The role of wooden gerehchini and inlay in spatialization in the illustrations of Shahnameh Tahmasebi (from beginning to the end of the kianian section)

The Shahnameh of Tahmaspi, one of the most prominent illustrated manuscripts of Persian literature, is the culmination of the fusion of literature, painting, and decorative arts in Iran in the 10th century AH. This exquisite manuscript is known not only for the authenticity and value of its illustrations, but also for its subtle and purposeful use of visual elements, which creates a unique spatial structure in the visual narratives of Ferdowsi's stories. Two prominent elements of Iranian decorative arts are wooden gerehchini(lattice work) and inlay. In many of the illustrations in this edition, spaces such as porches, doorways, windows, and railings are depicted with geometric patterns that have their roots in ancient Iranian-Islamic artistic traditions.In this article, the role of these two elements in creating the space of the illustrations of this edition, has been examined. The present study was conducted with a descriptive-analytical approach and in a library manner and seeks to answer the question: How were the decorative motifs of knotting and inlaying implemented in the visual space of the illustrations of Shahnameh Tahmasbi? What functions do these motifs have in terms of semantic, narrative, and aesthetic in the context of the image? Can these elements be interpreted as signs derived from the architecture and visual culture of the Safavid period? Therefore, the objectives of this article are stated as follows: Identifying gerehchini and inlay patterns in the paintings, analyzing the function of these elements in organizing space, explaining the relationship between decorative structures and the social status of the characters, and finally examining how these components convey meaning. In this path, the images related to the stories of the Kiani kings were observed and analyzed from the beginning to the end of this section, and decorative motifs of wood knotting and inlay work were extracted. Then, the type of knot, structural materials, color, construction method, and their symbolic reference (if symbolic) are analyzed, and finally, a comparison is made between similar decorative forms and functions in the wooden architecture of that period (including windows, doors, railings, and porches).By utilizing gerehchini forms and patterns (such as hexagonal and composite knots and multi-pointed stars) as well as geometric motifs common in inlay work, the artists who illustrated Tahmasbi's Shahnameh have succeeded in recreating architectural spaces with semantic, aristocratic, and courtly dimensions. The findings suggest that these decorative structures, in addition to conveying aesthetic values, functioned as a “visual language” and produced semantic connotations. The presence of these motifs in the vicinity of kings, princes, gilded porches or doorways carries signs of the social class of the figures. The symmetry and complexity of the patterns around the figures point to their power and legitimacy. On the other hand, the gerehchini fences, as a symbolic barrier between the sacred and the mundane, create a boundary that the audience can understand even without the text. In other words, these motifs are a type of visual code that, through shape, order, color, and placement, convey information about the roles of the characters, their level of power, and the spatial structure of the narrative.