جستجوی مقالات مرتبط با کلیدواژه « ایلخانیان » در نشریات گروه « هنر و معماری »

Myths are part of the cultural values of every society, and myths and rituals should be judged as cultural values. In primitive societies, myth was considered as the actor of absolute truth because it was believed that myth is a sacred historical narrator. For a long time, indigenous art has been a suitable platform for the symbolic emergence of myth, and the interweaving of art and myth shows its importance, after understanding and understanding different myths, researchers have come to the fact that mythological concepts have their place. have consolidated in the pillars, foundations and principles of artistic functions. In the mythological thought of Eastern art, all signs have a magical power that mankind has always tried to achieve through the combination or repetition of these signs, which is rooted in a firm belief in them. Among the native arts of Iran, the topic of Iranian carpets can be called one of the prominent fields for the emergence and association of mythological motifs. The upcoming research tries to review and analyze the mutual interaction of the artists of Iran and the Orient with an attitude on the evolution of myth-oriented motifs in Iranian carpets, especially during the Ilkhanid and Timurid eras. Based on this, with the semiotic analysis of the remaining images of the carpets related to these dynasties, mythological motifs originating from Chinese and Iranian religious beliefs are investigated. In some cases, due to the lack of carpet works left from that era, visual art works related to that time are used. Combining the influence of Islamic beliefs in Iranian carpet art and the political influence caused by the Mongol invasion is the main goal of the research in the interpretation of the symbols of Iranian carpet myths. Due to the views of their founders, who were influenced by the views of the Mongols and Muslim thoughts, the mentioned periods were a combination of different value systems and also included significant political and religious changes. The evolution of the artistic style in the Timurid period, whose traces can be seen even in the Safavid period, led to the flourishing of carpet art. Studies show that the authenticity of Iranian mythological motifs inspired by Sassanid and Islamic patterns has always been preferred over the motifs influenced by the art of the East.

Varamin, the capital of Varamin County, is located 35 km southeast of Tehran province. This city has many ancient and historical monuments and religious places, each of which is of great importance. This city was at the peak of its prosperity during the Ilkhanid period, during which significant historical buildings such as Ala-Doleh Tower, Imamzadeh Yahya Mausoleum, and Prince Hossein Mausoleum were built in this city. The great mosque of Varamin is also one of the most important buildings remaining from the Ilkhanate period, the construction of which began during the reign of Sultan Muhammad Khodabande and was completed during the reign of his son and successor, Sultan Abu Saeed Bahadur Khan, in 722 AH, although the inscription above the head of the door and the inscription under the dome show the year 726 AH. This building, which is registered as number 176 in the list of national monuments, is of global importance due to its architecture and decorations, and some researchers consider it one of the most complete architectural examples of traditional mosques in Iran. In the Great Mosque of Varamin, the architectural ornaments are implemented in the most beautiful way possible and it displays a unique example of the art of the 8th century of Hijri. Plastering and tiling occupy a large area of these ornaments and play a very important role in decorating the interior and exterior spaces of this building. In addition to the use of various execution techniques, the existing designs have a lot of visual capabilities and variety, which include plant, geometric, and inscriptions, which together create a beautiful and harmonious collection of designs and calligraphy. In the meantime, geometric motifs have a privileged position and can be seen to a large extent in the decorations of this mosque. These decorations have valuable artistic features that are less introduced and noticed; for this reason, the main goal of this research is to introduce the geometric decorations of the Great Mosque of Varamin and to take a detailed look at these decorations, to get to know more about the motifs and preserve and revive them. In this regard, the main question of this research is: What are the most significant motifs and geometric decorations in the architectural ornaments of the Great Mosque of Varamin? To achieve the goal of this research, a descriptive-analytical method has been used, based on field research and the study of written sources. The results of the studies show that most of the geometric decorations are concentrated in the north (frontispiece) and south (Ivan and dome chamber) facades of the Great Mosque of Varamin, which are executed with brick and tile, mosaic tile, and plastering techniques. In addition, in the main parts of each space and on wide surfaces, nodes are observed in which “six, eight, and twelve feathered wheels” are used. In many examples, these geometric decorations are combined with plant motifs or inscriptions, and this variety of motifs, which is sometimes accompanied by technical variety (brick and tile, brick and plaster), has given a beautiful effect to this building. In general, we can say that the architectural decorations of Varamin Grand Mosque, both in terms of technique and in terms of design and role, have excellent visual values and are considered a very valuable source of study in the field of architectural decorations in the Ilkhanid period. Geometric decorations are considered a very important part of architectural decorations in this building, which through repetition, symmetry, and contrast, have succeeded in forming a single patterning system, and have sufficient order and coherence despite the great variety.

Bookbinding had been important as one of the techniques of the illumination in Islamic civilization, and bookbinders mixed their artistry ingenuity with Islam spiritual insight in the Islamic era, and produced unique covers of Quran. In the Islamic era, the period of ruling Ilkhanid and Timurid in Iran and Iraq is the period of development and promotion of the art of bookbinding. And by their wide supports, many supernal Qurans was transcribed. Contemporaneous, the dynasty of Mamluk ruled in Syria and Egypt. They also claimed that are the supporters of true Islam. To demonstrate the superiority and showing legitimacy, they strongly supported from Quran calligraphy. In result of this competition , they made many copies of Quran, that their bookbinding in comparison had a lot similarity, with those are made in the Ilkhanid and Timurid era. This research uses the descriptive- analytical method and Data is collected using field research and published material. The purpose of this paper is to analyze and compare similarity and differences aspects of covers of Quran that made in mentioned eras based on substance, motifs, and making style. The results of the research indicate that many current bindings motifs, first appeared on Persian covers in this era, and then used widely on Mamluk bookbinding as pattern of bindings of Quran.

Cut-Rock architecture collection of Imamzadeh in Maragheh city, due to its Quranic inscription, architectural and decorative elements, is a suitable bed for the study of political, social and religious history of Maragheh. However, in previous research, there have been some shortcomings and weaknesses in reading the lithographic inscription of this shrine. In these studies, the political-religious concepts were generally ignored in the heart of this inscription. Inscriptions, on the other hand, are one of the most important documents in the field of chronology and analysis of the functional nature of an architectural space. In the present study, while re-reading the Quranic inscription created in the inner body of Cut-Rock architecture Imamzadeh shrine, the impact of overt and covert layers of Ilkhanid politics and beliefs and the religious structure of Maragheh based on the contents of this inscription is discussed. Therefore, the present study is conducted with a historical-comparative and interpretive-analytical approach and based on field and library studies and seeks to answer the following fundamental questions; 1- According to the chronicle of the stone inscription, to which period does the shrine of Imamzadeh belong? 2- What connection can be considered between the themes of the inscription and the religious-political developments of Maragheh society? The results show that this inscription was created during the religious reforms of GhazanKhan and its themes were to express the rituals of Islam and its superiority over other religions, especially Buddhism and Christianity living in the structure of the religious system of Maragheh.

Considering the priority of time, obtained potteries in Aveh cover prehistory and pre-Islamic and Islamic eras, most of which belong to the Ilkhanid period. One of the main objectives of this research, along with introducing and analyzing the paintings of the Aveh's lusterware, is the recognition of the production origin of such containers in this district. The main research questions are as follow: What are the main decorative drawings on the Aveh's lusterware?
How much similarities and differences exist between decorative drawings on the Aveh's lusterware and the patterns of decorative paintings on the potteries belong to other parts of Iran?
Results show that decorative paintings on the Aveh’s lusterware could be divided into human, animal, herbal ad geometric patterns. Despite the similarities of these patterns with the other pottery-making centers, and contrary to differences in women's face including discrete eyebrow, more fitness in face, wearing a special kind of crown by them, and existence of a blue light of corona around them, and, furthermore, finding the traces of pottery production in this area such as boiling furnace, indicate that most probably, Ave can be regarded as the main center of producing such monuments. We hope this investigation starts a new way towards the outspread realm of producing lusterware in Iran. This research has been constructed using descriptive-analytical methodology and based on library and field studies.

This study investigates the composition and visual features of pre-Mongol mina’i potteries (the sixth and the early seventh centuries), Ilkhanid Lustre tiles (Kashan-seventh century) and Kelila-va-Dimna manuscript illustrated in Inju'ids Shiraz school (707 AH). Comparing the visual elements of these works of art which have been drawn during diferent periods, and with different contents and subject matters, it aims at finding out the similar patterns and continuing representations of ancient traditions, the same origin and the context of the similar aspects between the two centuries in these artworks. Research questions are : 1. Which similar patterns have being continuously used in illustrating these artworks? 2. Concerning these similarities, can we consider the Inju'ids Kelila-va-Dimna manuscript to be influenced by pre-Mongol mina’i potteries and Ilkhanid Lustre tiles ? The research method is analytical- comparative; It has been found that despite the political and social changes as well as influencing different cultures from the sixth to eighth centuries, the continuation of some similar pictorial traditions like the representation of ancient basics in them during these three centuries can be observed. Moreover, interests and cultural policies of the rulers, migration of the artists (especially after the Mongol conquest on Fars), being established the master and pupil styles systematically and developing the exchange of goods between Shiraz and those cities in which these ceramic objects had being produced (like Ray, Kashan and neyshabour), might be considered to be the reason of being influenced these folios by the ceramics

From the 14th century that is concurrent with Ilkhanid rule in Iran, some exquisite plaster works have been remained some of which have artist code and date; therefore, they can be considered as valuable study references for genealogy of the artists of plaster works and their individual styles. These plaster works can be seen mostly in magnificent Mihrabs, plaster inscriptions and tablets of mosques, tombs, etc. In tilings, wall drawings and the wooden works of art of this period, also, one can see the name and the code of artists and regarding their nicknames or their relations, it is possible to find their family relationship with plaster workers. In this article, the author tries to review and study the the hypotheses and theories proposed by researchers and professionals about the genealogy, individual styles of 14th-century artists. Therefore, the plaster works coded by the artists, like Kermani, Damghani, Baboyeh and the nikname Abu Shoja which are in Isfahani, Natanz, Torbat Jam, Sirjan, Bastam and Qom were selected to be studied in order to answer the question raised in this research: what are the visual features of the coded plaster works in terms of composition, motifs and inscriptions of the individual style of the every artist in 14th century? Regarding the fact that the stylistics of these decorations is a complex issue and needs to be studied in detail, the visual styles of these decorations have been described in this research and a diagram has been proposed for the family relationships between the artists who made them. In addition, some hypotheses are formulated using a historical-analytical method based on field and library researches on the remained works and historical resources.

This research has been done using a historical-analytical method through an adaptive approach. First, the attempt has been made to describe the individual style of the artists during this period and study the most prominent plant and geometric motifs and compositions and the way they have been integrated with other motifs and inscriptions. The data was collected based on documentary resources, field researches, observations made by the authors, taking photos of the coded plaster works and drawing some samples using Matrix 7.0.

The results obtained from studying the coded plaster works of 14th century show cooperation among the artist groups that often had family relationship with each other. But distribution of the works and their technical variation show that all members of an artistic family did not always work in a certain area or on a certain profession and there were not much limitation on using the designs and works of other artists with special skills. However, the individual style of the artist that mainly results from their skills and creativity can not be neglected in forming these significant works with unique visual features. In general, the visual features that were studied in the samples include: 1) using multilayered plant compositions and large arabesque motifs with Ajdehkari and detailed decorations that are mostly seen in Kermanian artists’ works of arts in Iran, 2) using plant motifs with unique decorations (human and animal-like) and special plant compositions (compact
arches) and integrating geometric motifs (knots) with plant motifs in Bastam by Damghanian artists that makes a special style in the stucco ornaments in this region, 3) plant (arabesque) proboscis-like motifs and some margins involving simple geometric motifs in the plaster and tiling works of an artist with the nikname Baboyeh, 4) the extensive use of strong and vivid colors, decorating the inside parts of the ceiling with geometric (knot) motifs integrated with plant, geometric motifs and inscriptions in the works of an artist with the nikname Abu Shoja and sometimes following some styles n plaster working with technical differences that can be seen in the tomb of Pir Bakran.

The confrontation between good and evil forces, the division of the world into two realms of light and darkness, and the belief in the permanent quarrel between Ahoorian and Devilish phenomena, is a common belief among all folks and nations, a struggle that continues till the world is set up, and the ultimate victory belongs to the light front. Demons, who are the inhabitants of the darkness, are abnormal, black creatures with long, hog-like teeth, thick and black lips, and occasionally blue eyes. The body of these cannibals is covered with thick hair and they have several heads, horns, tails and large ears with a pair of wings. Demons are one of the most devilish creations in Iranian mythology, whose main goal is to eliminate Ahoorian creatures. Ferdowsi has shown this idea in his Shahnameh; it is even seen in the epic poems afterward. Meanwhile, Demons, which represents the devil and enemy, is shown as naked animal figures with horns and tail, possessing primitive weapons. The painters have somehow emphasized the superiority of the creation of the goddess against devilish creation by displaying these features. The main goal of the research is to study the role of the Demons in Ilkhani and Timurid eras (Herat and Shiraz) and their differences in their images. The main questions of this research are: 1. what are the characteristics of Demons in the paintings of the Ilkhani and Timurid eras? 2. How can the difference between the face of the Demons in Ilkhani and Timurid periods be explained? The results of the study showed that in the painting of this era, Demons are depicted with the animal nature in the shape of human body. On the other hand, the difference in the shapes of Demons in these schools is first drawn from the metaphorical aspect of Shahnameh, and then the personal perception of the painter and his interpretation of the text, the artistic style of his era, the cultural conditions and the school in which he grew. This research has been accomplished by a descriptive-analytical and comparative method, based on library studies.

During the fieldwork for rescuing the Fadel Ibn Sulaiman building in Aveh، Markazi province، researchers found، for the first time in the region، many luster tiles with their dates mentioned on them (648 AH). In order to learn more about this art in Aveh region، a few samples were selected through field research and library sources، using analytical and descriptive methods. The main research questions are as follows: 1. What are the main decorative elements in Aveh luster tile designs? 2. How similar are decorations of Aveh luster tiles and other central producers of such decorations? The main objective of this study is to identify the origin of such decorations in Aveh region along with the identification and analysis of Aveh luster tile designs for the first time in Iran. The results of this study show that the art of tiling in Aveh، regarding its resemblances to the decorative motifs of Kashan luster tiles، is an imported product from Kashan to Aveh region.