| Abstrakt: |
The Qur'anic theme of al-Miʿrāj has historically captivated painters across different periods of Islamic art. This study delves into the symbolic use of color in two significant depictions of al-Miʿrāj. Specifically, the research focuses on analyzing the symbolic relationship between the use of colors and the content of the paintings, aiming to uncover the meaningful differences and similarities in the symbolic use of colors in these artworks. The paintings under examination are the Miʻrāj nāmah by Mīr Ḥaydar (dated around 839-840 AH) from the Timurid period and Herat school, and the Miʻrāj by Sulṭān Muḥammad (dated around 945-949 AH) from the Safavid period and the second school of Tabriz. The element of color in these paintings contains meanings beyond its appearance, and the study seeks to reveal and interpret these hidden meanings through a thorough and comparative analysis of the symbolic characteristics of the colors used in both artworks. Utilizing a comparative-analytical approach, the research involves the extraction of color components from both paintings, followed by an examination of their symbolic characteristics. The obtained color data and their respective symbolism are then meticulously analyzed and compared to provide insights into the symbolic use of colors in the selected artworks, ultimately addressing the main question of the research. Through a methodological framework that combines library studies and comparative data analysis, this study aims to contribute to a deeper understanding of the intricate visual narratives and symbolic representations prevalent in Islamic art, particularly in the context of the al-Miʿrāj. [ABSTRACT FROM AUTHOR] |
