Representation of dominant religious beliefs in textile designs and manuscripts in the Safavid and Seljuk periods

Document Type : Original Article

Authors

1 Pars University of Art and Architecture

2 PhD in comparative and analytical history of Islamic art

3 Assistant Professor of Islamic Art, Arts Faculty, Shahed University, Tehran, I.R. Iran.

10.22034/scart.2025.141215.1518

Abstract

Despite having many similarities, artistic styles in Islamic societies also have many differences depending on the methods of governance in different historical periods. Textile manuscripts are among the arts that represent these differences in their identity and quality. The main question of the present study is what is the relationship between the patterns and lines of hand-woven fabrics with religious beliefs and methods of governance of a period. To study this issue, the two Safavid and Seljuk periods have been chosen as examples? The aim is to examine the similarities and differences of the calligraphy and patterns of fabrics of the Safavid and Seljuk eras, which has been carried out in a descriptive-analytical manner and with a comparative approach. The results of the study show that the use of calligraphy and patterns in the fabrics of these two periods was different and had a direct relationship with religious beliefs. In addition, religious beliefs (Shiite and Sunni) have also been crystallized in the motifs and themes of the fabrics, so that there are clear differences between these two textiles in terms of the use of motifs, lines and prayers, as well as the use of human motifs. The fabrics of the Seljuk era have animal, plant, geometric and Arabic (Kufic) calligraphy motifs, but in the Safavid era, due to the presence of weavers-painter and changing religious beliefs and convictions, we see the importance of using human motifs and Persian (Nasta'liq) calligraphy alongside other motifs.

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