Analysis of Visual Balance Based on the Proportion of Khalvat and Jelvat in the Thuluth Inscriptions of Ali Naqi Imami (Case Study: Courtyard of Imamzadeh Ismail, Isfahan)

Introduction: The inscriptions of Ali Naqi Imami in the Imamzadeh Ismail of Isfahan, with their various frames, require a research space to achieve a certain visual balance, and the best and most effective method for this purpose is to examine the ratio of Khalvat (empty, silent space) and Jelvat (manifested, active space) in the inscriptions. The aim of this research is to identify the spaces of Khalvat and Jelvat in the inscriptions of Ali Naqi Imami at the Imamzadeh Ismail and to analyze the methods used to create visual balance in them, ultimately leading to an understanding of the characteristics of his works. Therefore, the present research seeks to answer the following questions: «Which parts of the inscriptions have the most Khalvat and Jelvat areas, and in what manner?» Additionally, «How is the visual balance affected by these areas?»Research Method: The inscriptions on the entrance gate of the Shaeya Mosque, the courtyard, and the shrine of Imamzadeh Ismail are the samples analyzed. In the present qualitative research with a descriptive-analytical approach, extensive studies were conducted on the available resources on the internet and in libraries, alongside field observations of the inscriptions. The basis of the measurement was the dots and analytical charts in Photoshop.Findings: The research results indicate that Ali Naqi Imami, by using toothed letters and creating appropriate elongation extension, has achieved desirable Khalvat and Jelvat in the inscriptions. In the inscriptions of the entrance and courtyard of Imamzadeh Ismail, he created Jelvat in the interior and exterior of these works by designing wide, open loops and knots, as well as writing circular letters with open mouths. Also, in the inscription at the entrance to the Shaeya Mosque, the arrangement of the letters in fewer rows has created an appropriate sense of Khalvat, which has been effective in the visual balance and harmony of the inscriptions. He created Khalvat using taller ascending letters in a row of the inscription at the entrance of the Imamzadeh courtyard, which somewhat covered the existing gaps through the diacritics and tashkeel of calligraphy. This type of Khalvat is also observed in the individual letters of the inscriptions at the entrance of the shrine and the Shoa Mosque. Ultimately, the inscription on the entrance of the Shaeya Mosque has a relatively symmetrical visual balance, the inscription on the entrance of the Imamzadeh shrine has an asymmetrical balance, and the inscription on the courtyard of the Imamzadeh has even less balance, also in an asymmetrical manner.Conclusion: Based on a study of writing styles in the inscriptions, Khalvat and Jelvat, the results indicate that the inscriptions on the entrance gates of the Shaeya Mosque and the Imamzadeh Shrine exhibit greater visual balance and symmetry. The inscriptions on the entrance gate of the Shaeya Mosque, the entrance gate of the shrine, and the entrance gate of the courtyard have progressively decreased in their visual symmetry.

کلیدواژه ها:

Khalvat ، Jelvat ، Visual Balance ، Ali Naqi Imam ، Positive and Negative Space ، Thuluth Inscriptions