جستجوی مقالات مرتبط با کلیدواژه « islamic art » در نشریات گروه « تاریخ »

In the center of the Mediterranean Sea, there is an island known as Sicily. This Island is a beautiful and fertile land with a mild Mediterranean climate. It is located at the intersection of two continents, Europe and Africa, and is the nearest connecting route between these two continents after the Strait of Gibraltar. This geographical location has made Sicily the target of many attacks and invasions throughout history. Muslims were one of these groups that attacked this Island many times. The present study, through descriptive-analytical method, tried to answer this question: what was the history of the Muslim conquest of Sicily and what cultural and civilizational achievements did they have during their domination there over the centuries? Research shows that the Muslim ruling dynasties on the Island flourished and expanded Islamic culture and civilization. The effects of this prosperity, especially in the form of art and architecture, continued even after the collapse of Islamic governments and during the Christian Norman era. Some Normans were tolerant towards Muslims and this made the effects of Islamic culture and civilization on the Island still noticeable.

Arabesque (stylized plant and geometric motifs) is sometimes considered as a feature of Islamic art and one of the innovations of Islamic civilization; On the other hand, some art historians, in addition to the characteristics of the Islamic period, have pointed out its pre-Islamic sources, especially the Sassanid and Byzantine sources and the transfer of previous cultural traditions. In this research, in addition to these two sources, Nabatean culture as a rich treasure of ancient pictorial themes has been included as another source in the field of Islamic arabesque plant motifs. The main question of this research is what were the motifs and plant motifs in Nabatean works and based on the similarities between Nabatean and Islamic motifs, to what extent can Nabatean motifs be considered as a source for Islamic arabesque? In this research, with an approach based on cultural history and various evidences, especially material artifacts and reports of archaeologists and obvious cultural similarities, we have shown that the Nabataean motifs can also be counted among the descendants of Arabesque, and on this basis, and considering the multitude of descendants The history of arabesque, the essentialist and mystical views of traditionalists in limiting the scope of interpretation of these motifs to Islamic art, are subjected to a serious revision.

The various and sometimes different approaches and definitions in the study of Islamic art have complicated the study of it. Traditionalism and historical perspectives, the two dominant approaches in this branch, look at Islamic art differently. The base in traditionalism is on tradition and unchangeable principles, while in historical perspectives, it is history and its contexts. Traditionalists consider Islamic art to be the result of a grace that has flowed in the artist and embodied the teachings of perennial philosophy in the art works, but in the historical perspectives, the art works are the product of historical determinism and context. These differences have made the study of art works complicated even at prestigious festivals, and the various and conflicting criteria for judging works of Islamic art. This research, in a descriptive-analytical and discourse analysis method and a comparative approach, seeks to answer the questions; What is the discourse analysis of these two dominant approaches in Islamic art? And why, despite these two dominant discourses, there is no unity in the definition of Islamic art and its main features? and provide a basis for modifying a more comprehensive definition. Research findings include dissimilarity in discourse components, discourse creation, and sub-discourses.

There are writings about the art of calligraphy in general and about calligraphy in the Safavid era in particular, but less has been said about the connection between calligraphy and Shiism and the Ahl al-Bayt (AS), especially in the Safavid era. Therefore, in this research, the question is how the art of calligraphy in the Safavid era is related to Shiism and the Ahl al-Bayt (AS). In this research, with a descriptive-analytical method, referring to the use of Shiite concepts and symbols in the art of calligraphy, especially in the Safavid era, it is concluded that along with the recommendations of the Ahl al-Bayt (AS) about good ‌Writing and remembering some of the companions of the Imams (AS) and some of Imams (AS) among the calligraphers, calligraphy in the form of repeated use of the letters and titles of the Shiite Imams (AS), prayer and recourse To the Ahl al-Bayt (AS), blessings be upon the Prophet (PBUH) and his family, and things like that, in the form of inscriptions, calligraphy in pictures, calligraphy on objects, metal, and cloth, and the importance shows the connection between Shiism and Ahl al-Bayt (AS) with calligraphy in the Safavid era and the works of the Safavid period.

Art is one of the most important aspects of civilization. The realization of Islamic civilization also requires the civilization making religious art. Religious art can be defined from different perspectives such as the religious texts. In this research, in order to reach the components of civilization making religious art, the book  of "Ayoun Akhbar al-Reza" has been selected. In this article, the library resources has been used and a qualitative data analysis method has been implemented. After stating the theoretical framework, based on the book, “Ayoun Akhbar al-Reza”, the components of religious art are explained. The results show that the religious art is based on monotheism and God-centeredness and it should be created based on the Sharia and the criteria in the original religious texts. It should also be the reminiscent of religious symbols and manifestations and should display genuine beauty. The result of this view can be a criterion for evaluating works of art in the past and present. It could provide a model by considering the aspects of civilization to get out of the current situation.

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 Old City of Sirjan site that is located about 11 km southeast of present-day Sirjan is the remains of the city from the Sassanid period to Middle Islamic centuries, which has been mentioned in historical and geographical sources as the capital of Kerman Province. All written historical sources highlight the political and cultural significance of this city in southeastern Iran in early Islamic centuries. Despite the fact that the Old City of Sirjan played a key role in the early Islamic centuries as the seat of Kerman province, archaeological studies on this city are still very rare. Written sources provide valuable information regarding this era; however, issues such as social structure, economic and cultural activities of the residents have been neglected. During the studies carried out by the authors of this paper on the arena of the city, considerable and variety of cultural material including pottery and glassware pieces were discovered. The volume variety of these discoveries raised questions as to the time and place of crafting, living of the craftsmen, industrial workshops, crafting and decoration techniques and artistic aspects of these remains. Current study aims to present the classification, typology and relative chronology of the glassware found in the arena of Old City of Sirjan this is done in order to determine their technical and decorative characteristics and compare the acquired data with those of the adjacent areas in the early Islamic centuries. The data were obtained through systematic surface survey and were evaluated using a descriptive-analytical methodology. The study revealed that the Old City of Sirjan glassware were produced through free blowing or blowing into the mould and were decorated through techniques such as moulded patterns, sculpture, carvings and stamping. The mass production of glassware in the old Sirjan proves that during 3rd - 5th AH, the city of Sirjan acted as the great prosperity center for glassware products

The Sassanid government with its powerful system of government could not resist the entry of Islam and with the support and acceptance of the Iranians, Islam opened its way to this land and led to important changes in various fields. This study aims to better understand the culture and art of the early Islamic period in Iran. It answers the question that what is the role of social conditions and cultural change in the formation of Iranian art before and after Islam? This study implements an analytical-historical research method with an explanatory-comparative approach.  It collects data using library resources. It is based on the views of Robert Wuthnow. Iranian art lasted during the period of independent governments, with the revival of the Persian language and the creation of the Shahnameh. In the later period, due to the sanctity of illustration, art tended to be simple and Islamic art was gradually formed. Due to the lack of radical differences between Islamic and Iranian cultures, the two cultures were placed next to each other and a new Iranian-Islamic art was formed. According to Robert Wuthnow, the position of institutional contexts in the social changes of this period was one of the most important factors.

Due to the characteristics of Islamic art and the need to revive and strengthen them, programs have been formed to train specialized personnel at the level of higher education, of which the field of Islamic art with fifteen years of experience is the most important. It seems necessary to examine this program and study the conformity of its educational components with the educational etiquette of the students of these fields in the past. Therefore, while identifying the etiquettes and characteristics of education in the past societies (relying on the contents of the Books of Gallantry) as well as the curriculum of the undergraduate program in Islamic art, items such as: "purpose", "principles and bases", "method", "teacher conditions" and "Student conditions" have been compared in two ways. The research method is descriptive-analytical using library resources and field information. The results of this study showed that although the educational objectives in both methods were somewhat similar, but due to the predominance of the structure and system of semester-unit education in university, items such as the principles and methods of teaching and the conditions of teacher and student are different from the traditional teaching of these arts. In the new approach, the nature and purpose of education is revealed in a transformative way.

The spread of Islam from the Arabian Peninsula to the east and west had a great impact on the region's communications; Thus, the intercultural and multicultural feature is one of the main features of Islamic art, especially in the Mediterranean area, where the three continents of Asia including Europe and Africa are connected by Mediterranean Sea. The Shiite Fatimid Caliphate (297-567 A.H) that ruled parts of southern Italy, northern Africa, the Levant and parts of Saudi Arabia for more than two and a half centuries is one of the best examples of intercultural and multicultural interaction in the history of Islamic art. Although the geographical feature of the Fatimids provided the basis for the growth of the multicultural character of their murals, such a profound transformation required other causes and reasons as well. Descriptive-analytical method for writing and library study has been used to collect data in this theoretical research. Contextualism also provides a good framework for analyzing works of art in their historical context. The outcome of this research clarifies those schools and techniques of different cultures, sects and races that were present simultaneously in the Fatimid lands. Instead of indigenous opportunities of Mediterranean region, the flourishing multicultural art of the Fatimid murals was derived from political transition, freedom of religion, backing Shia Muslims and economic growth of the era which provided fertile ground for foreign painters from Iraq, the Byzantium Empire and the Armenians.

Although zīlūproduction has been mentioned in the historical texts of the tenth century, the surviving examples belong to the sixteenth century onwards. Some scholars have considered a zīlūwoven in Maybod and dated 808/1405 as the earliest known zīlū, but they have mistaken in reading the date and it belongs to the Safavid period. The only known pre- Safavid zīlūis preserved in the Hermitage museum. Historians of Islamic art believe that this zīlūbears no date and introduce it as one of the masterpieces of Ilkhanid art. This paper with careful scrutiny of both artistic style and inscriptions offers a new suggestion for its weaving date. It can be hypothesized that this zīlūhas been woven in Ramadan 808/1406 in Nūshābād, a small town near Kashan. Thus it can be considered as the earliest dated zilu surviving from Islamic Persia. One of the important questions concerning this zīlūaddresses its function. Although other scholars considered this flatweave as a saf – carpet with repeated niche designs that may have been intended for large congregational mosques, use of Quranic inscriptions in a carpet, which would be trodden on by feet would have been disrespectful. Regarding the content of the inscriptions shows that it probably was a prayer rug and connects it to sufi circles.

Different types of Islamic art have been represented in the art of other countries in different historical periods. The Romanesque and Gothic styles of art in Italy (12th and 13th centuries (AD)), which are purely religious in content and application, are contemporaries of and influenced by the Islamic art. Implementing a descriptive-comparative research method, the present study investigates the presence of Islamic art in the 12th century (AD) architecture and sculpture and the 13th century (AD) painting in Italy. The results of this study show that patterns of Islamic art, regardless of which geographical part of Islamic civilization they come from, appear in these two Italian art styles, and the study of this subject can be a source for studying the history of art in this country. One can examine its social, political and cultural status as well.

The fourth to sixth centuries AH marked the concurrent ruling of the Fatimid Shiite caliphate and the Sunni Abbasid caliphate in a vast stretch of the Islamic territory. The two caliphates extensively used textiles as a means of political confrontation. This study aims to conduct a contextual analysis of the impact of the Fatimid political rivalry with the Abbasids on Fatimid textiles. Accordingly, the main question is how these political rivalries influenced the Fatimid textiles. The contextualism framework, informed by the theory that a work of art is a social product shaped in the historical context of society, lays the ground for exploring the role of textiles in this rivalry within the historical-political context of that period. In this research, a document analysis method has been adopted for data collection along with a descriptive-analytical method that draws on the theoretical research. According to the findings, the role of textiles in the Fatimid political rivalry with the Abbasids covers three periods: the first one is the Fatimid Caliphate, in which textiles played a symbolic role in overthrowing the Abbasid agents in North Africa and establishing the Fatimid Caliphate. The second is the golden age of the Fatimid period and the domination of the Egyptian textile industry, when textiles were exploited for political lobby in the Abbasid land. The third one is the last years of Fatimid caliphate, in which, due to internal and external crises, textiles served as means of establishing political relations with the Abbasids.

Pure religious and mystical thoughts in the minds of Muslim artists have led to the emergence of a common spirit in all Islamic artworks. Understanding the nature and purpose of Islamic art in the last century has attracted the attention of many scholars and researchers and their studies have led to various theories about the philosophy and wisdom of transcendent Islamic art. Titus Burckhardt and Seyyed Hossein Nasr, including intellectuals who use a traditional approach based on religious and mystical views to explain what, why and how Islamic art - architecture, applied arts and visual arts. The question is: Islamic miniature of Iran based on traditionalist thinkers such as Titus Burckhardt and Seyyed Hossein Nasr on what features are similar to other Islamic Arts? In this study, the visual and content characteristics of the Islamic miniature of Iran are explained based on the religious and mystical views of Titus Burckhardt and Seyyed Hossein Nasr and the degree of similarity of Iranian miniature in form, expression, and meaning with other Islamic arts has been studied. Accordingly, after collecting some of Titus Burckhardt’s and Seyyed Hossein Nasr’s theories on Islamic art and examining several Islamic era miniatures through surveying and documenting, the data obtained have been drafted in a descriptive and comparative method. Finally, data analysis was performed using inductive reasoning. Based on the findings of the research, elements such as form, color, specialization, non-representation and use of writing (in the form of poetry) have given Iranian miniature, like other forms of Iranian art and architecture, special meaning. On the other hand, the form, expression, and meaning of Islamic miniature in Iran are in line with the mystical and religious views of Titus Burkhardt and Seyyed Hossein Nasr, and these views are not only true about non-religious and court images.

Ḥadīth is considering as the most important source to know the religion of Islam after the Quran. Therefore, studying Ḥadīths is necessary to know Islam teachings in respect of beauty, art and recognizing art condition in the early Islamic period. However, little attention is paid to Ḥadīth in art studies. For having the most out of Ḥadīths, obstacles and restrictions confronting the art researcher should be considered first. The main question of the article is that what are the obstacles and restrictions confronting the Islamic art history researcher for using Ḥadīths? In this study, it was indicated that Islamic art historiographer confronts serious problems and obstacles due to differences between the contemporary horizon and the horizon of Hadiths expression and compilation and different requirements of these two worlds, the issue of dating and validity assessment of Ḥadīths regarding art, the issue of understanding vocabulary regarding art in the first centuries of Islam, and visual language differences with written language and its influence on using Ḥadīths in the reconstruction of early Islamic centuries artistic world. Thus, the Islamic art researcher should go to Ḥadīths with the knowledge of leading restrictions not to have misconceptions and superficial analysis.

There are two methods studying the Islamic art; of them is to study the Islamic art and its elements, in certain point of view. In the first method (Traditionalism) is to emphasize on ultra-temporal truths (Islamic principles). This approach believes that Islamic works reflects these truths. Titus Bokhart, Seyyed Hussein Nasr and Rene Genon are the most famous and best known thinkers of traditionalism thought. Second method (historicism), instead of exclusive emphasize on the Islamic principles, emphasizing on different factors such as geographical, cultural and international. This approach believes that art in the Islamic lands, on the basis of theirs environmental and cultural conditions has been established in various forms. Grabar, Ethinghausen, Terry Allen are the most famous and best known Historicism scholars. In this essay, we want to deal with the evaluation of two interpretations on Mihrab, as one of the mosque elements. Historicism Method justifies and explains the Mihrab by Historic, Geographic and social information and by this way points to Islamic artists recourses to other artistic and religious traditions. In this approach Mihrab is originally not an Islamic element, and its function merely was royal and regal. In contrast, traditional approach emphasizing the ultra-temporal truths in art, believes that sometimes Mihrab was the symbol of gate and entrance of paradise, sometimes was the symbol of Ka’ba, sometimes was the symbol of war and Jihad location (Crusade). We should be careful that the symbol for the traditionalism has special meaning. In fact, for them all of existential forms in universe (cosmos) are the forms that point to divine truths and meaning. So Islamic artworks which created in this tradition all are full of symbolic expression of these truths. In the traditionalism method symbol is not conventional, and is not human thing, but it has ontological aspect and it is context for presentation of meaning and truths running in all parts of universe. In this perspective Mihrab as the one of the mosque elements has symbolical relation with Ka’ba, Mohammedan truth and revelation of existence. Traditionalisms unlike what historicists think, did not deny influence of other cultures and traditions upon Islamic art, but they believe that there is a mysterious relation between Mihrab and all religions. We should remember that in the method of historicism, although Mihrab be meaningful for the Muslims, but we cannot interpret it as symbol. Because Mihrab has not any Islamic acquaintance. It is seems that historicism view about Mihrab can be based upon this unsaid but admitted presupposition that if we cannot find any document directly about certain subject, we cannot call it Islamic feature. By this belief, they believe that the Islamic thought cannot accept any aesthetic theory. Believing in traditionalism only, we neglect sentimental and emotional drives and miss historical and social information. In fact from the historicism point of view, Mihrab is not especial to Muslims mosque. There is no essentiality for its existence. Mihrab has not any peculiar position in the Islamic mosque and there is no any explicit text which point to Mihrab in the text of Holy Groan. Historicists believe that only Ka’ba and sacred sanctum mentioned in Holy Groan. Even if we accept that calling Islamic mosques which made in Islamic lands, we can only present Mihrab as the displayer of Qeble (side of Ka’ba which Muslims prayed toward that) .By believing Historicism only, we neglect some ultra-temporal facts. We should not neglect that logically believing in tow approach (traditionalism and historicism) at the same time is not paradoxical. So believing to them is possible in the investigation of artistic subjects such as Mihrab; i.e., in the study and investigation of topics such as Mihrab, we can appeal to historical, empirical informations and artist believes, phenomenological and symbolical elements.

Since the first sets of Islamic art collections were formed in Europe and then in America from the late eighteenth to the twentieth century, our understanding of Islamic art is influenced by the dominant heritage and discourses of temporary exhibitions and permanent collections of Islamic art in the West and the approaches of these museums. The present study, which is based on descriptive-analytical method and documentary and library resources attempts to reveal how the meaning of Islamic art is turned in the historical course of the early museums. In this research, by analyzing texts related to Islamic art collections, three dominant Orientalist discourses, art history in the West, and interdisciplinary studies in museums will be introduced and the implications of these three discourses on the reproduction of the concept of Islamic art will be examined. The findings of the research show that the domination of the approaches mentioned in the historical course of Islamic art museums has led to the rotation of meaning and the introduction of Islamic works as "material goods", "art" and "cultural goods" and the assignment of different values to Islamic art.

Sassanid art is known in many aspects as the representative of Ancient Iranian art and also its last survivor. Both secular and religious elements can be found in the art of this period. Here, the Author is analyzing the influence of Iranian Sassanid art especially royal hunting on Omayyad royal art comparing the Qusayr amrah Palace and the Sassanid Taq-e Bostan. The goal is to determine the rule of Ancient Iranian art in developing the secular Islamic art and also to explain their characteristic foundations. As long tradition of hunting rituals and popular Iranian culture that somehow maintain combat readiness and increase physical and mental battle. With all its usual practice, the walls of the large arch Taq-e Bostan and take the most telling figure is shown. The artwork will also include a lot of detail can be seen in paintings Qusayr amrah Palace. Architecture making of Qusayr amrah Palace is obvious was the imitation of the Parthian and Sassanid architecture features. Where the paintings have appeared Qusayr amrah, the principle of respect for the Iranian arch and Painting and drawing are more patio space; or with designs, arc-shaped stage to show depth and perspective have drawn. The Hunting in Taq-e Bostan is full of movement, vitality, clash between Man and Nature and animals. There are musical instruments and dance and cheer and joy and excitement on stage at first glance the viewer’s aesthetic impact. The king is always the main element in the landscape. This feature is also a difference in the visual and narrative paintings of Qusayr amrah Palace. All of the points mentioned in Taq-e Bostan relief on the viewing angle, the way of design, coordination motifs and patterns of signification are dramatic, but the unprofessional manner in compliance with the Qusayr amrah Palace paintings. Dress styles and designs of clothes at Taq-e Bostan compared Qusayr amrah Palace paintings, Cannot be fully apparent copycat, but resemblance is visible. Of course, showing all the details on the rocks far more difficult than painting on the wall. Qusayr amrah Palace paintings in the use of various garments in various ceremonies observed. And to some extent on the type of clothing people, they identified the Position. The importance of decorated animals, plants and symbolic motifs in Sasanian art is something which still needs to be more thought. Decorative arts of Sassanid era and even more special symbols are unknown; maybe some of them with the same meaning or symbolic meaning in Umayyad art also has influence. The result of this research shows that the representations of Qusayr amrah Palace received a great impact from the high relief of Taq-e Bostan. It means that the creatures of the Omayyad art had either Iranian nationality and has seen the Sassanid Taq, or had access to similar works. However, the object is not to suggest the direct influence of Sassanid style, but to show its legacy and its role developing what is now known as the Islamic Art. Find content display in a prominent role in the great arch Taq-e Bostan which represent hunting scenes, crowned, and the battle royal banquet, the different roles of humans, animals and plants, etc. compare them with the paintings of Qusayr amrah, the Sassanid art has shown. Including aspects of the Sassanid Iranian art in the palace at Taq-e Bostan particularly large patio set can be evaluated: Impact royal life with features of gallantry, bravery and biased view of symmetry and the whole place, manner of dress, the symbols like: Mazda, Mithra, Anahita, moon, sun, fire, Tree of Life, lotus flowers, Pelmet and birds, animals.

Mehrab as a valuable element in religious buildings is always located in the spotlight of decorative arts. At every stage of Islamic the period, artists used the best decorative elements like plasterwork, brickwork, tile work, carvings to build and decorate the mehrabs with extreme of accuracy. There existed four mehrabs on the second floor of the Malek mosque in Kerman related to the second half of the fifth century AH, the remains of three mehrabs with decorative plasterwork has been preserved. These mehrabs have been made in the same size and dimensions. Since there has not been any comprehensive study regarding these mehrabs and the importance of their plasterwork art, a new line of research about these mehrabs seems essential. The present study is done as a first attempt in this field with the aim of the investigating mehrab plasterwork design and their artistic style. The results show that the style of plasterwork in these mehrabs is very similar to each other and there are only minor differences between them in type of pattern. Furthermore, plasterwork decorations include flower and leave arabesques, mouth torpedoes Arabesque, geometric patterns and inscription of Moqaad and Moshajjar Kufic writing. Unlike previous period styles, Arabesque motifs and inscriptions used in these mehrabs have outstanding innovations that make them distinctive in term, of artistic style.To achieve appropriate and consistent results, textual sources and historical research were sued in this study.