A study of the evolution of rings in the Seljuk, Timurid and Safavid periods

Rings have evolved over the centuries with various functions, such as ring, decorative, religious or religious, in people's lives. Rings are one of the exquisite and valuable examples in the art of metalworking that have been made in a variety of forms with a particular style in Iranian history. The present study seeks to identify the form, technique and ornamentation of the rings in three periods of Seljuk, Timurid, and Safavid studies by examining the remnants of rings. So what has the evolution of the rings seen in the form and structure of these three historical periods? And the motifs and inscriptions used reflect what social and religious change in the society at that time? The research approach is qualitative and the research method is descriptive and analytical. Information has been collected by library method, reference to written sources and field method. Qualitative or purposeful sampling method was used for analyzing and achieving the results. Sixty-four rings were studied: twenty-two rings from the Seljuk period, twenty-three rings from the Timurid period, and nineteen rings from the Safavid period
The investigations made in this research show that the rings in the Seljuk era were a mixture of Sassanid art and Turkish culture dominated by exquisite styles and geometrical forms with delicate animal and human motifs that were very new to the Islamic period and the techniques of construction Casting and sheeting were popular. The Timurid era is an emerging era in making rings with new styles in the Islamic era. The cultural exchanges between China and the Timurid court conveyed elements such as the role of the dragon and the jade stone, then its entry into the art of making the rings of this age and the combination and application of the two (dragon, jade) to create one of the symbols of the power of this lightweight Marie or Became a dragon. Inscriptions in ornamentation of the Timurid rings show a simplification of ornamentation. The inscriptions carved in this period are often in Kufic script and contain themes such as divine names, names of imams and Persian poems that illustrate the influence of this valuable art on social developments and attention to objects. And there is an Iranian in Timurid rule. The light-hearted indentations and the use of jade stone with the inscriptions of persons and claims made their mark on the rings of this period. The Safavid era can be seen from the perspective of Timurid art in the making of a ring with the same style and past, but in the midst of this era, European trade and the presence of European jewelers in court and acquiring experience and knowledge of jewelery techniques had little effect on this Iranian art. Negin Turquoise was very welcomed in this era, and the historiography, the name of the engravers and the names of the Imams became very common, emphasizing the name of Imam Ali (PBUH). In this age, the third and nastaliq lines are abundantly displayed in the ornaments of rings.