KHATAI, SECOND PRINCIPLE OF PERSIAN PAINTING

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AZHAND YAGHOUB

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Journal: NEGAREH Year:2009 | Volume:4 | Issue:10 Page(s): 16-29

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Information Journal Paper

Title

KHATAI, SECOND PRINCIPLE OF PERSIAN PAINTING

Author(s)

AZHAND YAGHOUB | Issue Writer Certificate

Keywords

KHATAIQ3

CORN-POPPYQ3

LOTUSQ3

JUJUBEQ3

ISLIMI-KHATAIQ3

Abstract

The Iranian world has a well-established Tradition of images that goes back to anitiquity. The structure relation between text and image become increasingly intricate in illustrated manuscripts, at least from the middle of forteenth century onwards. These links can be observed through the composition and layout of the paintings. These relations seem to be expressed in some Persian poetical texts. It would be interesting to know if this relationship between painting and text found during the classical period of Persian painting had some theoretical basis. The Theory know as the "seven principles of painting" can throw some light on the subject. Although probably drawing on an earlier litrary tradition , this theory appeared in Safavid Iran, and this theory represented an attempt to link painting to calligraphy in order to give the former some sort of legitimacy in Islamic Art. The study of such a theory can through some light on the relations which existed between calligraphy and painting. Some technical aspects will also be discussed through the study of the seven principles of painting and related terminolog. These seven princeples apear in a number of texts on the art, such as Abdi Beg Shirazi’s Poem, Dust Mohammad’s Preface to Bahram Mirza Album, Qutb Al-Din Mohammad Qissakhan’s Preface to Shah Tahmasp Album, Qadi Ahmad’s Gulistan-i hunar and Sadiqi Beg’s Canon. The Historical Circumstances which made the formulation of this theory will be also considered .The earliest referece to seven principles of painting seems to have been made by Abdi Beg Shirazi in his Rowzat al-sifat, without naming them.But Qutb al-Din Muhammad Qissakhvan names them in his preface to Album: "As in calligraphy , which has six styles, in this technique (i.e, painting) seven styles are to be found: Islami, Khata’i, Farangi, Fassali, Abr, Daq, [Vaq], Girih." The list given by Sadigi Beg is slightly different: Islimi, KHATAI, Abr , Vaq, Nilufar, Farangi, Band-I rumi.Qadi Ahmad gives almost the same list as Qutb al-Din.KHATAI in his list to be in second styles of Persian Painting. All the operations described by these authors seem to deal with book painting and bookmaking. But this should be noted that the seven principles of painting were not limited to bookmaking. The most spectacular and earliest painting which decorate the borders of Persian manuscript pages are something of an enigma. Border paintings demonstrate to the full the Iranian love of nature and also the way in which the early 13th century Chinese elements had become totally absorbed. CORN-POPPY, LOTUS motif and JUJUBE were all borrowed from Chinese art and called KHATAI. In this article the variety and style of KHATAI motives in Persian art were studied.

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APA: Copy

AZHAND, YAGHOUB. (2009). KHATAI, SECOND PRINCIPLE OF PERSIAN PAINTING. NEGAREH, 4(10), 16-29. SID. https://sid.ir/paper/143066/en

Vancouver: Copy

AZHAND YAGHOUB. KHATAI, SECOND PRINCIPLE OF PERSIAN PAINTING. NEGAREH[Internet]. 2009;4(10):16-29. Available from: https://sid.ir/paper/143066/en

IEEE: Copy

YAGHOUB AZHAND, “KHATAI, SECOND PRINCIPLE OF PERSIAN PAINTING,” NEGAREH, vol. 4, no. 10, pp. 16–29, 2009, [Online]. Available: https://sid.ir/paper/143066/en

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