Document Type : Original Article
Authors
1 Master of Islamic art (historical and comparative studies), Faculty of Handicrafts, Art University of Isfahan.
2 Asistent Professor of calligraphy and persian painting, Faculty of Handicrafts, Art University of Isfahan.
3 coach of Islamic art, Faculty of Handicrafts, Art University of Isfahan
Abstract
The pulpit as one of the practical, spiritual, and aesthetic tools has always had a special place in the Islamic era such as the Safavid period, so much so that one of the masterpieces of Islamic art is the skillful decoration of the pulpits. Meanwhile, in addition to the pulpits in mosques, the pulpit has been prominent in the Persian painting of this period, which can be considered as dependent on the reflection of objective realities in this art. Therefore, the purpose of this study is to identify and adapt the Fermi characteristics of Safavid pulpits in the two areas of Persian painting and the historical pulpits of Isfahan mosques, as one of the leading cities of this period. In this way, should be paid more attention to the influence of the pulpit in Persian painting from the real world. The main questions are: What are the Fermi features of the pulpit in the Persian paintings of the Safavid period and the mosques of Isfahan? What are the commonalities and differences between the pulpits in the Safavid period paintings and the pulpits in Isfahan mosques? Are the traces of realism recognizable in the pulpits of painting? The necessity and importance of this research are due to the fact that on the one hand, less research has been done on the formal and visual relations of the pulpit in painting. On the other hand, most of the pulpits in the mosques of Isfahan are made of wood, which over time, their designs disappear, and there is no doubt that all the collectible aesthetic elements are useful. As a result, with a careful look, in addition to identifying and introducing the features of these pulpits with the help of drawings, a source of them can be obtained, which is perhaps the most necessary thing that can and should be done. The research method is descriptive-analytical and comparative and the data collection has been done in the library, internet, and field methods. The method of data analysis is qualitative and sampling is purposeful. As a result, painters have paid more attention to the general shape and form (explicit form) of mosque pulpits compared to the hidden form (decoration). Which include the following similarities: the predominance of the use of geometric patterns in the bodies of pulpits and mosques, the use of motifs with base numbers six and eight and the Pattern of triangles and squares, the variable height of pulpits in both areas (short-medium-long) and the Common and stable part " seating ". But it must be borne in mind that the painter did not depict only the features perceptible through the senses, rather depending on the characteristics of the painting, they can still be considered different from the pulpits of mosques.
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