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Objective: As a principle in the communication system between visual elements and the visual perception of the audience, the effective law of proximity of Prägnanz creates a two-way communication that facilitates the process of perception. Prägnanz principles form the central core of the Gestalt theory of visual perception, some of which were first proposed in 1910 by Max Wertheimer, a Czech psychologist. The principle of proximity, among the principles and laws of Gestalt visual perception, is an effective factor in the quality of design, which causes correlation, continuity, balance, rhythm, proportion, and unity and cohesion of visual elements. One of the copies that can be considered in the field of Gestaltology is the title of the Qajar era gilded Gur'an from the central library of Tabriz. In this research, while introducing the law of proximity of Prägnanz and the above mentioned gilded Gur'an, the effective factors in the formation of a balanced and coherent work based on this principle are studied.Methodology: How the role and presence of the law of proximity in the desired work and its function in the process of visual perception of the elements of the title, as well as how it is related to other principles raised in this process, are the basic questions of this research. This research, the data of which was collected through library sources, was carried out in a descriptive-analytical method.Findings: The presence of this law and its impact on the process of visual perception in the mentioned title is 96 percent, which includes four recognizable types with the following frequencies: 30 percent of the type of proximity to the edges, 24 percent of the contact type, 28 percent of overlapping type, 15 percent of combined type. These four principles are well organized in many positions of the headboard, including the section of the sharfas, table drawing, decorations, verses of the Quran, inscriptions and frames.Conclusion: The result of this investigation showed: Despite the high density of decorations in the target work of this research and their organization based on one of the two modes of style and prominence in the motifs, the principle of proximity causes the process of visual perception to happen and annoyance. And don't let the audience get tired. This article confirms Wertheimer's interpretation of Prägnanz law that psychological organization is good as a result of the simplicity and clarity of perception, which is related to the Gestalt principles presented in this research and under it is the set of proximity principle and its types. A strong Prägnanz is present under the conditions prevailing in the mentioned title. The proximity of visual elements in contact with each other and the combination of various visual motifs and colors next to each other have created the most coherent overlap in the structure of the mentioned work, which creates a calm and clear visual communication during the process of perception.

Objective: This study, while studying the process of visual perception and familiarity with Pergnans' laws, introduces and explains the main features of the Qajar Quranic religious version preserved in the archives of Tabriz Central Library under registration number 3089 with a psychological approach. This study examines four Pergnans (the law of symmetry, similarity, continuity and context) according to the nine Pregnancy laws. Investigating the visual relationship and effectiveness of Gestalt in the mind of the audience and also achieving a scientific and reasonable visual structure with an approach to Gestalt theory and the extent to which the rules of visual perception are used in this version are other objectives of the present study. Methodology: The present study is applied in terms of purpose and descriptive in terms of study approach, which has been done using scientometric indicators. Descriptive-analytical research method and methods of reviewing texts, sources and pictorial documents in the context of library studies, as well as case study method and observational research method in the field of field studies have been used. After extracting the relevant indicators, the method of gilding analysis process is described based on the output of data and information obtained from the results of the law of visual perception and Pergnans' laws. After reviewing the criteria, the recognition of the importance of Gestalt visual values ​​was assessed by collecting field information in a survey manner at the level of Quranic gilding, to examine the variables and metrics on site. This research was conducted by a qualitative method with the approach of Gestalt theory of psychology. Findings: According to the studies, it was found that 91 percent of the law of similarity, 93 percent of the law of symmetry, 58 percent of the law of continuity, and 68 percent of the law of bedding have been observed. In fact, it can be said that there is a strong two-way communication between the eyes and the brain and everything that is felt and understood. Conclusion: The result of the research showed the mind, understanding and comprehension of human beings from the environment is not a paper in which whatever it is can be embodied and imagined and drawn in it, but a kind of awareness, consciousness, foresight and tact in what (information Primary imported from the eye) observes, there. Man recognizes the tangible reality that science deals with through sensory and visual perception. What can be seen in this version of the Quranic religion in terms of visual quality of the four Pregnancy laws (similarity, symmetry, principle of continuity and context), is the presence of balance, symmetry, complexity, multifactoriality, dynamism, diversity and the element of emphasis.

هدف:هدف این مقاله بررسی مؤلفه‌های حاکم درصفحه‌آرایی نسخه‌های قرآنی عصرتیموری است.از طرفی ضمن تشریح میزان عملکرد وکارکرد تناسبات در اصول صفحه‌آرایی این نوع نسخه‌ها، میزان اندازه‌گیری‌های شاخص و غالب درصفحه‌آرایی نسخه‌های دوموزه‌ نام‌برده را مورد ارزیابی، تحلیل و تطبیق قرار می‌دهد. روش پژوهش/جامعه آماری: این پژوهش ضمن توصیف آثار موردنظر به روش پیمایشی انجام شده است و با رویکرد تحلیلی-تطبیقی مورد بررسی قرارگرفته است. گردآوری مطالب ازطریق منابع کتابخانه‌ای است. به دلیل محدودیت تعداد بالای اخذ نسخه‌ها از موزه‌های مورد نظر، انتخاب نمونه‌های مطالعاتی اندک بوده و با مشاوره کارشناسان خبره این بخش‌ها، به روش هدفمند آثاری مورد مطالعه قرار گرفتند که دارای صفحات افتتاح و تزئینی باشند. لذا 5 مصحف مذهب قرآنی از هر موزه منتخب گردید. یافته‌ها: تناسبات حاکم در اصول صفحه‌آرایی و قطع نسخه‌های قرآن‌های مورد مطالعه از موزه‌های مذکوربر مبنای تناسبات طلایی و مستطیل پویا است. با این تفاوت که تناسبات طلایی، مستطیل پویا با معیار 2√ و قطع صفحات آثار قم با 8 /52 درصد بیشتر ازآثار رضوی سنجیده شده است. در بررسی صفحه‌آرایی و تطبیق آن با دیگر کادرهای موجود صفحه میزان تناسبات حاکم بر اساس نسبت‌های مستطیل ایستا استنباط گردید به گونه‌ای که آثار رضوی با 6/ 57 درصد بیشتر از آثار قم از این مقیاس برخوردار است. نتایج: برآیند این پژوهش نشان داد، مهمترین و اصلی‌ترین عامل مؤثر در صفحه‌آرایی نسخه‌های قرآنی مذهب انتخاب قطع ‌کاغذ بوده است. سایز خوشنویسی و کتابت نیز در میزان طراحی و مسطرکشی، نوع فرم و کارکرد تذهیب‌ها نیز نقش تعیین‌کننده‌ای درترسیم داخلی آرایش صفحات دارند. ضابطه شاخص در اندازه‌گیری اوراق، تناسبات طلایی محاسبه شده است.

Purpose: This research aims at identifying and structurally investigating the Quranic works of Qajar dynasty available in the Central Library of Tabriz, as well as analyzing the Quranic verses of religion in terms of the structure of the pages and the forms of motifs. Methodology: It was conducted using descriptive-analytical survey method and information was collected using related literature. Of the 20 Qajar Quranic manuscripts, ten ones were selected. The data were analyzed using SPSS and EXCEL softwares. Findings: 39.9% of the coronation of the Quran was crowned with the inscription of the sura head and 60.91% crowned with upper and lower inscriptions. 47/67% of the text pages are marked with decorations. In the section of decorative elements and motifs, 44.1% were decorative motifs, 8.9% were Arabic designs, 14.2% were abstract designs, 3.3% were Chinese knit, 18.1% had chalking, and the average elements were 4.11% percent relative proportions are in the distribution of motifs. Conclusion: The results of this research indicate that decorative elements such as Khatei, Slavic, crown inscription, types of casts, shrub designs, and abstract patterns have been observed in the works. The use of round flowers, Shah Abbasi, Anari, Hollow slices and simple framing, spiral composition, color variation in flowers and tables, and the high use of gold color are considerable.

Purpose: This research aimed to investigate the Quranic illuminations of the Timurid era preserved in Astan Quds Razavi Museum and to identify the Qur'anic figures such as: Shamsa, opening prayer, frontispiece, text pages (page margins), verse marks (Juz’, Sajdah, Hizb), the flower of the verses, the list of Surahs and ending pages, deals with the layout and structure of the form of paintings and colors. Methodology: The present research was conducted through a descriptive-analytical survey method. The needed data were collected through library resources and collecting pictures available in the museums. By studying the Qur'anic works available in the museum of Astan Quds Razavi and consulting with the experts of this department, seven exquisite manuscripts related to the Timurid era and the subject matter of this study were selected using targeted sampling method. By examining these manuscripts, the characteristics of their figures were specified. Results: The findings showed that the structure of visual elements included types of decorative motifs including arabesque, khataei, geometric, and calligraphic patterns. Arabesque motifs with 38.8% were the most frequently used decorative motifs, and calligraphy (27.3%), khataei flowers (22.4%) and geometric patterns (3.4%) were distributed on the pages. The layouts were structured in 3 inscriptions, 5 inscriptions and 6 inscriptions. On average, pages were decorated with gold divisions. Azure and gold were the most frequently used colors in these works. Conclusion: Considering that the Astan Quds Razavi Museum is one of the great collections in the world and housed the most precious illuminated Qurans, the Qur'anic manuscripts of the Timurid era have outstanding features, including strength, logic, order and rhythm, symmetry, organized structures, and golden layouts. Therefore, the recognition of the formal structure of decorative elements - visual and written elements- and their application in the Quran decoration is necessary for an accurate understanding of the authenticity of motifs. The original decorative motifs such as arabesque, khatei, geometric patterns as well as calligraphy styles such as Naskh, Mohaqiq, etc. have been used to decorate the Timurid Qur'ans, which describe the original features of the Timurid Quranic illuminations, and using these analyzed elements play a crucial role in strengthening the intellectual foundations of the artistic educational system of Iran.