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

Saheb Al-Amr Mosque is one of the historical-religious buildings of Tabriz, which is of great importance and sanctity among the people of this city from the past to the present. One of the features that make this place stand out is the existence of metal inscriptive ornaments such as Qur'anic verses and prayers, also visual metal ornaments, including hand or human icons, and other objects that are installed on the entrance door of this historical monument. Based on observations, most of the ornaments, especially human icons were installed on the door by different strata of the people in the Qajar era. Therefore, this place can be considered of significant artistic importance, regardless of its historical and religious values. Moreover, one of the necessities of conducting this research is neglect of these arrays as works of folk art, also the role they can play in reflecting the culture and thought of the people over some time is valuable. Metal ornaments installed on the door can reflect the social, cultural, and economic status of the society of that era. Given that in Iran during the Qajar period, most people were influenced by and adhered to national prejudices and religious slogans.On the other hand, superstitious thoughts and ideas have been prevalent among the people and even the Qajar courtiers, and considering the important place of this construction in the social life of the people of this era, the present research intends to study and analyze the ornaments installed on this door as part of common visual culture in the society of Tabriz in the Qajar era based on the reflection approach in the sociology of art and with emphasis on components such as social and cultural structure. The Abundance of various arrays on the door, and on the other hand, their meaningful application in a particular period and society, indicate that one of the important features of the study of this phenomenon is that it makes it possible to analyze ornaments with a reflective approach to the image and a close reflection of the social and cultural conditions of society. Therefore, the main purpose of this study is to achieve the currents and ideas that have led to the formation and emergence of such ornaments. In this regard, research questions are raised in this way:  What currents and ideas are reflected in the arrays of the door of Sahib Al-Amr Mosque in Tabriz? What do the ornaments contain?The present research is historical and descriptive-analytical in terms of nature and method and has been done with reflection approach and content analysis method and using historical data through collection of library and field documents. The results of this study showed that on the door of Saheb Al-Amr Mosque in Tabriz, we encounter two major groups of ornaments from a content perspective. First group is ornaments with themes influenced by religion, especially Shiite culture, which explicitly refer to Islamic and Shiite traditions and texts, and most of them can be seen in the form of written ornaments. The second group includes ornaments with a combination of Shiite themes and non-religious signs under the influence of superstitious sciences, which in many cases appear with a seemingly religious aspect and in different forms. In fact, with the emergence or strengthening of new beliefs and mentalities in society and changes in culture, the possibility of the emergence of new forms and content in works of art is provided.Existence of icons with the name of Cheshm Abbasi, on which in some cases the words "Ya Abbas Dakhilam" and "Ya Hossein Mazlum Dakhilam" are engraved, seems to have had a religious function from the point of view of a group of people in Tabriz during the Qajar period, and is considered as a clear example of this change. In this period, we are faced with cultural and social conditions that affect the whole society, including the kings and most of the people, the most important of which are a superficial reading of religion and more attention to the appearance of religious rituals and ceremonies, and another case is the spread of popular beliefs and beliefs of non-religious origin, which in many cases are practiced in combination with religion by fortune tellers, and dervishes. Tabriz, as the most influential city of this period, is no exception to this principle. The people of this city, in addition to having religious prejudices and special devotion to the infallible Imams, especially "Hazrat Abbas" and "Imam Hussein", were also influenced by the popular and superstitious beliefs of the Qajar-period society, to the extent that countless arrays on the doors of the Sahib Al-Amr Mosque reflect ideas directed at both views.

Islamic architecture includes sublime meanings and sublime themes, one of the manifestations of which can be found in the shrine of Astan Quds Razavi.Signs are always accompanied by interpretation; Thus, the semiotics of the science of interpretation is the sign of the "sign" which means interpretation. Therefore, the sign is not fixed and may not be a sign for another person, so the sign is a symbol that must be discovered. Meanwhile, the famous semiotician Pierce, the contemporary philosopher, pays more attention to visual semiotics. One of the most magnificent visual signs can be seen in the shrine of Astan Quds Razavi. Azin is closed. Humans have always sought to find the truth in existence, and these beliefs, ideas and thoughts over time have been adorned in the form of images and have become symbols, signs and symbols. The codes of the visual elements in any form and color can be explained and interpreted, because the meanings and concepts of these signs are the result of sensory-visual perceptions as well as the birth of ideas, mental ideas, thoughts and imaginations of the artist. One way to study and understand the themes and mysteries of these images is to approach the system that governs the laws that govern the structure of visual language, that is, the science and tools of semiotics that are related to signs. In fact, the discovery of related mental concepts is associated with individual or group communication in society and its recognition is possible through cultural symbols in any civilization.There are many signs in the universe that have unique concepts and meanings due to their establishment in every society, community, culture and civilization. Over time, humans have created designs inspired by these concepts and adorned the space with appropriate designs in appropriate places and situations. Therefore, one of the holy places, which due to its status and sanctity has a corner of many visual signs in the universe, is the royal and holy court of Samen Al-Hajj Ali Ibn Musa Al-Reza (AS) in Khorasan. Is. This holy shrine of Razavi has been a safe haven for the hearts of believers from different walks of life throughout history and different periods. Shiites have used it (Nemati, 2016). Azadi Courtyard is one of the main areas of Astan Razavi, which in its place has decorations and visual signs with a unique Iranian-Islamic culture that are thought-provoking. The courtyard is located to the east of the shrine, which has four porches and a wooden door of the southwest pavilion has been selected. Considering that the basis of Islamic art is based on repetition and symmetry, all the visual-visual elements painted and decorated in the courtyard are decorated with the same principle. Therefore, in this article, due to the lack of elaboration, repetitive and continuous patterns, elements and visual-visual signs are avoided, and researchers are content to introduce the works. However, the designs that are different and unique from each work are selected and studied and analyzed with a semiotic approach. The Freedom Court of Astan Quds Razavi is a text of one of the most magnificent works of Islamic architecture that has a lot of hidden codes that need to be revealed through interpretation and semiotics is one of them. In this research, we will try to explain the relations between signifier and signified in the signs used in this traditional religious space, which is based on various contracts of similarity (symbolism), association and traditions (symbol) and cause and effect (index). Analytical science used semiotics in analyzing and reading patterns and discovering their implicit meanings. The present study seeks to answer these questions: What kind of visual signs based on the relationships between signs and meanings are available in the courtyard of freedom? And how can these signs be read and analyzed using the analytical tools of the semiotic approach? This article has been done by descriptive-analytical method. Data collection is in the form of library resources. The result of the research showed that the visual signs of Freedom Square are classified into seven categories. In general, the message and concepts of visual signs related to themes and meanings such as: holiness, rabbinism, soul and perfect human being have been observed. The relationships between different aspects of signs are also based on the semiotic approach in the form of index-symbolic, index-symbolic, symbolic-symbolic.

Over the history, social, political and religious changes have been best manifested in the art and architecture of that period. Religious inscriptions in different periods reflect the prevailing beliefs and ideas of the society at that period and contain valuable information on the religious, social and cultural conditions of their time. Among the various elements of Islamic architecture, the mihrab as a symbol of the Qibla has always been of interest to artists and adorned with various ornaments, including inscriptions. Most of the studies on the Ilkhani plaster altar have been from the inner and peripheral point of view and the aesthetics of the decorative elements and their classification and the outer point of view has less been addressed due to the phenomenological and rooting causes of these themes on the mihrabs. Accordingly, the present research has been addressed on the comparative analyzing the inscriptions of the plasterwork mihrab of the Seljuq and Ilkhani periods from a content approach (religious themes). The research method was comparative-analytical and data collection tool was field survey and library documents. The results of the research show that the themes of the mihrab inscriptions of the two periods, despite their common platforms in general concepts such as ontology (monotheism and justice) and anthropology (their prayers and zakat and their alterations) have also very differentces. These themes are similar to the Sunni themes in many cases (names of Rashid caliphs and Sunni hadiths) in the Seljuq mihrabs and the mystical-shiite themes in the Ilkhani altars that are directly and indirectly appeared in the inscriptions are in harmony with the religious trends that govern their society. In fact, the new worldview of each period has somehow manifasted and appeared in the mihrabs inscriptions.