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

Manichaean paintings are the visual language of the Manichaean religion, every Manichaean painting has mystical themes depicted by human figures. Human roles that are classified by the Manichaeans with different titles and positions. The arrangement and placement of each human body on the drawing page is displayed based on their position and rank in different scales and modes. Examining and recognizing human figures in Manichaean paintings can help identify the structural features of this valuable art because composition, rhythm balance, movement and geometry, which are important elements of visual structures, are tied to human figures in Manichaean paintings. The aim of this study is to find out the structural features of Manichaean paintings. The questions of this research are as follows: 1. What elements owe the structure of Manichaean paintings? 2. What are the features of Manichaean paintings in structural and composition? Research method in this descriptive_ analytical study, library resources have been studied and samples of Manichaean paintings on paper have been reviewed. The method of analyzing the works is based on the study of the visual principles and rules used in the appearance features of Manichaean painting. The results of this study show that human elements play a major role in the structure of Manichaean paintings and usually change based on the position of the scale and the sitting position of the figures. The size and placement of each body in the sections of each page of the drawing is not based on the principles and rules of perspective and images do not have depth, but nevertheless the drawings have a special balance and coordination and have a desirable visual weight.

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.

The Herat school of Timurid era is regarded as one special period of art flourishing in Iran. Timur and his successors in the spite of their wars in lands of Iran, they continually attempted to patron various artists and bring them together in Herat, which was caused to rise of the Herat school at different art areas.Certainly, emerging artistic figures such as Behzad Kamal- Al-Din had been coming due to suitable social conditions in that period and patronages of Timurids princes. Under patronage of art-loving princes, Behzad invented in Persian miniature which is not only considered as innovation and creativity in the Herat school but also in Iran’s art history. In the paper, it has tried to thoroughly explore the prominent works of Behzad Kamal-Al-Din in the Herat school of miniature painting according to social and political conditions of the Timurid period, and to study their effects on the growth and evolution of the Persian miniature through introducing the features specific to each work. Outcome of many years attempts and creativity of Behzad Kamal-Al-Din put a good model for miniature painters at next periods, specially Safavid era to bring the Persian miniature into the own eminence.

Due to the lack of support from the Safavid court, we witnessed the migration of some of the artists to the Ottoman court. These conditions created a suitable basis for the development and growth of the Ottoman art based on the artistic achievements of Iranian schools in the newly established workshops in Istanbul. Implementing a comparative-analytical method, in this research, the extent of the influence of the Ottoman school from the Tabriz school and the similarities and differences of them based on the available graphic dimensions in the paintings of these two schools are investigated examining Shah Tahmasb’s Shahnameh and Soleymannameh. The results show that in the first half of the tenth century (AH), the activities of Iranian immigrant artists in Topkapi's workshops have had significant effects on the Ottoman paintings, and the artists of this school were able to adapt to the valuable Persian art and combine it with their native art to achieve a glamorous method of national style.

The alchemist Muʾyid al-Dīn Ṭughrāʾī (Born in 1061), in two chapters of a treatise to him, entitled Keys of Mercy and Secret of Wisdom (Mafātīḥ al-Raḥma wa Asrār al-Ḥikma) explains the concepts of “composition” and “de-composition”. These concepts, alongside two other concepts of “compounding” and “de-compounding”, are the principle concepts of Ṭughrāʾī’s alchemy. Any process which transforms alchemical, physical or mechanical properties of Materials (Metals), needs decomposition and composition. Ṭughrāī’s account of these two is unique and more detailed than those found in earlier alchemical texts. Moreover, Ṭughrāʾī defines some empirical concepts that can be quantified and measured. This paper contains a review of Ṭughrāʾī’s definition, explanations and division of these concepts based on the treatise Keys of mercy and Secret of Wisdom and tries to underline his innovations in conceptualization.