Document Type : Original Article

Authors

• Sahar Zekavat ¹
• Khashayar Ghazizadeh ²

¹ Ph.D. Student in Comparative and Analytical History of Islamic Art, Faculty of Arts, Shahed University, Tehran, Iran.

² Assistant Professor of Islamic Arts Group, Faculty of Arts, Shahed University, Tehran, Iran.

Abstract

In the Safavid period, different groups of People wore their Special clothes covers. In the worldly and otherworldly drunkenness painting from the Manuscript of Hafez’s Divan (attributed to Samir Mirza), the people are designed with different shapes covers that seem to be directly related to the social levels of the people and the existence of a relationship between of people’s hats and Covers and their social classes and the reflection of this subject in painting has made it necessary to do the study and purposes of the study are identify the properties of covers types in this painting and recognize the relationship between the formal properties of the covers with the social levels of people. Questions include: 1-What is the standard properties of hats and covers in the painting of worldly and otherworldly drunkenness? 2-What is the relationship between the types of caps and covers, their formal properties, and the social levels of people in the painting? To answer the questions has been studied library and documentary information with the descriptive-analytical method. The research variable of cover is analyzed in the case study of worldly and otherworldly drunkenness painting. The results show that the angels wear crowns on their heads and turbaned drunk people, Mandil or Dastar and Ghezelbashi hat on their heads. Sultan Mohammad paints this kind of illustration with a funny and critical look. He represents Contrast and opposition to the existing space of his society with the ideals of organization a Safavid state.

Keywords

• cover
• hat
• painting of worldly and otherworldly drunkenness
• Sultan Mohammad Naghash
• painting Safavid period