Exploring Attitudes Towards Verbal Icons in Islamic Art (A Case Study on Safavid Shamāyel-negāsht)

Studying iconography and figurative sacred representation of the Islam Prophet (s.a.w) and saints are, unquestionably, one of the main issues of Islamic art. Various theories have been held on the iconography in Islamic art. On the other hand, serious disputes over the prohibition of icons in Islam and their creation in Islamic art raised questions about the issue. Examining literature and inscriptions of the Islamic era demonstrates a non-figurative type of iconography known as Shamāyel-negāsht. These artworks are new verbal icons that portray the Islam Prophet (s.a.w) and saints in inscriptive form. They, however, remain poorly known and studied today. Thus, I aim to address why Muslim artists during the Safavid period had intentions towards creating the non-figurative type of iconography specifically Shamāyel-negāsht. Applying a descriptive-analytic study, I seek to address the raised question through a critical perspective on iconography. I hope my dissertation would bring some clarity to the issue and inspire a new series of investigations on Shamāyel-negāsht in Iran.

The findings reveal the advent of a non-figurative iconography known as Shamāyel-negāsht in Islamic art. They are a kind of verbal images in which words depict the Islam Prophet (s.a.w) and saints.  Shamāyel-negāsht has unique features and various forms. Scripts of Shamāyel-negāsht refer to neither form nor content, but a synthesis of both.  Shamāyel-negāsht has been growing based on mystical believes and Sufism and therefore they represent mystical and symbolic senses. During the Safavid period and in alignment with its political and religious changes, Shamāyel-negāsht developed in terms of Shi’i-mystical thoughts. In conclusion, religious aspects including mystical and Shi’i views as well as political and economic factors are the main reasons that pave the way for the development of Shamāyel-negāsht during the Safavid reign.