The Evolution of Illumination from the Herat School to Tabriz II (Case Study: The Opening Page in Four Khamsa of Nizami)

The Second School of Tabriz has a special place in the history of Iranian book decoration due to the achievements of previous schools, the strong support of the rulers, and the participation of prominent artists in its development. The artistic traditions of the Timurid and Turkmen rulers gained more strength with the transfer to Tabriz and took on a new form and identity. While much attention has been paid to the paintings of this period, the decorations of illumination - despite being more numerous - have received less scientific attention in terms of changes and developments. The changed components and the role of each of the two schools before the Second School of Tabriz in the formation of illumination motifs are among the issues that the present research faces. With the aim of identifying the characteristics and changes of the decorations of the Second School of Tabriz in relation to the two Timurid schools of Herat and the Turkmen of Shiraz, these two questions are raised: (1) Which features of illumination from the Timurid schools of Herat and the Turkmen of Shiraz are reflected in the Second School of Tabriz? and (2) What new features emerged in the development of illumination in the Second School of Tabriz? This research was conducted with a descriptive-analytical method and using documents and visual analysis. The findings indicate that the combination of Timurid and Turkmen influences in painting, which is seen in the emergence of the Second Tabriz School, can also be used in illumination. Among the characteristics of the Herat School, it should be noted that the geometric system in dividing the frames has become more calculated and precise with the transition to the Second Tabriz School. The Herat School also moved towards the diversity and independence of the Khatai pattern and transferred this achievement to the Safavid School. Innovations began in the late Timurid period in the Herat School, the fruits of which were borne in the Second Tabriz School. On the other hand, in the Shiraz School, Islamic, while maintaining its original identity, diversified in form and application, became an alternative to geometric divisions and, in addition, showed a greater tendency to combine Islamic and Khatai, and circular movements were drawn with greater freedom and dynamism. This dynamism in the parts is generalized to the whole work and gives impetus to the geometric system derived from the Herat school.
This study identifies the continuity of several factors in these traditions, so that the Second Tabriz School not only absorbs previous achievements, but also refines them towards greater perfection and coherence. It is worth noting that the Second Tabriz School emphasizes the diversity and high status of Islamic patterns (arabesque). The integration of Islamic with Khatai (floral ornaments) is achieved through various harmonious combinations, and the Khatai organization is evolving to more effectively complement Islamic. In addition to absorbing the aforementioned achievements towards perfection and coherence, the Second Tabriz School emphasizes Islamic diversity, creates new roles and relationships for it, and elevates its position in the organization of the work. The combination between Islamic and Khatai is carried out in various ways with harmony. New ideas in the design of the Khatai elements emerge, creating greater variety, and the organization of the Khatai element evolves in harmony with the Islamic. The rhythms become more harmonious, and the balance in proportion and harmony between the types of patterns increases.