A Comparative Study on the Symbolism of the Painting of the Creation of Mankind from the Masnavi Manavi Collection and the Painting of the Acquaintance of St. Mary and Gabriel from the Third Voulme of Masnavi Manavi

• Main Authors: Fatemeh Kiani, Hasan Bolkhari Ghahi, Mohammad Ali Rajabi
• Format: Article
• Language: fas
• Published: The Institute of Islamic Art Studies 2012-06-01
• Series: هنر اسلامی
• Subjects: manuscript of creation of mankind; masnavi manavi; islamic aesthetics; symbolism
• Online Access: http://www.sysislamicartjournal.ir/article_92577_d41d8cd98f00b204e9800998ecf8427e.pdf

Persian painting is a genuine and grand art in which spiritual and divine features revolve around remarkable and conspicuous scenes of design, pattern and color. With assistance of imaginative elements, an ideal phenomenon representing the beauties of heaven is presented. With a glance into the history and antiquity of this art, it can be understood that although Persian art was mostly used to ornament books and illustrate the stories of epic, romance and fable; it never became a decorative art. Thus Persian art constantly moved with its literary counterpart and represented the words of divine and theological phenomena. Moreover, the alliance between Persian paintings and theological occurrences is not possible without the presence of a devoted painter who is familiar with the language of inner cognizance and imaginative power to depict works of art that are renowned worldwide. Hence, the appreciation of this art similar to other areas of Islamic art is merely possible through the perception of the symbols and secrecies concealed within tradition and customs.  The painting of the creation of mankind from one of the manuscripts of Masnavi (1018-1601) and the painting depicting the acquaintance of St. Mary and Gabriel from the third volume of Masnavi Molavi; best represent the relation between decorative arts and literary works.