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

The theme of kings sitting on the throne, due to its special narrative and visual appeal, has been the focus of painters in most of Iran's illustrated Shahnamehs and has been depicted with various qualities. Among the illustrated Shahnamehs, Shahnameh of Tahmasp is one of the most important versions that has paid special attention to the illustration of this assembly and has made good use of the king's throne as a symbol of power and a special visual element in explaining the position of the king. The question is: What characteristics are evident in the analysis of the visual aspects of the king's throne in the Shahnameh of Shah Tahmasp? The results show that the diversity of the form and composition of Karina, with the predominance of decorative motifs, is one of the main features of the king's thrones motifs in Tahmasbi Shahnameh. There is considerable variation in the way the throne is represented that is based on the available evidence from the difference in the description of the kings in the literary text of the Shahnameh. Although in most cases there is no description of the king's throne in the text and artist has drawn it with his imagination.

Fereydoun is one of the prominent mythological figures of Iran whose life story is described in Ferdowsi's Shahnameh. Fereydon is the representative of good against Zahhak, the demonic character who, by binding Zahhak, frees the world from oppression and violence, and sits on the throne of government instead of Zahhak. The story of Fereydoun and the imprisonment of Dhahak has been depicted many times by painters in the manuscripts of different periods of art history, among the mentioned manuscripts, the Shahnameh of Shah Tehamasbi is a great example of Safavid period calligraphy art. In the mentioned version, the image of Zahhak being tied up is depicted in such a way that Fereydon is standing on top of the mountain with his cow mace next to the tied up Zahhak. on the other hand, there are a group of people in the middle of the picture, which the researchers believe are people related to Fereydoun and the story of Zhahak's imprisonment, and the picture is depicted in a single plane. However, the author of the present study, by examining the clothes of the figures in the painting, used the clothes in examining the dignity of the figures in the painting and has another theory in this field. "The question is, to what extent did the painter use clothes to show Fereydoun's dignity by tying Zahak?" It is assumed that the painter of the picture, by drawing the laughter, has used clothes to a significant extent to show the dignity of Fereydoun in his work. The purpose of the upcoming research is to analyze the dignity of Fereydon from the point of view of clothes and to present the social status of Fereydon and others in the picture of the binding of Zahhak in the Shahnameh of Shah Tahmasab. This research has a fundamental-developmental nature and is a method of collecting library information. The results of the research acknowledge that, contrary to the opinion of art researchers about the image of Zahhak's tying up, the artist displays the said image of Fereydoun character twice in two different social positions through the form of clothing, and in fact, the said image is two-dimensional. It shows different aspects of Fereydoun's life.

In describing Iranian painting, especially with religious and metamaterial subjects, the emphasis is always on introversion, the mysterious world, the mystery and the sacred realm of these works. But, despite the transcendent nature of these paintings, the human aspect and social contexts of the formation of these works should not be neglected. Because these paintings, in addition to the mission of expressing the truths of heaven, such a cultural atlas, also reflect the ideological space, historical context, political ideas and social contexts of their time and connect the two areas. Accordingly, the main issue in the present study is the study of resurrection-themed miniatures in the Safavid era and the realm of their rule and also their technical and content analysis from different and abandoned aspects. The aim is to identify the Safavid dynasty and to recognize its aesthetic patterns and dominant paradigms through the thematic miniatures of the resurrection. The method of research is descriptive and content analysis with the approach of social semiotics of the image, and information is collected through documentary sources and direct observation. The question is how the transition from visual structure to meaning has taken place in the miniatures of the event of the resurrection of the Safavid era? The results of the study showed that the semantic implications of the Qur'anic miniatures of the Safavid era can be found on two levels; first, as a translation of the Qur'anic text and concepts in explicit and implicit layers, and then, through research into the context of the production of works, in order to understand the hidden and indirect social meanings. The work of art is always a reflection of the social and cultural conditions of its time, and its form and content are the product of attachments to the artist's belief system, and the work belongs to a specific way of thinking or reflects the cultural and ethnic affiliations of the history and land in which it was produced. Applying the theoretical framework of social semiotics of image showed that this method is an effective tool in reading and multifaceted analysis of Iranian painting and can address the above issues. This method reveals the formal and textual meanings of the images, the textual layers and the social references of the images through formalistic study and syntactic structure of the images, modeling from the sources of their signs, and then cataloging and analyzing the existing explicit and implicit meanings. The finding is due to the dominant discourse influences in this period. In other words, the constant presence of mixed meta-maps and narrative representation in the visual form of all these works and sources of common signs such as vector, information value, framing and visualization of images, resulting from the prevailing discourse space and uniform social pattern in this era. Shiite discourse, the most important elements of which was Mahdism and Promise, with the intelligence of its custodians to legitimize the political structure, also infiltrated symbolic systems such as painting to use it as a propaganda tool to advance the diplomatic goals of Safavid rulers. Therefore, by using the tools of social semiotics analysis of images and by passing through visual structure, common sources of signs can be found in paintings influenced by the Safavid Qur'an, which proves the establishment of the same pattern in these paintings, and based on their effectiveness can be identified and interpreted from dominant discourse. It also explains that the main motive for creating these paintings depends more on the political spirit of the time than on the doctrinal goals, and in other words, reveals their self-creation; this means that at first glance, images seem to be a tool in the service of religion, but in fact they are a tool for political-propaganda exploitation and legitimation of the institution of power. In matters related to the hereafter, what is primarily discussed is the belief in the issue of resurrection and the principle of resurrection as one of the principles of Islam, but what is evident in the analysis of the context, reference to the social context of these images and even the choice of scene is a directional choice to convey the ideological message of text producers. For this reason, we encounter the primacy of the Shiite-oriented vision over the main narrative and the promised metaphorical atmosphere of the resurrection, which is influenced by social conditions and discourse conflicts of the first half of the Safavid period. The government was established with the intention of establishing political unity in Iran. The sources of semiotics, syntactic structure, and overall visual presentation in these paintings played a role in highlighting religious goals and political discourses, but the subject and content of concepts, has played a more significant role in motivating the creation and illustration of images in conjunction with the dominant discourse of society.

Myths are generally full of narratives about gods, superhuman beings and amazing events that happened in the structure of the first civilizations, with qualities different from the qualities of our time, and they refer to the creation of the wo rld and its administration. Or they will occur in the distant future. Ferdowsi's Shahnameh, as the most prominent epic work of Iran, represents many myths and beliefs of ancient Iranians, which has been the subject of many cultural and artistic discourses common in this land until today. Especially since a large part of the history of painting in Iran is devoted to Shahnameh painting, and many Iranian artists and painters in different historical periods have been engaged in interpreting the themes of the Shahnameh in visual expression. Dealing with the symbolic aspects of Iranian mythology and how these symbols are represented in the visual arts of Iran is important because it can lead to a better understanding of the art and culture of Iran during the Safavid period. In addition to these, examining the implicit concepts and underlying layers of Iranian visual and cultural elements can lead to new and dynamic ideas in the field of visual arts. It is necessary to pay attention to the fact that sometimes symbols and visual signs are able to convey information that words cannot. The image is more aggressive than the text; The image is a more accurate indication. Its meaning is often closer to the subject. The image becomes a text from the moment it signifies something, and for this reason, like writing, it is called a readable unit. The image in different works can only bring a moment of narrative and writing to the eye. In search of the chain relationship between this moment of narration and writing, it is possible to identify different symbolic systems. Therefore, the goal of image semiotics is to discover the rules of image reading and understanding its meanings through the recognition of visual elements or the appearance of the image, which leads to the analysis of the configuration of the image elements, and in the next step, it leads to the analysis of the forms and recognition of the signified meanings. In the history of Iran after Islam, the Safavid era is considered a turning point in terms of important political-social developments, which begins with the revolutionary government of Shah Ismail Safavid. Safavid painting, like other branches of art, was not exempted from this influence, and perhaps more than other branches, signs of social changes can be observed in it. The battle of Rostam and the White Devil is the seventh book of Rostam's books in Ferdowsi's Shahnameh, whose events have been illustrated many times by Iranian painters. According to Ferdowsi's narrative, the White Devil has a black face, white hair, and a large and powerful body, and lives in a dark and terrifying cave. These characteristics have found various manifestations in the paintings related to the story of the battle of Rostam and the White Devil, and considering their symbolic nature, it seems that they have been depicted in each period according to the current interpretations in the social and cultural relations of the time. Although various interpretations of the metaphors and symbols used in the story of the battle between Rostam and the White Devil in the Shahnameh have been presented so far, this issue has not been addressed in the semiotics of the image and researches in the field of painting. Discusses the portrayal of the White Devil in various paintings of the Safavid period in Iran and analyzes the symbolic functions of this myth in the illustrations of the Shahnameh of Tahmasbi, the Shahnameh of Shah Abbasi and the Shahnameh of Qavam Ibn Mohammad Shirazi, the Shahnameh of Shah Ismail II, the Shahnameh of Shamlu and the Shahnameh of 953 AH. Pay Paris. Therefore, considering the importance of the relationship between text and image in the studies of this field, the main problem of the upcoming research is how to represent the symbolic aspects of the White Devil in Iranian pictorial culture and especially the Shahnameh of the Safavid era in Iran. The results of the studies carried out in this article indicate that the white devil in these paintings is a symbol of evil, helplessness and ill-temper, which was defeated by the Iranian epic hero Rostam in the 7th century. The way of drawing the figure of the White Devil has a more or less identical pattern to most of the paintings of this era, which is rooted in the painting tradition of Timurid Iran and is largely consistent with Ferdowsi's description of it in the narrative of the Shahnameh.

Title: An Investigation in the Orders of Seeing in the Safavid era, whit Emphasis on the rules of Seeing in Naghsh-e-Jahan SquareabstractWE are Living in the age of Visual explosion, nd its important to develop our skills in seeing. According to critical approach in contemporary humanities, its obvious that seeing is historical. Although the new concerns on Orders of Seeing have been associated with modernity, visual engineering has always been a way of governing societies. What Can be seen in a certain society, at a certain time; places of seeing and the relations between the spectacle and the spectator, Are the revealing points of the characteristics of a scoopic regime in a particular position. Discovering the Orders of seeing in a particular Society is a way pf understanding why societies make images whit particular characteristics, to show and hide what may be seen. So By looking through the outstanding visual culture scholar’s opinions on visuality/visibility, I’m trying to suggest some methodological approach for analyzing the order of seeing in a given point. In this approach constructed sites are not just spaces to move in, but they are spaces for controlling inhabitant's behaviors. The main purpose of this study is to discover the most important characteristics of Safavid order of seeing through a profound investigation in the role of the square in premodern Iranian monarchy, by emphasis on Isfahan s Naghsh-e-Jahan square and its public and private sites. Naghsh-e-Jahan is the symbol of Safavid power relations and maintained its function through the years. It is the well known image of Safavid era and Safavid city.The literature review shows that the dominant visual order in premodern kingdoms is based on "Spectacle" and Safavid society is no exception to this rule. In the spectacular order, governments establish the pillars of their power and the foundations of their legitimacy by manipulating the spectacle and performing theatrical rituals, creating an image of monarchy that forces their subjects to surrender. Considering the Naghsh-e -Jahan square as one of the most important places of seeing in the Safavid era, showed that the Shah himself and the religious, military and economic foundations of the Safavid monarchy were the most important things to be seen. By the Way, the right to look in Safavid square is distributed in two dimensions which is in line whit the power relations in Safavid society and reproduce and strengthen Safavid legitimation pillars. These directions are, up to down(person to public), which is the supervision look, and emphasizes the superior position of the king and his courtiers; and down to up (public to private), which is the look of admiration, amazement and submission.Key words: order of seeing, visibility, visual culture, Safavid era, Spectacle, Naghsh-e-Jahan

Rostam is a mythology in Shahname Ferdosi. Rostam has fights and story seven Khan is famous between fights. He is visit with Oulad in the seven milestone ( haft khan) they are together campaign in Khan panjom and Finally they are promise that Oulad is show up dome white daemon. (dive sepid) Person Oulad is twofold in Literature and Art. Once in way he is dive and once in way he is a man.Oulad is a man into Shahname 953 H Pari. Shahnameh 953 H, Paris is good for having clear images of garments is more important that other copies and certainly . into Shahnameh ,Oulad has two cover . he has one jupon of metal in one image (Khan panjom) and he has dress that similar to mans cover in sgahname 953 H Paris. The question is ( Artist in shahname 953H Paris what essence’s Oulad did show from way designing dress? Target is representation viewpoint’s artist into essence’s Oulad and analysis faculty from way designing dress in safayid period. The article has nature is fundamental- application and from a position of the method is historical- analytic. The research is helper to studies Anthropology and Mythology. The results of the study artist have mindfulness to difficult essence’s Oulad in middle competitors for Rostam and artist is design dress difficult for Oulad up to he is not obit in fight with Rostam.

Throughout the history of pottery and among all the methods of pottery decoration, lusterwares, because of their shine and their gold-like reflection, have always been the subject of attention and admiration for everybody. Lustre is a metal glass nanocomposite thin layer made of metal in a silica-based glassy matrix. The lustre technique was first applied to glass objects in early Islamic Egypt and later to glazed ceramics in other Islamic lands, especially in Iraq and Iran. Lusterwares are one of the most beautiful types of ceramics in the history of Islamic pottery that the peak period of its popularity in Iran is related to the Seljuk era until the end of the Mongol period. The Luster masterpieces that are from the Seljuk, Mongol and Ilkhanid eras and even the Timurid era, represent the peak of using of decorative techniques to build the potteries. For some reason, this technique has become obsolete in the Timurid period and has been revived with the advent of the Safavid dynasty and has been produced with new features.Unlike the examples of the Islamic Middle Ages in Iran, there is little information about Safavid lusterwares, especially in the fields of shapes and forms, decorative patterns and the main centers for making luster, which raises the need for scientific research in this field. The aim of this study is to identify, classify and analyze the most important formal features and decorative motifs of these luster ceramics in accordance with the opinions of Islamic pottery researchers and to suggest areas as their manufacturing centers according to these characteristics. Accordingly, the research questions are: What are the features of forms and decorative patterns in lusterware ceramics in the Safavid era? And which areas were the main centers for the construction of these works? The research method is descriptive-analytical with a comparative approach and based on qualitative analysis. In this article, first, the information and images of a number of luster potteries of the Safavid era have been collected by using some electronic sources and library resources and then, 21 excellent luster ceramics of the Safavid era have been selected among the artworks in museums and collections for further study, taking into account the three factors: originality, quality and accessibility. After describing the formal characteristics and decorative patterns of the samples, the linear design of decorative patterns has been done to see more details. One of the limitations of the present study is the lack of access to many specimens and their specifications, which due to their location in the repository of domestic museums or outside the political and geographical borders of Iran, access to them or full photography and obtaining all dimensional details of them were not possible. Although many researches have been done about luster glaze ceramics in the Middle Ages, especially in the field of technique of making or laboratory examinations of glaze of this type of pottery or its decorative patterns, but about lusterwares in the Safavid era, limited research has been done and little information is available; most of which are repeated in different sources. According to the research findings, in terms of form, Tofdan and especially different types of Sorahi with small-sized designs are the most significant and special products of the Safavid era lusterwares. In terms of color quality, pottery is divided into three general categories: gold patterns on white background, gold patterns on azure background, and a combination of gold patterns on separate white and azure glazes, and in terms of the content of the designs, despite the influence of Chinese landscape making on the type and details of the designs and the style of execution, it shows independent methods. Also, the influence of Ottoman and Indian-Mughal art styles in the field of some decorative designs shows the artistic relations between the Safavid era Iran and these neighboring lands. The cities of Tabriz, Qazvin and Mashhad in the 16th century and the cities of Isfahan, Yazd and Kerman in the 17th century, are the most important areas in Iran that can be named as the centers of production of lusterwares ceramics in the Safavid era. In the end, it is reminded that the current research has been done according to the available samples and cannot claim to study all the dimensions of the Safavid era luster glaze, so, further research in this field seems necessary.

Kerman was one of the most important pottery production bases in Iran in the Safavid era during the 11 to the 13 centuries AH (16 to 18 AD) and the products of its workshops have been exported to European markets in addition to domestic consumption. Iran was in the center of political tensions during the Safavid period and after that, and in general, the 10th, the 11th and the 12th centuries AH (16th, 17th and 18th AD) were the arena of East-West conflict. Iranian pottery enjoyed the direct influence of Ottoman, European and Chinese pottery and elements of Mongolian and Buddhist pictorial culture as well as European pictorial tradition. In general, the pottery artifacts of this period are influenced by the popular imported Chinese Ming and Yuan porcelains, and repeat many of their patterns and motifs. In the meantime, Kerman products are reminders of new aspects and innovative approaches and the Iranian spirit. It has never been enough to simply imitate imported species; rather, the products depict past traditions and national and indigenous beliefs, and sometimes manifestations of the region's biological geography. In the blue and white pottery and the species known as multi-colored Kerman, the human reaction to the events and ecology of the region can be traced. The vastness of this land, its elongation in latitude, and many topographic differences have caused a unique climatic and ecological diversity; with vast and scorching deserts, lush plains and pastures, glaciers and rich forests. Such biodiversity has led to different plant and animal species. The study of flora and fauna of Kerman region in comparison with the designs and motifs of artifacts and textiles shows the influence of artists from the ecology of the region in a direct and sometimes implicit way. Of course, the limitations of resources and climatic deficiencies and the hostile forces of nature have caused the image of the environment in the paintings of these people to be sometimes manifested in the form of dreams and ideals; in the sense that the people of this land, in the form of images and motifs, have dominated the problems of living on the edge of the desert and have reduced its adverse effects. In this way, they portray their desire to achieve stability and peace in life, which in some cases is the opposite of everyday reality. The purpose of this study was to investigate and analyze the impact of climate and environmental geography as cultural components in the formation of Safavid pottery in Kerman. Therefore, the main question of this research is as follows: What effect did the environmental components and biological geography of southeastern Iran have on the range of Safavid pottery motifs in Kerman? This research, which is developmental and done by descriptive-analytical method, is in the field of human ecology and in the field of anthropological studies, and its importance and necessity is in the category of culture and the behaviors that result from it. The method of collecting information is documentary (library research method) and field observations. The statistical population of this study is pottery and tiles of Kerman in the beginning of the 11th to the 13th centuries AH (16th to 18th centuries AD) and the sampling method in this study is nonprobability sampling. It is also possible to study under-glazed paintings based on observations of works at museums and auction houses. Also, the tiles and paintings of Ganj Ali Khan collection have been photographed in the field. The method of analyzing information is qualitative. In this regard, initially the climate, atmosphere and land form of Kerman is reviewed, following which the plant and animal ecology of the study area and then, samples of pottery from Kerman in comparison with it have been studied and analyzed. The result of this research reveals the artists' influence from the region's ecosystem in a direct and sometimes implicit way; among them are the motifs of wild carnation flowers, vine leaves, cypress and willow trees and migratory birds, and the repetitive motif of deer is influenced by the flora and fauna of the region as well. The abundance of carnation flowers and vine leaves is a visual indicator in recognizing the Safavid pottery of Kerman.

A grid system is a geometric structure that the artist uses to combine and arrange visual elements in a coherent, systematic and generally related form, in a way that contains artistic expression. Understanding this process is important in order to discover and receive the hidden intention of the creator and orderer of the work of art and the aesthetic pleasure resulting from viewing it; Today, recognizing the structure of the grid system, as one of the most important principles of this art is not hidden from anyone; but the purpose of the present article, besides examining the basic geometry and inner aesthetic arrangement among the visual elements in the painting of Muhammad Zaman, a famous painter of the Isfahan school in Safavid era, is to answer these questions: 1- How can one explain the proportionality between the geometric structure and the contention of the work in the " The servant girl Fitnah with an ox on her shoulders, against Bahram Gur" painting, using the grid system analysis? 2- Is this predetermined geometric structure formed?The results show that this illustration is based on the geometric structure and the principles of golden ratios, among the numbers Phi and Asm, and this matter indicates the artist's adherence to the classical style of Iranian painting; but her metaphorical expression is not based on the choice of the story scene, but on the hidden infrastructure of the work and its composition. This research has been written using the analytical method and descriptive-analytical approach of the case and its data collection has been done using library resources, documents and virtual databases of the British Museum.

The history of Kerman pottery is as old and ancient as the history of this land; The productions of Kerman's pottery workshops have played a revitalizing and continuing role in Iran's cultural and artistic life, especially at a time when Iran is embroiled in political and historical damage. However, the brightest pottery season in Kerman is in the Safavid era; At this time, many species, especially blue and white pottery, have been produced on a large scale in the workshops of this city and the surrounding areas. One of the reasons why Kerman has been considered as a pottery center during the Safavid period is the geographical location of this city and its proximity to Bandar Abbas for the export of these works between china and the Europe. From within the blue and white species, new and creative varieties emerged in terms of decorations which are called Kerman polychrome ceramics. However, the exact location of its production is not definite in the vast Kerman province. Indeed, the multi-colored pottery of Kerman is a significant part of the history of Safavid painting. Kerman polychrome ware is often made with the underglaze painted technique in the frit body. Our goals in this study are Introducing Kerman's polychrome ceramics as well as the discovery of the distinctive and recognizable features of these paintings. To do this, we have collected many examples from the most popular museums in the world; And by the study and interpretation of forms and symbols and adapting it to the previous researches, we presented a new classification of this paintings. Methods of gathering data for this research is a combination of historical documents and some field evidence (library and field). We respond to a main question: What are the specific formal features in Kerman polychrome ceramics?  In these paintings, a range of floral, animal, human, written and geometric motifs and literary narratives have been combined with elements of Chinese paintings of the Ming and Yuan dynasties. The motifs of Dianthus flowers and ivy-like leaves are the hallmarks of Kerman's under-glazed paintings. The results of the research indicate that the Kerman's polychrome ceramics has evolved from the blue and white species with an innovative step-by-step approach. step one: Application of black color and its expand to the motifs and borders of the image; It should be noted that the use of black was due to the dominance of the azure color. Step 2: Painting with limited colors on monochrome and celadon bodies; In some cases, the motifs have been scratched. Step 3: Application of green, red and black colors in combination with blue and white. The design and brushstrokes of these works are different. In some works, Chinese and Iranian motifs are combined; two styles of drawing are so obvious that it was probably produced by two separate people. In other works, the painting is completely filled with Iranian motifs; These works, in addition to showing the background of ancient Iranian motifs, in some cases have focused on aspects of objectivity and natural landscapes of Kerman.

The tendency toward religious matters including Qurans verses, narrations, religious teachings and the story lives of prophets has always been impressive in Iranian miniatures. Transcribing these themes in the field of the image, in addition to expanding the foundations and religious thought, also had other goals. Which is compatible with the social structure and environmental conditions of the production of each of these works can be interpreted and identified. The purpose of this study is to read one of these themes - "Solomon's court" -in two different historical periods by discovering the mechanism of producing meaning in two images belonging to the Timurid and Safavid ages, In addition to examining connotation, answers this question: What has been the cultural and social process in creating miniatures structures? The research method is descriptive-analytical and based on the sociological semiotic model of the image and data collection is done through documentary sources and direct observation. Social semiotics is a topic in which two prominent semiotics such as Teo Van Leeuwen and Gunther Kress have drawn semiotic model about the image according to Halliday's linguist ideas and they offer three; ideational, interpersonal and textual Meta function for the image.The results of the adaptation of these images with this model showed: Both of these images are similar to each other in selecting the main characters, because when the theme is common, the same structure dominates the images especially with religious content that generally do not contain the unfeigned of the illustrator and his imagination, even in some cases they are copied from another hyper textuality. Despite the continued presence of common signs in pictures, it is impossible to ignore the differences arising from the cultural and social context of production, which have appearance in details and subtleties. Also temporal affinity of images production, justified their style effects again. Matching Meta function representation of the images with meaning indicates; separating the material and spiritual realms also a contrast between superiority and subtlety and the symbolic use of colors explains the rule of the conceptual model. In the interactive Meta function analysis of miniatures participants represents the special position of the main character. In the miniatures composition (combined Meta function)- According to what is perceived in the narrative- prophet Solmon has the central role due to the allocation of areas of informational value to him and his unique highlighting and framing, which represents the hierarchy of power, his ideal identity and belongs to the incorporeal world. An overall summary demonstrate the dominance of political discourse in the images that based on the historical context of the production of each of them. An invaluable point in discovering the hidden social implications meaning of images is to legitimize the government through illustration of a Qur'anic theme. The elements and components for the propaganda purposes of the power institution have been used to represent the glory of the rule of the Timurid age and instrumental in serving the legitimacy of the ideological and political structure of the Safavid period.

With the invention of hookah, under the influence of the Iranian art, which were getting adorned the practical and everyday objects, the hookahs were also gotten to be decorated. Among the various components of the hookah, the base is of particular importance, as the type of hookah is determined by its base. Thus, it was important that the base of hookah to be designed, made, and decorated in such a way to accomplish both the aims of practical use and aesthetic function. Since the advent of the hookah dates back to the Safavid era, there remain tremendous varieties of hookah bottles from this age that are regarded as unmatched as pottery of the period. The present study investigated and classified the shape and ornamental patterns of twenty indigenous hookah pot specimens of this period. They were then compared with some similar Chinese samples (with a different application of hookah pot) to address the possible effects of Chinese pottery art on the selected Iranian artifacts. To this end, the scope of the study concerned on recognition the different forms of Chinese pots in Safavid era, types of motifs and decorative themes on them, as well as their characteristics. The results of the research would contribute to the identification of possible sources of inspiration in shaping and selecting decorative patterns on the Safavid hookah pots. This is a descriptive-analytical research, and data were collected using the documentary and library methods. Findings suggested that Safavid hookah bases were made in various forms, often in the form of pear fruit, inspired by “candy” dishes. They mostly had vegetal, arabesque, animal (often bird) and rarely human patterns in blue decorated on a white background. Moreover, Kerman was the most important center to produce this form.

Popularity of writing and following the magnanimity letters among the handicraft guilds in the Safavid era indicate the importance of traditions and qualifications that were necessary and characteristic of any occupation in that period. By studying the political and social history of the Safavid era, it can be seen that there was no specific profession called carpet design. The lack of magnanimity letters for this profession, despite the importance of carpet art in the Safavid era is a query that has not yet been addressed. Thus, the author in this paper focused to answer these queries: what is the reason of the lack of magnanimity letters among the guilds of carpet designers in the Safavid period?; what guilds were the carpets designers of that period belong to?; and what characteristics did the magnanimity letters of carpet designers have? In this research, a descriptive-analytical method was used to study and collect bibliographic and linguistic materials in the field of painting, carpet and Shiite mysticism. In addition the carpet designers’ activity and the reasons for the absence of magnanimity letters for this occupation in the Safavid era were investigated. The findings of this research indicate that carpet design in the Safavid dynasty was not regarded as the individual occupation; rather it was categorized as the subset of the professional activities of a group of royal library artists. The heads (shaykhs) of this craftsmanship at that time began to compose essays that were structurally and substantially similar to the magnanimity letters of other guilds. The distinction between the carpet's guild-related text and the letters of other guilds was regarded in the literary and writing structure, which reflects the scientific and social status of the heads (shaykhs) of this craftsmanship.Questions that can be raised in this regard include: “what is the reason of the lack of chivalry letters among the guilds of the Safavid era?What guilds were the carpet designers of that period belong to?Who were the carpet designers of the Safavid era? What characteristics did the chivalry letters of carpet designers have? In this research, a descriptive-analytical method was used to study and collect bibliographic and linguistic materials in the field of painting, carpet and Shiitemysticism, the carpet designers’ activity and the reasons for the absence of a chivalry letters for this occupation in the Safavid era. The structure of the essaysrelated to this profession is also matched with the letters of chivalry from that period.

In Isfahan, a new age in Iranian civilization began with the rise of the Safavid Dynasty. Economically strong and politically stable, this period saw a flourishing growth in many social events, engendering new viewpoints in developing social issues. Traditional architecture evolved, leaving its impact on many new realization plans. New master plans were elaborated regarding what could be understood as progressive urban planning in consideration of town expansion. With important social concerns, the appearance of new patterns based on geometrical networks in the development of cities organized the open urban spaces, taking into account all the natural elements. The social life of the society has been following these developments and has emerged at different levels of the city. During this period, a major linking avenue, known as Chahar Bagh Avenue, and a public square known as Naqsh-e Jahan, and the Bazaar created the possibility of social life in the city. Due to the particular geographical position of the Safavids’ capital, known as Isfahan, the river context has provided a situation to reflect the effects of these activities on the bridge structure. Chahar Bagh Avenue created the town’s main fusion and viewpoints towards Zayandeh Rud River and bridges such as Allahverdi Khan, Khaju; hence, creating greater social accessibility to different quarters and communities. Each bridge coincides with a straight avenue running through the city from north to south. Bridges had two functional purposes, to link the town’s two parts, to function as a dam. But mostly, due to the progressive social views, they were to create places of encounter, rest, and gathering for the people. Therefore, the bridge was conceived as an urban living space inherent to the town itself with different layers of rest, commerce, and use, as well as benefiting from the agreement of Zayandeh Rud River. The Safavid bridges of Isfahan are an important part of the urban structure in this city. This study seeks to explain the components which shaped these building as a collective space in the contemporary era. In this article, the qualitative research method has been used for data collection, and data were analyzed through qualitative content analysis. This method aims at the collection and a broad description of a phenomenon, and the achievement of this analysis is the concepts or descriptive classes of a phenomenon. The data of this research has been collected through oral interviews. The original codes were extracted from the text of the interview and then classified. The method of data analysis is content analysis with a deductive approach. The units of meaning were selected from the text in the form of paragraphs and statements, and the primary codes were extracted. Finally, the main classes (categories) were extracted.

Throughout history, rulers and designers have always paid special attention to the design and construction of bridges. The difference between the bridges in Iran is caused by the geographical conditions of the area and the need for water storage, which has caused many original bridges to be constructed in the form of a bridge and a dam simultaneously. The construction of urban bridges in Isfahan during the Safavid era is a major milestone in the history of bridge construction in Iran. The Safavid era should be considered the golden age of bridge design and construction, especially the inner-city bridges. Khaju and Allahverdi Khan Bridges are the most famous bridges that always took people’s attention because of their memorable roles in Isfahan’se structure and urban society. The special point in shaping Khaju and Allahverdi Khan Bridges is the attention to urban and recreational functions along with the function of passage. These bridges are considered urban elements in the landscape of Isfahan city due to their various functions and their essential role in the city structure.

Architecture shapes a part of the culture in each society, and the formation of culture in each community is approximately dependent on architecture. It is a need that requires paying more attention to consider and review the context of forming these bridges. Memorability is a part of the perceptual sense of architecture acceptance. Citizens consider the sense of nostalgia in these buildings as a very influential factor in their presence. This memorability impacts the formation of their individual and social identity. In a city like Isfahan, where urban spaces act as urban signs, bridges are considered a part of the city identity because of their historical character. Their identity role becomes more effective as a result of being located in the city and playing the contemporary and functional role. Obviously, the presence of Isfahan residents on these bridges significantly affects their psychological and environmental perception. It can be said that environmental psychology is an influential component for presence in these places. The components, such as the visual and perceptual sense of materials and their influence on the user, create a sense of place attachment. Natural river context influences the user, in the perspective of influencing phenomenological senses. Also, the structure of bridges in interaction with the river context leads to the creation of phenomenological senses. As in Khaju Bridge, the creation of water sound is one of the elements considered by the interviewees as an inseparable part of the bridges.

As stated, the codes extracted from interviews were classified into 12 general categories. The main categories of this study refer to the subjects influencing social acceptance of the bridges. These categories can be mentioned as: aesthetics dimension, psychology and environmental perceptions, the components affected by memorable sense, the impact of natural river context, on how to welcome the building, visual and perceptual impact of materials, interaction between different functions and bridge architecture. It can be said that the compiled components cannot be introduced separately; they influence each other or have two-sided interactions, in addition to the conducted categorization. All components extracted in the contemporary period greatly influence the creation of functional public space in the urban structure of Isfahan. The oldness and nostalgia of the bridges have created a quality that can act as architectural units with urban performance as the function is reviewed in the contemporary period. An analysis of these components also stated that functional review on the space of these bridges in terms of their architectural components in attracting society provides an efficient approach to creating contemporary public spaces.

One of the remarkable spatial innovations in Safavid architecture is the tālār (acceptance hall). Although few examples remain today and as in some cases (e.g. Ali Qapu), they were annexed to previous buildings, the elegance and beauty of the overall architectural composition are such that nowadays it is almost impossible to imagine the buildings without tālārs. This raises some questions about their origins, their emergence, and their history of development in the architecture of this period. Although various statements have been proposed, none is sufficiently convincing in the opinion of most experts. The present article sheds light on the origin of the tālār emphasizing a little-studied element in Persian architecture, i.e., tents and temporary structures that were built in gardens. The research employs the interpretive-historical method, analyzing extant textual/pictorial sources. The results indicate that the invention of the tālār could be associated with the development of tent and kiosk structures, where they were repurposed as permanent structures having more columns and a larger scale.

Surāhī (decanter) can be regarded as one of the most common types of drinking vessels in Persian art as well as one of the containers mentioned most in Persian literature (especially in mystical literature). In this study, in order to complete this information in the Safavid era, in both domains, the method of reconstructing the horizons of Hans Robert Jauss was employed. Explaining the theoretical approach of this research, the horizons of expectation in Hans-Robert Jauss thoughts are said to be a criterion used by peoples of every age to interpret, reinterpret, and evaluate literary works of their time. He believes that with a three-stage instruction, one can reconcile the horizons of the expectations of people of every age to the work. Jauss has also used the artwork to review the work, but without having to document the audience it is only possible to guess how the audiences' expectation horizons are. However, in this research the horizons of explicit expectation in the Safavid era have been rebuilt based on the many and varied sources found in the Persian literary texts. The results of the research show that by applying the method of reconstructing decanters' horizons on the basis of contemporary literary texts, we can experience a major revival of this work of art, and from this approach it will become possible to have a better understanding of the findings of this container in literary texts and in some works of art (especially the images of the angels holding that container in their hands).

Because of complex ambiguities, non- explicit meaning and different interpretation facilities of Hafiz poems, have few visual capabilities than other lyrics of Persian poets. Therefore a few number of illustrated manuscripts of his Divan is available and major examples are also belong to the Safavid era and after it. The main issue in this study is Introduce and study one of these exquisite and obsolete example that created in 926 AH and is now keep in library of Princeton University in America. This valuable manuscript has 6 miniatures that the aim of this paper is to explore the interactions between poetry and images and also Accuracy in visual features. The method of study is descriptive-analytic and Information collected through library resources and direct observation. The results in answer to the general question "How are the qualities of the visual elements of miniatures in relation to the lyrics?" show: Painters as far as possible with common contractual practices, has shown his loyalty to the lyrics. He utilizes spiral arrangement of human elements, selection of symbolic color and allegorical space, trying to instill picture in accordance with the mystic terms of Hafez's poems and has created the visual space fits with the theme by repeating symbolism and forms in similar topics.

Metallurgy is one of the most significant branches of the art of Islamic era which had a special place among all other eras. In addition, one of the suitable ways to study and do research on inscriptions is the metalwork’s art. Safavid era is one of the flourishing ones, in which artists under the influence of Shia religion, have illustrated verses and aphorisms in the form of inscriptions on the metal works. As a result, the authors of this article have tried to study the inscriptions of Safavid era with regard to metal plates by using both a descriptive method or library-based study as well as field studies or museum-based ones. Moreover, in order to increase the quality and accuracy of this study, they focused on some of the valuable plates available in Astan Ghods Razavi museum. The result of this study shows that the metalworkers of this historic period usually paid attention to religious themes in the inscription of metal plates, the themes which consist of the names of Imams, Salavat, and some verses from the Quran. Sometimes some beautiful poems can also be noticed on these plates which point to the usage of these plates.

One of the most important art periods in the history of art in Iran is Safavid period. the first national government in Iran leads to strengthen the visual arts and handy crafts . From this period, left several written sources in the field of art. Usually these sources were about the artists-painters and calligraphists- in the form of Introduction In the beginning of the album.
Two introductory art history from written sources in Iran in the Safavid era were written in a decade. One preamble Dost Mohammad Gvashany on Bahram Mirza Album (952 AH) And the other is the introduction Qutb al-Din Muhammad Shah Tahmasp Album(964 AH). The authors used a lot in the Safavid era of the contents of the two preface.
Quinn, author of Historical Writing during the Reign of Shah 'Abbas believe that certain writing principles were adhered to in the introductory programming. Including source, praise and mention the motives and reasons supporting the book and the writing process ....
This article is based on library studies to introduce two valuable history of the art of written sources, tries to answer these questions: Have Qesekhan in writing, from the introductory text Dost Mohammad was the impact?
And according to Quinn claim differences and commonalities in structure and content, both text is identified. The difference between the two texts, the difference in the writing and not sharing the author's perspective. Dost Mohammad, tells the story of calligraphy and painting in history. Qesekhan creates a literary text with the content of art history. Contents Preface complement each other. The results of this document put an end to the uncertainty about biography artists. Thus studying text of two introduction give overview of information regarding painters and calligraphists .Comparative two texts on the history of Iranian art helps to eliminate confusion.

The attitude and reaction of Safavid government as a central integrated government in the Islamic world towards art, culture and religions, especially Jews, can be studied and analyzed. The dominant atmosphere of Isfahan in 11th century (hijra) was so that the Jews of this city could produce their unique illustrated books by adapting the themes of literary masterpieces of Muslim Iranians and using as the model the techniques and traditions of book-decoration prevalent in the royal art workshops or private workshops in that period. Meanwhile, regarding the longstanding presence of Jews in Iran, some particular indices known as Judeo-Persian were created which represented their specific linguistic and expressive features and they can be observed and explored in their particular literature and texts as well as in the field of book-decoration. Using a descriptive-analytic method, this study aims at shedding light on the activities of Jews, particularly their art of book-decoration, in two classes of religious and national texts by providing a close reading of nine paintings from the library of Jewish theology school of America. The study of these texts and paintings portrays a group of people who not only tries to keep their language and basic concepts alive but also keep their connection with other people and religions of this country by selecting common visual manners and conventions of Iran and emphasize their shared concepts as an Iranian.