Abstract:
Based on material evidence and written sources, the contribution and role of the metalwork of Khorasan,
especially in the 13th century, which is one of the most active and the most outstanding metalworking
schools in the Islamic period, is effective in developing the basic changes in the area of building and
decoration of defined metal works and has given it a privileged position. But after the devastating attack of
the Mongols, the destruction of Khorasan and the escape of artists to the west, it was the school of Mosul in
northern Iraq that reached the sublime stance which earlier belonged to the great Khorasan. Though until
the end of the 13th century the dominant style of Iranian metalworking was actually a combination of
Iranian and Mosul styles, the reputation of the works of Mosul most of the exquisite objects produced at that
time to be attributed to Mosul. However, a large part of the decorative motifs and themes in this area have
been the realization of the continuation of the experiences of Iranian Islamic artists with a modern identity
that artists took advantage based on their contemporary culture and region.
This article evaluates and studies the decorative motifs and the form of two metal samples (basin and tray)
inthe museum of Reza Abassi,which both samples have some common features of Khorasani and Mosuli
styles with the aim of determining their true origin. This paper uses a descriptive-analytical research method
and desk research method attemmpting to define the origin of the two metallic works of the 13th and 14th
centuries belonging to the museum of Reza Abbasi and also a separate analysis of motifs and decorative
motifs seeks to find a compelling and rational answer to Iranian origin and the use Khorasani’s style in each
of the above works. The results of the findings show that in spite of the use of some decorative elements
in these works,they should not be attributed to countried neighboring countries of Iran. . . According to
authorss of this article, the works were produced in the western part of Iran
Machine summary:
Metalwork motifs of the Western part of Iran (13th and 14th Centuries) in two samples of Reza Abbasi Museum "Basin and tray" Yeganeh Guran* Araz Najafi** Mahmood Tavoosi*** Abstract Based on material evidence and written sources, the contribution and role of the metalwork of Khorasan, especially in the 13th century, which is one of the most active and the most outstanding metalworking schools in the Islamic period, is effective in developing the basic changes in the area of building and decoration of defined metal works and has given it a privileged position.
In this paper, two metal works (basin and tray from 13th to 14th centuries) were selected from the museum of Reza Abbasi, so by study the shape, content and decorative elements Iranian authenticity would be undeniable and thier attribution to Khorasan metalwork would be possible.
In the Islamic section of his book, Heydarabadian while introducing basin and tray refers to the time period, method of construction, type of metal, and size and has presented an analysis on features of cognitive style of motifs and themes and their assignment to a particular school.
Based on the justifications presented about the root of the mentioned motifs in the ancient Iranian art,Khorasan and northeastern Iran metalworking in the 12th century, and even before that, it can be said that except the motif and the theme of the Akhtar Mah not the manner in which it was executed, an element that was essentially temporary and did not have a substantial relationship with Mosul was not observed.