COOPERATION OF MİNİATURİST AND WEAVING ARTISTS IN THE SAFAVID PERIOD AND THE EFFECTS OF THE RİZA ABBASI STYLE
Pari Malekzadeh Barough
, Sevgi Parlak
Doç. Dr., İstanbul Üniversitesi, Sosyal Bilimler Enstitüsü, Sanat Tarihi Anabilim Dalı, Öğr.Gör.Urmia Üniversitesi, Sanat Fakültesi,Resim
Bölümü.
Keywords: 16th-17th century Safavid Weaving, Isfahan School, Fabric patterns, Human figures, Riza Abbasi, Giyaseddin Ali Nakishbend.
Abstract
Fabric samples with historical value in all branches of art have attracted the attention of researchers working on the subject in terms of motif, color and technique. Especially Islamic period
fabrics have a special importance in terms of decorative patterns on them. Human figures are at the forefront of the motifs adorning Iranian fabrics in the Safavid period. In the 16th and 17th centuries, palace fabrics displayed the brightest period of Iranian history and played an important role in the world textile history in terms of design diversity in fabric weaving.
Thanks to the support given to the miniaturists working in the palace workshop during the Safavid period, an environment suitable for the development of all branches of art, especially fabric weaving, was created, and Iranian weaving experienced its brightest period, especially during the reign of Shah Abbas I. The most important features of the fabrics of this period are that they are woven from silk, gold and silver threads are used in the weaving of some of them, and they have unique motifs, especially human figures.
The motifs used in the miniatures of the period, especially the human figures, started to appear in the fabric patterns of the 16th-17th centuries much more frequently than before. In this context, the relationship between the human figures in the works of Riza Abbasi and his students, with the figures seen in the fabric patterns of the period and the stylistic interaction are the subjects that have been especially discussed and examined in our research. In particular, the effect of Riza Abbasi’s single-leaf miniatures on the fabric patterns of this period constitutes the main center of our research. The interest of the miniaturists in the fabric patterns in the palace workshop and also the pattern orders given by the weaving artists to the miniaturists were examined in our cooperation study established by two different professional groups, and the results were shared in our research.