majid mazidi sharafabadi

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.

Portraying the Shahnameh stories and especially the story of the battle of Rostam and Ashkobus is one of the common subjects of the coffee house painting. In illustrating stories, artists create their works by referring to the original text of the story and relying on their imagination and the artistic knowledge of the past. Accordingly, the comparative study of text and image in the coffee house paintings of the battle of Rostam and Ashkobus as one of the important stories of the Shahnameh seems necessary. Knowing how the scene of the battle of Rostam and Ashkobus is represented through coffee house painters, identifying the degree of conformity of the paintings with the poems of the Shahnameh, and identifying the similarities and differences between the samples and the poems of the Shahnameh are among the objectives of this article. The present research is a theoretical study and has been conducted with a descriptive-analytical method and comparative approach, and the library, documentary and image information has been analyzed with a qualitative method. Case examples of the research include 6 works of coffee house paintings by Hossein Qoller Aghasi, Hossein Hamdani, Mansour Vafaei, Hassan Esmailzadeh and Mohammad Farahani.

Cultural products such as Stationeries, have direct effects on the cultural identity of the society. Importance of preserving the identity and cultural values of the society necessitates the use of Persian art patterns in designing and decorating the Stationeries. Tahmasp's Shahnameh Paintings have great artistic value and have many decorative motifs. Also geometric motifs are one of the most important sorts of these motifs. Zahak's dream painting in Tahmasp's Shahnameh has a many variety of geometric motifs.The purpose is to identify the geometric motifs of Zahak's dream painting in and to use these patterns and motifs in the design of cultural products, Stationeries. Questions include: 1- What are the types of geometric motifs and patterns in Zahak's dream painting? 2- How to use the various geometric motifs and patterns in this painting, in the design of cultural products, such as Stationery (note book and pen)? In the study, library and documents information have been qualitatively analyzed with a descriptive-analytical approach and the case study includes the Zahak's dream painting. The results show that there are 26 geometric combinations in this painting, which are also composed of 19 types of patterns. These geometric motifs have been used in designing 11 samples of Stationery, 4 notebooks, 2 Small notebooks and 5 pens.

Problem Definition: 

"Sultan Mahmud Shah of Bondarabad" complex in Yazd is a historical building founded in the 7th century A.H. by a religious mystic, Sheikh Taqi al-Din Dada Muhammad, in the village of Bondarabad. This complex includes a mosque, monastery, mausoleum, reservoir, protective towers, and other side buildings that have been formed over several years, different parts of which have various decorations. For example, the pulpit of the Grand (Jame) Mosque of this building has many decorative motifs. Therefore, the historical importance of this building, as well as the decorative motifs used in the pulpit of its Grand Mosque, necessitated the present research, and during it, the following questions are answered: What kind of decorative motifs does the pulpit of the Grand Mosque of Sultan Mahmud Shah Bondarabad have? What meanings and concepts do these motifs have?

The current research aims to identify the decorative motifs of the pulpit of the Grand Mosque of Sultan Mahmud Shah in Bondarabad, Yazd, as well as to know their hidden meanings and concepts.

The current research has studied the pulpit of Sultan Mahmud Shah Grand Mosque in Bondarabad, Yazd, using a descriptive-analytical method and qualitatively analyzed library, documentary, and field information.

The findings of the present research show that the pulpit of the Grand Mosque of this historical building has been decorated with floral, geometric, inscriptions, and calligraphy motifs. Its plant motifs include Khataei and Arabesque, and its calligraphy motifs include Thulth and Kufic Banaei scripts, and the texts of the inscriptions also express the principle of monotheism and prophethood, the flow of the word of God from the position of the Prophet of Islam (PBUH), and the belief of the Shiites of the Twelve Imams. Also, its geometric motifs include five-pointed stars and a ten-pointed sun, which form the eight-twelve Pili knot.

According to the verses of the Qur'an and Islamic traditions, Imam Ali(AS) has many virtues and Iranian painters, in different historical periods, have illustrated his image. In the Manuscripts of the el-Âsârü' l-bâkiyye Birunî and the Jami' al-tawarikh Rashidi belonging to the Ilkhanid period, drawings of him can be seen. Since Âsârü' l-bâkiyye Birunî and the Jami' al-tawarikh Rashidi have scientific-historical and historical content, respectively; various personalities of Imam Ali(AS) have been presented. The importance of this issue has necessitated the present research. The objectives of the research include recognizing the personality traits of Imam Ali(AS) in the Manuscripts of the el- Âsârü' l-bâkiyye Birunî and the Jami' al-tawarikh Rashidi and identifying the influential mentalities in choosing the subject of the drawings related to the Imam in two versions. The questions also include: 1- In the drawings of the manuscripts of the el- Âsârü' l-bâkiyye Birunî and the Jami' al-tawarikh Rashidi, which personality traits of Imam Ali(AS) have been discussed? 2- What is the mentality of choosing the subject of the paintings related to Imam Ali(AS) in the copies of the el- Âsârü' l-bâkiyye Birunî and the Jami' al-tawarikh Rashidi? In the research, library, documentary and pictorial information have been studied in a descriptive-analytical manner with a comparative approach and the samples include 3 drawings of Âsârü' l-bâkiyye Birunî and 2 drawings of the Jami' al-tawarikh Rashidi have been selected in a purposeful and non-probabilistic manner.In the three pictures examined from the manuscript of the Âsârü' l-bâkiyye Birunî, much attention has been paid to the discussion of the succession of Imam Ali(AS) and his children and the continuation of the path of Imamate by him.Imam Ali(AS) is depicted in one picture with his whole family and in another picture with his children. Imam Ali(AS) had a dignified and calm face in all three paintings, but he has the sword of Zulfiqar with him, and considering that the only armed person with a sword in the paintings of manuscript of the Âsârü' l-bâkiyye Birunî is Imam Ali(AS), it shows paying special attention to the painter has the aspect of warlike personality, courage and most importantly the cultural personality and position of Imam Ali(AS). The Ghadir Khumm incident is the most important event in the Shiite discourse, which is one of the drawings of the Âsârü' l-bâkiyye Birunî. On the day of Ghadir, the Prophet of Islam equated Ali(AS) with his power, personality and dignity, and by the command of God, introduced him as his successor and leader of the Muslims. A cloud can be seen above the head of the Holy Prophet(PBUH), which is called Arhas. Around the heads of all the persons in this painting, a golden halo is seen and it is not a sign of holiness and Imam Ali attracts attention with his Zulfiqar sword. Another image is dedicated to the Mobahela event. This event is very important for the Shiites because the Prophet(PBUH) chose Hazrat Fatima(PBUH) and Ali(AS) from among his companions and elders to face the Christians of Najran, who according to the Shiite discourse, the Ahl-e-Beit of the Prophet(PBUH) are known and from the Shiites' point of view, the event of Mobahela expresses the superior and valuable position of the family of infallibility and purity. In this picture, the Prophet(PBUH), Imam Ali(AS), Hazrat Fatima(PBUH), Hassan(AS) and Hussein(AS) are seen. A piece of cloud can be seen above the head of the Prophet (PBUH) which refers to the same subject of Erhas and this cloud is drawn on the head of 5 people and in a way emphasizes the concept of Ahl-e- Beit and velayat. In this painting, too, the halo of sanctity is seen around all people and is not a sign of sanctity. Double-edged sword of Imam Ali(AS) is illustrated in this painting and the cultural aspect of Imam Ali(AS) and his caliphate and guardianship is emphasized. The encounter of the messengers of the false prophet with the Prophet Muhammad(PBUH) is also the third image of the manuscript of the Âsârü' l-bâkiyye Birunî and refers to a man in Yemen who is known as Musaylima Kazzab. In his letter to the Holy Prophet(PBUH), he claimed to be a prophet and considered himself a partner in the rule and rule of the Holy Prophet(PBUH). This picture shows the scene of the messengers of the false prophet facing the Holy Prophet(PBUH). In this work, the cloud above the head of the Prophet(PBUH) refers to Erhas like the previous two paintings, and Imam Ali(AS), Imam Hassan(AS) and Imam Hussein(AS) are depicted in the painting, and Imam Ali(AS) being in the center of the box shows the importance of his role. In this work, halos around the head, like other paintings, are not a sign of sanctity. The presence of Hassanein(AS) in the middle of the box and between Imam Ali(AS) and the Prophet shows the importance of the successor of the Prophet and the continuation of the path of Imamate. Also, the only armed person in the work is Imam Ali (AS) who accompanied dobble edged Zulfiqar is depicted by the painter. Also, in the manuscripts of the Jami' al-tawarikh Rashidi, there is no holy halo around the heads of people and it seems that the personality of the Prophet(PBUH) was more important than Imam Ali(AS) to the painter. In fact, the character of Imam Ali(AS) is not more prominent than other people depicted in the paintings and is only shown as a brave warrior and in the service of the Islamic Army, and Shiite orientation , directional look and Shiite history can not be deduced from it. the first picture which has been dedicated to the subject of sending Imam Ali(AS) and Hazrat Hamza to the mission of the Battle of Badr by the Prophet(PBUH) is one of the most important and influential wars in the history of Islam. This war was the first one between the Muslims and the infidels of Quraysh that took place in the second year after Hijra and is known as the Battle of Badr. Based on the text of the painting, the painter describes the moment when seems that the person sitting in the center of the image and pointing to the people present on the left side of the image is the Prophet (PBUH). The three men are talking to the Prophet (PBUH) and the older person in the center of the stage is apparently Obaid. On the right of the image, two people on horseback are probably Hamza and Imam Ali(AS). Imam Ali (AS), like the other people in the picture, has a spear in his hand and according to the narration of the book, he has volunteered for war. In this picture, the figures of the people and horses of the two people on the right are larger than the others, and thus they are distinguished from the rest of the Prophet's troops; but the painter did not emphasize the outstanding of the Prophet(PBUH) in this painting and the halo around the head of any person is not seen and in the portraits of the soldiers there is no prominent state. The second image also refers to the battle of Badr, and this image shows the battle between Ansar and Quraysh. The painter has shown the courage and bravery of these warriors by depicting Hamza, Ali(AS) and Obaida. The figure riding a horse in the middle of the painting is Imam Ali(AS) and is depicted with full military clothes and tools, killing the person in front of the image. Here, the sword of Imam Ali(AS) is more visible than other weapons of the warriors and shows the importance of the sword-wielding power of Imam Ali(AS). A noteworthy point in the painting is the lack of double-edged sword of Imam Ali(AS). But the Hazrat is splitting one of the enemies of Islam into two, and the state of the characters and the horses is illustrated in such a way that it seems that the defeated enemy is escaping from Imam Ali(AS) on horseback. Because the riders are not face to face and the enemy is sitting on the horse in the opposite position, which is a bit irrational.In general, the results show that in the manuscript of the Âsârü' l-bâkiyye, Imam Ali(AS), his successors, guardians, his children and the continuation of the path of Imamate, as well as the personality of Imam Ali(AS)'s family man have also been discussed and Imam Ali(AS) has not been distinguished from others in the manuscript of the Jami' al-Tavarikh Rashidi, and the painter has portrayed Imam Ali(AS) as one of the brave and capable warriors of the Islamic Army. Also, the painters of these manuscripts have paid special attention to Shiite themes in the Historical-scientific manuscript of Âsârü' l-bâkiyye. Therefore, the family of Imam Ali (AS) and the discussion of his successor and guardianship have been given more importance and the aspect of warfare and his cultural personality can also be seen in these paintings. It should be noted that according to the text of manuscript of Âsârü' l-bâkiyye Birunî, the painter has considered events such as Ghadir Khumm, Mubahila and the occurrence of the Prophet Muhammad(PBUH) and the messengers of the false prophet, While the painter in the historical manuscript of the Jami' al-Tawarikh, based on the historical text, has had a documentary view of events and has paid more attention to the fighting character of Imam Ali(AS) and there is no sign of highlighting his character in the paintings.

The conquest of Khaybar is one of the most important historical events in the Islamic world, which has attracted the attention of artists and painters in different periods of the history of Islamic Iranian art. This event is very important to the Shiites because the Jewish castle was conquered by Imam Ali (AS)  during this event. The necessity of this study lies in the importance of the conquest of Khaybar, the significant position of Hazrat Amir Momenan(AS).

The purpose of this study which is understanding the changes and illustrations of this event in the Safavid and contemporary periods. The present study seeks to answer these questions: How did the painters in the paintings related to the conquest of Khaybar in the two Manuscripts of the Safavid period’s Falnama and the paintings of Mohammad Modaber and Hossein Hamedani represent this event? In the  Safavid and contemporary historical periods, what changes can be seen in depicting the event of the conquest of Khaybar? and In what cases should the causes of changes and differences in the type of representation of the Khaybar event of the conquest of Khaybar be sought in the drawings of  Falnama in the Safavid period and the works of coffee house paintings?

In this research, library, documentary, and visual data were analyzed in a descriptive-analytical manner using a comparative approach and the subject of the conquest of Khaybar by Hazrat Amir Mo’menan(AS) in two drawings of two Manuscripts of Safavid’s Falnama and two samples of paintings by contemporary artists including Mohammad Modabber and Hussein Hamedani were compared and analyzed.

The results show that in illustrating the event of the conquest of Khaybar, the degree of adherence to the narrations in the drawings of the two Manuscripts of Safavid’s Falnama is much higher than the coffee house paintings of Mohammad Modabber and Hossein Hamedani, and in the Safavid period, the miraculous aspect of Imam Ali’s(AS) action was more important than the contemporary period.