Typology of line and form in the pattern of Bismillah bird (case study of Professor Reza Mafi work)

Concurrent with the creation of modern line-painting works in Saghakhaneh School, in which the line was abandoned as a mere decorative element, from the concepts expression’s captivity, some artists involved in retrieving and refreshing the ancient art from the Safavid eras and Qajar with the title of entertaining lines. It is the art in which meaningful forms were created with the help of the line and is known as the painting-line. In this tendency, the creation of holy animals’ images taken into consideration by the Islamic religion is conducted through the decorative lines, among them which the most important ones are the images known as the Bismillah bird. In recent years, due to the lack of fundamental definitions in this chapter, cohesive artistic creation has not been formed to date, and artistic productions have been categorized in line-painting art due to the lack of mastery on decorative calligraphic branches. The present research is performed due to the necessity of studying and expressing the root definitions and discovering the nature differences (focusing on the subject of Bismillah bird, drawn by Professor Reza Mafi) and its contents are based on library studies. Finally, it was concluded that throughout all the eras, the Bismillah bird contained religious themes with Sols and or Nastaliq line is typewritten through the hard-line technique in which the letters, and words transfer their own contractual meaning contrary to the line-painting works.

کلیدواژه ها:

Bismillah bird ، typology ، painting-line ، Reza Mafi ، Saghakhaneh School.