نشریه مطالعات تطبیقی هنر
پیاپی 21 (بهار و تابستان 1400)

The visual art of the Naseri era is a mixture of the painting tradition of the first Qajar school and the confrontation with modern Western achievements, including the new medium of photography. In fact, the conceptual basis of the visual arts of this period can be seen as the product of the interaction of different forces that affect the issue of representation as well as the representation of gender. Although the representation of the human body and its gendered meanings is still a major concern in the visual art of the Nasserite era, these representations are fundamentally different from those of earlier periods. The main question of this research is to investigate the quality of gender representation in painting and photography of the Naseri period and the differences in essence of these two representation systems in presenting the image of gender. To answer this question, descriptive-analytical method as well as historical comparison has been used and to formulate and analyze the special capabilities and possibilities of photographic image in order to represent gender differently than painting, Szarkowski's ontological theory has been adopted. The statistical population of study are court portraits of the era of Fath Ali Shah and the collection of paintings and photographs of the period of Nasser al-Din Shah that are exemplary and have a prominent representation of gender. Findings show photography introduced a new system of representation of gender in the period, which has no precedent in Iranian painting. The camera provided a picture of gender through coordinates such as engaging with the "the thing itself", "detail", "time", "frame" and "vantage point", as opposed to the stereotypes of gender representation in painting; Realism instead of idealism.

The art of the religions of Islam and Christianity has been at the service of the religious beliefs and narrations of the books of the Holy Quran and the Bible, and the artists of the aforementioned religions have created works with religious themes according to the historical and social conditions. The enunciation of the birth of Jesus is also one of the common religious themes between Islam and Christianity, which has been considered by artists in different eras. Most of the pictures of the enunciation of the birth of Jesus were painted in Christian art for religious purposes. In fact, this was done in order to better understand the teachings of the Bible to the people. The present article examines the relationship between religion and art and intends to determine by comparative analysis and content study of the images of the miracle of the enunciation of the birth of Jesus in Islam and Christianity which visual narrative is more in line with the religion it has been depicted by? In which element or visual elements is the influence of religion reflected? And what are the visual differences and similarities in the images of the miracle of enunciation between the religions of Islam and Christianity? This research has been conducted by adopting descriptive, comparative, and analytical methods with the aim of examining the extent to which the images of the miraculous images of the enunciation of the birth of Jesus in the two religions are compared. Information and study samples of this research have been collected through library research and the internet. The findings of this study indicate that since there almost exists similar concepts and beliefs among the two religions of Islam and Christianity regarding the miracle of the enunciation of the birth of Jesus, Muslim painters are sometimes influenced by Christian artists in depicting some pictorial elements of this subject and sometimes, they remained faithful to the verses of the Qur'an and interpretive texts. Christian artists have also acted very closely to biblical interpretations in their representation of this religious theme, using symbols in this way.

Victory garments or talismanic shirts, are a special kind of clothing and covering that all date back to the 9th AH/15th AD centuries. Their most prominent feature is the widespread use of sacred texts in the form of inscriptions and calligraphy. In addition to inscriptions, various motifs, symbols and amulets are also used in this garment. The production of these garments started from the Safavid period, in Iran, and continued in different forms during the Zand and Qajar eras. This study is descriptive-analytical and data have been collected based on library research and field studies. This investigation intends to answer the following question: What features do the Zand and Qajar talismanic shirts have regarding the visual structure and content? The main purpose of this article is to study the visual and content structure of the Zand and Qajar talismanic shirts which are available in domestic museums and analyzing and interpreting them based on the political, social and cultural conditions. By analyzing the Zand and Qajar talismanic shirts available in Iranian museums, it was found that the content of the inscriptions and the symbols used in the garments were related to each other. Their contents include a variety of sacred texts, symbols and magical square and each of them represents victory, overcoming enemies and protection against all kinds of disasters and shows that the main purpose of producing talismanic garments was probably to help win the battlefield. The political, social, and cultural conditions that had an effect on the Zand and Qajar era, and also factors such as: religion, legitimacy, and archaism are among the most influential factors affecting the available samples. Accordingly, in addition to using calligraphy as a dominant decorative means, the use of historic symbols is the most important shared aspect of these products and the major difference among them lies in the way the garments were designed, the amount of inscription used in comparison to design, and the way decorations were implemented.

Two main approaches in studying Islamic art are perennial philosophy and historical perspective, which sometimes are in contradiction with one another. Historical discourse examines works of art based on contextual factors such as history, culture and society. In this approach, the analysis of artistic works is based on an accurate description of the work and the presentation of hypotheses happens through a scientific methodology. On the other hand, the perennial philosophy, by criticizing the fundamentals of modernity, puts its underlying principles on mystical concepts and with an idealistic view, introduces the discussion of traditional metaphysics of art in the field of Islamic arts. This paper through a descriptive-analytical method compares distinctive readings of these two approaches from seven examples of Islamic tiles and pottery. For this purpose, the opinions of the known thinkers of both approaches regarding the discussed examples have been compared to reveal their different views in the analysis of handicrafts. The most important question of this research is to identify the differences between the readings of these two approaches in studying the Islamic pottery. The data for this study has been gathered through library research. It can be said that the historians of Islamic art, based on the factors of time, geography, culture and politics, have done countless research on the artistic works of different periods. On the other hand, the studies of the followers of the perennial philosophy are mostly based on concepts and generalities about the manifestations of religious art; a method which can hardly be applied for the analysis of handicrafts.

Golestan Honar and Managheb Honarvan are two valuable works in art historiography that were written in the last years of the tenth century by Judge Ahmad Qomi during the Safavid era in Iran and the Ottoman Empire by Mostafa Aliafandi. These two works are of special importance for examining the lives of artists of this era and earlier periods. Various artists in fields such as calligraphy, painting, gilding and other arts have been considered in these two works. In terms of comparing different types of art, in terms of volume and narration, the number of artists, the introduction and description of the art of calligraphy and calligraphers, is a priority over other arts. This was not separate from the growth and prosperity of the art of calligraphy in the two regions of Iran and the Ottoman Empire and their courts, since the art of calligraphy had both aesthetic and practical aspects, and in this regard, the reflection of calligraphers' news became more important. This study intends to apply the news and narrations related to the art of calligraphy as well as calligraphers in the two aforementioned works by adopting a descriptive-analytical method and with reference to historical narratives related to the two mentioned works and examines the position of historical narrative in this subject. The main research question is: What components can be analyzed and compared by comparing the narratives of calligraphy in Golestan Honar and Managheb Honarvan? In this comparison and adaptation of historiographical narratives, valuable components such as: structural features of these books, number of calligraphers and their commonalities and differences, attention to the report of calligraphers' migration, mention of calligraphers' political and economic activities, calligraphers' family status, other artistic skills related to the artists and the urban origin of calligraphers will be extracted.

In addition to dramatic functions, music is capable of providing the necessity of coherence among different formal and structural elements in video games and movies. The present study seeks to answer this question that what are the main roles of music in dramatic formation and visual entity in both video game and film. For this purpose, a comparative study of the construction of soundtracks from a structural and functional perspective in computer games and movies was conducted. Furthermore, the way various components of the musical elements relate to each other in constitution of establishing musical soundtrack was also examined. The research method in this study was descriptive-analytical and library resources were also adopted. As such, this study investigated existing literature and analyzed typical music composed for movies and games. A comparative analysis of the role of music in film and video game was conducted in order to find their similarities and differences in use and function. To pursue this aim, we analytically look at structural elements in both music compositions for film and video games. Based on our findings, shared functions of music in both films and video games can be categorized in terms of: shaping emotional responses, controlling rhythm of scenes, filling the ambiance, establishing, continuity or stopping an atmosphere, credibility of the movie or game, immersion and illusion and other features. Our findings also revealed that there exist several common ground in music composition for films and video games, the most important of which are the unity of materials, induction of concepts, emphasis, persisting on symbol and signs, and driving multiple variations and layers at the same time. This study presents further implications and suggestions for game music scoring.