جستجوی مقالات مرتبط با کلیدواژه « نقوش » در نشریات گروه « علوم انسانی »

In the present study, the petroglyphs of Kabogan Valley in the city of Gesht, which are located in the Siahan mountains of Saravan city, were investigated with the descriptive-analytical method and library and field information in the form of observation, photography and determining the location of the paintings, with the aim of introducing and symbology. Kobogan petroglyphs seek to answer these two questions: What was the purpose of creating petroglyphs?What are the meanings of the patterns carved on the rocks? The findings showed that; By examining the types of motifs carved in this area, we come across symbols of fertility and birth, symbols of love, directional symbols and animal, human and plant motifs, which show the long history of living in this area and They show the early beliefs and rituals of the residents. Finally, the result was that; These petroglyphs are not related to a specific period of time, but were created during different periods with different purposes, in general, most of the motifs of the old periods had ritual concepts, but the themes of the motifs of the new periods are mostly narrative and are a reflection of the way of life of that period.

Indigenous-traditional arts in each region are the visual and cultural representation of that region. Since these industries rely more on materials and indigenous and traditional expertise, in addition to being practical, they represent people’s lifestyle, the thought and culture of the artists. ziloubafi, pottery and architecture are among the oldest traditional and indigenous arts in Meybod, a city located 50 kms from Yazd province, and have been formed and developed in the Islamic period in line with the principles of Islamic art. The remarkable variety of motifs in zilou, pottery and local Architectural decorations, composition and structural principles specific to these traditional arts, has led to coherence in the composition of motifs and colors in them and has accommodated a wide range of culture and beliefs of Meybod residents. This paper studies the relationship between the concepts of motifs in the three aforementioned arts, with focus on ziloubafi and its comparison with the two other arts. The primary question of this study is what were the fundamental characteristics and concepts of the three idiosyncratic arts of Meybod, which were based on the artists’ culture and beliefs, that could not only remain during the Islamic period, but could be universally registered? And the secondary question is what kind of relationship between form and structure of zilou, pottery, and architecture of Meybod and the culture and society of this region? The purpose of the study is that 1) identifying effective factors in the combination of designs and colors of zilou, pottery, and architecture decorations of Meybod could lead to visual aesthetics despite simplicity, and this is the main aesthetic principle of Islamic art based on unity and simplicity. 2) recognition, analysis and comparison of the designs and colors of zilou with those of pottery and local architecture decorations is based on emphasis on visual principles of Islamic art. The research method is descriptive (qualitative content analysis) and the relationship between the mentioned factors and the visual characteristics of Islamic art has been investigated using the quantitative content analysis application, called MAXQDA 2020. The indigenous-traditional arts of Meybod developed over time while preserving their roots and their symbolic aspect and beauty is in line with visual aesthetics of Islamic art. These three arts were in line with the spiritual and psychological needs of the people of their region and reflected the Islamic culture. These arts can survive and develop via local technologies of the present time with proper plans in the production process, use, and biocompatibility. Also, the link between the past and future can lay the ground for innovations in this field, which is an important factor in the preservation of indigenous and traditional arts per se.

The Qajar era was the beginning of extensive changes in all dimensions in the face of Western civilization. In the years of European progress; Iranian society was experiencing an unfavorable situation due to various internal and external factors. In such circumstances, in order to compensate for this backwardness, the West was modeled in many areas, and architecture was no exception. During this period, there was a sharp break in the process of Iranian architecture and the imitation of Western architecture in Iranian architecture began, which one of these aspects of influence appeared in architectural decorations. The present article has studied the political history of the Qajar era with an analytical-historical approach and has answered the question of the role of Qajar politics on the influence of architectural decorations from the west through the data method of the foundation. After coding the events and analyzing the data ؛ها ;Weakness in the four indicators of knowledge of the interests of society, creating welfare and security, management and care of internal affairs, program and method of action as the central codes affecting the government's orientation to the West was obtained in direct connection with the arrival of Western architectural ornaments in Iran Is.

Kashan is one of the regions that, due to its historical background, has benefited from the existence of these stucco mihrabs in the course of the historic period. The tomb of Baba Afzal Kashani, located in the village of Marq in Karkhan, is one of the buildings that has been adorned with a stuccoed mihrab of the eighth century AH. The present study deals with the analysis of the structure , plant and geometric designs, inscriptions and their composition in the aforementioned stucco mihrab and intends to emphasize its assignment to the eighth century AH by explaining the characteristics of the visual features of the designs and their composition used in this mihrab and comparing it with some samples of dated plaster works. So the main question of this research are as follows: What are the significant features of the decorations of the mihrab of Baba Afzal Tomb and to what extent are these characteristics similar to the mihrabs or the plaster works of eighth century AH? The data was collected through field research, i.e. photography- linear analysis of the images, and based on written resources which analyze the data obtained from the study samples through a comparative historical approach. The results show that plant motifs, i.e. arabesque and khataie, and especially their unique decorations, i.e. using geometric, tear-like ajdekari, multi-level, dense and unstructured compositions, thuluth inscription of the mihrab border in a background of plant motifs (khate stem with lilies), the method of creating the thuluth inscription letters and the way to use geometric motifs in the tomb of Baba Afzal are similar to other mihrabs and plaster works of eighth century, especially those located in Isfahan and Tehran. It is worth noting, however, that in structural terms, the arch shape (angular form) in the second blind arcade of the mihrab of Baba Afzal is similar to stucco mihrabs or the golden tiling (seventh and eighth centuries) of Kashan.

Although political and military changes are swift and tangible but gradually grow less and become softened. This is not the case for cultural-artistic changes, especially in the past eras. It took a long time to stabilize such changes in territories. Sometimes, they were faced with passive reactions and even negative or affirmative resistance. For the same reason, the final outcome was different from the initial purpose and one can see some kind of amalgamation in long term.The said fact is applicable to many cases including the Sassanian collapse by the Muslim Arabs. Albeit the fact that the Sassanian army was defeated in the battles of Qadisiyyah, Jslula and Nahavad and the murder of Yazgird III in Merv which resulted in the fall of the Sassanian dynasty. And accordingly, Muslim Arabs ruled over Iran. However, cultural-artistic and even religious changes were never swiftly and suddenly happened. During the Islamization of Iran, especially after the ill-treatment of Iran by the Umayyad and Abbasid caliphates, a series of drawbacks were created that led to the emergence of Shu’ubiyya who religiously desired to return to the Sassanian period through art. Continuance of the Sassanian patterns in the artworks of the early Islamic centuries, especially on textiles of the then time, all reveal the Iranians’ desire to revert to the Sassanian art and culture -not their religion- briefly speaking “reversion to the Sassanians”. The present article focuses on a statistical society of textile of the last stage of the said period, i.e. the Buyid period. Such preference was made for two reasons: Firstly, the Buyids were the last and the most enthusiasts to revert to the Sassanians. Their successor was the Seljuks who were reluctant about it after being stabilized. Secondly, as the Buyids were Shiites, they did not follow the Sunni caliph. As a result, they had the freedom to emphasize their cultural-artistic independence. The findings of this article depend on three following pieces of textile dating back to the Buyid dynasty which are now kept in Cleveland Museum as well as some textiles that belong to the Sassanian period:The Buyid Textile being kept in Cleveland Museum with registered No. 1941.292Title of Textile: Cloth with Pattern of Star and GriffinWeaving Style: Plain Design with Silk WeftDimensions: 30.5 Cm X 40.3 Cm (12 X 15.8 in.)Place of Safekeeping: Cleveland MuseumColors: Black and WhiteThe Buyid Textile being kept in Cleveland Museum with registered No. 1962.264Title of Textile: Cloth with Pattern of Gereft-o-GirWeaving Style: Combined with Silk Weft (double-sided)Dimensions: 65 X 171 cm. (259.16 X 675.16 in.)Place of Safekeeping: Cleveland MuseumColors: Ivory and BrownThe Buyid Textile being kept in Cleveland Museum with registered No. 1982.43Title of Textile: Cloth with Pattern of Hunting FieldWeaving Style: Combined with Silk Weft (double-sided)Dimensions: 156.5 X 141.5 cm. (615.8 X 551.16 in.)Place of Safekeeping: Cleveland MuseumColors: Ivory and BrownWith regard to our theoretical framework, this paper employed library and documentary research. The findings show that artists deeply desired to use Sassanian patterns in their artworks particularly in textiles within the early Islamic centuries (especially the first four centuries). Their desire reached its zenith at the Buyid Dynasty. It is worth mentioning that the Iranian artists did not limit themselves with the mere imitation of the Sassanian patterns but they tried to redesign and make changes in the said patterns which enjoy noticeable specifications in relation to their original patterns and artworks. They prove the viability of ingenuity and creativity in this regard.In other words, such artistic actions were the mainstream genre of the said period which were the reflection of tendencies and thoughts that have not been explicitly expressed but there were lots of evidence that show how the said thoughts were alive in the peoples’ minds.As a result of continuous clashes of dispersed sovereignties in Iran, those tendencies and thoughts were gradually disappeared due to the disappointment caused by the non-revival of ancient Iran. After the powerful emergence of the Seljuqs who succeeded to rule all over Iran, the tendency to revert to the Sassanians was gradually lessened although its impact on artworks remained for a long time, but merely as art nor as a sign for any reversion to the Sassanians.

One way to identify the cultural characteristics of each ethnic group is to study their clothing. Traditional clothing in any society can represent their identity and culture. Traditional Baluchi clothing is their most valuable cultural asset because of its wide use, and the visual dimension reflects the social and cultural identity of this ethnic group,Needlework is one of the most common, yet most prominent, arts among Baluchi women, which despite being well-known in most of the studies in this field, has less paid attention to the formal structure of its motifs ,This study aimed to identify the needlework roles of Iranian Baluchis through objectivity and subjectivity. The importance and necessity of the purpose is that it is used daily in the daily lives of the people, and despite the long years of diversification of clothing, it has always maintained its place in the rich culture of the Baluchi people and is an important part of the economy and employment. This is a descriptive-analytical study. Baluch needlework patterns are very diverse, with the needlework variety being objectively and mentally expanding now and new designs and designs have emerged from the mix of original designs

Traditional art is a manifestation of the beauties emanating from the tastes, beliefs and beliefs of different peoples of the region, and a solid evidence of their attention to the world of millennia around them. The art of needlework is also one of these. In the meantime, the people of Sarbishah have combined their love and patience, their imaginative and visionary designs in the art of needlework, to decorate their home, an art that has long been embraced by women artists in the region. And has unique motifs that are visually and visually consistent. The purpose of this study was to identify, analyze and evaluate the needlework motifs of Sarbisheh city screens. The statistical population of the study is in the area of three villages of Mokhtaran, Chanest and Dahshib which have more motifs than other villages. The method of this research is descriptive-analytical and the method of collecting field and library information. The objectives of the research are: To study and introduce the motifs of the screens of Sarbisheh city, to classify the diversity of the motifs of the screens-views and to compare the motifs and the influences of the culture and customs of the region on these screens. Examination of these cases revealed that the motifs of the screens in the three villages studied were classified into four groups (plant, animal, birds, and poems). These roles are intertwined with the beliefs and cultures of the people of this region, and their understanding of them illuminates a large part of the rich narratives of the region›s visual culture.

 The relationship between art and the world of science, especially mathematic , geometric art, and software art , is not only a subject of the aesthetic studies of art , but can also be placed among the social studies of art . Fractal is an interdisciplinary art generated by computer and closely associated with geometry , algorithm and mathematics. It is impressed by cosmic forms and derived from the principles of classical art. Fractals are not something apart from the motifs familiar to us . They emerged at the post-modern era. In fractals, the world of science, geometric order , challenging this geometric order and an expression of coexistence and collapse are the phenomena of Order and Chaos . The fractal art is a language to express order and disorder in the postmodern world . All these are manifested and defined in the digital world, computers and software art.

With the formation of the Safavid government (1502-1722) in the geographical sphere of Iran, which led to the termination of local governments and the creation of political unity in the country, the Iranian society came under the influence of the political and religious orientation of the Safavids. The Safavids continued the old governmental and cultural traditions of Iran, but they also promoted the ideological tenets of the Twelve-Imam Shiism as the official religion, and in this way, they gave a distinct identity to Iran and its people, and parts of this distinct identity remained forever. This change of policy influenced the imprints on the coins minted in this period in a way that they had new shapes and Images. Of course, it was not something new in Iran. Before the Safavids, policies and ideologies could influence the shapes and imprints of the coins, and they reflected the political and religious attitudes of the rulers and the kings. Compared to those coins minted during the Ilkhanids, the coins of the Safavids excluded the marks and traces of religions other than Shiism since the Safavid kings had announced their firm support for the official religion. The present study uses a combined method consisting of field studies and library approaches in a historical-analytical manner to study the process of changes of coins during the Safavid period in terms of images and religious mottos imprinted on them as a reflection of the attitudes of the Safavid kings. It also compares and contrasts the Safavid coins and the Ilkhani as well as Taimouri ones. Findings show that the Safavids used the coins as an instrument for the promotion of Shiite teachings.

Embroidery clothing and textiles is of particular importance and the art of tribal customs and culture are interconnected in many parts of the world. Women have the main role in this activity and it is an important art in Iran and India. These two countries have had commercial and political relations since Achaemenids and it has been developed especially from the 15th to 17th centuries. Following the activities of Indian traders in Hormozgan, which was at the end of Nasereddin Shah's and Mozaffareddin Shah's era (1300-1344 A.H.), the cultural and artistic relations between two countries developed and led to the influence of both countrie's art on each other. The main focus of this study is to analyze the common embroidery patterns used in Hormozgan and India, comparatively. Accordingly, first different types of embroidery in these two places and then the common patterns between them are introduced. These patterns are divided into three categories: geometry patterns, plant patterns and animal patterns and each group contains other types as well. They are the common designs which can be seen in most of women's clothes in Hormozgan and India

Shawl is one of the luxurious kinds of fabric that there is no information about its first production date. Indian Mongols had good relationship with Safavid dynasty، therefore many similar designs between woven fabrics of both dynasties can be found. Surely the Kashmiri artists were affected by Iranian handicrafts men. Common decorative elements can be seen in Iranian and Kashmiri shawls. This research conductedusing the historical-descriptive and comparative method. Data was gathered using library resources، and then they were classified to indicate the similarities and differences between the Iranian and Kashmiri shawls. This research was conducted to answer the question that how the Kashmiriand Iranian Shawls are similar in design. The results classify the similarities among samples as follows: Repeat unit: Fabric designs were repeated units all over the surface. Forms: The forms were geometrical، curved or circles. Repeat: The main motif was repeated in all directions. Proportion: Proportions could be seen between motifs and background designs.

Village of Abyāneh is one of the marvelous Iranian historical villages that contains considerable art-works from different historical periods, including a number of engraved doors on some of the historical buildings and houses which beautiful inscriptions are carved over them. Religious buildings of Abyāneh contain five engraved doors, three of which belong to Porzaleh mosque; one dates back to Ilkhanid era, while the other two is a work of Safavid period. One other door made in safavid period is placed in Hosseinieh near the village holy shrine and the last one is a beautiful door from Qājār period at the entrance of Jameh (congregational) mosque made by Safar Ali Bidgoli. There are also about twenty single doors from safavid period standing on Abyāneh houses which are masterpieces of art and architecture. The inscriptions over the doors of houses include monotheistic statements, Persian poems, name of the owner and craftsman, and the date of manufacturing. Persian poems and Arabic phrases are typically composed of worship to God, ask for abundance and blessing, emphasis on monotheism, and seeking help from God. After the names of God, Allah in particular, the name of Ali is mostly seen on the doors that illustrate the cultural and religious impact of safavid period. The inscriptions were incised on the doors inside arabesque shaped frames on the top and a beautiful Shamseh (sun-like) in the middle. Abyāneh’s doors are key elements which represent a great part of cultural, historical and artistic identity of this peerless village.

All the remaining works of decorative art of Islamic monuments, especially in religious places, like mosques have their particular emotions and deep visualization. In fact, mosques have been changed into unique treasury of Islamic art manifestation. In the history of Iranian architecture, the Seljuks architecture has the utmost importance. The importance of this critical period can be found in spectacular decorations of remaining inscriptions. Most of the Seljuks monuments are decorated with bricks, but in some parts of the monuments such as the inscriptions of the domes and porch(iwan), stucco had been used because of its more flexible form. In this case, Zavareh Jame Mosque is one of the spectacular monuments from Seljuks period. In this article, it’s tried to understand its historical and conceptual dimensions, in order to focus on its graphic capacities of inscriptions and Noqush(=patterns). We also contemplate and probe the historical monument of Zavareh Jame mosque. And the conclusion is that the date of making Zavareh Jame mosque, in contrast to what Andre Godard said, is back to the year 564 A.H., but not 530 A.H. This important fact is reached through the graphic analysis and deep consideration of the historical inscription of the monument, which shows the importance of documentary evidence in maintaining the real values of a monument. Referring to the point that the authors have used the graphic form to reach the shape and concept of the inscriptions and motifs, the decorative qualities of the monument can be apparently seen and compared with the decorations of their own periods of time. On the other hand, restoring the lost parts of inscriptions has made the general collection of Kufi alphabet of Zavareh Jame mosque, which is very useful in restoring those parts. Besides, Iranian modern graphics can create works of art with the national-traditional values, by considering this precious heritage in the form of modern idea.