Authors
1
Davoud Mirzaei, Assistant Professor, Department of Philosophy of Art, Faculty of Architecture and Art, Bu-Ali Sina University, Hamedan, Iran
2
the member of faculty
3
Assistant Professor, Department of Philosophy of Art, Faculty of Architecture and Art, Bu-Ali Sina University, Hamedan, Iran
10.22084/nb.2025.29606.2691
Abstract
The images of The Baysunghur Sahnameh and the Shahnameh of Shah Tahmasb have always been of interest to many art researchers from different aspects. One of the approaches that can greatly help to understand the unique values of these images is the formal analysis of these images, but not the mere formal analysis, but the passage of historical transition from the Timurid to the Safavid period; Because it is claimed that with such a specific form analysis, the change in artistic taste of these two historical periods will be revealed. Having said that, this research aims to show a theoretical gap in the body of formalist theories of the 20th century, and therefore with a special reading of this theory, that is, the involvement of the element of "general theme" of the works (without paying the least attention to the content and subject) in analyzing elements such as line, color and composition, examining the degree of alignment of the formal elements of two common images from these two versions, i.e. "Meeting of Ardeshir and Gulnar" and "1st Laboure of Esfandiar" with the general theme, "romantic" and "epic", respectively, to answer these two main questions of the research: Which of these images, by aligning their formal components with their general theme, have been able to better fulfill the task of evoking the appropriate aesthetic emotion? 2. Can we conclude that one of these two historical periods (or even both) by aligning the formal elements with its general theme, has achieved this goal of evoking aesthetic emotion better? From the results of the research, the Shah Tahmasb version has been more successful than the Baysunghur version in aligning the form with the general theme, and it seems that by generalizing this result, it can be claimed that the Safavid period can handle this task better than the Timurid one and evoke an aesthetic emotion that matches the general theme of the works.
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