پژوهشگاه فرهنگ، هنر و ارتباطات فصلنامه مطالعات هنر 2981-250X 4 3 2025 11 22 Comparative Study on the Aesthetic Characteristics of Illumination in Shah Tahmasbi's Shahnameh and Sheikh Safi's Carpets مطالعه تطبیقی ویژگی‌های زیبایی‌شناختی تذهیب در شاهنامه شاه‌طهماسبی و قالی شیخ صفی 23 44 241806 10.22083/ssa.2026.573661.1122 FA عاظفه شفیعی مربی گروه صنایع دستی، دانشکده هنر، دانشگاه سمنان، سمنان، ایران. shafiee_at12@semnan.ac.ir 0009-0002-9935-5698 خشایار قاضی زاده دانشیار گروه هنر اسلامی دانشگاه شاهد، شاهد ‌ایران. (نویسنده مسئول) ghazizadeh@shahed.ac.ir 0000-0002-0881-1671 Journal Article 2025 10 05 Introduction: Traditional arts in different historical periods possess specific visual characteristics and principles of design and composition. Some principles are common across different periods and art forms, while certain characteristics receive more or less attention depending on the era or medium. The art of carpet illumination, design, and weaving was of great importance during the first half of the Safavid period, particularly in Tabriz, due to the support of kings for traditional arts and court patronage.<br>During this period, the application of the seven principles of Iranian design and composition reached its peak compared to earlier eras. Under Shah Tahmasp, various arts-including book layout and carpet weaving-flourished, resulting in masterpieces such as the Sheikh Safi Carpet and the Shahnameh of Tahmasp. The present study was formed with the following objectives: (1) identifying the visual and aesthetic characteristics of illumination in the Shahnameh of Tahmasp and the Sheikh Safi Carpet, and (2) identifying the differences and similarities in design principles and aesthetic characteristics between these two works.<br>The study seeks to answer two research questions:<br>1. What are the visual and aesthetic characteristics based on the design principles of Iranian art in the illumination of the Shahnameh of Tahmasp and the motifs of the Sheikh Safi Carpet?<br>2. What are the differences and similarities in the design principles and aesthetic characteristics between the illumination of the Shahnameh of Tahmasp and the motifs of the Sheikh Safi Carpet?<br>Methods: The research method is descriptive and comparative. Data collection was library-based; images and materials were gathered from books and internet sources. The research population consists of illuminated manuscripts and exquisite carpets produced in the early Safavid period (first half of the 10th century AH) during the reign of Shah Tahmasp. From the large number of manuscripts and carpets available, the Shahnameh of Tahmasp and the Sheikh Safi Carpet were selected as research samples due to their sophistication, simultaneity of creation, and status as artistic masterpieces. The method of data analysis was qualitative.<br>Findings: The findings indicate the application of integrated principles in the abstract motifs of art from this period, despite differences in the execution context of the two works.<br>Specifically:<br>- The seven principles of Iranian art, highly valued during the Safavid period, are evident in both works.<br>- Among the Islamic motifs, *Khatai*, *Niloufar* (lotus), and *Gereh* (knot) appear in both arts.<br>- All types of Islamic and Khatai motifs are designed and executed with elegance, detail, and precision in both works.<br>- The *Vaqh* (foliate) motif is not present in the Safavid carpet of Tabriz.<br>- The *Farangi* (European) motif has no place in either art.<br>- Principles of traditional design and aesthetics-such as balance, symmetry, rhythm, and color-are fully observed in both works, leading to final balance and unity.<br>- The observance of aesthetic principles is rooted in the beliefs of Sufism and Shiism. Due to the value placed by these traditions on perfection, beauty, and proportion, aesthetic principles were observed more rigorously than in previous periods.<br>Conclusion: Identifying the characteristics of Iranian art, especially during its peak period, provides a cultural foundation for its continuation and expansion in order to preserve cultural heritage. Since the two landmark works belong to one of the peak periods of Iranian art and were created contemporaneously-each possessing special characteristics that are recognized as masterpieces today-comparing their visual and aesthetic principles was necessary. Through this comparison, the special characteristics of each art form, as well as the common characteristics shared between them, have been identified. Thus, understanding the principles of design and aesthetics governing these works helps identify the correct and principled design path in both arts.<br>The results confirm that despite differences in material and execution context, the design principles and aesthetic values remain integrated and consistent with the seven principles of Iranian art. The influence of Sufi and Shiite beliefs further reinforced the application of beauty, proportion, and perfection in these masterpieces. در دورۀ صفوی کاربرد اصول هفتگانه طراحی ایرانی و اصول ترکیب‌بندی در هنر نسبت به دوره‌های گذشته به اوج خود می‌رسد. در دوره شاه‌طهماسب به‌واسطه حمایت از هنرهای مختلف، هنرهایی چون کتاب‌آرایی، فرش و... موردتوجه و رشد قرار می‌گیرد و شاهکارهایی چون قالی شیخ صفی و شاهنامه طهماسبی خلق می‌شود. پژوهش حاضر در پی پاسخ به این سؤالات است:1. ویژگی‌های بصری و زیبایی‌شناختی مبتنی بر اصول طراحی هنر ایرانی در تذهیب شاهنامه طهماسبی و قالی شیخ صفی کدم‌اند؟ 2. تذهیب در شاهنامه طهماسبی دارای چه وجوه تفاوت و تشابهی در اصول طراحی و ویژگی‌های زیبایی‌شناختی با نقوش قالی شیخ صفی است؟ روش تحقیق توصیفی تطبیقی است، شیوه جمع‌آوری اطلاعات، کتابخانه‌ای و شیوه تجزیه‌وتحلیل اطلاعات کیفی است. به دلیل نفاست، هم‌زمانی خلق و شاهکار هنری بودن، شاهنامه طهماسبی و قالی شیخ صفی که از نفیس و شاخص‌ترین آثار این دوره هستند، به‌عنوان جامعه پژوهش انتخاب شده‌اند. نتایج حاصل از یافته‌ها بدین شرح است: از اصول هفتگانه هنر ایرانی که در دورۀ صفوی موردتوجه بسیار بوده است، اسلیمی، ختایی، نیلوفر و گره در هر دو اثر باظرافت و دقت بسیار طراحی و اجرا شده است. نیز اصول طراحی و ترکیب‌بندی، در دو اثر رعایت شده است. شمسه با مفهوم نمادین فره ایزدی، از فرم‌های اصلی هر دو هنر است. تفاوت‌های دو اثر مربوط به تفاوت در کارکرد، ماهیت و ابعاد است که موجب شده تزیینات و جزییات در قالی بیشتر باشد. با وجود احتمال طراحی توسط یک هنرمند، هنرمند با آگاهی کامل به ساختار و کارکرد هر هنر، با حفظ اصول، طراحی متناسب هر کدام را انجام داده ‌است. https://ssa.ricac.ac.ir/article_241806_3725a68f0a54b0b73b0e0b29d60045f9.pdf