (symmetric) b-2. Un regularly (non-symmetric)
c. Induction movement
c-1. The direction each illustration in the painting follows ( like putting a triangle on the right side of the picture with its point to the left side, inspiring the viewer to move to the left) c-2. Confrontation and conflict between two visual objects that have been far from each other and cause a kind of tension in view Movement is shown differently at Nègargari schools. In Baqdad school (Abbassi), less movement was used human features seemed to be fixed and the artist had focused on other features of the paintings like trees and nature. After the domination of Mongolian by Iran, during the Ilkhanid period, Chinese methods of painting were affected by Persian Nègargari in Tabriz school (Saljuqi) dense areas, scene division to 3 original parts (foreground and background) twist of plants and trees as a combination factor to relate image’s parts together and usage of curves and spiral motion as a movement factor are main characteristics of this school art. Also, Dramatic movements of human figures in motion pictures and close cadres that focus on the main issue must be included as featured of Persian Nègargari in this era. With the formation of the Shiraz School movement paintings became simple and architectural issues and moving horizontally from right to left and vice versa were done.
In Timuridera the movements are shown in the most harmonic and balanced relationship between all parts and elements of artworks in Harat school and taking advantage of the richness and brilliance of colour with contrast colour causes maximum dynamic visual. The high horizon line, which was introduced in Shiraz school and specific characteristics such as frame breakage can be seen in school too. The final word is that the connection between movements, composition and subject is one of the determining characteristics of this period paintings.
3. Functional feature
Before the Islamic era, Persian painting was manifested in base relief, inscriptions and ornaments of potteries and metal vessels and tools after that spent some time in isolation and stagnation but slowly found its place and developed as book illustration and layout in manuscripts or as a collection in form of book or scrapbook. Although its fieldwork was not as extensive and independent as the former, this limited field work allowed painters to creativity and use the creative power of imagination. In the beginning books whose scientific and technical aspects were superior to literary aspects, were illustrated like:
• Al-Adviyeh Al-Mofid (in medication science theme)
• Fe Almarefat Al-Khial Al-Hendeseh (in mechanical inventions theme)
• Aqaqir properties (in planets theme)
• Al-Qani (in music theme)
• Al-Beitareh (in veterinary theme)
• Al-Ashjar properties
• Jalinus medicine
Shortly after more transplantation of Nègargari to history and literature books of these subjects like Vargheh and Golshah, Andarznameh, SamakAyar and Shahnameh had been illustrated. With the formation of the first art center in Tabriz, called “Rabe-Rashidi” or “Rashidieh” in the first half of the fourteenth century, the first book illustration workshop was formed. Several books included biographies and historical ones were illustrated in groups. For instance KhavaranNameh, Javameh-Al-Tavarikh, Kelile O Demneh, Albaqiyeh and Manasseh-Al-heaven However, with time and from the middle of the sixteenth century, to the decreasing order of book illustration, Nègargari functions became more independently and in different formats such as scrapbook (Album), large scale wall paintings, paintings of mirror boxes, etc.
4. Inscription written
There are calligraphic inscriptions on the painting that images are formed according to their texts. Although the subjects of texts in the painting are not considered here, the way that they are placed is very important. The inscription is precisely calculated in points of number, size, location, and … and is a kind of composition and is created in coordination with artwork. As previously mentioned, the composition of Persian Nègargari is formed on the base of orbital and rotational motions, but the placement of the inscriptions in the artwork usually the balance of the whole work was interesting to artists. However, in some cases, inscription placement was the factor to focus on some particular point of the painting. In general, it can be said that the inscriptions on the painting are formed under the laws of geometry to create visual balance. To evaluate objectively the above issues, three artworks will be studied as examples.
a. Escapes of Joseph from Zoleikha painting from Golestan book of Saadi, Herat school, by Master KamaluddinBehzad, 1475.
Inscriptions placement, proportions and their distance from each other, direction of inscription movement from bottom left to the top right of the picture and direction of above inscription to bottom, entirely cause focus on the human forms (Joseph, Zoleikha) on the painting. While looking at the stairs on the left side of the image, the inscription placement, general visual balance in addition to moving. (Figs.1, 2)
b. Painting from Shahnameh book of Ferdousi, Safavid School.
In this painting BaysunghurMirza among the group of courtiers while listening to the story of Rostam, is shown. In this work, the artist “Mirmosavar” due to a large number of human figures, created visual balance by drawing inscriptions on top of the painting. Also by placing an inscription at the bottom, connection and balance between the upper and lower parts of the painting is created. (Figs.3, 4)
c. Ascension Prophet Muhammad Painting from Kamseh book of Nezami, Safavid School, Early periods of Sultan Muhammad.
It was created in the 15th century and shows the ascension of the Prophet Muhammadin among Angeles’s group. The concept of the painting is religious and shows the excellence of the Prophet Muhammad as the perfect man towards heaven. (Fig.5) This work composition is based on serpentine motion from bottom to above and leads to an image of Prophet Muhammad. (Fig.6) Otherwise, the artist draws a circle above the painting to equilibrium imbalance by two serpentine motions at the bottom. (Fig.7) The main point is the placement of inscriptions that include poems with related subjects. Two inscriptions with 1/3 width of the painting are located on the upper right side. At the bottom number of inscriptions is double with almost the same proportion. If an imaginary line is drawn from the end of the above inscription to the lower one, they will quite intersect. Also by dividing the length of the painting, an equal proportion of 1/12 will remain on both the left and right sides of the painting. So it is quite appropriate to make a claim, that writing inscriptions in Persian Nègargari are primarily based on geometrical rules and although composition feature is driven by the movement and rotation curves Persian painters considered visual balance. (Fig.8)
CONCLUSIONS
1. Content feature is one of the characteristics of Persian Nègargari that Carries the ancient and historical painting traditions that over the years became more transplanted to mysticism literature and epic and lyrical poems during Islamic eras.
2. Structural feature of Persian Nègargari by understanding the basics of intellectual space, which included composition and movement, plays a connecting role between image and text. Ornaments as dominant elements, with their hidden mysteries, are the criterion measurement for understanding the aesthetics of this art style.
3. In Persian Nègargari, functional features are manifested in different ways. Before the Islamic era was expressed in base relief, inscriptions and ornaments of potteries and metal vessels and tools and in the Islamic era slowly developed as book illustrations and layouts in manuscripts or even as a scrapbook.
4. Writing inscriptions in Persian Nègargari are primarily based on geometrical rules and although composition feature is driven by the movement and rotation curves painters considered visual balance.
NOTES
1. We are from Allah and will return to him
2. During the years, 12 types of composition were used more by painters:
a. Centralized( most epic or religious composition in Renaissance and Neoclassical periods : Jacques-Louis David)
b. Circle (composition of the funeral scene in “meeting of Rostam and Esfandiar “in Baisonghor’s Shahnameh or composition of Large stones of Stone Henge in Salzbry plain, UK)
c. Crossover(Most works of Piet Mondrian and Fritz Klarnd)
d. Triangle(Religious works of Leonardo da Vinci)
e. Skewed(Marcel Duchamp’s famous work called running down the stairs” and works of John Marin and Joseph Stella)
f. Symmetric(Iranian traditional works, Ancient Egypt and Indians of north and south America)
g. Spiral(Ascension of the Prophet by Sultan Mohammed, “Spiral pier “by Robert Smith)
h. Vertical(Ancient Egyptian works)
i. Maqami(Qahvekhane paintings, religious icons of Russia)
j. Raging (“Starry Night “by Vincent Van Gogh, “Slippery Squares” by Bridget Riley. “Wave “ by Hokusai)
k. Horizontal( works of Jack Bush and many of the works of Richard Diamond)
l. Diffused(Ancient Persian Nègargari, Qahvekhane paintings). (Hosseini,2003, P.64) (Album)scrapbook is a collection of various pieces of painting, drawing and
3. calligraphy in a book in a certain manner. Page margins are usually illuminated in Tazhib and Tashier manner. Usually, client and collector names and a description are written as a prelude at the beginning and date of completion of the work will be included in at the end of the book. (Pakbaz,1999, P.9)
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REFERENCES
[1] Pakbaz.Routine. Encyclopedia of Art. (1999).Tehran.Culture and Art Publishing House. First Edition. 1033 pages
[2] The same source. Page 9.
[3] Pakbaz.Routine.Persian Painting from past to now. (2007). Tehran. Publication of gold and silver. Sixth Edition.228 pages
[4] Mousavi. Tabloid of Alexandre Papadopoulo. Part of the miniature. Islam and Islamic art. Art Journal. No. 2. (1982). Tehran. Ministry of Culture and Islamic Guidance. 460 pages
[5] Hosseini, Mehdi. The concept of space in folk paintings. Art Journal. No. 55. (2003). Tehran. Ministry of Culture and Islamic Guidance. 242 pages
