تقنيات إعداد مداد الذهب في المنمنمات التيمورية

Abstract

Abstract

    Precision in implementation, smallness of area, richness of colours, permanence, and the way the events and victories are narrated by the miniatures generally and the Persian miniatures specifically have made them the focus of the writers and critics and get an important place in most world's museums; besides, researchers are motivated to study them in various academic researches. It is noteworthy that the uniqueness of the miniatures mostly depends on the technique by which they are done; this is a fresh area for the scarcity of the Arabic sources that have dealt with the Islamic arts generally and the Persian Arts specifically. This is why such a research is needed to focus on those techniques which have given the miniatures this specificity. The researcher has aimed at clarifying these techniques and their variety; so the research has fallen into four chapters which are:

1. The first chapter deals with the methodological framework of the research which is centralized in the following enquiry ( What is the variety of the Persian miniatures?). The importance of the research lies in the fact that it is the first research that deals with those techniques and studies them in situ by the interviews the researcher has made with the experts of such an art specifically in Iran; in addition to documenting the techniques trained on and transmitted by various generations and to shed light upon this missing area in the development of the Islamic techniques. The research aims at clarifying the variety of the materials, tools, and methods of implementing the miniatures worked on in Iran during the Timorean and Safavid reigns in the period between 1370 – 1732 A.D.
2. The second chapter revolves around the theoretical framework and falls into three sections; the first involves the technical variety whereas the second implies the physical components of the miniatures ( papers, colours, glues, metals and inks) and then the tools used (the minute brush, the ruling pen, calipers, thin papers, thin skins, agate scrubber and pens). The third section passes through painting in Iran during the Timorean and Safavid reigns. Then the chapter includes the eleven indicators the theoretical framework has come up with and which the researcher has used to analyze his samples.
3. The third chapter contains the procedures of the research which are (200) samples, the researcher has intentionally chosen (10) that are serviceable covering most of the techniques. The researcher has followed an analytical, descriptive method depending on the pre-mentioned indicators.
4. The fourth chapter: involves the results, the conclusions, and the recommendations. The results are (20) the most important ones are:
5. The raw materials, tools, and methods of implementing the Persian miniatures are various within the objective, temporal and spacial limits.
6. Most of the raw materials and tools used in implementing miniatures are hand-made inside Iran except the paper which has been imported from China and Samarkand during the era of the Mongols and the beginning of the Timorean reign.
7. The Iranians have made great development on the ink and tools transmitted by the Chinese prisoners in a way that serves the specificity of the miniatures.

     The conclusions the researcher has figured out are nine, the most important are:

1. The gold used in the Persian miniatures (Timorean and Safavid) is chemically dissolved to transform it from being solid into liquid.
2. The equality of the thickness of the straight minute lines made by the ruling pen by various people in different times and places is a proof that they have used the same measuring tool putting in mind that the ruling pen is hand-made.