Abstract
<p class="1Body">The Mourning on the death of Timur is adapted from the Timurid Zafar-Nameh (The Book of Victory), 935 AH – 1529 AD, which is authored by Sharaf al-Din Ali Yazdi. Painting Works in this book are attributed to Kamal al-Din Behzad. The structure of this image in this research is taken into account.</p><p class="1Body">The aim of this study is to explore hidden and clear structures of the above image. Apart from displaying the painter's ability in using visual means to express the content better, the present paper proves arranging visual elements and the existence of a regular structure in this image. Also, symbolic secrets and meaning of numbers are used to create an order in infrastructure of the painting; four numbers are obtained that in many cases, they are repeated in arrangement of the image elements in addition to proving the existence of strong organization and composition in this artwork, symbols of death and eternal life are concerned with the image subject. This is another reason for non-random composition of the visual elements and the existence of its strong structure.</p>
Highlights
Iranian painting has endured multiple changes during history due to past civilizations, neighboring culture, time and social conditions and artist's preoccupations and various works of art have been made.Iranian painting with historical meaning is the main topic selected by Iranian artists and it has been a pretext for their artistic performances
Symbolic secrets and meaning of numbers are used to create an order in infrastructure of the painting; four numbers are obtained that in many cases, they are repeated in arrangement of the image elements in addition to proving the existence of strong organization and composition in this artwork, symbols of death and eternal life are concerned with the image subject
According to the analysis of the mourning on the death of Timur painted by Kamal al-Din Behzad, it can be said that the painter in purpose of visual expression of his image considered the following tips and deals: balance, harmony, lack of symmetry to create mobility, suitable composition and location of each of the components, carefully drawing epigraph cadre for more efficacy, emphasis in some of the most important figures in different ways, providing solutions to guide the viewer in the whole picture, using color to coordinate with the theme, using diagonal lines to instill a sense of uneasiness, the harmony of color, expression and communication within human feelings, and relation between personages and with the environment
Summary
Iranian painting has endured multiple changes during history due to past civilizations, neighboring culture, time and social conditions and artist's preoccupations and various works of art have been made. The rich culture and traditions of the people in this era immersed in Iranian painting and provided the books with concinnity This effect is individual, according to the personal style of each artist's artwork representing one united matter, but in the details, each one presented a distinct viewpoint. Researches shown that the structure and the relevance between different elements of the image have less been considered It must be said, one of the reasons for the persistence and beauty of Iranian painting is the existence of discursive principle beneath these works. The present article after defining the terms "order" and "painting", introduces the Timurid Zafar Name 935 A.H in brief, explores the painter's solutions to reach a desirable image display, studies the ruling elements in the selected miniature “The Mourning on the Death of Timur” considering the symbolic meaning of numbers
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