Abstract
Written manuscripts and literary treatises are among the most important documents of knowledge on traditional color production techniques related to painting, and as they have survived thanks to desirable maintenance and preservation from the ancient times to the present time, they can be good sources for identifying and extracting traditional color production methods related to paining. Especially, the illustrated books simultaneously with their writing are an evidence of the contents presented in those manuscripts and treatises. Therefore, by an aim to identify and revive traditional color production techniques, the present descriptive-analytic research examines some of the available handwritten manuscripts and literary treatises. Then, with emphasis placed on the knowledge acquired and the modern facilities, some of the colors are made. The present study was performed by raising the major question that what ancient literary books are the sources of production colors used in Persian painting, and what were the nature of color production techniques and traditional color characteristics in the past. Thus, the study population includes Golestan Honar, Qanun al-Sovar, Majmoueh al-Sanaye’ and 14 other treatises relevant to this issue, and the data collection was performed in a library- and experimental-based manner. The result of this study was the extraction, preparation and remaking of seven main mineral colors in Persian painting.
Highlights
IntroductionThe use of mineral and organic materials (plant and animal) to utilize their color has a long history in Iran
The use of mineral and organic materials to utilize their color has a long history in Iran
Because of oral teaching of traditional arts and the relevant professions such as painting, numerous literary books has been written in the royal workshops to teach painting techniques and how to make tools and equipment used in painting and calligraphy
Summary
The use of mineral and organic materials (plant and animal) to utilize their color has a long history in Iran. The significant role of painting and color in Iran’s post-Islamic times was the same as pre-Islamic times, so that Manichaean book decoration tradition and style was domineering many years in Iran. The handwritten sources and colors expressed in the literature are analyzed and the chemical structure of such colors and their production method are proposed. In this way, the books “Golestan Honar” and “Qanun al-Sovar” as two of res.ccsenet.org. Vol 9, No 1; 2017 the most significant resources in terms of extent of the content regarding consumables in painting, books and treatises such as Golzar Safa Sirafi, translated version of Resaleh Boughlamoun and Kashf al-Sanaye’, etc., are utilized. Scientific books and publications that rely on knowing the pigments in Iranian painting are utilized
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