فهرست مطالب hamid farahmand broujeni

The attitude and reaction of Safavid government as a central integrated government in the Islamic world towards art, culture and religions, especially Jews, can be studied and analyzed. The dominant atmosphere of Isfahan in 11th century (hijra) was so that the Jews of this city could produce their unique illustrated books by adapting the themes of literary masterpieces of Muslim Iranians and using as the model the techniques and traditions of book-decoration prevalent in the royal art workshops or private workshops in that period. Meanwhile, regarding the longstanding presence of Jews in Iran, some particular indices known as Judeo-Persian were created which represented their specific linguistic and expressive features and they can be observed and explored in their particular literature and texts as well as in the field of book-decoration. Using a descriptive-analytic method, this study aims at shedding light on the activities of Jews, particularly their art of book-decoration, in two classes of religious and national texts by providing a close reading of nine paintings from the library of Jewish theology school of America. The study of these texts and paintings portrays a group of people who not only tries to keep their language and basic concepts alive but also keep their connection with other people and religions of this country by selecting common visual manners and conventions of Iran and emphasize their shared concepts as an Iranian.

Ghaffarieh Dome, one of the most historically important monuments of Maraghe, was built by order of Ilkhan Abu Saied during Ilkhanid era. The dome enjoys several exquisite mosaic/enameled inscriptions. Only few parts of the front inscription have survived and the written content of the inscription could be found in nearly no sources; it is not clear for whom the dome has been constructed. On the façade of the dome, there is an inscription reading Sultan Abu Saied Ilkhan. Major parts of this inscription have been damaged. The content of this inscription has been read and recorded by André Godard in 1930's. While examining the inscription to restore it, several inconsistencies were found between Godard's reading and that of remained onto the plaster surface of the inscription in relief. Therefore, one of the major aims of the present study was to reread the content of the inscription once done by Godard. Available evidence indicated that different information could be obtained through rereading the inscription. The principle of preserving the originality of the work dictated that such information, however scantily, had to be recorded more exactly than before. This has to be done with utmost precision given the very old age of the monument and before the total disappearance of the inscription under study. To do, first different pictures were taken and different plans were provided. Then, they were compared with similar inscriptions. In this way, the justifiably reliable content emerged. The methodology was based on gathering data from field studies, library sources and on a comparative/inductive approach. The intended inscription, and many similar ones, is in real danger of vanishing. Therefore, reading the content and recording the vanishing evidence may help in preserving the originality of the inscriptions and associated historical and cultural values, from one hand, and in preventing bad interventions, from the other hand. One of the considerable achievements of this study was defining an approach to trace and to record the content of damaging mosaic inscriptions. In addition, the correct reading of the front inscription was provided and several new parts were identified as well. Also, the connotation of the newly found words was analyzed giving a relatively different interpretation of the content. All this indicated the importance of precise recording of historical inscriptions and that of application of systematic approaches to do so.