معنويت ديني در نقاشي هاي دوران صفوي و عثماني

Religious Spirituality in Paintings of the Safavid and Ottoman Era

In view of techniques and approaches, a reason of technical artistic similiarities in art of image makings of the Ottoman and Safavid were manuscripts exchanged between the two countries as spoils of ware or political gifts which are presently kept in the well-known museum of Topkapi Saray. These techniques and methods all indicate the influence of Shiraz, Harat and Tabriz paintings. Many of Persian manuscripts illustrated in the first half of 10th century, particularly between years 941, 945 and also in 954 when the artistic atelier of Shah Tahmasb was in high growth and development during the peace contract between him an Shah Sulayman, these manuscripts were transferred to atelier as spoils of war and diplomatic gifts. The existence of similar elements in religious imagines such as coverage of the Prophet and Imams, and their holiness in paintings and also selection of similar subjects which confirm the legitimacy of Shiite are among similarities which can be studied and pondered in both countries paintings. In this paper, in addition to introducing and studying religious manuscripts in both Safavid and Ottoman eras which discuss the religious differences and similarities with Shiite subject in both countriesʹ painting, the reasons of these similarities and differences will be studied with emphasis on political, religious, economic and cultural conditions. This paper includes sections such as art in the Safavid era, the situation of art in Ottoman Turks and Persian Ottoman manuscripts.