جستجوی مقالات مرتبط با کلیدواژه « نقوش » در نشریات گروه « تاریخ »

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.

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.

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.

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.