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Volume 6, Issue 1 (Semi-Annual 2022)                   JIC 2022, 6(1): 103-112 | Back to browse issues page

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Ghafari S, Hashemi G, Ghorbani S, Davazdahemami M. (2022). Investigation of form and motif in Safavid and Ottoman`s shaffrons and their attribution. JIC. 6(1), 103-112. doi:10.52547/jic.6.1.103
URL: http://jih-tabriziau.ir/article-1-196-en.html
Investigation of form and motif in Safavid and Ottoman`s shaffrons and their attribution
Sanaz Ghafari *1 , Gholamreza Hashemi2 , Shaabanali Ghorbani2 , Mahdi Davazdahemami2
1- Faculty of Handicraft, Art University of Isfahan, Isfahan, Iran , sanazghafari@ymail.com
2- Department of Handicraft, Faculty of Handicraft, Art University of Isfahan, Isfahan, Iran
Abstract:   (4754 Views)
From ancient times the horses have been present on the battlefield in the footsteps of soldiers and commanders and the making of protective coverings, including shaffron, has been common in different periods. In addition to the genius and interest of artists to etching, arrogance and rodomontade on the battlefield was a reason that increased the desire of artists to perform in this sample of works. In the Safavid shaffrons can also see interesting examples of designs that sometimes have in common with the shaffrons of Ottoman. The purpose of this study is to identify the commonalities and differences between the shaffrons of these two dynasties, to achieve their attributions due to these similarities and differences. The question is: what are the commonalities and differences between the shaffrons of the Safavid and Ottoman? And to what extent can the attributions made to each be considered correct? The research method is descriptive-analytical and the materials have been collected in a library and field manner. The results indicate that despite the apparent lack of unity in the Ottoman works, there are similarities and differences between the two; But there are examples among the Ottoman shaffrons that are very similar to the Safavid examples - which have preserved their formal unity-. In the most of Safavid examples, the forms have soft and uniform lines and the background of the work is covered with elaborate designs; But in Ottoman works, some examples have soft lines and some are broken and rough. The motifs are prolific in some cases and in some, few and sometimes without any motifs. Also, due to the similarity of some Ottoman examples to Safavid works, this issue cannot be considered only from cultural exchanges and the influence of each other's art, and it is hypothesized that the example of Ottoman shaffrons probably belong to Iranian culture or to made by Iranian artists living in that land.
 
Keywords: Safavid period, Ottoman period, Armor, Shaffron, Shaffron’s Motifs and Forms.
Full-Text [PDF 2728 kb]   (1989 Downloads)    
Type of Study: Original Research | Subject: 2
Received: 2022/06/30 | Accepted: 2022/11/9 | Published: 2022/11/23
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