هنر اسلامی (Feb 2021)
An Investigation of the Typology, Structural and Thematic Classification of the Tree Motif in the Chehelsoton Palace of Isfahan
Abstract
In Iranian paintings, the element of nature, particularly trees are reflected abundantly and was considered as the pillar and foundation of existence, the connection between earth and sky the basis of the universe. Moreover, the mentioned symbol was a sign of birth, growth, development, death, resurrection, stable existence and immortality. The role of the tree has been used in the historical monuments of the Islamic period. One of the beautiful structures of the Safavid period is the Chehelsoton Palace. The issue under study is the presence of the tree motif in the mentioned structure and its role and purpose. The research approach is qualitative and data analysis is accomplished via a descriptive-analytical manner. Data and information is collected from library sources, online sources, as well as field observations. The findings of the research indicate that in the paintings of the Chehelsoton Palace of Isfahan, about 110 wall paintings decorated with the tree motif are identified. Further understanding of the occurrence of the tree designs, necessitated this research. The role of the tree is mostly inspired by the tangible nature and the actual trees located in the garden of this mansion that are drawn and painted in various manners (elm, sycamore, cypress, blossom and fruit trees). Likewise, the motifs do not only bestow a purely decorative aspect due to their proximity and relationship between human beings and other elements, but also behold a thematic and conceptual aspect. Research aims: 1. A study and analysis of tree designs in the paintings of Chehelsoton Palace in Isfahan in terms of form and content. 2. A reflection on the effective sources in designing the tree motifs of the Chehelsoton Palace. Research questions: 1. What is the role and position of the tree motif in the paintings of the Chehelsoton Palace from a structural and thematic point of view? 2. What was the basis and approach of the artist in designing the various tree motifs?
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