نشریه نامه هنرهای تجسمی و کاربردی
پیاپی 33 (پاییز 1400)

Pottery, as the most important archaeological find, has a very important role in describing and interpreting the cultures and civilizations of the past. According to researchers, pottery is a significant source for obtaining information about the reconstruction of human behavior in archaeological studies. One of the perspectives and approaches to the study of ancient pottery is to study the impact of cultural and non-cultural factors on pottery production. From this perspective, pottery is considered as a reflection of human cultural behaviors.Meanwhile, our knowledge of Sassanid period pottery, despite many excavations in various Sassanid regions, is very little. Among the reasons for this; The simple passing of the Sassanid layers in the excavations is the focus on other findings of this period and the lack of publication or incomplete publication of the pottery findings of the Sassanid sites. The pottery of the Sassanid period, like other periods, is known, among which one of the main characteristics of Sassanid pottery in this period. Among these, one of the main features of Sassanid pottery is its "locality" and their other feature is the remarkable stability of many forms and the existence of homogeneous forms of pottery in a wide area of the Sassanid territory, which according to The style and shape of the decoration are different from each other in different areas. In fact, in this period, the forms are almost identical with differences in the details of the cross-sectional shape, but what makes them "local style", in addition to their different technical characteristics, is the different decoration in each area. In this research, using a descriptive-analytical method, we study the relief pottery attributed to the Sassanid period that has been mentioned in various sources. So far, no comprehensive research has been done on the decorative motifs of such utensils, the meaning and content of their decorative motifs . Reflect some of the religious, political or social ideas of the time. The purpose of research is to classify the decorative motifs of such vessels, to obtain the meanings and themes of their decorative motifs and to discover the currents that affect the creation of such motifs. The results show that these pottery with human, animal, plant and geometric motifs and with a molded method, mostly express political, religious, military and sports narratives in human motifs and mythical and realistic meanings and themes in plant and Animal motifs. It should be said that the Sassanids in these pottery, using the mold method that has been used before in the Parthian period and being influenced by Chinese, Roman and Greek forms, have tried to repeat their attribution to the pre-Parthian period, the Achaemenids. In other words, these motifs show the continuity of ancient oriental motifs that were used during the Sassanid period.

Glory of interior architecture and variety of decorations is one of the architectural features of Qajar era to the extent that architecture of this era can be considered as the best sample of the connection between architecture and decoration. This feature is further manifested by the formation of a merchant class distinct from the market, at the top of its pyramid of power, prestige and wealth that were considered among the nobles of a city as a privileged class alongside clergy scientists and administrative agents. Presence of various decorations of mirror work, painting, tiling and plaster molding can be seen in the aristocratic buildings of this era such as the buildings of Yazd city. Yazd is a desert city where has a hot, dry and desert climate, due to its location on the edge of the desert. The special geographical location and the distance from the important administrative centers and consequently distance from the great crises and conflicts has led to some of the ancient monuments of past religions such as Mehr worship and Anahita worship that the people of the region adhered to it and continue it centuries before the Sassanid Zoroastrian religion . Today, Zoroastrians still perform their religious rites in the Zoroastrian districts and villages around Yazd, which are closely linked to elements from nature, such as soil, wind, fire and water. Cedar has a strong base than other species of this tree in Iranian literary and visual culture. The motif is especially in the method of common plastering in the Qajar era of this city, called Shir-o-Shekar, which has a thin plaster surface and creates tangible light shade.This motif can be seen in the architectural decorations of Yazd, with the least changes due to the time changes, in the form of brickwork, tiling, plaster molding, etc. Therefore, in this article, purpose was to enumerate the ritual and literary features of cypress in Iranian culture, to answer questions about how the revolution procedure of motif, the origin of concepts, variety and method of performing patterns, as well as how to form a role-centered set of roles same as Sarve Azad (free cypress), by a descriptive-analytical method and relying on available field and library resources. The result of this article revealed that the free cypress appears in three forms of cypress and mountain image, cypress grown in a vase and cypress with cow horn base in the plaster molding of Qajar buildings in Yazd, which one can see their connection with seals and pottery from the millennia BC to handicrafts and architectural decorations from recent eras. In these samples, decorative patterns, while adapting to carpet and tile patterns, are divided into two parts of calligraphy and Islamic. The foundation of Arabesque motifs in these specimens is plant motifs which have been combined with animal motifs in some samples. This study also showed that set of symbols that appear in a set of roles with a symbolic axis such as free cypress, are semantically related to each other

Aesthetics is thought to be one of the most basic spheres of philosophy traditionally, and most of the great philosophers study it and write about it. But some of them have transcended aesthetics beyond its usual borders and have made it the core of the philosophy. In their view aesthetics, experience or act is one of the aspects of human being-in-the-world. They see aesthetics as an ontology, and try to treat it and artworks as ontological issues. German romantics, Nietzsche, Kierkegaard, are of the most important members of these philosophers. Works of Mikhail Bakhtin, Russian philosopher, and literary theorist, show that we can classify him among these philosophers. He has always been interested in aesthetic issues, both in his youth which he focused on existentialist issues, and in the later phase of his life which he focused on literary theory. In both of these phases, he also deals with ontological issues. He has almost always looked at ontological issues from an aesthetic point of view. Why? Is this a coincidence? If no, what are his reasons for this choice? Why does Bakhtin care so much about aesthetics? And how can he treat ontological issues aesthetically? In this article, we want to answer these questions. To reach this goal, we begin with his anthropology and show that in his view human lives in the world in a concrete condition. He explains this condition whit a physical term: 'chronotope', which means a matrix of place and time. Moreover, he used another important concept which borrowed from the law, 'non-alibi'. This concept in Bakhtins's thought means human does not have any cause or alibi for not-being-in-the-world. Bakhtin adds more features to them, one of these features is ‘eventness’ which means human never is ‘to-be’ rather always is ‘yet-to-be’ which means the human never finish before death. This is an annoying situation for humans. It is almost like the ‘Angst’ in Existentialist philosophies. His difference with them is that he examines this condition aesthetically. Moreover, for him or her person is very important. So he translates human concrete condition into author and hero relation. Other people can compose a hero and consummate him or her, but he can also, communicate to him or her and make him or her 'unfinished'. If another person consummate hero, he or she will get out of non-alibi status, which means he or she is not alive and real human anymore. If other people communicate with him or her, he or she will stay in non-alibi status, which is annoying for him or her. It is a conflict. Bakhtin try to solve it aesthetically. And in this article, we try to explain this try. To reach this goal, we use another Bakhtinian concept: Carnival. Bakhtin thinks medieval carnivals were some phenomena between life and art. Human in the carnival is never consummated but at the same time is free from any angst, because he has an alibi. In this article, we will show how Bakhtin can reach this conclusion.

One of the ambiguities in the history of calligraphy and copying the Qur`an is determining the regions where each calligraphic script which, in prior literature, has been classified under the Hijazi and Early Abbasid style, prevailed in the first three Hijri centuries (from 622-913 CE). This ambiguity is due to the dispersion of book leaves and the obliteration of the colophon of early copies. Moreover, due to the vast displacement of copies throughout history, it is not possible to consider the place where each copy was endowed or discovered the same as the place where it was created. The Getty Museum preserves a few leaves of a Qur`an which is one of the significant copies of Early Abbasid style. This Qur`an has been discovered in Kairouan and its other leaves are scattered in dispersed collections. Based on its place of discovery, historians like Martin Lings have attributed it to Kairouan. Yet, there is evidence that prove its production in Central Iran, not in Africa. This evidence includes the diacritic and the Abjad script used in the sign for the numeral ten āyahs. Moreover, its script style bears resemblance to the monumental script of some of the signed Qur`ans of the Persian New Abbasid style (Eastern Kufic). One of these copies is produced in Isfahan in 327AH/ 939 AD. Another one is a product of Rayy. These copies can be reason for reconsidering the Getty Museum’s Qur`an’s place of production to be Central Iran. As the Getty Museum’s Qur`an is copied in D.I Script and this style is seen in other Abbasid Iranian copies, it can be concluded that the aforementioned style can be attributed to Central Iran.One of the ambiguities in the history of calligraphy and copying the Qur`an is determining the regions where each calligraphic script which, in prior literature, has been classified under the Hijazi and Early Abbasid style, prevailed in the first three Hijri centuries (from 622-913 CE). This ambiguity is due to the dispersion of book leaves and the obliteration of the colophon of early copies. Moreover, due to the vast displacement of copies throughout history, it is not possible to consider the place where each copy was endowed or discovered the same as the place where it was created. The Getty Museum preserves a few leaves of a Qur`an which is one of the significant copies of Early Abbasid style. This Qur`an has been discovered in Kairouan and its other leaves are scattered in dispersed collections. Based on its place of discovery, historians like Martin Lings have attributed it to Kairouan. Yet, there is evidence that prove its production in Central Iran, not in Africa. This evidence includes the diacritic and the Abjad script used in the sign for the numeral ten āyahs. Moreover, its script style bears resemblance to the monumental script of some of the signed Qur`ans of the Persian New Abbasid style (Eastern Kufic). One of these copies is produced in Isfahan in 327AH/ 939 AD

The earliest surviving images of the prophets in Persian painting date back to the thirteenth century. This paper, which examines the portraiture of the prophets in the painting of the mid thirteenth century onwards, addresses the question of the distinction between the prophets and other peoples in the paintings. Finding the starting point of depiction of holiness halo and its evolution in Persian painting is also question of great significance. Considering the formal evolution, the visual examples of this epoch of two hundred years have been surveyed in four periods: thirteenth century to the early fourteenth century, form the Rab‘-i Rashidi to the end of the Ilkhanids, Jalayirids, and early Timurids. In the art of the thirteenth to the early fourteenth centuries, according to ancient traditions a disc halo was depicted around the heads of all humans (and sometimes even animals), and thus the prophets have no certain distinction with others. The difference between the Prophet Muhammad and other people in the paintings of this period is only in having two long tresses. It was during this period that, under the influence of Baghdad painting, prophets wear a certain garment called shamal, which later in the paintings of the Jami‘ al-tawarikh became one of the most important features of the portraiture of the prophets. In the second period, under the influence of Buddhist and Byzantine art, the holiness halo was formed. The earliest known example of the halo of holiness is the image of Moses in the Arabic copy of the Jami‘ al-tawarikh (dated 1314), which is drawn not in a circle but as the rays of the sun. Apparently the establishment of the aura of holiness took place in a copy of the Mi‘rajnama, which was produced for the last Ilkhanid ruler, Sultan Abu Sa‘id Bahadur. The images of the Mi‘rajnama, which were dedicated to the depiction of the heavens, provided an opportunity to enter the golden halo of holiness into the portraiture of the Prophet Muhammad. Although in the paintings of this manuscript the halo of holiness is depicted as a golden cloud around the head or the whole body of the Prophet, in the painting “Muhammad enters the seventh heaven” he has a flaming halo. This work can be considered as the earliest surviving example of drawing a flaming halo for the prophets in Persian painting, which has continued for several centuries. In the paintings of this manuscript, all the prophets have a flaming halo around their heads, but Muhammad, who is “The light of lights”, has a much bigger halo. During the Jalayirid era, a fiery halo, which had been emerged in one of the paintings of the Ilkhanid Mi‘rajnama and was rooted in Buddhist iconography, became prevalent. Finally in the early Timurid art, this fiery halo was followed more seriously and with more elaborate decorations.

From the perspective of mythologists in the fields of art and literature, the mythical study of art or literature works would be the most beneficial kind of studies because by decoding mythical parts of them the most essential parts of them would be realized. In this way the mythoanalysis method of gilbert Durand is a mythological method of analyzing art or literature works with the purpose of identifying the same roots of contemporary artworks and myths created by ancient people. By using this method some reasons would be found for repetitive motifs in artist works except the reasons depend on artist life experience. In other words, this method search the reason of repeating one motif in archetypes and collective unconsciousness. So the hypothesis is that mythical scenes and motifs are hidden in today photographic pictures which are coming from artist unconscious. therefore American staged photographer; Gregory crewdson whose photos have a reputation for being imaginary is a good choice for this kind of studies. In this paper mythoanalysis of gilbert Durand would be used to analyze crewdson photos in order to identify mythical scenes and motifs in them. This method has three steps at first repetitive motifs should be found and at next step by studying social or political circumstances some of that motifs would be considered as reaction to the circumstances in addition some of the motifs would be the reactions to the artistic atmosphere of era. Finally in third step the motifs which are probably coming from artist's pure imagination all together can form a network of metaphors and symbolic meanings which is similar to a mythical network, story or creature. In this paper three steps have done and At last discoveries show that Hecate is mythical creature which is hidden in crewdson works and is represented unconsciously in some motifs which are repeating without any special external reason. For instance, crossroads are repeating in Crewdson photographs and Hecate is the goddess of crossroads and her sculpture prayd in crossroads. Also Hecate has two different faces one of them is the face of night and scare and the other one is a helper for pregnant women amazingly in crewdson photos two different face is shown for women one of them is pregnant and the other one is mysterious and frightening. In addition to this two similarities some other ones discovered so the similarity between the network of unconsciously repetitive motifs in crewdson's photos and Hecate shows that hypothesis is true about this photographer and this method help to find new points of views about his photographs because usually in psychoanalysis of his photos some personal reasons and his memories had been used to interpret his works but know some archetypes which are shared between all the people in all eras and locations can be used to interpret photographs of this contemporary artist.