نشریه نگارینه هنر اسلامی
پیاپی 25 (بهار و تابستان 1402)

The motif of the double-headed eagle which is associated with the famous fabrics of Al-Buwayh is a rare, unique, and cryptic motif in the art of different historical periods of Iran that has many unexplored aspects. This motif can also be seen on a metal plate belonging to the Sassanid era, before appearing on the textiles of this period. This evidence has not been covered by any research before the present study. Considering the many influences of the Buwayhid dynasty from the Sassanid in various fields such as politics and culture, as well as the numerous derivations of this dynasty from Sassanid art, this study introduces the mentioned motif in the Sassanid era as a pretext for the Buwayhid era. The purpose of this study is to investigate the relationship between the two texts (the pretext in the Sassanid era and the Hypertext in the Buwayhid period) and to reveal the types of hypertext typology. The present article tries to give a clear answer to these questions: How can the connection between this motif in the period of Al-Buwayh and its predecessor be explained? What changes have taken place in the process of adaptation of this role from the Sassanid era by Al-Buwayh? This research has been done by descriptive-analytical and comparative methods and applies Gerard Genet's theory of Transtextuality. The findings of this study indicate that with the combination of written and visual signs, the relationship is transposition and by simultaneous thematic development and increase in stylistic issues, Development has taken place. The permutation by the artist of the Buwayhid period shows the effort to harmonize and reconcile Islamic beliefs and the cultural heritage of antiquity.

The Dome of the Rock was built in Palestine in the first century AH and Sheikh Lotfollah Mosque is one of the most important Islamic buildings belonging to the years 1602-1619 AD in Isfahan. These buildings have beautiful and unique decorations under their domes that can be identified similarities between them. Purposes are to identify the decorative motifs under the domes of these buildings and to comparison those with each other and questions are: 1- What decorative motifs have been used under the domes of the Dome of the Rock and Sheikh Lotfollah Mosque in Isfahan? 2- What are the differences and similarities between the decorative motifs under the domes of the two mosques? Also, library and documentary data and research samples, which include the two domes of the Dome of the Rock and Sheikh Lotfollah mosques in Isfahan, have been studied by descriptive-analytical method with a comparative approach. Results show that under the domes of these two buildings, many decorative motifs including geometric, plant, inscription and animal motifs have been used and it brings the principle of unity to the viewer's mind. In these decorations, the peacock symbol is used naturally and metaphorically, which is related to the beauty and power of the God in creating the universe. One of the most important similarities of the decorative motifs under the two domes is the principle of monotheism, which is expressed by reproducible geometric and similar shapes and patterns. Another important similarity is in the use of the peacock symbol in these decorations, which can be seen in the central point of both the domes and the type of geometric shapes. Also the outside of the dome of the rock is without decorations and the outer part of the dome of Sheikh Lotfollah Mosque has Arabesque and Khatai decorative motifs. In the inner part of the domes, the most central Shamsa in the dome of the Rock is the sixteen Shamsa, while in the central part of the dome of Sheikh Lotfallah, the eight Shamsa can be seen. Also, the type of duplicationof the peacock feathers under the two domes is similar to each other and expanded based on fractal geometry. Of course, inside the peacock feathers circles of Sheikh Lotfollah Mosque, it is decorated with a combination of Arabesque and Khatai motifs While in the peacock feathers circles, the dome of the rock, can be seen Arabesque motifs and margins decorated with Khatai motifs, which are drawn a little coarse and with a different form and are more influenced by Byzantine art. Below the spherical part of the dome of the Rock, a Quranic inscription can be seen and below the spherical part of the dome of Sheikh Lotfollah Mosque, there is no Quranic inscription. The Dome of the Rock decorations has the warm colors such as gold, red and cold colors of blue and jade green and the decorations of the dome of Sheikh Lotfollah Mosque has pease, dark blue, blue and Turquoise colors which are cold colors.

Identifying the structural principles governing the carpets of different periods is among the cognitive merits of each period which always leads researchers to apply carpet studies as much as possible and to find meanings based on structures and analyzes based on intertextualities and paratextuals. In the meantime, with the carving of the carpet on the paintings of the Timurid era and the first Safavid century, on the outside, there are signs of the great ability of Iranian artists in painting, and on the inside, the passion is expressed in the language of the paintings, and these carpets with many patterns, along with The lives of the people of that era have been represented. Therefore, this qualitative research, on a case-by-case basis, purposefully selects two examples of paintings from the timurid era and the first safavid century in order to study the structure of the carved carpets in them with a descriptive-analytical method, to answer this main question. What is the relationship between the two intersemiotic systems of paintings and carpets carved on them? In this sense, the present research collects its data in the form of documents and deals with the structural study of the study bodies at two levels of description and analysis. The findings of the research show the creation of visual and verbal systems in study samples is not just a narrative or historical representation, and the pictures go out of an explicit and single layered text and become an implicit and multi layered text related to each other, and intertextual systems in these visual texts with other intertextual and intersemiotic systems, relationships they establish implicit intertextuality.In this sense, the present research collects its data in the form of documents and deals with the structural and semantic study of the study bodies at two levels of description and analysis. The findings of the research show that illustrators have made practical use of the functional nature of the design and its role by painting the carpet as a tradition in their art, and by painting the carpet in the painting environment, they have intensified the relationship between the structure of the carpet and its content; Therefore, structure and content are the reproduction of each other.

Historically and culturally, Bukan is one of the cities of Mukriyan Kurdistan, located in the southern area of Lake Urmia. During the Qajar era, this city became important due to the construction activities of the family of Sardar Aziz Khan, the Minister of War of Iran, during the era of Naser al-Din Shah. During this period, we see the rise of power of a number of tribes, such as the Gurkas, the Dehbokris, the Faizullah Beigis, and the Mukris in Bukan. Currently, most of the remaining historical monuments from the Qajar and Pahlavi periods of Bukan city are manorial mansions. which were built by Khanin and chiefs of Bukan region which at first glance is a sign of the serf lord system and the class gap in a society of that era Bukan. In many of these buildings, various decorations such as brickwork, plastering, carving, mirroring, and wood are used. Therefore, the purpose of this article is to deal with the characteristics and types of decorations used in the mansions of the mentioned periods in this city. In order to achieve this goal, it is necessary to answer questions about the artistic styles and patterns that influence the form of these decorations.Since so far no comprehensive and coherent research has been done in connection with the decorations and architectural style of Bukan lordly mansions. Therefore, the study of these buildings can give a wider understanding of the efforts of the artists of this region in creating comfortable settlements. As a result of the present research, it was found that with the implementation of the feudal lord system, we see the construction of lordly mansions in most of the villages of Bukan city. In addition, the decorations of the mentioned buildings are influenced by the mountainous climate of the region and the architectural patterns of other Kurdish regions of Iran.

In many paintings attributed to Behzad, regardless of his artistic style and structure, works have been mistakenly attributed to this artist. for this reason; The working method in space creation, figures and decorations in the works of this artist is of special importance and their examination has determined the painter's style and has been one of the important factors in identifying the paintings. So the main purpose of this research checking decorations painting, ways figure and atta oh ments and also comparisom human portrait in selected effect of Kamaluddin Behzad, to find portrait painting of dervish effect relat to Behzad. The main hypothesis of the research is proposed as follows: By examining and analyzing Behzad's selected works, the portrait of a dervish is not Behzad's work. The results of the survey show that figure decorations and related objects (clothes, hats, turbans, etc.), can be specific signs for recognizing Behzad's works in any period. By examining the pictorial and decorative patterns and presenting the analytical documents in the presented tables, it is realized that the portrait of a dervish located in the Topkapi Museum in Istanbul can be a work of another artist attributed to Behzad. This work does not use the style used in Behzad's works and does not have its distinctive characteristics.This work according to the existing signs; It probably belonged to an Osmani painting. Osmani painters tried to get influence from Iranian painters as well, which contrast between Iranian painting and Western painting can be seen in the works of these artists. Finally, by examining the pictorial and decorative patterns of the paintings, one can get a better understanding of Behzad's works.

The art of turquoise carving is one of the traditional arts that has been prevalent in the world city of precious and semi-precious stones since ancient times. Turquoise is one of the most important gems known in the city of gems. Considering the economic and cultural importance of the art of turquoise carving and making turquoise jewelry, which can have a great contribution in the field of job creation and income generation and in the continuation of exports; There is no research on the pathology of turquoise art. In this research, with the aim of studying and investigating the current situation and identifying the damage caused to the art of turquoise carving, as well as analyzing the data in the contemporary period, it is pointed out the solutions to fix the damage in different sectors. In response to the main question of the research, which is to identify the damages caused to the art of turquoise carving in Mashhad and find solutions to fix the damages; Diagrams and tables are designed. The research method in this qualitative research is descriptive-analytical of the content analysis type. By relying on archival documents of cultural heritage and technical and professional administration, and by collecting library information and field research (observation, interview) and the type of society respondents, it has been selected with a purposeful method from artistic and opinionated people. By using data theorizing with MAX-QDA software, damages were investigated and solutions were provided. The results indicate that the damages in the pre-production sectors (extraction of raw turquoise stone), production (turquoise carving workshops, tools and problems of artists), the quality of turquoise cutting, as well as the weak points of turquoise stone and teaching the art of turquoise carving, are serious. In relation to the damage removal, the solutions from the language of the technical experts briefly include: the best method of extraction in the turquoise mine, proper and fair distribution of raw turquoise stone, elimination of middlemen and brokers, integration of workshops, construction of advanced lathe machines and government support for art and artist. It is included in the tables and charts.

The collection of Hamzanameh, taken from the stories of the Islamic period of India, has come to the fore in the light of the art of the Gurkani period during the reign of Akbar Shah And due to the efforts of Iranian and Indian painters, it has been implemented in the form of a work with characteristics of Indo-Iranian art. The paintings of this collection are by two Iranian artists who were brought up in the Safavid period. They have been filmed and supervised under the names of Mirsaid Ali and Khawaja Abdul Samad. By depicting this literary-artistic work, the painter has expanded the circle of semantic implications and added new layers of meaning to it. The aim of the current research is to investigate the concepts of good and evil symbols and image elements related to mythological codes And in search of an answer to this basic question: What layers of meaning exist in the elements of good and evil in Islamic paintings and what is their place in the pictorial elements of Hamzanameh? The research method has been descriptive-analytical and the paintings of Hamzanameh were analyzed according to the three stages of iconology presented by Erwin Panofsky. It is read and analyzed in order to reveal the semantic layers of the elements of good and evil. The results of the research indicate that the themes of Iranian painting have penetrated into the tradition of Indian painting and are nourished by the function of epics and myths. The layers of meaning hidden in the pictures represent the concept of good and evil, all of which have followed mythological codes.

Thematic Typology of Human Motifs of Safavid TilesStatement of the problem: Tiling is one of the effective methods of decoration and one of the valuable arrays related to architecture. In the Safavid era, with the selection of Isfahan as the capital and due to the need to build various buildings with various functions, the use of tile art reached its peak and artists created beautiful works with plant, animal, geometric, inscription and especially human motifs. While in previous periods, less human motifs were used on the tiles; In the Safavid era, this restriction was clearly lost. Despite the high quantity of human motifs carved on the tiles of this period, comprehensive and independent research has not been done on them. Therefore, in this research, an attempt has been made to answer these questions by examining the tiles with human motifs of the Safavid period: On the tiles of which group of Safavid buildings, Human motifs are mostly used? And what themes do these motifs have and how we could classify them? The main goal of this research is to identify, collect and introduce the tiles with human figures of the Safavid period and classify themes in order to enlighten the studies in the field of art and architecture in the Safavid period. The information of this research was done by identifying and collecting 82 tile frames with human motifs via using library and field research methods and the research method is descriptive-analytical. The results of the research indicate that during the Safavid period, tiles with human figures were mostly used in non-religious buildings such as palaces, mansions and granges, and baths, and rarely only on religious buildings related to Christianity (churches). The themes used can also be classified into 5 groups: hike and excursion, portrait, hunting and escape, religious-Christian and miscellaneous. The highest quantity with 37 tile frames belongs to themes related to hike and the lowest number with 9 tile frames is related to two groups of hunting and escape, and religious-Christian.

In Chaharmahal and Bakhtiari province, palaces and castles were built during the Qajar era by Khans and feudal lords, who, while using ethnic and local image culture in the decoration of the building, later became a source for the use of local artificial arts artists and even Other artists have become local identity seekers in the contemporary era. In this process of "give and take" and metamorphosis, an interesting manifestation of Iranian ethno-local pictorial culture was reproduced in combination with official art, which was especially mixed with foreign patterns in Qajar art.Examining these luxurious buildings located in the center of the local governments of the noble Iranian peoples (Turks, Lors, Kurds, Bakhtiaris, etc.) in the Qajar period is very important. "Shalamzar Castle Palace" in Chaharmahal and Bakhtiari province is one of these examples. This article, using a descriptive-analytical method and the method of collecting field and library data, tries to show the evolution of the ethno-local image culture of that era by analyzing the decorations of this building as an example, in the intersection with the Qajari pattern. . In addition to trying to consider ourselves as a rich source for contemporary art, and then becoming especially artists who seek to represent local identity. In the future, it should be extended to other similar examples in all parts of Iran, both in terms of methodology and in order to be exemplary.The Qajar rule, not out of tolerance, but out of compulsion to give concessions to the local and subordinate powers, caused local transformations in official and central art to the architectural structure of magnificent feudal buildings in the lands of noble Iranian tribes. This opportunity to reproduce and mix with innovative patterns on the one hand, and borrowed from Farang on the other hand, provided for ethnic-local arts.

The jewelry As a medium not only reflects the the status of wealth,but also is presented as one of the cultural-civilization examples of any society.India, a country that has always been the center of trade communication for jewelry, that as regardless of the beauty aspect, it has a symbolic value based on the beliefs and cultural relations of the pluralistic society of India.Thus, with an ancient age, Indian jewelry, has always been considered beyond body ornament that is speaks with its concepts as a medium of historical identity and rich culture.In the present research, in which we attempt to refer to Bakhtin's dialogism approach as a method to study ornaments, as a work of art, and to consider how dialogism has emerged in the production of contemporary Indian jewelry?The goal is to provide a method to understand the context of the text, a coherent picture of transcultural dialogism, and to understand the process of the formation of jewelry. Because according to Bakhtin's method, dialogism as a special way of looking at the world, can deal with the contextualism and the texts that originated from another culture for reading the works. It means, it considers both the intra-textual elements and the relationship between the elements of the text and outside of the text. The findings have been carried out by the descriptive-content analysis method, which state that what belonged to the artist in the creation of ornaments was only the primary material in their formation, which means that he was never been independent in creating his works. However, in order to objectify the appearance and complete the content of the ornaments, he talks with the culture of "other". These elements have been previously used in the jewelry of the India, and now they have been depicted in the form of ornaments as reminding theme for the audience or future audiences.Therefore, when the jewelry is connected with the context, it can come into existence. Dialogism with the culture of "other" and above all, the Hindu-Islamic beside other cultures in jewelry has made it possible for the artist to remember the Indian culture and evoke it for the audience; because the artist from his own perspective, he will not be able to continue creating his work in historical time and social place.

Imamzadeh Yahya Varamin is one of the significant and prestigious buildings of Ilkhanid period. In the past, there were extensive decorations in this building in the form of plasterwork and luster tiling. But today only its plasterwork remains; But its luster tiles have been separated from the body of the building since the end of the Qajar period and have gradually entered various foreign museums or collections. In this building, there are three different groups of luster tiling, which include altar tiles, tombstones and star tiles. A lot of information has been published in various sources about altar tiles and tombstones, but no comprehensive study has been done on star tiles. Considering that these tiles are abundant in some museums such as the Hermitage, it was necessary to study them in an independent study. Based on this, the main goal of the current research is to investigate and analyze the appearance and decorative features of these tiles, which was done with a descriptive-analytical method. In order to carry out the present research, in addition to studying library resources, images and information available in the archives of various foreign museums have also been used. As a result of this research, it was determined that the star tiles of Imamzadeh Yahya can be considered very distinctive and unique compared to other similar examples in other buildings in terms of dimensions, color variety, motifs and themes of inscriptions. These tiles were probably made by Ali bin Muhammad bin Abi-Taher in Kashan city over a period of five months, and then they were used for the initial coating of Imamzadeh Yahya building.

Tombstones of the Islamic period are among the valuable monuments that contain significant information not only from the perspective of artistic research and knowledge of the evolution of Islamic lines and inscriptions and the art of stone carving; Moreover, it has provided researchers with valuable information in various cultural, historical, religious, social, economic and literary fields. Therefore, in the present research, the tombstones of the Islamic period in the Borkhor region of Isfahan have been studied in a descriptive-analytical way in order to answer the following questions; 1- What were the decorative motifs of Borkhor tombstones in the Safavid to Qajar periods? 2- Which symbols, cultural, social and religious themes and artistic principles and standards did these motifs contain? Based on the results, plant motifs (bergamot, arabesque, cypress, date, lotus, multi-petaled flower), animal motifs (lion, deer, duck, pigeon, nightingale, peacock, hawk), objects (seal, rosary, comb, Ring, mirror, scissors, lock, water sprayer, cane), geometric (circle, square, rectangular, circular, oval, gabled, trapezoidal), sun and water pan are among the motifs used in Borkhor tombstones. Some motifs have an informative aspect and inform about the spiritual states, religious beliefs, moral characteristics, gender and social status of the deceased. Some had a symbolic aspect and were signs of the Garden of Paradise, death and nothingness and rebirth, endless and eternal time, the oneness of the creator and the created, Permanence of the soul and asking for good and blessings on the deceased, and some had a purely decorative aspect. The artistic elegance and composition system of motifs according to such things as the type of motif, morphological type, material, dimensions, stone surfaces, time period, the way of combining with other motifs, the presence or absence and the number of frames, shows different methods.