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

Problem statement: 

One of the most important aspects of Qajar art that has not received so much attention is the background of paintings of this period. The background of an artwork may follow certain patterns and rules that constitute the problem of leading research.

To understand the patterns, rules, and role that the background plays in the paintings of the first and second Qajar periods and also to answer the question of what patterns or rules the artists of each period used to create the background of the works.

Based on the objective, this research is a basic theoretical study and descriptive and analytical. Thirteen samples of Qajar period paintings were purposively selected, and the data related to the mentioned questions were extracted, classified, analyzed, and adapted.

The results show two general methods in the painting background of the two periods. In the painting backgrounds of the early period, there are mainly geometric patterns and landscapes inspired by European paintings from memory. In the second period, painting backgrounds represent real Iranian space in a realistic and naturalistic method. Differences in the teaching methods of the two periods have caused differences in the works. Therefore, despite the use of European elements, the backgrounds are mainly influenced by Iranian elements in the first period while in the second period, there is a complete domination of Western methods and elements

The concept of the Persian garden is known as one of the symbols of civilization and architectural patterns of the Iranian region, from Transoxiana to Mesopotamia, due to its continuity and widespread presence in the geography of Iran. A closer examination of documents, travelogues, and the analysis of the evolution of the physical aspect of this phenomenon reveals that social, cultural, political, agricultural, and economic conditions have had a slight influence on the symbolic system of the Persian garden in each period. The first spatial Perception of the audience in the Persian garden is a combination of tall trees and the endpoint of the main axis that extends from the entrance area to the pavilion combined with the eye-catching play of water in the pools and basins and the shade of trees. This image, the most important and enduring image of the Persian garden, represents the Street of Garden and is one of the components of the Persian garden that has undergone the least changes in its shape and continuity in the historical process of the evolution of the Persian garden. The main street of the garden has a significant role in the design of Persian gardens and represents the highest manifestation of the garden’s symbolic aspects. This article aims to analyze the role of the street as the most important component of the garden’s landscape design through historical document analysis, and then analyze the influential criteria in the historical developments of the garden street. Throughout the history of Persian garden developments, the street has had a conceptual role in the creation of the garden and the stabilization of its constituent elements during different periods has led to the continuity of the Persian garden identity.

During the Qajar period, one of the brilliant artists was Mahmoud Khan, the king of poets, who was one of the prominent masters in painting urban landscapes. His works have different backgrounds considering his time and he is known as one of the pioneers of modern painting in Iran. Mindfulness, lighting, viewing angle, geometric connection between levels are the prominent features of his paintings. The purpose of this article is conducting an analytical study of the effect of photography on the landscapes by Mahmoud Khan Malek al-Sho'ra. The general questions in this article are as follows: 1- What are the visual features of landscapes in the works of Mahmoud Khan Malek al-Sho'ra? 2- Were the works of Mahmoud Khan Malek al-Sho'ra influenced by photography? In which sections are these influences evident? 3- The influence of Western and Iranian painting can be seen in which parts and visual elements of Mahmoud Khan Malek al-Sho'ra's works? The content of the present study is qualitative and the method of collecting information is library-based, and analyzing the landscape works of Mahmoud Khan. This research has been done by descriptive-analytical method. The importance of urban landscapes in the works of Mahmoud Khan during the Qajar period is due to the fact that he shows the new Tehran and new buildings in Tehran during the Qajar period, and his works document the buildings and landscapes of Tehran in this period. The results of this study show that Mahmoud Khan is one of the leading artists in the field of modern painting in Qajar era Iran. He shows a different type of landscape painting in the Qajar period with the influence of photography in his paintings. The important point in Mahmoud Khan's architectural paintings is the absence of human beings, kings and courtiers, and only dealing with buildings and landscapes. These paintings show the location of buildings and structures, their composition and the combination of Iranian and European art. In the backgrounds of Mahmoud Khan's works, the paintings and drawings of the earlier Qajar period can be seen in fine and segregated geometric surfaces. Mahmoud Khan's paintings of buildings show his scientific and mathematical mind as well as his knowledge of geometry and perspective. In the second half of the Qajar period, he is the point of balance between Iranian and European art. His inquisitive mind is reflected in his precise naturalization, which is evident in the provided pictures, as well as in his European view in paintings and perspective, seen from above, and punctuation. In his paintings, high skill in perspective, in-depth and accurate representation and high quality, soft and bright light, clear and correct perspective can be seen by the audience. He paints the Qajar era Tehran, which is moving towards modernization. Mahmoud Khan was aware of the principles and rules of landscape painting, form and use, one-point and two-point perspective, and he used them masterfully in his works. His knowledge of mathematics, model making of buildings, has certainly played an important role in the artist's precise artistic vision and its reflection in painting. His paintings have a photographic style and a different vision, creative mind, diversity and modernity in painting, and poetic naturalization which show his eye-catching and poetic choice of bright colors. His landscape paintings have the power of innovation, elegance, skill, and boldness in painting, that consciously use the style of realism and the combination of Iranian and European art as well as the evolution of aesthetics. He makes a difference in Qajar painting, which shows his artistic genius and philosophical vision. Iranian spirit, perspective and the effects of Westernism, and the influence of Iranian painting can be seen in his paintings and works of other painters in this period of gardens and the palaces that depicted royalty like the work of Yahya Ghaffari, son of Sani al-Mulk and Abu Turab Ghaffari, but none of them had the power and skill of Mahmud Khan, and none of them worked with watercolor technique so brilliantly and beautifully with such a great process. Most of their works were designed and produced in lithography, so the colorful nature of Mahmud Khan's watercolor works and his knowledge of color set him apart from the others. It distinguishes him from his generation. The most important part of his artistic activity is magical lighting, subtle and rich processes and spots, and original and brilliant painting. At a time when artists were mostly courtiers and worked in sculpture and portraiture, he turned to inanimate nature, landscape painting and design of the interior and exterior of buildings, and chose a theme as the main subject of his painting. While other artists had been the fringes of their craft, he achieved a personal and different style in the art of watercolor painting that is not seen in the paintings of other artists. His works, while being influenced by Iranian art, have a different feature, and that is generalization versus partiality in Iranian art.

Over the chronicle of graphics Iran, landscaping has always occupied a peculiar position, being demonstrated through an array of forms and accompanied with different manifestations. Landscaping, which was under careful attention of painters and its flashy representation during the ninth and tenth centuries, undertook considerable alternations in Isfahan style of painting, losing its own previous practicality when the two prominent painters of Safavi court - Sadeq Beik afshar and Reza Abbasi - were the thorough masters of their own styles; the former as the representative of the new and the latter ancient forms of landscaping.Taking a glance at the works of these two artists, the viewer can easily see the differences. Since they are the notable delegates of the new and modern schools of Isfahan Safavi era, the recognition of their works' visual resemblance and discrepancy in one of the unique and most controversial domain of landscaping ,namely scenery, is highly necessary. Accordingly, the issue of inquiry is drawn up in this way; which special properties have been applied in the new and modern styles of Isfahan Safavi School baded on artistic works of Reza Abbasi and Sadeq Beik afshar?To do so, firstly, the nature and the basis of landscaping of the two styles have to be defined and then contrastive studies among their works are to be conducted. The outputs depict obvious distinctions in their special tendencies of landscaping which are being manifested through their exclusive inclination to the nature.This research is qualitatively categorized using contrastive and analytical bases of inquiry. It is a selection of works presented by Reza Abasi and Sadeq Beik afshar having been created in a specific time with a shared concept.

Gulshan collection in Gulestan palace is a valuable collection that has been created by Iranian and Indian artists. The importance of this study is that it discusses and introduces various styles of naturalism in the paintings of Gulshan collection as the most exquisite works of Jahangiri era, the history of development in Indian Gurkany art from Homayoon to Jahangir period. The aim of this study is to identify naturalism in the paintings of Gulshan collection. Because in the art of painting they consider nature and its manifestation. Inclination to nature is evident in the remaining works. That's why these questions can be posed that what styles were used in the landscape painting of Gulshan collection? What kind of characteristics should a style have and if they are distinctive or not? The method in this study is descriptive analytical and collecting data is in the form of library and attributive. The statistical population is Gulshan collection in the Gulestan palace library. Almost 80 images of landscape painting were collected from the treasury of manuscripts of Gulestan palace. After checking these images five of them that had the most outstanding features of naturalism were investigated. Because in this study five styles of landscape painting of Gulshan collection were found, each of which had unique feature and eventually we witnessed the combination of styles and the conflict between these orientations. However, none of them were completely replaced by each other. Thus, first we will investigate how Gurkany government and painting were created. In brief the effect of Iranian and European art on Indian art was discussed and then nature was investigated in art and painting. Finally, some paintings having different features of landscape making were analyzed as well as explaining Gulshan collection.

Research on Achaemenid art is still a fresh and difficult subject. Due to the weakness of the remaining Achaemenid artistic documents, seals are among the most useful materials that have abundant data. This can help us to improve our understanding of Persian in the Achaemenid era. In addition to the beneficial aspect, the tree has also been of aesthetic and ritual value in the Achaemenid thought. The tree's notion can be found in the following two visual and key sources. The first and most used are seals that include a significant portion of the images of the trees. The second type is embossed designs and glazed tiles in architectural monuments that have the least variety of images for examining the tree in Achaemenid art in measuring seals. The purpose of this research is to recognize the notion of "tree" in the Achaemenid Seals based on the typology of trees and to examine the relationship between the species of the tree with the theme or the content of the seals, which is not a matter of much concern. The present paper is based on the hypothesis that "the representation of the tree in the art of seals making with the theme of seal" is not the only element for ornament's scene. The strategy of this qualitative research is descriptive-analytic approach. The results of this study showed that, in general, three recognizable species of trees can be found in these stamps: "palm date trees", " conifer or needle leaf trees" and "fruit trees". Palm trees with or without dates are designed in a realistic way with plenty of detail and axial symmetry. Payment techniques and aesthetics of the trees include a variety of court styles to designer personal tastes. In general, cylindrical seals are a more suitable substrate for palm trees, and this is also consistent with the subject matter of these seals. Because the palm is considered as a symbol of fertility and prosperity, the royal address is also considered, and its significance is so much that in some cases the sign of a wing or winged body disc can be seen above it. Needle leaf or conifer trees are seen in samples of the style of imitation, the main theme of which is its seal, the domination of a crowned man on animals. These trees are designed in hunting and hunting scenes, with simple and parallel hatches. In non-court hunting scenes, the presence of shrub or conifer trees can be seen more. In general, in non-cylindrical seals that have more popular themes and are closer to everyday life, the presence of such tall trees is a cylindrical seal. However, fruit trees have a very small contribution to the studied seals. Fruit trees or flowering trees are appropriate to the designer's style. In addition to the ornamentation, the trees have two key functions: a) the tree as the symbol of the kingdom in the court scenes; and b) the tree as the symbol of nature in the scenic scenes.

The focal issue in the current research involves the discussion on the reasons for the absence of landscape depiction in Iranian painting with emphasis on the etymology of the term nature. In Iranian painting unlike western and far eastern examples, never nature and landscapes are the main subjects. Tabi’at (Nature) is an Arabic word bearing various meanings. The scope of the meaning of the word Tabi’at (nature) whether in Persian, Arabic or European languages is so vast and equivocal that in different times, places and discourses it has held wide and diverse meanings. To further clarify the evolutionary meaning of Tabi’at (nature) in the Persian culture and language, at first with a comparative look, the roots of the word was studied in the most comprehensive Persian dictionaries in the recent century such as Nezam, Nafissi, Dehkhoda and the Persian encyclopedia of Mosaheb, Moein, Amid and Sokhan with respect to their historical precedence and secondly its meaning among Islamic scholars and its reflection in Persian poetry. In studying the word Tabi’at (nature) in the Persian language, we realize that not until the last century the said term was synonymous with its English word, but it was perceived as bearing the meaning of essence and substance by literary figures and philosophers. In the post Islam Persian language and its blending with Arabic there is no general term constituting the surrounding world of nature created outside man without his contribution and the word nature with its modern application entered the Iranian language and thoughts in the last century followed by expansion of relations with the west. With that said it can be concluded that since thought is the product of language then one of the main reasons for lack of landscape delineation in Iranian painting results from the absence of the word in the language. On the other hand, with a look at the principles of semiotics and study of the relation between phonology and meaning we understand that the word nature in the Persian language according to Saussure’s theory has a signifier with a long precedence in the Persian literature and philosophy but its signified (meaning) has changed throughout time. In other words, the relation between the ancient signifier and signified has recently received a new meaning for nature synonymous with the surrounding world such as mountains, plains, seas, etc. It can therefore be said that the new meaning that creates a new sign has not been precedent in the Iranian cultural history. Based on this reasoning thinking that Iranian painters would be able to understand the universal and modern concept of nature without a specific lingual signifier is impossible. They unlike their western counterparts were naturally unable to portray the nature that they lacked in their language. This research is conducted by descriptive-analytical method, collection of data through library materials and analysis of the findings by inductive approach.

The surfaces made of natural and artificial elements such as stone, brick, soil and non-arable land has are called, "hard landscape". In Persian Garden pattern, soft and hard surfaces are clearly separated from each other and this is visible in distinct areas. Although the gardens constructed in Indian Mughal kings era have followed the manner of Iranian gardening in terms of design pattern, building blocks and elements, and they can be called a species of Iranian gardens, but there exist some differences between them with the main examples, which can be observed with presence in the garden. The difference in hard landscape is one of these occurrences. In Indian gardens with Persian pattern, hard surfaces and floor-building are more extensive compared with those of Iran and more extensive garden and this significantly influenced the garden landscape in an obvious and perceived way. This study attempts to challenge the hard landscape difference, investigating the elements and characteristics of the garden environmental design and examining Indian examples. Accordingly, it is determined that the extension of hard surfaces and their geometric order based on straight lines and orthogonal angles in the absence of dense vegetation cause that Indian garden be perceived as more regular than Persian garden and its hard landscape find a double manifestation. In order to prove this, the hard landscape elements and qualities obtained by using them in Indian garden design are examined for the visual and perceived impact of proportionality change between the hard and soft landscape of garden to be specified in viewer’s look.

The stylization order of the tile works of Ibrahim- Khan Complex in Kerman is one of the rare samples in Iranian manner of stylization which is affected by both European and Iranian elements. In this order, also, the craftsmen have used native and local elements. Of these, partridges, blossom bushesand flora of Kerman are obvious. Such motifs are used at Kerman carpets as well. In compare with of Ottoman tile works, it is notable that such art works are affected by Iranian art of decorations. The stylization at the Ibrahim- Khan complex in Kerman, moreover, presents combination of Iranian geometric traditional manner with European manner of plasticsim and shading. In addition to harmony, Design and variety in both motif function and coloring has established the complex of Ibrahim- Khan in Kerman as one of the glorious Qajar monuments.This article has presented an analytical view of naturalism in decorative arts in Kerman during the Qajar dynasty.

he landscape painting has a significant position in European as well as in Iranian paintings.Painting in Iran, from the fIrst centuries,A.D, to now is being developed based on Iranian specific beliefs and aesthetics.Naturalism and man - Environment interrelationships which has been rooted in ancient Iran are the particular characteristic of Iranian miniatures as an essential and an aesthetician element. Gardens and court yards with water streams and all kind of the birds and the plants, according to the most of the specialist are based on the image of the Heaven.