CC BY
34THE RESEARCH OF WOMENS CLOTHING AND TEXTILE IN FOUR ILLUSTRATIONS OF SOCIETIES OF THE HISTORY OF THE ILKHANID ERA IN THE 8TH CENTURY AH IN IRAN
Sonia Arzhangi arzhangisonia@gmail.com Isfahan University of Art
Abstract: A wide range of cultural symbols and intellectual trends A civilization and changes created in it, on the clothing of its people Half of the population of each society The role is closed. Women, almost They form and in the transition of history along with men in the field have been life The style of women's clothing in different periods It represents the livelihood of the people of Ilkhanid. The purpose of this article is to understand about the various components of women's clothing in the Iyakhanian period, because clothing shows human identity more than anything else, It is social and ethnic. With the capture of China and Iran by the Mongols, the influence of Chinese styles and methods in all visual arts including motifs Fabrics appeared. which are of special importance in different parts. The influence of Chinese art has been done in the clothing and fabric of the Ilkhanid eraThe review of Shahnameh clothing can be studied in the field of design in terms of meaning and application. Since it covers a wide range of works, women's clothing and all kinds of fabrics and motifs have been researched in Jame al-Tawarikh Rashidi's Shahnameh.
Keyword: The research ,Womens clothing , textile, illustrations, history, ilkhanid,
Iran
1. Introduction:
Investigating the artistic structure in a historical period can be researched from different approaches according to its history and principles. The history and culture of every society forms a large part of art. What is the historical period is important. Clothing represents identity and this cultural reflection can be studied and investigated. The goal is to find out how to cover during the Ilkhanid period and this historical approach can lead to the production of artifacts. The comprehensive sources of al-Tawarikh Rashidi in museums and prestigious world collections have a very high value, as such, research has been done in relation to it in the form of clothing. The aim is to identify the common elements in the form of painting in this period and to understand its relationship with Mongolian Chinese culture. The importance and necessity of analyzing art in a historical period is for the development of valuable works of art
The first decade of the second half of the 7th century AH was the hardworking period of Tuloi sons, especially the Qoyilai and Halaku people, to fulfill the goals of
the Mongol Empire in the eastern and western regions. The Mongols captured Iran in their invasion of Iran in the years 616-619 AH. [bayani, 1988,151].
With the rule of the Mongols over Iran in the 7th century, the artistic relations between Iran and China changed. It can be seen that its prominent form can be seen in the illustrated books of this era. was The art of illustrating books in the era of Ilkhans, full of different effects of art. Far East, especially the "Yuan" and "Song" periods of China, because the rulers Ilkhani artists including Ghazankhan (703-694 AH) and Al-Jaito (716-703 AH) and Artistic courtiers such as Khwaja Rashiduddin Fadlahall Hamedani, to Tashil The spread of Chinese art styles. [Anb Foti, 1972, 483.kASHANI, 1969, 88-89. Ibn Taghari Bardi, 1982,239. Ibn Batote, 1958, 196].
The history of the ancestors was reflected in Ilkhani historiography. From the important texts of this period, Rashid al-Din Fazalullah (718 AH/1318 AD) is the collection of histories on which this article is focused. Is. Among the other works containing the history of Pishdadians in this period, it is possible to write a complete history. Ezz al-Din Banathir (630 AH/1233 AD), Tabaqat Naseri written by Menhajaldin Siraj Jozjani in658 AH/1260 AD, Nazamalta-Tarikh Abdallah bin Amr Beydawi (719 AH/1319 AD), Benacti History (730 AH/1330 AD) and selected history of Hamdaullah Mostofi (around 744 AH/1344 AD).
The first volume of Jami al-Tavarikh (Tarikh Mubarak Ghazani) should be considered as an authentic source for the history of the Mongols which has been paid attention to in more than two other volumes. The second volume on the history of Iran, Islam and other nations It is dedicated and the third volume was a geographical work that has not survived. Although part of The second volume was corrected or published as a photo, never a source for the history of early Islam And it was not before Islam.
The first version, dated 717 AH/1317 AD, is the oldest Persian text. It is available from pre-Islamic history of Jame al-Tavarikh, which is in the library of Topkapi Palace with no. (Treasury 1654) is kept (the first four leaves of this version, which are part of It includes the history of the ancestors, it was lost and it was added during the Timurid era. [Ghiasian,2018,402].
To understand the structure of the pre-Islamic part of Jamia al-Tavarikh, which is the history of the prophets among the history. narrated kings, it is necessary to compare it with the works of previous historians. A group of Historians like Balami and Ibn Athir follow Tabari, who was originally an interpreter of the Qur'an, the history of Rasul and The kings have been narrated together, and another group has narrated these two separately.
After the formation of the Ilkhanian government, according to the historical conditions and special considerations that were relevant for this government. Attention to trade and trade routes was given special attention and from the beginning of the government, he focused on commercial livelihood. The aim is to identify Chinese
elements in the art of ilkhani painting and clothing design. This is a historical understanding of the era that has famous picture books. it has been examined according to the importance of its history And knowledge is Shahnameh.
Khwaja Rashiduddin Fazlullah:
Khwaja Rashid al-Din Fazlullah bin Abi al-Khair bin Ali was born in 648 AH in a Jewish family [Zaryab Khoei,1971,123-135]. The main occupation of its people was medicine. After the usual preliminary education in his hometown, he studied medicine. He is medicine. He was in charge of the affairs of the government. [Fazullah Hamdani. 1979,148]. Khwaja Rashiduddin Fazlullah Hamdani, who during the rule of Ghazan Khan and Uljaito and the years of the ministry, aimed to repair the effects of the Mongol attack, and within the framework of these goals, he established the Raba Rashidi complex in the east of Tabriz in a place called Walian mountain. According to historians, this town was actually a scientific center with various production and industrial facilities.
Raba Rashidi
The Raba Rashidi complex was like a big university, which was built in the 8th century AH by Al-Din Fazlullah Hamdani, the minister of the Mughal kings, and was managed by him. Rashidi quarter including various religious functions. mystical training It has been therapeutic and social, which has been designed for each function in a suitable space and place. The hypothetical plan of Rabe Rashidi shows that this scientific institution has a coherent and integrated organization in terms of application, and all the service elements of the complex are organized around its religious and scientific core. Raba Rashidi had just shown a unique position in science and knowledge in Iran, but it suffered a terrible fate, the dependence of this educational center on Khwaja Rashid al-Din and his family caused that after his death in 718 and his murder, Ruba Rashidi was also destroyed and its properties were Taraj went. After some time, what was left of this huge collection was looted by the murder of his son Ghayataldin Mohammad in 736. Now nothing remains of this huge collection except a mound of soil.
Jame Al-Tawarikh Rashidi communities: (History book):
The Mongols' interest in recording historical events and remembering the past caused historical events of this era to be written during the time of Ghazan Khan for future generations to know about the history of the Mongols. Ghazan Khan, who saw the cultural superiority of the defeated nations over the military superiority of the Mongols over time, in order to achieve his intentions to preserve the history of the Mongols, asked his wise minister Khwaja Rashiduddin to compile the history of the One of the artistic features of Ilkhanid era and especially Timurid era, "the formation of major cultural-artistic centers in The cities of Tabriz and then Samarkand and Herat are close to each other for some arts. Because in these art centers Artists of different
disciplines worked together and exchanged ideas, among which the closeness of the art of painting The miniature to the tapestry is impressive in terms of decorative subjects... this artistic connection between painters and weavers It was that some of the weavers were also designers and painters themselves, or vice versa" [Rohfar, 2013, 33].
Cooperation Artists have caused the faster development of arts in most fields and this has created valuable works in different eras And especially, in the patriarchal period. this period, drawing historical pictures with comprehensive versions of al-Tawarikh al-Azaar became. Jame al-Tawarikh, which is a comprehensive history of all nations subject to the empire It is Mongolian, it consists of three volumes, the first volume is about Ilkhanan Turkish, Mongol, Genghis dynasty, his survivors especially Until the time of Ghazan Khan and the second and third volume, History of the King of Islam That is, it is the first, the prophets, and the kings [Shekarzadeh,2012,239-240].
The first version was in Arabic and the date of its completion It is in the year 714 Hijri. Part of this edition at the university Edinburgh (accession number: 20 Arab MS) and another section in Nasser Khalili collection (accession number: MSS727) has it. The second edition dated 714 AH in Persian language Topqapisarai Museum (accession number: 1653) is preserved Only parts of which belong to the versions of Jame al-Tawarikh It was produced in Raba Rashidi. And the third version dated 717 Hijri is in Persian language, which is in Topkapisara Museum in Istanbul Access number:(1654) is maintained[Ghiasian,2017,29-30].
Mongols since the time of Genghis Khan. [Torkamaani Azar,2002,193]. Rashid al-Din Fazlullah prepared the illustrations for the book Tarikh Ghazani, which was later called Jame al-Tawarikh Rashid
The influence of Chinese art on the illustration of books in the Ilkhanate era: Regarding the investigation of the present research, it is necessary to mention that the knowledge of Iranian women's clothes in the Mughal period requires the compilation of separate and detailed researches, and its detailed research is not possible due to the extent and lack of visual sources. But briefly and briefly, research can be done according to the books and pictures of the Shahnameh. In search of reception regarding the art of illustration books and interest in Far East painting styles, painting and coloring and Combining the lines and drawing some of the animals and phenomena that have been written before It had no precedent in Iranian culture and history, in elements and elements of Iranian painting. Ward and images originated from the characteristics of Mongolian images in works such as The interests of animals, Shahnameh and Jame al-Tarikh were popularized.
This influence led to the creation of new styles and works, which led to the statues and The pictures should be looked at anew and the achievements of the artists should be respected more. China It was the first land that didn't consider painting as a lowly thing and painting from an official position. He was also a famous poet. in a short time
with three Characterized by the reduction, induction and abstraction of other lands, especially Iran, under the influence of his art. decided [Pargho,2010,31].
From the beginning of the 8th century of the Hijri (700 A.H.) onwards, new periods in Iranian book design began. became Perhaps he considered the second half of the 7th century to be the time to move to this new section. where the artists gradually distanced themselves from the Seljuk style from the Baghdad school and By solving and digesting the Mongol Chinese, he expanded the scope of action and imagination. they achieved independent characteristics for themselves, such as new subjects. With Chinese origin, it was used in Abaqa Khan Palace (663-680 AD) in Suleiman's Throne of Azerbaijan and other arts, including decorative books such as pictures of dragons, phoenixes, dragons, lotus flowers and shapes Various clouds and plant motifs appeared. [Azhneed, 2013: 23]. Chinese culture in the form of artistic components in all works and textiles as well as commercial relations. There is culture in the works and the elements of Chinese painting.PIC
Characteristics of Chinese painting:
1:Preferring the essence and spirit of things over material appearances, Abstract and symbolic Far from realism.
2: Love of nature and feeling of sympathy and complete harmony of beings which is the result of Buddha's teachings.
3:Belief in thinking.
4:The ultimate elegance, which is the result of using fine compound brushes.
5:Patience and tolerance of the artist to achieve perfection.
6:Line preference and movement and movement of colorful lines.
7:Preference for painting flowers, especially lotuses, and mythical animals such as dragons, horses, birds, especially Simorgh.
8:Preferring natural landscapes over humans.[vaziri,1984,97,102].
Books influenced by Chinese art:
1 .Animal welfare(Manafe al heivan).
2.Kalila wa Dimna.pic1
Pic 1 .[pop,2010,834] 3.Shahnameh.pic2 Hanging Mani.
Pic2. Sharifzadeh, 1991, 274]
4.Jame al-Tawarikh.
Painting:
During the Ilkhanid period, as mentioned, Iranian painting was influenced by Chinese painting. Naturalism, the use of paper, pen and Chinese compound and the form and method of low-liquid painting and Combining the lines and drawing the faces of some animals such as dragons and other legendary animals as well Knotted trunks of trees, sharp rocks and cone-shaped mountains, flat rocks, wavy clouds, etc. Also, motifs of water lily and anga and round faces are new elements that are introduced. They became paintings of Iran .Pictures of the subjects It is inspired by poetry, subtleties and deep emotions. Here is a space Imaginatively drawn, the colors used are very bright and pure, innovation. Beautiful artistic compositions, the main lines and the beat of the whole song are composed and a method for The drawing of the abstract world has come to the fore in order to show emotions.
In this period, first, bright colors and spring landscapes, which represent Iranian painting Emerged. Find the right size for the figures and the right relationship between the pictures and the text of the book Kurd, this indicates that the painters paid attention and support to Iranian painting. The identification of the type of clothing in the Ilkhanate period has been done according to the illustrated book. During the time of Ghazan Khan, Tabriz became the cradle of culture and art and paintings A lot is produced in this era [Agend, 2010, 53].
In this painting Period of tall persons in long clothes with slightly bowed heads These tall figures are depicted as Byzantine patterns They remember [Yazdan Panah and others, 2018, 5].
Faces, clothes and the weapons are Mongolian. Twisted clouds, cone-shaped mountains, Knotted trees and drawn people who belong to the ruling race(Mongol). They are clearly showing the influence of Chinese art in these works.[ Mazaheri and others,2010,9].pic 3.indias mountain,Jame Al Tawarikh.
Pic3.[warfare.ga.2020,7094]
Clothes:
The clothing of the people of any nation and land represents its civilization and culture. In this regard, the clothing of Iranians is a cultural richness It is well deserved. This category is considered one of the main cultural and national pillars. But like many factors With the passage of time and the flow of historical events, another culture has not been spared from its bite and has undergone changes. Like the Arabs, the Ilkhanids were also influenced by Iranian culture. On the other hand, through contact with different cultures such as Christian Europe and China were able to bring artists, craftsmen, scientists and writers from different lands to their court attract and in this way influence the culture and art of Iran. [Bayani,1988,37-4].
Clothing is one of the customs of each region. What kind of clothing is the choice of the era and is popular among the people depends on the quality of each geographical region, Customs,beliefs, Beliefs, Ancestors, religion, Art is related. What is examined in this article is during the reign of the Mughal patriarchs in Iran. The special and different type of clothing according to paintings and historical books and the process of paintings in sociology and the personality of people in guilds in works of art through the question and purpose of the research by examining the types of clothing in the Ilkhanian period according to the books of this period. Is. How have the paintings been able to show the objectivity of the cover in this period?
The art of weaving in Iran has an ancient history and goes back to millennia BC. The first real work of weaving in the form of woven threads belonging to the 5th millennium BC was found in the ancient site of Yahya hill in Kerman. With the capture of China and Iran by the Mongols, the influence of Chinese styles and methods in all visual arts including motifs Fabrics appeared. These motifs are also used on the clothes of those in power, which are of special importance in different periods had and were considered a royal.pic4.
Pic4.[C.Y.Watt,2010,76]
156
Clothing as an artistic and social phenomenon, a cultural symbol, It is the taste and social vision of every nation that its formation, Under the influence of religious beliefs, customs, climatic features, Taste and power are the rule.In fact, it can be complete Identity, culture and social authenticity of a nation in clothes The people of that land observed. In this way, it is possible Clothing and decorative designs on it show the identity of the community Knowledge and these motifs can reflect people's beliefs and wishes and in connection with the real world or the supernatural world have formed.
Mongols with increasing power and wealth as well as based on The social position of the person, the way of luxury in the way of dressing undertook Motifs used on Mughal clothing, incl There are signs that have special meanings and messages for them were very In this period, we see the tremendous influence of Far East art on Iranian art. Part of these influences in painting arts, Pottery and metalwork are clearly evident. Based on the research, these influences have also been seen in the clothing of this era. The paintings or illustrated books from this period that exist in various museums around the world show this claim.[Gheibi, 2015,385].
2. Materials and method:
Descriptive, comparative and analytical research that the influential components on the paintings and costumes of Ilkhanid period art and the relations between Iran and China during the Ilkhanid period are stated. open The aim is practical and in terms of the method of finding, it is library.
3. Result:
It seems that these pictures show significant details about the clothing of that period. Another important source in this research is the use of historical books, travelogues and some literary books of the Ilkhanate period, which provide valuable information about the clothing of this period.
Types of clothing
During the era of Genghis Khan, the clothing design was completed. From the fabric, they sewed a bag-like dress and women wore long pants under this dress. They tied this dress on the right shoulder and it was completely free on the left. The skin clothes of the elders were the same.
The clothing style of married women was different from that of girls, and this distinction was more in having a hat, and women could not appear in public without wearing a hat. Married women wore a kimono-like garment over their shirt, which was very loose, open at the bottom, and the sleeves were very wide and reached to the tip of the foot. 4 Married women had something woven from mat or tree bark on their head, which was the size of 2 cubits and its end part was square. On top of it is a thin rod made of gold, silver or wood, and sometimes they put chicken feathers instead. This woven mat protects the thin handkerchief that falls from the head to the shoulders.
This style of head dressing is called the Mongolian boqtaq, which later changed to a certain extent and resembled a crown.pic. Tribal women's costumes,boqtaq.
Burqa: It is a cloth that cvers the face from the starting point of the nose and is connected to the headband from around and on the forehead. It is made from a piece of cloth in the shape of a human face and hangs up to the knees. 18 This cover was used when women left the house, and Ibn Battuta mentions its use for women in Shiraz, Hormozgan, Bandar Abbas.[natanzi,1957,14-25].
Burqa is a kind of veil. Burqa or face veil was mostly related to high-level women in terms of social status or average But women also have a kind of apron in front of the face, which is connected to the headband with a band above the nose. The upper part of the black burqa is decorated with pearls and gold and silver coins and small ornaments. After marriage, we use the burqa as a sign of marriage and change the style of Burqa show the marriage and the level of life style. Burqa has different types. Some of them are big and wide and cover the whole face and there are two holes in front of their eyes. Other types are thin and cover part of the eyes and eyebrows.[Ibn Batote,1991,251].
Jobeh: A very wide jacket with the same shape and long sleeves, the upper part of which goes diagonally from the left shoulder to the right armpit and is tied under the chest with a tie. It covered the whole body from the neck to the tip of the foot, or maybe a kind of robe, mantle, or full-length cloak, the front sleeve of which could be seen through the slit. Pic Mongol ruler and coronation celebration.PIC5.Jame al Tawarikh
Pic5.[Agend,2000,188] Qaba: It is one of the main clothes of women in this period. There are two forms of Qba: one is a long Qba, short sleeves that are open in front and the skin is sewn around the collar. These Qobas showed off with short sleeves like a long coat or arkhalaq. Sometimes this type has long sleeves. The other is a three-quarter length, short sleeve, front closure and a slit in the front of the skirt with a horizontal collar that is often embroidered. These Qabas are sometimes open in the front, which is closed with a button, and the triangular collar reaches to the middle of the chest. The material of this cover is more than satin fabric. People's clothes were animal skins.[hamedani,1994,107].
1. What is very common and widespread in this land, the widespread and relatively unprecedented use of people Iran has been there since ancient times. Quba has been used in Iran since about 650 years before Christ and in Iran today, Qaba still continues and is an integral part. The clothes of Iranian peoples have remained. Also today, university graduates are celebrating Scholars and respectable clerics also wear simple robes.
2. All sections of the society, including men and women, and at any age, use Qaba have done.
3. Qaba has been a garment used in different social groups and classes such as kings, Diwans, scientists, scholars and jurists, merchants, musicians, farmers and common people used has been placed.
Marqah: Marqah, it was a kind of cloak or cloak with awkward patches worn by poor people. This patchwork dress was also worn by women.
Scarf or Lach: At that time, all kinds of small and big scarves were accompanied by a band or crown. queen wears a scarf that covers the bottom of the neck. The band around his head is a relic and a sign of head coverings in ancient times, and what is left on the head in the form of a triangle is new.[Ayati,1967,178]. Pic6. Jame al Tawarikh. qaba and scarf.
Pic6.[Hamedani,1994,4] Chador: At the end of the Ilkhanate period, the tent was considered one of the most important coverings. But in the middle of the 9th century, women wore white veils outside the house, but moved without any covering inside the house. And sometimes the hair was gathered on the head and decorated with flowers and pins, but at the end of that century, women's head covering became a simple hat.[Kolavikho,1965,373].pic7.Jame al Tawarikh.chador
Pic7.[Akashe,2001,114]
This is the traditional outer garment of court ladies,They used to cover their whole bodies in dark colored tents. The general clothing of women was chador. chador in different genders such as chit, canvas and velvet that That prayer tent was also called or blue-brown tents Chaharkhane, which was called Chadorshab.[Ghibi, 2006,373].
Chaghchor Of outer clothes that It covered the legs and was plump. Chubby like The pantyhose was pleated and wide from the waist to the toes It covered the leg and housed the shoe. "Dulange The chakchur was open and fastened above the knee with a band Or they did not sew the doublet in the middle of a triangle. [clavijo,1965,162].
Veil: The veil consisted of The size of the face and a little longer. At White linen fabric approx The part of the eyes was covered with a net and with a golden mold And the jewelry was kept behind the head.in the same time, rural and state women's faces They don't cover. Women in whatever position and social status they are, All of them are outside the house with tents in the color of sharp serums. Wide pants made of green, purple, gray and red pants They wear it. Most Iranian women wear hijab [chitsaz,2000,284].
Jewelry: A woman's jewelry in this period includes: necklace, earrings, headband, crown, and also a string of pearls that continues from under the crown on both sides of the ear to under the throat.
Shoes and pants:
Women used to wear pants called "Walad".[Hamedani,1945,195].They did not wear socks. Mongols used animal skins with the fur facing out. The back part had a slit and its length reached to the knee.[Karpen 1363]. In Rashidi's book, Written: goat skin long boots are used for residents of Rab Rashidi.[Dadvar,Por Kazemi,2009,28].pic8.Jame al Tawarikh.shoes and pants.
Pic8 [Akashe,2001,115]
4.Discussion:
Until the unification of the Mongols and the formation of the Ilkhanate government of the customs of this people in the form of clans in the way and customs of life And it was social relations, and the Mongols had a primitive life They had their own customs and traditions which are rooted in a way It was in their habits. The meaning of Mongolian customs, customs, etc. It is a habit that is common among their
different clans Is. Mongol Genghis Khan rejected some of these habits and prevailed He will leave them and he himself will give them rules and regulations added Each of these rules and regulations is in Mongolian Yasa, meaning It is the ruling, the rule and the law" (Despite Mongol campaign to Iran, up to two generations after Genghis Khan, Mongols were influenced by Iranian customs).
Textile:
Iranian fabrics have been very popular in the ancient world since pre-Islamic periods. The number of maps in the Ilkhani period is numerous and prolific. In terms of technical and design standards, it is at a high level. After the Mongol invasion during the Ilkhanid period, some Muslims immigrated to China and Chinese decorative methods penetrated the textile industry of Iran. Symbolic concepts began to use Chinese motifs. . The textiles of the Mughal period in Iran have pleasant and soft colors, which is the result of the influence of the Chinese style. Abstraction components. brevity Aesthetics dimensions of visual arts,Symbolism in the motifs of Islamic fabrics is a sign of power. It is the ability and evolution of Iranian art. Fabric is one of the industries that is respected in Iran. Some researchers believe that in some ways this industry reached its best level during the Seljuk period.
One of the most important achievements of the Mongol period is the facilitation of the exchange of experiences of different nations as a result of the development of some techniques and science favored by the kings of the Ilkhanid dynasty, and historical evidence shows that the exchange of different types of fabrics between Iran and China increased during the Mongol period and in addition to This is the technical experience of textile. Textile motifs in the patriarchal period.pic9. Jame al Tawarikh.
Pic9.[Hoseini Rad,2005,59]
Atlas: Atlas is one of the most famous fabrics of the Mughal period and before that, it had different types.[Ravandi,1985,261].
The Tarz: style of this fabric belongs to the city of Tarz, located across the river, and is one of the most famous Iranian fabrics.[Beyhaqi,1995,66].
Khatay: fabrics are attributed to ((Khata)). The word Khata is a modified form of the Chinese word ((Chi Dan)), which is the name of the tribes living in the north of this country, and later Iranians applied the name ((Khata)) to all of China. This fabric is imported from Iran to China.[Mazandarani,1952,243].
Russian: Al-Russi is one of the fabrics attributed to the Russian people, which was very famous during the Ilkhanid period.[Hafezabro,2001,18].
Al-Atabiyat: Attabi is the name of a fabric from the Mughal period. In the eyes of Muslims, Atabi means cloth in general.[Moeini nazari,2004].
Elktan((linen)): is one of the famous fabrics.
Most of the braids in this period of good prosperity Because of the support of the emirs for gifts to the caliphs of the more important ilkhans They had wealth, but the prosperity of gold braids have been. Nevertheless, "the texture of all kinds of precious woven fabrics that existed in Iran before the Mongol invasion, in the period Ilkhanan prospered a lot. The heads of the Mongol weavers are proud of their power - especially the weavers who are involved in weaving They were professors - they were called to the centers" [Rohfar, 2013, 30].
During the period of Ghazan Khan (694 AH), all kinds of fabrics, especially silk and gold fabrics, were produced in Tabriz. Yen, the main gift of the class Yen also played an important role in trade. "In addition to gold and silver, gold fabrics Production of gold fabrics He was a gentleman. Until the establishment of the single currency system by Ghazan Khan, Zardar's cloths were used as a medium of exchange in trade It was used. There was even a shortage of cloth in the country" [Aunollahi 2010, 43].
Textile progress of this time, owes"Mongols supported artists and craftsmen during their conquests. Their distribution among the members of the tribe and as a result settlement forcefully in textile centers throughout Asia leading to the dispersion of textile designers, weavers, artistic styles and techniques became a textile Chinese weavers moved to Central Asia, Muslim weavers moved to China, and in some cases, weavers from the regions different were accommodated in one place where technical features and artistic styles could be integrated. [Mackie,2014,214].
In period textiles Ilkhani, "more attention has been paid to the combination of colors and the common colors were: olive green, blue, and al-Jordi. Indigo, red, golden color, pink, cinnamon, black, green posts. the textile designer adapted the basic motifs that were necessary for delicate designs and spiral flowers and silk bushes. has done The patterns used in this fabric are divided into several categories and include written, plant, animal and They are human.
An exact center has not been determined for the fabric of this research, and it is attributed to the Ilkhanians of the western regions of Iran and Iraq have given. Therefore, by comparing the available evidence, including the authenticity of the fabric and the weaving centers of that era, as well as the technique and type of materials It seems to be made by artists of Tabriz and related to the period of Ghazan Khan and his era's minister, Khwaja Rashid al-Din Fazlullah. In this period, valuable services in various fields including production, trade and training of various professions in many centers The sphere of government of Ilkhans has taken place and the production of textiles is one of the best examples of it.
In general, fabric motifs consist of human motifs and stories. Plant motifs. Animal motifs are hunting motifs.
Mongolian women's clothing during the Genghis period:
Eastern tradition's view of nature and landscape in a way Another is, in the Eastern tradition of the world Nature and observing the forms governing nature are very important is not. Contrary to the western tradition based on the theory of imitation And basically representing the forms and sizes that govern nature Very hospitable.There is no spirituality or metaphysics in it It is, therefore, because the artist is limited, then he is guilty These art resources will also run out soon.
5.Conclusion:
Easy transfer is one of the pillars of economy, which has been the attention of governments. The clothing of the people of any nation and land represents its civilization and culture. In this regard, the clothing of Iranians is a cultural richness.It is well deserved. This category is considered one of the main cultural and national pillars. But like many factors With the passage of time and the flow of historical events, another culture has not been spared from its bite and has undergone changes. Like the Arabs, the Ilkhanids were also influenced by Iranian culture. On the other hand, through contact with different cultures such as Christian Europe and China were able to bring artists, craftsmen, scientists and writers from different lands to their court attract and in this way influence the culture and art of Iran.
In this period, we see the tremendous influence of Far East art on Iranian art. Part of these influences in painting arts, Pottery and metalwork are clearly evident. Based on the research, these influences have also been seen in the clothing of this era. The pictures or illustrated books from this period in different museums of the world show this claim.
Women's clothing can be divided into three parts: headwear, bodysuit, and booties, in the two axes of inner and outer clothing Is. The inner head covering of women consisted of charqad, shaped charqad and half crown, which more or less in all three stages of the tradition, Transition and modernity were used. The outer covering included a veil and veil. In the modern era, A type of veil called picheh became popular for women who did not give up traditional clothing. Inner bodysuit It included shirt, archalaq, chegin, kilijah, shalite, pants and chadorshab. This style of clothing in the form of tradition and early The course was used. After the order of Naser al-Din Shah to change the clothes, inner clothes.
Clothing as an artistic and social, a cultural symbol, It is the taste and social vision of every nation that its formation, Under the influence of religious beliefs, customs, climatic features, Taste and power are the ruler. In fact, it can be complete Identity, culture and social authenticity of a nation in clothes The people of that land observed. In this way, it is possible Clothing and decorative designs on it show the identity of the community Knowledge and these motifs can reflect people's beliefs and wishes and in connection with the real world or the supernatural world have formed. in a way
Elaborately, the position and size of this sign are determined; as The fabrics are marked because of this image of the garment From the celebration and glory of its wearer or the celebration of someone who wants his special clothes assign it, they say. Apply this Paintings in all governments in various forms And with its own concepts, it has always been common.
References
Agend.Y 2000. Iranian photography. A research in the history of painting in Iran. Tehran.188.
Aunollahi. S. 2010. Five hundred years history of Tabriz from the beginning of the Mongol period to the end of the Safavid period. Translated by Parviz Zare Shahmursi. Tehran: Amir Kabir Publications.43.
Ayati.A. 1967. Writing History. Tehran: Farhang Iran Foundation Publications.178.
Agend.Y 2010.Irans heritage.Tehran:book translation and publishing company.53.
Agend.Y 2001. A study of the characteristics of Ilkhan school. beautiful arts. Number 9.19-29.
Abro,H.2001 Zebedeh al-Tawarikh.18.
Azkai Hamdani ,P.. Khwaja Rashid.2009. a Tehran: Publications of the Ministry of Culture and Islamic Guidance.18.
Akashe,S. 2001. Islamic painting translated by Tahami,Gh.Tehran: Surah Mehr Publications 114-15. 115.
Azar Turkmen. P. Rashid al-Din Fazullah Hamdani and Jame al-Tawarikh. Cognition language and literature journal. No. 34.23-191.
Afshar Sistani,I. 2013. Iranian clothing from the beginning to today. Applied studies of Art.number 61.
Bayani,Sh. 1988. Religion and government in the Mughal era. Tehran: Academic Publishing Center.4,37-151.
Beyhaqi, A.1995. Beyhaqi date. Tehran: Mehtab Publications.66.
C.YWatt, J.2009, Islamic Chinoiserie and the art of mongol Iran. Edinburgh:Edinburgh University Press.
Collection of articles about Rashiduddin and Ruba Rashidi of Tabriz. Allameh Tabatabai printing house.107
Clavijo. R.Q. 1965. Clavijo's travel book. Translated by Rajab Nia.M. Tehran: Translation and publishing company.162.
ChitSaz. M. 2000. The history of Iranian clothing from the beginning of Islam to the Mongol invasion. Tehran: Organization for the Study and Compilation of University Humanities Books.284.
Dadvar. A. Pourkazmi. L. 2009. The actions of Iranians in the paintings of Ilkhani period. Journal of Islamic Art Studies, No. 10. 23-42.
Elhiari, F. 2013. An analysis on the reflection of Ghazani reforms on the process of reconstruction of Iranian cities. Journal of the Faculty of Literature, University of Isfahan. Number 36.37.
Fazlullah Hamdani. K.R. 1979. The flow of ideas Rashidi.
Compiled by Danesh pazhoh,M. Tehran: Central Library and Ostad Publications.
Gambridge, A.H. 2000. History of Art. Translated by Ramin.A. Tehran: Ney Publishing.
Gheibi,M. 2006. Eight thousand years of clothing history of Iranian peoples. Tehran: Hirmand Publishing.385.
Ghazizadeh. Kh.& Ahmadi Far. A. 2009. Naturalism in Chinese and Iranian paintings of Song era. yuan Ilkhani Mongols. Islamic art studies. Number 12.7-19.
Ghiasian.M. 2017. An illustrated version of the book by Rashid al-Din and Hafez Abro in the library of Topkapi Palace (Treasury 1653). This is the legacy. Year 20. 27.48-61.
Ghiasian,M.2018,Lives of the prophets. The Illustration Of Hafez Abru Assembly Of Chronicles.Leiden.Boston:Brill.402.
Hoseini Rad. A. 2005. Painting Masterpieces of Iran. Tehran: Tehran Museum of Contemporary Arts.
Hamdani ,R. Roshan,M. Mousavi,M. 1994. Jame al-Tawarikh. Tehran: Alborz Publishing.4-107.
Ibn Battuta.sh. 1958. Ibn Battuta's travelogue. Translated by Movahed. M. Tehran: Book Translation and Publishing Company.196.251.
Ibn Foti. A. 1963. Summarizing Majmam al-Adab fi Musim al-Aqab. Correction of Javad.M. Damascus: Dar al-Katab Zahirieh.483.
Ibn Taghari Bardi,1982,The shining stars in the kings of Egypt and Cairo. Cairo: Ministry of Culture and Guidance.-239.
Kashani, A. 1969. History of Al-Jayto. Translated by Hamblei,M. Tehran: Book translation and publishing company.88-89.
Keshavarz,E. Rezazadeh,R. 2017. A comparative study of commonly used themes of illustration in Ilkhani and Timuri illustrated books. Scientific Research Journal of Comparative Art Studies. Number 8.
Konel,E. 1968. Islamic art. Translation by Taheri. H. Tehran: Ibn Sina
Latif,A. Hatem,H. Maziar,A. 2019. Evolution of image representation in Ilkhani illustrated manuscripts until 736 AH. Negare magazine.Number55.
Mazandarani. 1952 A. treatise on astronomy Hilents.V.Tehran.243.
Mazaheri,M. Ghazizadeh,Kh. Ahmadi Far,A. 2010. Naturalism in the paintings of China and Iran during the Song era. yuan Mughalan Ilkhani. Scientific Research Journal of Islamic Art Studies. Number 12.9.
Mackie,L.2014. Symbols Of Power Lucury Textiles From Islamic Lands. The 21 century. Yale university press. 214.
Pope, A,1959. Masterpieces of Iranian art. Translated by Natal Khanleri,P. Safialishah publication. Pakbaz,R. 2013. History of Al Jalair. Tehran: Tehran University Press.
Pope,A. A. Ackerman.Ph. and Schroeder,E.2001. Masterpieces of Iranian art. Translated by Natal Khanleri. Tehran: Scientific and Cultural Publications. 7509.
Pop,A.A.2010.Research in Iranian art. Tehran: Scientific and Cultural Publications.834.
Pargho,M,A. 2010. Chinese and Iranian mutual influence in the Mongol era. History of Iran after Islam. Number 2.31.
Ravandi.m. 1985. Removing the breasts and the verse of the sudr. Corrected by Iqbal.M.Minavi.M. Tehran: Amir Kabir.261.
Rooh Far.Z. 2013. A look at woven fabric of the Islamic era. Tehran: Cultural Heritage Organization. Organization for the study and editing of humanities books.
Pope A. Akerman. ph. 2008. An overview of Iranian art from prehistoric times to today. Translated by Najaf Darya Bandari. Tahzan: Scientific and Cultural Publications.
Sharifzadeh. A. Ferdowsi.A.1991,Namvarnameh. Tehran Faculty of Rehabilitation Sciences: National Cultural Heritage Organization.274.
Shukarzadah. M. 2012. A comparative comparison of the world-changing history of al-Tavarikh Rashidi societies. History research. Year 15. 57.235-244.
Sharad A. 2013. The women of the Great Mongolian Shahnameh, an analysis of the position of women in the Great Mongolian Shahnameh with a reflective approach, period 6. Number 3.
Serafrazi,A. Lal Shatri,M. 2015. The influence of Chinese art on the illustration of books in the Ilkhanid era. Scientific Research Quarterly of Islamic World Historical Studies. Number5.
Panah, M. Hatem, Q. Sultani, H & Asadi.sh. 2009. A look at the book Jamiat al-Tawarikh, the masterpiece of Tabriz School of Ilkhani period. This month's book. No. 133. 4-13.
Vaziri,A,1984, General history of visual arts before the history of Islam. Tehran: Hirmand Publications.
Warfare,ga.2020,july,4.Retrieved from
http: //warfare. ga/persia/14/great_mongol_shahnama_iskandar_and_the_talking_birds -louvre_OA_7094.htm.
Zaryab Khoei.A. 1971. Three points about Rashid al-Din Fazbullah. A collection of research speeches about Khwaja Rashiduddin Fazlullah Hamadani. Tehran: University of Tehran. 123-135.
