جستجوی مقالات مرتبط با کلیدواژه "motif" در نشریات گروه "تاریخ"

The designs featured on the entrance façades of historical monuments in Iṣfahān convey a meaning beyond external beauty. They are allegorical of a heavenly atmosphere in the building’s entrance, incorporating the myths, symbols, beliefs, and ideologies of their contemporary people, and are inseparable components of architectural ornamentation.  The present study aims at tracing the evolution of these designs using library research and the descriptive-analytical method. With this aim in mind, the paper presents how centuries of encounter between Șafavīd tradition and Pahlavī modernity has concordantly expanded and enriched the designs and their motifs. The study tries to investigate the designs featured on the entrance façades of religious and non-religious buildings in Iṣfahān in an attempt to answer these key questions: Which motifs are most frequently used on the entrances? How have the motifs transformed from the Șafavīd era into the Pahlavī era? And what concepts do these motifs incorporate?Results demonstrate that floral and geometric patterns most frequently feature on the entrances of Iṣfahān’s monuments (among 200 case studies). Human and animal figures have also increasingly featured on the entrances since late Qājār and Pahlavī periods.The entrances of Iṣfahān’s monuments, originating from the Iṣfahān School, create an earthly image of the world of the Forms in balance with the terrestrial world and reach unity of expression as an entry into the lost paradise following the dominant worldview.

The main part of the residential historical context of Tabriz is the common architecture of the Qajar era which a style was expanded that Orosi was one of its widespread elements. Because at the beginning of the Qajar dynasty, during the earthquake of 1780, most of the urban fabric was destroyed, except for a few large historical buildings such as Ark-e Alisha and the Blue Mosque. There are two phases in Qajar architecture: first phase starts from late Safavid and continued to middle Qajar with some changes in details and elements based on time requests and fashion. Many traditions in Persian architecture were preserved and applied in this phase. The second phase sees many architectural elements coming from the West due to courtier knowledge of the West culture. Orosi is one of the important ornamental and applied elements in Persian traditional architecture, especially in Qajar era (1725-1925) which was fading at the end of Qajar. The paper concerns with the study and investigation of five Orosies of Tabriz Qajar traditional houses: Salmasi, Mashrouteh, Qadaki, Heydarzadeh, and Amirnezam. Salmasi house remained from early Qajar (1796-1848), Mashrouteh and Qadaki houses from middle Qajar (1848-1896) and Heydarzadeh and Amirnezam houses from late Qajar (1896-1925). Orosi was used in the reception hall (Tanabi) of these houses. Study and analysis of design and motives in Orosies with a comparative method helps to achieve the basic geometric and ornamental principles of Qajar Orosies in Tabriz and their alterations reasons. This research based on two questions: What are the reasons for the creations and process of changes in the Orosies designs of Qajar houses in Tabriz? What are the characteristic systems, regular patterns and principles in the design of these Orosies? The results showed that the variety of motives in Orosies decreased during the Qajar period, their decorative elements were reduced and the designs of Orosies became simpler. One of the main reasons for this is the changes in the architectural styles and the use of western elements in the architectural design, as well as the addition of new elements to the facade of Qajar buildings.

The art of music has always been considered in Iranian cultural periods. According to written documents from the Sassanid period (AD 224-651), such as the biographies of Ardeshir Babakan, the Assyric tree, and Khosrow and Ridag, it can be seen that music flourished during this period. Among the various instruments that existed during this period, it appears that the Barbat instrument had a special privilege. Perhaps the name of Bārbad, the most famous musician of this period, also has a connection with the name of Barbat. The aim of the research is to present samples of Sassanid period engraved metal vessels with Barbat motifs, to investigate the features of this musical instrument in terms of form and the musician's relationship with other motifs in each scene. The question of what was the motivation of the Sassanid artist in engraving the motif of playing the Barbat on luxury metal vessels is the main issue of the research. The collection of research data was done by the library method and their analysis was done by the descriptive-adaptive method. The result shows that during the Sassanid period, the motif of the Barbat instrument was engraved on various forms of metal vessels in various scenes, most of the scenes showing parties, banquets, and court celebrations, and in general, the Barbat instrument has held a special and exalted position in the musical culture of the Sasanian era.

Textile industry reached great prosperity during Sassanid Empire. Sassanid fabrics were appreciated due to the quality and unique designs. Decorative patterns of Sassanid textiles are contained geometric, plant, human and animal motifs and among all of them, animal motifs are the most notable ones. The present study investigates the expressive, mythical and visual aspects of animal motifs of Sassanid fabrics, thereby answering these questions: How are bird and quadruped motifs illustrated on fabrics? What is the color of these motifs? And what are the other ornaments that used on textiles? The study is done by analytical-descriptive method by historical approach and the information is accumulated by means of library method. The authors attempted to identify and classify animal motifs of remained fabrics and inspect the importance of the existence of these ornaments. In this article, nine images of limited samples of Sassanid fabrics have been analyzed in terms of visual and cultural-roots features. In general, the results define that, the animal motifs of Sassanid design included quadrupeds and birds which are drawn by simple lines and geometrical shapes. Overall, artists tend to use animals which had spiritual and mythical massages. Quadruped patterns include ram, horse, lion and hog. Additionally, bird patterns contain eagle, peacock, rooster and duck. We can see both figurative and abstract motifs with primarily colors which have been mostly used. The drawings have been done by geometric and delicate lines, also artists used plant and geometrical shapes to design animals' bodies.

Seals are one of the most important archaeological findings that provide reliable information about geographical names and job positions of the past. During Sasanian period seals were used by individual government officials. The use of seals expanded with the growth of Sasanian economy. In the archives of the Bu’ali Museum of Hamadan, 23 Sassanid seals from the Asadabad area are kept. Eleven of these seals have motifs of human, six have animal motifs, one has hand motif and two others hybrid mythological. The present research deals with the ten seals. Among these ten seals, five have human image (four a man’s image and one a woman image), four seals have animal designs (three bull and one ram) and one is a monogram seal. The purpose of this research is to document, read inscriptions and examine the roles of these seals.

The stuccos of Imamzadeh Abdollah in Arak are Iranian-Islamic motifs common in Seljuk era and influenced by the Sassanid period. The study has been conducted by an analytico-descriptive and comparative methodology and the data have been collected through library research and survey. The study attempts to provide answers to the questions in that to what extent the art of Islamic stuccos are indebted to the Sassanid period and how the underwent changes on the Islamic stuccos are determined. The results indicate that the foundation of decorating stuccos has been influenced by the stuccos of the Sassanid period and their motifs’ contents have been inspired by divine teachings and important social events (translation movements and tendency to rationalism); accordingly، four kinds of changes (eliminating human and animal motifs، having tendency toward plant and abstract motifs with a mythological view on them، applying inscriptional motifs، and proposing polygonal geometrical motifs) could be observed in the themes of the stuccos’ motifs of the Imamzadeh.

Western part of the Zanjan province in North West of Iran, is mountainous region with a relatively high mountains and the valleys between them. On the slop of one height in this region, and on the wall surfaces of rock shelters that called Agh Dash, Interesting designs is painted. The Agh Dash paintings which are the only Identified pictographs in North West of Iran, from the view point of variety of subject matters and Somewhat difference from the other rock paintings of Iran, has great importance in the study of rock arts. Subject of most designs are geometric motifs which are painted in a variety of shapes. Also human, animal, and botanical designs are the other subjects in the Agh Dash complexes. Because of the similarity between geometric painting of Agh dash and geometric patterns of chalcolithic period potteries in central, west and north of Iran, it is likely that the paintings of Agh dash date back to chalcolithic times.

One of the industries which flourished in Seljuk period is textile industry. The significant activities have been accomplished by the name of Tiraz and their establishments had a great influence on the public and government life. Tiraz have the high political value as the honorific or respect cloak and one ruler indication of eviction. So that, the various motifs with the various subjects often include wish to survive Caliph or ruler or blessings or verses of Quran, have been drawn mostly in golden fibers on taffeta and tapestry weaving.In this essay, the main characteristics of Seljuk's Tiraz including the motifs, the concepts which have drawn on it, the texture, the consumed fibers and the textile weaving centers have studied by presenting the examples of the Seljuk's Tiraz and surveying the Tirazs of contemporary cultures.