A Study of the Symbolic Concepts in the Initial Illuminated Headpieces (Sarلوح) of the Khamseh of Nezami Manuscript Preserved in the Library of the Sepahsalar (Shahid Motahari) Higher School.

Document Type : Original Article

Authors
marzie alipur 1
mohsen marasi 2
1 Doctoral student, Faculty of Art.
2 Faculty member at Shahed University.
Abstract
Illumination (tadhīb), as a branch of Islamic art—which encompasses transcendental concepts alongside beauty and perfection—has rarely been regarded as an independent artistic branch and has mostly been considered in service of other Islamic arts. During the Safavid era, when philosophy (ḥikmah) and mysticism ('irfān) became interwoven with religion and major intellectual and mystical centers expanded, the influence of these thoughts became more pronounced through the relationship between patrons and artists in this field. One of the most important sources of illustration throughout this period was the poetry of Niẓāmī, whose appeal lay in his expressive qualities in visualizing and describing themes of mystical and spiritual love—especially in his Khamseh (Quintet)—which, due to their beauty and exceptional imagination, attracted great attention from painters. Among the exquisite and unique copies of the Khamseh of Niẓāmī is the manuscript preserved in the Shahid Motahari Library. This research examines the connection and interaction between the profound meanings embedded in the visual elements of the initial illuminated headpiece (sarlawḥ) of this Khamseh in relation to the Miʿrājīyyāt (Ascension narratives) of this manuscript, based on library information and using a descriptive-analytical method with a comparative approach. Since Islamic art possesses a vast treasury of profound mystical and divine sapiential meanings rooted in the deep foundations of spiritual and theological thought, the study of Niẓāmī's Miʿrājīyyāt reveals that the poet, in describing this great religious event, drew upon the sources of sīrah (biography) and exegesis (tafsīr), utilizing astronomical concepts to illustrate the mystical journey (sayr wa sulūk). Therefore, the only way to examine the meaning of Niẓāmī's works is through the study of their symbolic and enigmatic language. Indeed, in this artistic masterpiece as well, the various stages of the Prophet's (PBUH) Ascension (Miʿrāj) are depicted in three levels of illumination motifs through symbolic components; for art in religious civilizations adopts a symbolic language and expresses its inner concepts within that framework.
Keywords
Ascension (Miʿrāj)
Mysticism ('Irfān)
Khamseh of Niẓāmī (Quintet of Niẓāmī)
Symbol
Illumination (Tadhīb)
Theology of Art
Volume 1395, Issue 5
March 2017
Pages 29-64