نشریه مطالعات تطبیقی هنر
پیاپی 4 (پاییز و زمستان 1391)

This article begins with the study of marquetry in Islamic period, especially about its artistic and technical features. Comparing with metalworking, miniature and plaster-moulding, techniques of marquetery are divided to flat, convex, concave, network and volume. Contemporary marquetry art has various shapes and techniques in special regions of Iran. Cultural, artistic and climate backgrounds are clear and evident. In Isfahan, the role of local elements and national identity, including designs of Safavi and Qajar periods, and the impact of tourists overtime are undeniable. Besides this, thumbnail elements of Golpaygan have been carved on textured background with primary tools and using local elements, simplified designs and flowers with Qajarid style. Sanandaj climate’s influence with walnut and pears jungles can be seen in the artists’ excellent choice of this nature. Iranian marquetry variety can be seen in smooth and graceful marquetries of Abadeh. Daffodil, rose and willow leaves are the original designs of this region executed by Nish style. Local elements and cultural symbols of Shiraz are usually shown in the designs of Shiraz artists like Lotfali Souratgar, while Abadeh designs have influence on it. The use of various tools and designs has been coordinated with marquetry style and shows the traditional art in these regions.In these areas, designs, styles, tools, common materials and innovations have been discussed and the elements are compared in separate tables. Due to studying a single variable in this research, the main research questions are about different styles of marquetry, coordination of form and technique and original designs in each region. The overall method in this research is descriptive and comparative-analytic. With regard to use it is fundamental and with regard to approach it is qualitative. Gathering data is based on library studies and, especially, field studies including interview, questionnaire and photo provided by author. In Isfahan and Shiraz, the statistical population consists of experienced workshops with sufficient skill whereas in Abadeh, Golpaygan and Sanandaj all active workshops are considered as statistical population.

Carpet production is one of the most important original arts of Iran. It has formed one of the most dynamic discourse systems throughout the history of Iranian art. In the geography of Iranian carpet, Kerman region shines like a bright star. One of the main features of Kerman carpet is that it has been well-developed along with cultural and political changes in Iran, and has succeeded in reflecting the epistemological formations and prevalent discourses in Iranian culture. The discourse system of Kerman carpet, then, has an old background which experienced several changes throughout the history.Although existing samples of Kerman carpet show that history of this art in this area dates back to well before Safavid era, the most brilliant period of its development starts with Qajar era. The influence of economic and political power factors could be traced on the discourse system of Kerman carpet in Qajar era.The present study attempts to investigate, through a comparative historical approach, to what extent power factors, particularly economic and political power of local rulers, have influenced the development of Kerman carpet. In this essay, the developments of Kerman carpet in its golden age, which is named the “renaissance” here, are studied based on the Foucault’s theory of power discourse. It concludes that political and economic powers can be considered as the most important factors forming the discourse system of Kerman carpet.

Identifying and studying the evolutions and developments of Islamic monuments lead to the fact that the evolutionary course of these buildings continues previous traditions. It can be said that the consistent influence of Islamic culture in different periods is one of the reasons for the continuity of such traditions. In other words, in each period the traditions and patterns of the previous period were utilized according to the need and developments. In this regard, school can be assumed as a foundation for higher education and a response to the specific needs of the Muslim community. Among others, Khargerd Ghyasiye School, as an outstanding school in Timurid period, and Chaharbagh School, as the most elegant school in Safavid period and as an extender of architectural traditions of Timurid schools, are of high importance in terms of architecture and decoration. Hence, as in late Timurid period architecture reached its peak, this hypothesis can be proposed that the architecture and decoration in Chaharbagh School has been affected by those of Khargerd School.This study aims at evaluating and comparing the architecture and decoration of these two buildings by using analytical-comparative method, library and field research.After completing the research, it has been concluded that Chaharbagh School has been affected by Ghiyasiye School with regard to the matched physical elements, proportions, some types of techniques, geometrical lines and Kufi lines. But this issue is not proven regarding the spatial structure, hierarchy, proximity, harmony with the climate, inscriptions and motifs. Most of decorative tilings of Ghiyasiye School are in the form of Arabesque designs and stronghold lines, while in Chaharbagh School they are in the form of geometrical, abstract and triangle lines that have mental and simple strength.

The aim of this article is to investigate how social and religious conditions of residents have influenced the spatial arrangement of Iranian traditional houses in the Isfahan of Safavid and post-Safavid eras. The question is: what are the differences between Muslim and Armenian traders’ residences during the first period of Safavid style or Isfahani style (from the structural and decoration perspectives). The chosen principles are on the basis of cultural and social points of view and also the opinions of Rapoport who considers a more important role for cultural and social components in house shaping than other parameters such as climate, technology and construction materials. This project is conducted by a descriptive method using field research, based on interviews, as well as historical documents. At the end, the results are analyzed by a qualitative method applying comparison and interpretation procedure. After dividing findings into two general categories, the results are as following: first, the moral and religious principles such as privacy policies and faiths that depend on religious backgrounds. Second, the socio-economic background which was investigated in two periods of Isfahan life. Improvement of political and social situations, security level and rising of public incomes in these two eras paved the way for building houses whose space and decorations were unique compared to the previous turbulent periods. Armenians’ houses under investigation are related to the first period (Safavid era) whereas Muslims houses are related to the second period. Due to the time difference, these houses are never equal with Armenian houses regarding constructions and decorations. In general, the results obviously indicate a strong relationship between the differences and the social situations. However, the cultural and religious items have deeper and more subtle effects, which are not usually seen at the first glance. This model was formed during numerous years of experience and reformation of living patterns and circumstances.

The miniature of seventy thousand veils is one of the miniatures of Shahrokhi’s Meraj Nameh (Book of Ascension). One of the most significant points springing to mind at first glance is the unique division of the frame of this miniature into four vertical veils which is probably without equal in Persian painting. A number of questions come to the mind regarding the name and theme of this miniature: (1Why has quadruple division been used for representing seventy thousand veils? (2 Has the usage of “four” veils been intentional? (3 Is there any relationship between the used four veils and quadruple veils? This article tries to study the word Hijab (veil) in Islamic culture, express the relationship between Veil and Number 4, and show that the quadruple division is used for showing the concept of quadruple veils in Islam. According to Islamic mysticism, there are four types of veils which are the very vicious characteristics of mankind and prevent him reaching the Truth. The quadruple division of the miniature represents the quadruple internal impediments. The aim of this study is to show that the seventy thousand veils of light and darkness are the same as quadruple veils in the nature of mankind. Regarding the Nabavi Hadith (prophetic saying) that “my Satan has converted to Islam”, these veils were taken off the eyes of the Prophet in the night of Ascension and, in fact, such quadruple division implies taking off the veil. The method of this research is descriptive-analytic and the data is collected via library sources.

Human image is one of the features of the Isfahan style painting. Methods and attitudes that have made it different Than the picture of old schools. This paper examined the conditions that cause this type of attitude and painted, the requisites that make painting a picture of Shah Abbas I will pay more attention.Political, social and cultural exigencies attracted more attention to human images in the era of Shah Abbas I. These exigencies originated from internal and foreign relationships of the government. This research presupposes that certain principles in the Iranian painting originated from the Iranian-Islamic thought but these developments emerged in the iconography of Isfahan School of painting. Therefore, it is necessary to study the domain of these developments.This article tries to examine how these changes can affect the human iconography. Research findings show that various socio-political and cultural factors influenced the human representation in this era leading to new features in the Isfahan School of painting.The methodology of this study is based on historical analysis as well as data collected from library sources.

In each historical period, the King’s portrait has its own meaning and specific purpose for his reign and it has been discussed from different aspects. This article investigates comparatively the causes and conditions of the presentation of the King’s portrait on artistic works of Fath-Ali-Shah and Nasser-Aldin-Shah’s periods in order to reveal the dominant opinions of representation in each era through studying the relationship between art and politics, the changes in visual representation and the methods used to transfer the desired goals in each of the courses and the differences between them. The hypothesis of this study is the different influence of tools and mechanisms of each artistic period on the expression of authority, power, its application and legitimacy. By using a descriptive-historical method, this article analyzes and compares the structures used for representing the King’s portrait in each of these two periods. As a conclusion, it seems that although the two kings belong to the same dynasty and thus there should be the same goal for generating the King’s portrait on various products, due to socio-political reasons and changes, the use of Fath-Ali-Shah’s portraits at that time was to show and prove his authority and hereditary glory of an ancient monarchy to the European powers. On the other hand, as a result of technological changes, in Nasser-Aldin-Shah’s era the visibility of the King and the discourse of that period changed a lot and thus the portrait of the King, even on banknotes or in newspapers, was used mainly to consolidate the bases of power in the society.

In this research, a comparative analysis is presented between characters of Attar’s classic book “Conference of Birds” (Mantegh Alteir) and characters of Beckett’s “Waiting for Godot”. An analytical-descriptive method is employed with the aim of offering a descriptive analysis of the characters’ objectives and the way their behavior and attitudes develop through time. In Attar’s book, written in verse, a large number of different birds, lead by the Hoopoe, make a long journey across inhospitable terrain, enduring great hardship in order to reach the legendary Simorgh, a mythical bird known to have supernatural powers. In this long journey, the congregation of birds passes through seven symbolic stages. At each stage some of the birds either lose heart or change their minds until finally only thirty birds reach the final destination. In Beckett’s play, several individuals eagerly await the arrival of a hero named Godot who may deliver them from misfortune and strife. A boy delivers messages indicating the imminent arrival of the hero, but Godot never comes. The question is raised in the present study as to whether it would be possible to logically make a comparison between Attar’s text which is essentially mystical-moral in nature and Beckett’s “absurd” play. By offering a comparative analysis of various characters, the main challenge faced by the present study is to determine the existence and lack of meaning and spirituality in the lives of the characters of the two literary works and to consider how these two great writers view the world which is faced and challenged perpetually by mankind. In addition to this, after reviewing the works and in order to test research hypotheses, several key words in the two works are gathered and statistics are presented in the form of tables and graphs. Attar’s characters are active in all stages, but Beckett’s characters are passive. It seems that they passively depend on the deliverance by another person in order to gain freedom and happiness. Beckett’s characters are divergent and unsuccessful while Attar’s characters are successful and convergent. Ultimately, Samuel Beckett invites mankind to Unity by showing the emptiness and materialism which result from lack of truth-seeking and self-recognition. Attar, however, abhors dependency on materialism and emphasizes the goodness of truth and the significance of achieving and maintaining Unity.

Typographical and pictorial representations are the two main components of a graphic work of art. Generally, attention is primarily paid to the plastic art aspect of pictorial representation. However, the visual aspect of typography invariably imposes a visual design common between the written form and the pictorial representation. Since Farsi writing is founded upon the bases of plastic arts, any alteration of the structure of writing will damage the plastic art dimensions. Therefore, recognizing various line structures and their directionalities are important requirements for understanding the plastic art aspect of writing, especially in written Farsi. Proper knowledge of these rules plays an important role in discovering and shaping standards for the graphics of Farsi fonts and prevents a potential disparity between the written and its graphic form. This essay examines the singular (disjoint) characters in written Farsi and the Roman characters, and explores the differences in the appearance of Farsi characters between their joint and disjoint forms. The study of appearance and line structures of Farsi Words leads to the conclusion that knowledge of the line structures in characters and their general shapes play a fundamental role in establishing the visual impact of the written Farsi. In this study, the meaning conveyed through line structures in printed Farsi characters are considered from two perspectives: Variety of line types in structures of characters – for instance the dominant line structure in letter “ع" is the curved line. Variety of line structures in the formation of fonts – for instance in KOUDAK font, the dominant movements are with curved lines. Through an examination of various writing styles, their application in Farsi font settings, and their strong visual impact, it is concluded that these elements have a distinct impact on the communication of meaning and feeling to the viewer.