Document Type : Original Article
Abstract
Among the different production centers of precious and illustrated manuscripts in the annals of Iran’s history of illustrated manuscripts, the city of Shiraz due to the permanent presence of consummate artists, has been of great importance. The present study aims to reconcile the visual characteristics of the visual versions of Kalila va Dimna of Injuid (1307 - as preserved the British Library) and Kalila va Dimna version of Mozaffarid school (1397- preserved in the Bibliothèque nationale de France). This study furthermore scrutinizes the changes within the realm of the illustration in Shiraz School in 8th century and takes the time difference of painting of these editions of Kalila va Dimna into consideration and in line with these is in pursuit of discovery of the vicissitudes in terms of the method and the style of the work, reflection of continues illustrative traditions of previous schools, their being inspired by the contemporary schools within the visual elements of the unique edition which belongs to two points in the annals of the Shiraz School. A comparative-descriptive research and data collection methods based on library resources and virtual databases of museums has been conducted. The findings of the study demonstrate that there is significant relationship between the visual characteristics of the Injuid Kalila va Dimna that are counted as the works of the Baghdad and Seljuk schools. Factors such as two-dimensional background, brevity in composition, no explanation of where and when the anecdotes transpired, limited colorizing, can be noticed within the version of the Injuid Kalila va Dimna. By overthrowing of the dynasty of Injuid and acceding the throne by Mozzafarid, the illustrating is impacted by the social and political conditions of the Mozzafarid monarchs and the evolution of drawing inclining towards the naturalism, depicting od details and variety in colorizing supersedes the previous methods within which the harmony and interaction between illustrative traditions of editions of Jalayerid of Tabriz is obvious. By examining the two calligraphy versions of the Mozzafarid and Injuid edition of Kalila va Dimna, the trend through which the writing and Nastaliq writing evolution in Shiraz in 8th century is realized. In addition, the evolution of illumination within the Kalila va Dimna of Mozzafarid, and the differences in colorizing, the mothed practicing and illumination devices in comparison to the Injuid editions is clearly apparent. It can be maintained that the changing trend in style shifting of the illustrated manuscripts of Shiraz school in 8th century represents that the change in governments has been a key element in determining of Aesthetics and genesis of the masterpieces. So it shows the development of painting of manuscripts in 8th century and reaching some sort of evolution by the impact of the exchange of illustration experiences between Tabriz and Shiraz centers before the school of Teymurid. In fact, the type of art bred in both Injuid and Mozzafarid periods despite being faithful to the olden traditions can be considered as two different schools.
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