The Study of three colors of gold, Ultramarine and turquoise in the art of illumination the Quran

The purpose of this research is to study the position of three colors of gold, Ultramarine and turquoise in the art of Illumination the Quran. The research method is descriptive, historical and mythological, but the methodology of this research is focused on the approach, schools and methodology. The method of data collection is mainly library (books and articles) and field (observations and experiences). Data collection tools include taking notes (books and articles), viewing and comparing samples of works, valid computer and virtual networks. The method of data analysis is inferential (allegorical inference). In this research, first, references have been made about the history of book formation, the origin of paper and sacred texts in Iran and the world. Then, the place of color in pre-Islamic Iranian art and the terminology and meanings of colors in cultural and religious beliefs and their application in pre-Islamic Iranian art have been studied. In the main part, by carefully examining the three colors of gold, azure and turquoise and their physical structure, how to use, succession axes, imaginary meanings derived from religious beliefs, Quranic meanings and mystical thoughts, we have an approach to the results, these three colors are symbols. They are from the sun, the moon and the sky and represent the concepts of light, infinite mercy and God’s special mercy. The emergence of the right is an artistic emergence in the realm of absolute imagination; On the other hand, this display art is the meeting place of the inside and the outside. Azure is a symbol of night and infinite mercy of God, turquoise is the color of the sky of day and opportunity and time that includes the state of special servants and gold is the manifestation of God in the name of God. By examining the manifestations of gilding the existing Qur’an and their mythological adaptation to the meanings and interpretations of colors, it can be confirmed that the choice and selection of colors of gilding the Qur’an, like other customs and principles of this art, is rooted in a theological view consisting of traditional beliefs, religious rules and teachings. It has the Qur’an and the ideas of Iranian mysticism, and over time this set of teachings created a culture according to which the Qur’anic arts became a sacred ritual such as worship.