تحلیل تطبیقی آرایه های تذهیب صفحات افتتاحیۀ در نُسَخ مکاتب شیراز آل اینجو و تیموری

The present study seeks for to examining the components of illumination of the Frontispieces in Injuid and Timurid Shiraz School. The aim of the study is to explain the main reasons in change of approach and dominant styles in illuminated manuscripts throughout a century within the identical origins. In addition, the present study compares the structural and formal characteristics of illuminated Frontispieces in these two historical periods. The present research study is sought to answer the following research questions: 1- Which domains were led to composition development and illuminated details of Frontispieces in Shiraz School within the period of 100 years? 2- What were the changes applied to the patterns of the illuminated Frontispieces in the Injuid dynasty of Shiraz School and Timurid Shiraz School? The study was conducted through a descriptive-analytical method. The results of the study indicate the inevitable impact of the kingdom on the art during these historical periods. Injuid dynasty’s illumination has been covert in Iranian identity and shaped on the basis of the established motifs in the former mental images. In this regard, the Timurid illumination has been built on the fusion of heritage and cultural standards of the city which has was alien to the accepted traditions. In Timurid period, cultural and economic policies, perfectionist inclinations of Shiraz rulers, total domination on the Transoxiania, prevalence of Nastaliqe fonts and individualistic attitudes based on illumination artist’s thoughts, have led to many changes of illumination within the century. These changes are formed in terms of the color tastes, development of the geometrical structures, and delicacy of the formal and different executive techniques. In fact, promulgates a united pattern and a disciplined structure in the realm of the illumination in Shiraz School in the first half of the 9th century A.H.