جستجوی مقالات مرتبط با کلیدواژه "نگارگری" در نشریات گروه "علوم قرآن و حدیث"

Shiite art is monotheistic art, which is placed in the scope of Islamic art by emphasizing the two principles of Imamate and justice. Some have considered the formation of the Safavid government as the foundation for the emergence of this art and considered this period as the beginning of Shiite art, but it should be said that the spread of Shiite art in Iran started in a gradual process from the Ilkhanid era, and it spread and continued in the Timurid era and was stabilized in the Safavid era. The existence of Shiite tendencies among Iranians has manifested the themes and elements of Shiite beliefs in miniature and has caused the presence of the face of the Prophet (pbuh) and Ahl al-Bayt (as) in the miniatures. The purpose of this research is to identify the visual characteristics of "position of Ahl al-Bayt (as)" in the miniatures of the Ilkhanid and Timurid periods and their relationship with the principles of Shia religion. Based on library studies and with a descriptive analytical method and with a comparative approach, the miniatures of Ilkhani and Timurid periods have been examined from the perspective of Shia beliefs and how to depict and analyze their aesthetic and symbolic elements. The findings show that the illustration of versions with Shiite themes and especially Ahl al-Bayt (as) has always been influenced by the religious thinking of artists and their supporters in different era. As in most of the Shiite miniatures of the Ilkhani period, a realistic method is used to display visual components, and sometimes explicit and simple symbols have also appeared in them. However, in the Timurid period, with the increase of Shia tendencies, they tried to portray Shia themes and personalities as they were reflected in the Shia religion by avoiding realism and entering the field of symbolism, and in this way, the platforms for the growth of the symbolic elements of the Shiite miniatures of the Safavid period were provided.

Painting, as one of the beautiful representations of Islamic art, has taken its spiritual evolution from the governing values of society. In different eras, the art of illustrating manuscripts with Shiite themes has always been influenced by the religious thinking of artists and their sponsors, and a major portion of those versions have represented the narratives of the life of the Prophet (pbuh) and his Ahl-al-Bayt (as(.The approach of artists to these themes has resulted in the emergence of certain components of allegorical, symbolic, and abstract processes in narratives compared to other subjects in the field of painting to reflect the themes of Shia in visual language. The second imam of the Shiites, Imam Hassan Mujtabá (as), has been present at many important events due to his attendance at both the stages of prophethood and imamate in the history of Islam, all of which are the narrative of his great position in the presence of Allah, the Almighty, the Prophet (pbuh) and the Ahl-al-Bayt (as). This research using the descriptive-analytical method with a comparative approach, aims to investigate the position of this honorable Imam in painting, and studies the paintings that have reflected the important events of his life. The needed data for the research was collected from library sources. The findings indicate that these paintings have represented important events in the life of Imam Hassan (as) based on Shia beliefs, verses, and Prophet Hadiths. These paintings are based on the intended theme, and visual and symbolic components reflect the Imamate of Imam Hassan (as). He implemented the divine orders as the second immediate successor of the Prophet (pbuh), after Imam Ali (as).

One of the ways of expressing facts that are common and intelligible use to the general is the allegoric and symbol. One of these allegoric is the light. In the pre-Islamic Iranian tradition, light has had a special place among the mystics and theosophies of Fahlavi. In the post-Islamic tradition also, It has been the same. Because God is the light of heaven and earth, and A Surah is referred to as the Light. Accordingly, Suhrawardi constructs his illuminated philosophy on the basis of light, and he places the series and gradation of divine lights form the light of lights to the dusky world gradationally. In the illuminated perspective, Farah as the divine confirmation and the divine illumination gradationally in the material world contains plants to full human (al-Insān al-Kāmil). Iranian artist, both before and after Islam, as they work in this space, they know this and try to show. One of the most suitable places for expressing the illuminations and divine Farah is miniature that show it around the head of humans or the Saints. The expression of holy aura and aura of luminous has been researched, but its illuminated and symbolic expression independently has been less studied. In this research, we try to express at first the illuminated expression of holy aura and In the following adapt it to the miniature

Praying God is intrinsic in man’s nature and has been interwoven into the fabric of all cultures throughout history. The theme of prayer manifested in the artworks like Persian paintings. Along with depicting literary, epical, and historical themes Persian paintings show religious themes including worshiping God and prayer. Thus, applying a descriptive- analytic study, we aim to review the issue in some selected paintings of Tabriz School I&II. Our study would reveal how Persian painters synthesized spiritual cultural heritage with various techniques of human figures and images of the angles, as well as spiral and colored compositions to visualize the theme. Through this way, the painters reach a climax in expressing their aesthetic perception of prayer in their works

Resorting to Prophet (Muhammad) and Imams ‘P.B.U.H.’ is one of the special privileges of Shiite religion that come from verses from Koran and traditions. Any of twelve Imams (AS) is a sign of The Names of God (asmā allāh al- usnā) therefore when someone wants to resort them must pay attention to it. Since Safavid painters had special sight and philosophical bases and principals with roots in Shiite beliefs and Persian deep culture illustrated Shiite contents.The main goal of this paper is study of visual displays of resorting to Imam Reza (AS) via an iconographic approach. This dynamic and multilateral approach is regarded to reach to meaning and content of artwork, specially Persian painting that has a various and complicated collection of social, psychological, mystical and moral values is visual beauty, because this interpreted method of artwork includes three strategic stages: identification, description, analysis and interpretation of artworks that cause to develop researches as systematic studies. Its data baser relies largely on library sources and printed materials. The result suggests that one of appropriate approaches of study Persian painting is iconographic analysis because recognize every era involves in historical information about present revolutions and written culture of describer and reaching to symbolic in visual language that age and iconology can provide this purpose. - What iconic meanings are there in this illustration’s visual elements?- Painters’ Shiite beliefs, what impacts have had on illustrating their works?

In illustrating literary manuscripts that has aways been carried out under the influnce of the religious beliefs of the artists and their patrons, the hadiths narrated by the holy Prophet (P.B.U.H) and his Ahlul-Bayt (AS) have widely been inspired from. The artists’ approach toward the content of such hadiths has resulted in certain manifestations of analogical, symbolic and abstract processing in the narrating hadiths through paintings which are used to transfer Shiite beliefs through a visual language. The main sources of illustration for the Shiite artists are the hadith collections like Oyoun Akhbar Al-Reza that particularly deals with the virtues and miracles of Imams (AS). One of the illustrated manuscripts which has dealt with Shiite beliefs is Falnameh Tahmasebi in which some illustrations attributed to Imam Reza (AS) have been used. The illustration might have been drawn form the hadiths collected by Sheikh Sadough. Having explored the life of Sheikh Sadough, the present research sets out to critically and descriptively study the characteristics of Razavi illustrations in the Falnameh and the way the hadiths drawn from the collection of Sheikh Sadoogh have been reflected in. According to some studies, the Shiite Art has, inspired by the pure teachings of Shiism, tried to reflect the extraordinary efforts of religious and artistic elites of different time periods.