University Of Tehran Press Journal of Fine Arts: Visual Arts 2228-6039 20 1 2015 05 22 The analysis of decorative features of shiraz Quran`s school The analysis of decorative features of shiraz Quran`s school 13 24 55441 10.22059/jfava.2015.55441 FA Neda Shafighi Master of Art Research, Islamic Art University Of Tabriz, Tabriz,Iran. Mohsen Marasi Assistant Professor, Art Faculty, Shahed University Of Tehran,Tehran, Iran. Journal Article 2014 09 21 The first half of Safavi period is one of the golden age of Iran`s book designing and specific styles and schools has been created in various cities at this time. One of the most important schools throughout the history of book design has played key role in art is Shiraz school .The peak manuscripts of handwriting and Qurans illuminated in Shiraz was in the ninth and tenth centuries AH. The rise of Islamic arts and their evolution and beauty is indebted to dignity of the Quran for Muslims and pages of it, so placed the best visual Islamic arts. In this regard Iranian artists decorated the Quran seriously and used the achievements of the aboriginal culture of each area and periods. This study seeks to answer these question that what are the achievements of decorative and pictorial of the Shiraz school Qurans in Safavi era? The analysis of decorations and graphic dimensions of precious Qurans of Shiraz`s school in Safavi period aimed to study features of visual arrays and identify the role of Shiraz school in Qurans designing. Research methods are descriptive- analytical and accomplished through library and observation. The results of study showed the most important art property of Shiraz Qurans are similar to safavi style in illumination. The Shiraz school Qurans in Safavi era, are related together. These works are followed unit model in drawing fundamental format and were shown their main innovations in details. Decoration and concinnity Qurans preferred to readability, insofar as spaces, especially at the beginning and end pages are hard to be found. Illuminating and decorating of Shiraz Qurans not only belong to inauguration pages, but also can be seen in final chapter of Qurans. The Qurans are in various sizes. Lay out of some papers have little and vertical friezes, as well as used triplet epigraph for double decorated. In these works length of middle lines are short. Writing of the Naskh style in text and Sols in epigraph are thriving in Shiraz school Qurans and great use of beautiful capacity, vertical and long forms of Mohaqeq and Reyhan style. Also clear and furtive method of various lines are common with different calligraphies and colors on lines of a page. Another feature of these Qurans are harmonious proportions of calligraphy and decoration around the letters and words that are consistent with structures of work and its decorative area. The main intimacy of this school is using the golden color, the scroll arabesque pattern, Dandanmoshi figure and Shahabbasi flower for canvas decorating. Also dominance of plants elements can be seen in composition. Variety forms of signs in verses divider and counter, drawing a line surrounding the motifs and writings, presence of Sharafa and colored and golden involute lineation made replete illumination. They are highly characterized by multi golden color, variety of blues, using a color combinations such as pink, orange and green in color composition. Complexity and compaction of decorations and courage of choosing animated colors combinations are gain from Shiraz school Qurans of Safavi. The first half of Safavi period is one of the golden age of Iran`s book designing and specific styles and schools has been created in various cities at this time. One of the most important schools throughout the history of book design has played key role in art is Shiraz school .The peak manuscripts of handwriting and Qurans illuminated in Shiraz was in the ninth and tenth centuries AH. The rise of Islamic arts and their evolution and beauty is indebted to dignity of the Quran for Muslims and pages of it, so placed the best visual Islamic arts. In this regard Iranian artists decorated the Quran seriously and used the achievements of the aboriginal culture of each area and periods. This study seeks to answer these question that what are the achievements of decorative and pictorial of the Shiraz school Qurans in Safavi era? The analysis of decorations and graphic dimensions of precious Qurans of Shiraz`s school in Safavi period aimed to study features of visual arrays and identify the role of Shiraz school in Qurans designing. Research methods are descriptive- analytical and accomplished through library and observation. The results of study showed the most important art property of Shiraz Qurans are similar to safavi style in illumination. The Shiraz school Qurans in Safavi era, are related together. These works are followed unit model in drawing fundamental format and were shown their main innovations in details. Decoration and concinnity Qurans preferred to readability, insofar as spaces, especially at the beginning and end pages are hard to be found. Illuminating and decorating of Shiraz Qurans not only belong to inauguration pages, but also can be seen in final chapter of Qurans. The Qurans are in various sizes. Lay out of some papers have little and vertical friezes, as well as used triplet epigraph for double decorated. In these works length of middle lines are short. Writing of the Naskh style in text and Sols in epigraph are thriving in Shiraz school Qurans and great use of beautiful capacity, vertical and long forms of Mohaqeq and Reyhan style. Also clear and furtive method of various lines are common with different calligraphies and colors on lines of a page. Another feature of these Qurans are harmonious proportions of calligraphy and decoration around the letters and words that are consistent with structures of work and its decorative area. The main intimacy of this school is using the golden color, the scroll arabesque pattern, Dandanmoshi figure and Shahabbasi flower for canvas decorating. Also dominance of plants elements can be seen in composition. Variety forms of signs in verses divider and counter, drawing a line surrounding the motifs and writings, presence of Sharafa and colored and golden involute lineation made replete illumination. They are highly characterized by multi golden color, variety of blues, using a color combinations such as pink, orange and green in color composition. Complexity and compaction of decorations and courage of choosing animated colors combinations are gain from Shiraz school Qurans of Safavi. https://jfava.ut.ac.ir/article_55441_89c91cc4aadf61294d5274a99df0eab7.pdf