Geometric Design and Constructive Analysis of the Composition of Oriental Miniatures (On the Example of One Work)

International Journal of Advanced Science and Technology Vol. 29, No. 7, (2020), pp. 2199-2203

Geometric Design And Constructive Analysis Of The Composition Of Oriental Miniatures (On The Example Of One Work)

Bekhzod Khadjimetov National Institute of Arts and Design named after Kamoliddin Behzod Republic of Uzbekistan https://orcid.org/0000-0002-6574-740X

Abstract

The article provides research on the geometric basis of the composition of Oriental miniature and its constructive analysis. Although scholars have analyzed many works of Western artists and studied the fundamentals of the geometric construction of monumental and painting art, there is still little research on the Oriental miniature compositions. There is given comparative analysis of Oriental and Western fine arts and mentioned about their role in the development of art. There is also an analysis of the examples of Bukhara traditional miniature school compositions. Keywords: miniature, calligraphy, painting, shapes game, plastic, geometrical, plantlike, pattern, islimiy-girih, colorfulness, composition, lacquered miniature painting, pencil, books.

The spiritual wealth of all nations of the world is reflected in their inherited values from their ancestors: their art, music, books, costumes. Many of our scholars have written religious, encyclopedic, historical, and literary books, from the laws of medicine to the tables of stars. For many years, these books have been used in many countries as manual. From ancient stone pictures to contemporary art trends, the real purpose is to seal their history, realism and dreams of future and experiences. There were different directions, streams and schools in the fine arts as well, whether in the East or the West, but each of the creators always strove to play their works at the highest level. The well-known artists, who reached the peak of art, such as Kamoliddin Behzod in the East and Leonardo Da Vinci in the West, made researches on not only the artistic way but creative construction in their works. We can see the evidence of this thought in the works of Renaissance artists. The pursuit of this proportional perfection has influenced everything from the architectural monuments to forms of ceramics used everyday. An example of this can be seen in the western wall painting, and in the eastern architecture and book art. In western Fine Art, geometric shapes in easel and monumental paintings are built on a circle, rectangular, triangular or similar shape combination. Among the geometric shapes, the circle is the most perfect. Great western artists have created their work on a circular structure. This can be seen in the analysis of works by artists Girlandaio and Sandro Botichelli. The various possibilities arising from the use of the circle can be seen in Girlandaio's The Bow of the Pilgrims. As we can see below (Figure 1), Girlandaio skillfully places two rectangles into a circle, marking the center of the composition with the hand of the child (Jesus). (Florence, Uffizi. Photo Alinari) (A-1.29-page) As an example there is also Botichelli's work on the same theme - The Bow of the Pilgrims (Fig. 2). The principles of this composition are also two squares enclosed in a circle. The inverted rectangles form the basis of the hidden positioning system. These located one inwardly other rectangles take the composition inside and create a feeling of insurmountable depth. But when placed directly on the axis, this would be a very simple solution. Bottichelli and his followers used the top and bottom edges of rectangles in such a geometric solution as auxiliary lines in the construction of architectonical elements and in the determination of perspective. (National Gallery, London) (p. A- 1.36) Such solutions help the artist not to interfere with the external influences (interior furniture) around the work when looking at the composition, and to help the viewer to fully enter into the work of art.

International Journal of Advanced Science and Technology Vol. 29, No. 7, (2020), pp. 2199-2203

Figure 3. Geometric analysis of the above works.

International Journal of Advanced Science and Technology Vol. 29, No. 7, (2020), pp. 2199-2203

Constructive shapes, circles, horizontal, vertical and diagonal lines also lie at the heart of calligraphy and classical miniature works in the fine arts of the East, especially in book art. The shape of the work becomes apparent as a result of a circle and straight lines drawing on this form. The design of the work includes its compositional structure: architecture, geometric elements, human images, landscapes of nature, location of animals, small parts and household elements. The value of the artwork is superb because of their proportionality and interdependence that put on this geometric basis. Bukhara and Samarkand schools occupy a special place among the classical miniature schools. The composition of artworks, architecture, interpretation of people and animals are presented in a unique style. Till the 15th century when the Sheibani Khan State had established, the Art in Herat, the capital of the Timurid State had its most prosperous period. The manuscript books were produced by the skillful masters of the palace “library”. In addition to the skillful calligraphers in the library, there were artists, pageants, masters of book covers in the form of leather prints or lacquer panels, and, finally, masters of fine art ornaments, that decorated covers, head-peaces and page fields of books with golden ornaments. The art of calligraphy was appreciated higher than miniature or works of other artists. Although the author of the miniature is not mentioned in the book, the information about the calligrapher, the time and the place of its creation ended each manuscript. In the decoration of books for representatives of the upper class, eastern miniature artists had more freedom than the medieval western artists while working on historical events, epics, ghazals, poetry, parables, educational books and collections. The calligraphy and the decoration of the book have given them a luxurious, ornamental way, making the manuscript a truly invaluable work of art. Luxurious blue and gold colors in the introductory picture of the book’s beginning page invite the reader to view the ceremonial or lyrical event. In the East, the human world and the life of this world is considered as a reflection of the "real" beyond-world. In fact, people create the life of the "beyond-world" on the basis of "this world". The flowering in a short time apricot trees, the pleasant spring breath, the watery streams, the rose flowers have been invaluable, and people have been trying to keep these in their artworks while living in a hot, thirsty region. The exact situation on the landscapes was not reflected, and the nature was symbolic. A few trees replaced a forest, a hill at the back - a mountain landscape, a flowerbed - a beautiful garden. The same situation is reflected in other works: several fighters replaced a large army clash, a row of court officials instead of great number of them. Portraits of the heroes of the epic are depicted with a heroic expression, that is, their faces are similar to each other. For this reason, similar images shaped in miniature in certain forms such as the king, the horseman, the beauty and the old man. Each object, plant, people were heroes and played a role in the proportionality of islimiy-girih (the ornamental and geometric shapes). But though in art the image of the individual was not yet formed, it was impossible not to reflect the life of the person. When the Shaybanids came to power in the 16th century, they enjoyed the rich heritage of the Herat school traditions. Weddings, palace ceremonies and poetry played an important role in the formation of the Shaybani state. Therefore, the repeated increase of the population is reflected in the manuscripts in the library, in the events of historical books (Tarihi Gazany, Zafarnoma). These were reflected in the newly written Shaybaniynoma, Fathnoma, and Tarihi Abulkhair-khan. Miniatures on such and similar works have played an invaluable role in the preservation of the rich cultural heritage of that time and the specific formation of the schools of Bukhara and Samarkand. All above stated can be seen on example of the following miniature (Fig. 4) (p. A2.75) by Artist Abdulla (1575-1576) to Buston by Saadi which is also based on constructive shapes, circles, horizontal, vertical and diagonal lines. The shape of the workpiece begins to be formed by drawing circle and straight lines according to the established order. The miniatures are at an excellent level because of interrelationship and interdependence of their parts placed on this geometric basis. In this regard it is necessary to acknowledge the works of the People's Artist of Uzbekistan, Academician of the Academy of Arts of Uzbekistan Niyazali Kholmatov. As a result of the geometric analysis of the miniature work, we can see that although the whole work is subjected to a circular shape, the base remains rectangle. The arrow lines forming the basis of the composition are built on horizontal and vertical lines. The base for the construction of the inner rectangles is the intersection of the circle and its diagonal lines drawn on the basis of the rectangle. Oriental miniature art differs from

International Journal of Advanced Science and Technology Vol. 29, No. 7, (2020), pp. 2199-2203 western fine art due to conventionality of images. Therefore, the geometric schemes (Fig. 5) did not serve to determine the depth and perspective of the work, but to facilitate the relative arrangement of the forms.

International Journal of Advanced Science and Technology Vol. 29, No. 7, (2020), pp. 2199-2203

As we can see in the artwork of the Artist Abdulla, the center of the work is in the interconnection between a boy and a girl, that is begins at the point where the boy holds the girl’s skirt with his hand. The rest of the work is built around or based on circular, vertical, horizontal and diagonal lines formed from this point. Most miniatures of the XV-XVI centuries have similar perfect geometric and compositional solution. We can see these geometric and compositional solutions in the works of Kamoliddin Behzod. For example, we can see it in the work Burial Ceremony for Matiqut-tayr (1487) or in Dervishes in Remembrance by Hafiz (1480). (Figure 6.7)

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Thus, in miniature works, the combination of shapes and colors, their rhythm and brightness, lack of compositional depth and perspective, smoothness of lines, a reflection of the awakening spring and, most important, despite their small size subtle performance, give the art of miniature a special charm. In a sense, the basis of each kind of art is based on the traditions of applied art, at the same time, the geometric structures of national suzannis, based on miniature, are works that are simple and understandable to the viewer, while providing a balanced color distribution on the surface and a complex analytical solution.

References 1) The painter's secret geometry is a study of composition in art charles bouleau. With a preface by Jacques Villon. Dover publications, inc. mineola. New York, 2014. 2) Eastern miniature and literature. Gafur Gulom Publishing House. Tashkent, 1987. 3) O. Galerkina. "Miniature of Movaunnahr". Leningrad,"Avrora",1980. 4) Pugachenkova G., Galerkina O.I. “Masterpieces of middle Asia. Selected patterns. From the Soviet and foreign meetings”. M, “Fine art”, 1979. 5) M. Sabirov. "Art of Book " manual. Tashkent, "Info Capital Group", 2018. 6) M. Sabirov. B. Khadjimetov. "Material on Specialization" manual. Tashkent, "Info Capital Group", 2018. 7) The site of the Metropolitan Museum was used.https://www.metmuseum.org/