فهرست مطالب samaneh sadeghimehr

This descriptive-analytical study investigates the dragon motives in architectural decorations in the buildings of Imamzadeh Ali Ibn Ja’far (PBUH), Imamzadeh Ismail (PBUH) of Qom and Takht-e Soleiman of Takap Palace built in Ilkhanid period.

Problem statement: Tiling as one of the most prominent decorative elements in Islamic-Iranian architecture is seen in many Islamic buildings. Some tile designs, such as the dragon pattern, are seen as one of the recurring patterns in the art of Iran and other nations such as China.Now the question arises what are the similarities and differences in terms of format and content between the role of the dragon in the tiles of Iranian buildings and the role of the dragon in Chinese art? To answer this question, the tiles of the two buildings of Imamzadeh Ali Ibn Jafar (AS) and Imamzadeh Ismail (AS) in Qom have been examined. Research objective For this purpose, the dragon motifs in the ancient cultures of Iran and China were compared; the similarities and differences between the dragon motifs on Ilkhanid tiling in Iran and dragon motifs in Chinese art were studied in terms of form, content, and meaning. Therefore, the authors were able to investigate the hypothesis of research stating that the dragon motif in the Ilkhanid period, unlike previous periods in Iran, has found a positive meaning and has been used for religious purposes in religious buildings and palaces after getting acquainted with Chinese culture and art.

The research method of this article is descriptive-analytical and library, documentary, and field sources have been used to collect information.

Finally, the hypothesis of this research was approved and it was concluded that despite the negative and evil characteristics of dragon motifs in Iranian literature and art in previous periods, the dragon motifs on the golden tiles of the Ilkhanid period were influenced by Chinese culture and found a positive meaning and a good concept.

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.

From a long time ago, the Iranian pottery has been as the oldest method of production and this works of art has presented the most important cultural, social and artistic characteristics of Iranian people. Meanwhile, the method of lustre pottery as the Islamic climax of pottery includes the numerous characteristics in the field of Iranian art. In 7th century AH. When was the golden time of producting lustre pottery, Iranian artists and industrialists such as Taher Kashani family developed its production and they got master in this field and they used this technique in the inscriptions and sanctuaries of the most important holy places in Iran. This article studies some existing types of the lustre tiles in Fatemeh-Masumeh’s tomb in Qom and their relationship with other types in Iran. Regarding the signatures on the inscriptions, we can find the oldest one a lustre tiles. The Islamic Iranian pottery improved significantly in different cities of Iran by the development of the science, culture and civilization. From the 5th century AH, a style has been grown according to Iranian national and religious concepts that the best ones can be sought in 7th century AH. The technical and artistic complexity and glory in the development of the methods of the lustre tiles were presented in the inscriptions of lustre tiles in the early 7th century AH. By the support of some founders of that time, some artists like “Abu Zeid” and “Taher Kashani” families could tie the lustre tiles to the body of Fatemeh-Masumeh’s tomb for the first time. The work finished in 602 AH., and it was the first work that included all the artistic and historical features in itself. Perhaps the work of the lustre tiles of Fatemeh-Masumeh’s holy shrine and Imam Reza’s holy shrine which were done in 612 AH. By this group of artist were the last attempts and works in Kharazmshahian era and before the Mogul invasion to Iran. The name of “Muhammad Ibn Abi Taher” is written on the inscriptions as the manufacture and calligrapher. In this work like the other works, “Abu Zeid” had done the decoration of the tiles. The name of “Abu Zeid” was written on two separate tiles and one of them confirms the scribing of the text on the tiles and one that time. Also, in the following decades and probably in 663 AH., “Ali Ibn Muhamad” the son of the “Muhammad Ibn Abi Taher” installed the tiles with different designs and technique in the tomb. The name of its founder “Muzafar Ibn Ahmad Ibn Ismael” and its installer who was one of the Kharazmshahi rulers were written on the inscription. This collection is a precious and national work and also it shows the religious respect of its creators to it. It has boon an artistic indicator and one of the prominent and oldest example in the word of pottery and ceramic. “Caiger-Smith” believes that the lustre tiles innovation was the most important achievement of Muslims in the field of ceramic.