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Evolution of Common Visual Patterns in the Framing of Ilkhanid Coins | ||
| پژوهش های باستان شناسی ایران | ||
| Article 8, Volume 14, Issue 42, November 2024, Pages 215-236 PDF (1.51 M) | ||
| DOI: 10.22084/nb.2023.28262.2625 | ||
| Authors | ||
| Maryam Sadeghi Ghoroghaghaii1; Ahmad Salehi Kakhki* 2; Farhad Khosravi Bizhaem3 | ||
| 1M.A in Islamic Art, Majoring of Calligraphy and Persian Painting, Faculty of Handicrafts, Art University of Isfahan, Isfahan, Iran | ||
| 2Professor, Department of Achaeology, Conservation and Restoration Faculty, Art University of Isfahan, Isfahan, Iran (Corresponding Author) | ||
| 3Associate Professor, Department of Calligraphy and Persian Painting, Faculty of Handicrafts, Art University of Isfahan, Isfahan, Iran | ||
| Abstract | ||
| Abstract Coins are among the most varied and informative historical and archaeological artifacts from the Ilkhanid era, providing not only diverse and valuable insights but also intriguing framing elements that deserve scholarly exploration. The objective of this research is to analyze the evolution of coin frames during the Ilkhanid period, which will facilitate a more nuanced understanding of the visual and artistic culture of that time. The research poses the question: what visual culture is dominant in the framing of Ilkhanid coins? This study is fundamental in its nature and employs a descriptive-historical-analytical methodology. A selection of twenty Ilkhanid coins has been sourced from the Ashmolean, David, and Malek museums, as well as from the personal collection of Komesh in Semnan, for thorough investigation. The results suggest that the samples can be classified into four fundamental categories: central, mixed, bordered, and simple. The frequency of frame usage within the visual culture of Ilkhanid coins is as follows: mixed frames are the most common, with 24 examples, followed by bordered frames with 10, central frames with four, and simple frames with two. Among these types, mixed frames stand out for their abundance and variety of designs, which is evident in their prominent role within the samples. This category can be further delineated into nine shapes in chronological sequence: circle, square, five feathers, sun, six feathers, seven feathers, eight feathers, altar, and three feathers. Keywords: Ilkhanid Visual Culture, Framing, Ilkhanid Coins. Introduction Problem Statement: The coin frame, serving as a decorative feature, has a long-standing history that has evolved through various epochs. This decorative element exhibits numerous variations across different coins. In the context of the Islamic period in Iran, the visual characteristics of coins experienced notable transformations. Similarly, the coins from the Ilkhanid era also reflected these changes, showcasing distinct attributes. The frame acts as a boundary that delineates the design and inscriptions, distinguishing the internal elements from the external ones. The framing of Ilkhanid coins is no exception to this principle. Since their inception, coins have mirrored the cultural geography of diverse regions, providing a significant source of information that helps illuminate the obscure and complex aspects of historical narratives. Objectives and Importance of the research: The introduction of coins has significantly enhanced commercial and economic transactions, leading to pivotal transformations in the trajectory of human history. The characteristics of coins, including the metal composition, designs, inscriptions, minting locations, and dates, are crucial for comprehending their historical context. This research particularly emphasizes the importance of coin design in elucidating aspects of history, economy, culture, and art. Consequently, the primary aim of this study is to recognize, analyze, and investigate the developments in coin design during the Ilkhanid period. Research Question: This study aims to address the following inquiry: what visual culture predominates in the representation of Ilkhanid coins? Research Method: The study is characterized by its fundamental nature and employs a descriptive-analytical methodology. The sampling technique utilized is judgmental. From a total of 200 samples gathered, 20 were specifically chosen for their comprehensive representation of various parameters, including design, motifs, and calligraphy styles prevalent during the Ilkhanid era, and these samples were subsequently analyzed. In essence, the research involved an examination of 10 percent of the total samples gathered. A deliberate selection of 20 coins from the Ilkhanid era was made, sourced from the Ashmoulin, David, and Malek museums, along with the personal collection of Komesh in Semnan. The collection of research records was facilitated through library studies and the review of national museum documents. This study employs a qualitative analysis method, which categorizes the general motifs and distinctly separates the linear design framing found on the reverse of the coins. Identified Traces In this investigation, a total of 20 coins from the Ilkhanid era were analyzed and classified into four categories of framing: “simple,” “with a border,” “central,” and “combined.” This categorization is informed by the framing patterns presented below. The frames are delineated into these four types based on the patterns illustrated. In order to examine the specifics of the sample framing, a framing pattern has been developed that reflects the most fundamental design characteristics of the existing samples, as illustrated below. The “gray” areas of the coin represent their physical attributes, while the “white” sections convey the author’s perspective on the minted coin, informed by the available research and evidence. The “dark gray” regions correspond to the worn patterns observed on the coin, and the “black” segments signify the remaining frames of the coin. The category of “Simple Framing” includes two examples from the Gaykhatu and Ghazan periods. In contrast, “Central Farming” comprises four examples from the Hulako period. The style “With a Border” is represented in ten examples from the reign of the second Ilkhanid monarch. Additionally, a “Combination” style features 24 examples from the era of Abaqa Khan, the second ruler of the Ilkhanid dynasty, and this style persists in examples up to the conclusion of Abu Said’s reign. An analysis of the frames reveals that the predominant visual motif of the Hulako period is characterized by a “central” arrangement. In contrast, the frames associated with Abagha and Arghun exhibit a “combined” style with a border, while Gaykhatu’s frames are described as “combined and simple.” The frames from the Ghazan period are noted for being “combined, with a border and simple,” whereas Uljaito’s frames are simply “combined.” Abu Said’s frames are also “combined and with a border.” The concept of “combined framing” encompasses a range of designs, historically categorized as circular, square, featuring five feathers, eight feathers, six feathers, seven feathers, mihrabis, and three feathers. This variety was prevalent throughout the Ilkhanid period, except for the Hulako’s frames, which predominantly feature five feathers. The diversification of composite framing began to rise during the mid-Ilkhanid era, particularly in the Ghazan period, with the most varied frames attributed to Abu Said. Conclusion This study aims to elucidate the framing patterns of coins from the Ilkhanid period by examining a collection of 20 coins housed in the Ashmolean, David, and Malek museums, as well as in the personal collection of Komesh in Semnan. Upon analysis of these specimens, it becomes evident that, despite an initial perception of similarity in the frames, they exhibit distinct differences upon closer inspection. Initially, the framing of the coins was restricted to a basic circular geometric shape; however, over time, these shapes evolved into a more varied array. The earliest form of central framing is attributed to a coin from the era of Hulaku. The third category, characterized by a border framing, emerged during the Abaqa period and persisted until the Abu Saeed period. The final category featured simple framing, which was evident in the samples from the Gaykhatu and Ghazan periods. The variety of types is notable, comprising 24 samples of combined framing, 10 samples with borders, 4 central samples, and 2 simple samples. Notably, combined framing exhibits both a greater quantity and a wider range of designs. This classification encompasses nine historical categories: circle, square, five-feather, eight-feather, six-feather, seven-feather, altar, and three-feather. The era of Abu Said is noted for its exceptional diversity. | ||
| Keywords | ||
| Ilkhanid Visual Culture; Framing; Ilkhanid Coins | ||
| References | ||
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