The Visual Evidence of the Connection and Association between Shaykh Muhammed and the Court of Sultan Ibrahim Mirza
- سال انتشار: 1394
- محل انتشار: ماهنامه باغ نظر، دوره: 12، شماره: 36
- کد COI اختصاصی: JR_BAGH-12-36_004
- زبان مقاله: انگلیسی
- تعداد مشاهده: 376
نویسندگان
Member of Painting Department/ Visual Arts Faculty/ Art Esfahan University, Iran
چکیده
Shaykh Muhammed (active 1530s-90s), who was Safavid painter and calligrapher left no clear trace of his associationwith Safavid kings, However, historical evidence having been obtained from reliable sources confirms that an importantpart of the artistic activities of Shaykh Muhammed served Sultan Ibrahim Mirza - nephew of Shah Tahmasp- (princegoverned in Mashhad over a thirteen-year period -962/1554-55 to 970/1562-63 and 973/1565- 66 to 974/1566-67).Qazi Ahmad reports that Shaykh Muhammed worked for the prince in Mashhad, where author and artist undoubtedlyknew each other. Iskandar Beg Munshi, on the other hand, states that the artist entered Ibrahim Mirza’s employ inSabzivar. Munshi Budaqi Qazvini mentions that the artist was with Sultan Ibrahim Mirza only in Khurasan. Therecorded oeuvre of Shaykh Muhammed, consisting of several signed tinted drawings, and paintings, supplementedby a large number of attributed works, confirms the artist’s virtuosity and versatility even within the same media.Considering the fact that some attributes of Shaykh Muhammed’s works are attention to reality, separation fromliterature and treatment of the subjects of routine life, the main question to be answered in this article is: can a tracebe found in his signed and attributed works to prove the relationship between him and the patronizing Safavid Sultan?To answer this question, three illustrations attributed to Shaykh Muhammed from the Sultan Ibrahim Mirza’s HaftAwrang (Seven thrones) and commonly known as the Freer Jami and a double page frontispiece in the six Masnavisof Jami (An incomplete Haft Awrang) attributed to Shaykh Muhammed that is kept in the library of Topkapi Sarayi,are presented and analyzed. The method of study is descriptive- analytical via library research. Two main pursuesof this article are: 1- finding evidence regarding the attribution of paintings to Shaykh Muhammed and 2- exploringthe connection between Shaykh Muhammed and his patron. The results of this study show that these paintingshave similarities with other works which were attributed to or signed by Shaykh Muhammed. There are indeedcertain affinities between Shaykh Muhammed’s paintings of elegant kneeling youths and the unsigned double pagefrontispiece in the six Masnavis of Jami. He also implicitly illustrates part of the story behind a literary narrative. Theiconographies of these works seem to be related directly to the prince and specifically to his marriage to Gawhar SultanKhanim. When the bride and her entourage arrived in Mashhad, Qazi Ahmad reports, several months of celebrationfollowed until the marriage was consummated. In this way, Shaykh Muhammed has expressed his devotion to andassociation with his patron.کلیدواژه ها
Shaykh Muhammed Sabzivari, Sultan Ibrahim Mirza, Jami’s Haft Awrangمقالات مرتبط جدید
- بررسی عملکرد لرزه ای سازه های بتنی در مقابل حوادث طبیعی همچون زلزله
- بررسی جایگاه هوش مصنوعی در موفقیت مهندسی عمران
- نقش و جایگاه عمران و شهرسازی در ایجاد و توسعه گردشگری شهرهای شمالی
- واکاوی ویژگی های محیط های معماری و شهرسازی در دوران همه گیری ویروس کرونا
- بررسی ویژگی های شهر دوستدارکودک از منظر طراحی فضاهای شهری
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