Parvaneh Gharib Garakani - Lecturer, Philosophy of Art, Pars University of Architecture and Art, Tehran, Iran
Hamideh Sadat Baniahmad - Student, Art Research, Pars University of Architecture and Art, Tehran, Iran

Murals have always been considered by the Islamic studies field. However, the marouflages in Iran have been less considered in terms of the execution and their nature. Some researchers have considered them murals, and some have taken them as canvas paintings. They are a combination of paintings that are executed on the canvas and are installed on a wall. The themes of the icons used in the Islamic era’s tombs ornaments have found a divine nature based on the Muslim artists' beliefs and ideas. The prohibition of painting in Islam made Muslim artists turn to allegorical language to express concepts. The tomb of Sheikh, which was built in ۷۵۳ A.H. and expanded during the Safavid era, contains different artistic disciplines. This tomb has the highest volume and diversity of marouflages in Iran, and that is why it has been selected for the current study. Due to the religious nature of the space, all marouflages contain ornamental and written motifs. Thus, these motifs have been considered for their great visual aesthetic potential. Like other components of the Islamic era art, the selection and high usage of the geometric shapes in this complex have certain doctrinal foundations. The current study aimed to investigate the distinguished ornamental motifs in the marouflages of Sheikh Safi with the Panovsky iconology approach. Using Panovsky’s method and their tiniest visual details, a network of latent interconnected meanings was found, which indicates the painter’s intention of using these motifs and themes as well as the meanings behind them.

Sheikh Safi-ad-din Ardabili, Marouflages, Arabesque and Khatai Motifs, Islamic Art, Ervin Panovsky