عنوان مقاله [English]
In the Persian traditional painting, especially schools during the 4th to 11th centuries A.H, we confront a method of attitude. It changes the coordinates of our visual comprehension in order to abstraction from mater and representation of realities which are cryptographic behind that, and it challenges the known rules of visual intake and accepting. In a fantastic atmosphere such as Persian painting, there is a special system which the whole of qualities and quantites are affected by it.
The “Movement“ as an important element is one of those elements. Persian painter who is affected by rich Persian philosophy and literature, notes the “Movement” as an important matter and although he hasn’t any tools for actual ideogram of “Movement“, he tries to portray his sightly moves in 2D paper, that’s his equipment in best conditions. All of the exaggerates and abstracts which applied on the human figures are special movement creators.
One of the prominent Iranian painters who has embodied spaces full of fantasy and pure imagination in his paintings, Sultan Mohammad Naghash, is one of the painters of Tabriz II school. In this research, an attempt has been made to examine these images from the perspective of movement fantasy. The author's question is “how the animated effects of human characters in the works of Sultan Muhammad are expressed?”. The purpose of this study is to achieve a meaningful structure and purposeful methods in drawing human figures and also to achieve a coherent and generalizable method in the body of contemporary Iranian visual arts. The research method is based on the descriptive-analytical study of Sultan Mohammad's iconography and adopts a structuralist-semantic two-way approach. This research has led to understanding and receiving the method of exaggeration and special transformation of Sultan Mohammad in drawing the statues based on the intended meaning of the drawing and predicting the way of movement for the mentioned statues