جستجوی مقالات مرتبط با کلیدواژه "مکتب قزوین" در نشریات گروه "هنر و معماری"

Any artful production can be understood on the context of the society and its position and function. The Qazvin school is one of the Iranian painting schools of the Safavid period, which was formed in 955 AH when the capital was changed from Tabriz to Qazvin. In the process of its formation and evolution until 1006 AH, it has undergone important social and political events, which show the necessity of a sociological look at this school. The aim of the current research is to determine the role of reflection of social changes in the emergence of Qazvin school of painting with sociological analysis and from the perspective of reflection theory. Therefore, it seeks answers to these questions: 1. How did the social, economic and cultural developments take place during the Safavid period? and 2. What is the reflection of these developments in Qazvin painting school? The research method is based on the objective, fundamental and based on descriptive data collection. The data of the research was collected by the method of sampling from the sources and also by observing the wall paintings of the Safavid Government House of the Qazvin State. Data analysis was done qualitatively based on comparison, analysis and classification. The results showed that the painting of the Safavid period in Qazvin has many differences compared to the previous periods. These differences include dynamic figures and soft distance and flexibility of lines, brushstrokes and shadows with linear value, creation of a living and real space, enlivening the world around the human body by recreating natural movements, special feelings of affection and romance in nature and garden display, the design of face painting and diversity in the type of clothing and facial expressions of people, the creative use of colored ashes and changes in the theme. From a sociological point of view, an important part of these changes is the result of the change of the three institutions of power, religion and artistic circles. Before the invention of the printing industry, the institution of power, the rich and the courtiers, and at the head of it the king, was the most important patron and supporter of artists. In the era of Shah Tahmasb, the support of artists was not stable and continuous, which caused the reduction of painting and gilding of manuscripts, and instead painting of buildings, wall painting, and single-face painting became popular. Besides the power, new supporters were also found, including financiers close to the court, princes and merchants, who had their own worldview in the production and ordering of works of art. In the Safavid era, the institution of religion, especially the Shiite religion, gained a lot of power, as a result of which, many manuscripts were written and illustrated with Shiite topics and themes and stories and stories of the Prophets. The changes in the artist's artistic environment and the orders of art lovers, the creation of painting workshops and the production of manuscripts, show a change in the attitude and the prevailing discourse in the institution of art circles. This change in attitude led to the creation of paintings with different colors and numerous themes. The sociological analysis of Qazvin school of painting shows that the paintings of this period have significant differences with the paintings of other periods. Among the most important differences, we can point out the following: 1- Change in themes and content: the individual figures of this school and their actions and roles all show the development of society, the introduction of the governmental pyramid of the Safavid society - in which the Shah was at the head, and consecutively there were courtiers, aristocrats and nobles, merchants and common people. Also, the dominant ideology and the orders of art lovers can be seen in a different form in the Qazvin School's monographs along with changing the themes. 2- Beliefs, tendencies, values ​​and beliefs of the artist in the production of works of art are such that the artist is referred to and introduced by his works. 3- The change of patrons of art caused a change in the discourse and attitude of artistic circles, and this caused the spread of single-figure paintings and single-faces as well as the production of independent single-figures.

Hussein Manzavi knows the secret of human life and death in love. He believed that without love, no one could interpret the story of life. He believes in the afterlife and considers martyrdom the best death. This article seeks to answer the question of whether the isolated poems show his gaze more on death or life. Also, the method of this research is descriptive-analytical and the findings of this research show the isolated view that is more focused on life and love, but at the same time, death is considered as a chapter of life and is beautiful and glorious. Is. As a result, his work shows that the belief in death increases the possibility of productivity in life and contributes to happiness in life.Research questions:- What is life and what is the definition of death?- What are the phenomena of death in the life and works of poets?Research - A study of what and why life and attention to death and death thinking in the poetry of contemporary poets.- Research on the cause and context of the phenomenon of death thinking in the poetry of poets, including contemporary poets

Today, there is no doubt that many artists throughout human history have been able to frequently conceal special concepts in their works.  The following paper has addressed this issue adopting a comparative approach as well as quantitative and qualitative data mediation. This study aims at  distinguishing the existing secrets and symbols in the schools of art. Symbols can take on a new structure due to the valuable role of plants, including links to biological affairs.From this perspective, the discoveries of this work in an attempt to answer the question entitled "What is the role of sacred plants in the Shahnameh illustrations of the schools of Herat, Tabriz II and Qazvin?" shows that some of the visual features of the illustrations such as the plants’ counts, have transformed the function of their green and occasionally dry appearance. An action that is expected to take on the role of a new character to reach a wondrous anecdote.An event that seems to have been initially formed by the reduction of naturalistic notions, and subsequently made the mission of their decorative and non-decorative devices dependent on the understanding of the concealed message of the illustrations; for a call to occur and tell a different form of an ancient story with the idealism and imagination of the artists of the 9th to 11th centuries AH. Finally, by combining the existing narrative and imitating the common formats, becoming the unrivaled ruler of the audience.An emerging phenomenon that may not be found in the oldest examples of existing Shahnamehs. The meritorious choice, arising from the combination of sacred plant species, the distinct sciences, such as quantity (numbers) and statistics, the division of space, the placement of elements and other existing features that have been the basis for the evaluation of the modern narratives of each school.The duality that arose from the ancient representation of the patterns and epic literature of Iran; in line with its semantic order and linguistic units play a decisive role. Relations of companionships and successions who have spared no effort to convey a new identity.A social movement changed the artistic discourse of illustrating Shahnameh and created a stable tradition of beauty in minds during different eras. Images, according to Russian formalist experts, are expressed with the indicators of the author's mind, language, and thought and with an unconventional purpose. A format that the authors of this literature believe the current data similarities and differences in the charts and graphical tables, present the discussed plant format with the modern frameworks of the time and align it with Propp’s imitative theory of indicators and character building.The hypothesis is based on Harold Bloom's theory. The apprehension of impressionability (imitation) and then, influencing the traditions and justifying the artist's ideas play a significant role in it. Moreover, based on the substitution index and the sequence of Propp’s special roles, it requires similarities, structural alignment, and a specific number of fixed plant elements in monographs, so that it evaluates plants as having a new identity and a different narrative from the original story.An event that has placed the tradition and modernity of the time in proximity to each other; and we imagine the following reasons for it:Insignificant decrease in the number of paintings until the end of the 11th century AH.The number of illustrations with plant portrayals was counted as odd until the end of the 10th century and counting it as even after the aforementioned century.The similarity of the L-shaped linear proportions in the data obtained from curve number 2, according to the plant trilogy proportions of all the plants of the illustrations from the schools of Herat, Tabriz II, and Qazvin (deciduous, evergreen and fruits).The often identical structure of the linear form of X in curve number 3, is created in the direction of the main ratios (deciduousness and being evergreen) of sacred plants.Concealing sacred plants in the vicinity of other plants based on the relationship in diagrams numbers 2 and 3.The coordination of artists in the separation of dry plants in curve number 3, is in agreement with the mythical opportunities obtained from our ancestors.Adjusting the W-shaped data, located in curve number 4, shows the special symmetry of the locations of the plants placed in each illustrated book.Mutual structure in the balance of the visual frame and the position of the plants of most of the investigated periods based on symmetric, asymmetric, and radial balances.Evaluation of the ratio of 4 to 1 in the average ratio of deciduousness and being evergreen for all plants and 1 to 1.5 ratio in sacred plants.Counting the equivalent of 34 independent plant characters with dissimilar human characteristics in table number 1 in monographs.Thus, we believe that all the existing occurrences (similarities and differences) and the alignment formed in them were not unintentional and Propp's theory has strengthened in an Iranianized narrative. An interpretation that we believe has played a significant role in revealing the hidden culture of Pars and creating more identity for it. Moreover, assuming the acceptance of the scientific beliefs of the predecessors and Propp’s theory, we will witness the perversity or decent behavior of the new characters of Shahnameh.Nevertheless, the hierarchy of the process in the sacred plants of this literature expresses a different portrait from the incomplete and mere realistic view with principles, beliefs, and attitudes of painting, which can transform any content with the support of artistic movements and its inquisitive mind. A content that, according to the belief of Russian experts, can today take a different form of plant species and older days; At a particular time, its natural aspect is considered, or at older times as a human character observing the actions of the actors in the story, establishes its position. At times the partner of the protagonist, whilst other times turns out to be an unbridled enemy of him.Therefore, what emerges from this research is the horizon and new rules of an artist who, to transform the previous narratives of the Shahnameh, created a new conundrum scheme with new actors (plants) and considered the audience to be an ideal reader who understands his will to achieve high morals.With this description, we can admissibly accept that the epic poems of Shahnameh, despite the painter's accurate visual interpretation of the first anecdote, is a different linguistic occurrence that has a special meaning transformation based on the companionship of the existing items, and as various experts have suggested, the poetic translation in any form will be the result of the collector’s (herein the painter) interpretation of the work. Considering that the speculations indicate the instrumentality of flowers and sacred trees to help find content that justifies their function in the transition of thoughts or pursuit the communication between people, with this credit, some of the existing art forms will have the merit of re-interpreting and re-theorizing.Therefore, the authors of this piece of literary work believe that the inherent role or purpose of sacred plants in the depiction of Shahnamehs of the Timurid and Safavid dynasties is as follows:The plant arrays of the abovementioned eras, due to the cultural, social, and political geography of the time, have taken a dual role of a) decorative (in appearance) and b) non-decorative (implicit), which has spread onto the art of Pars at times with the motive of beautifying the space or temporal alteration of the narrative in the process of a fictional story and sometimes by novel characterization.In this regard, it seems that the plants of the present discussion, due to the formation of implicit characters concealed in them, have assumed the role of a silent or remonstrating witness of humankind’s behavioral history.Or, depending on the time and the recognition of the author and his ideal audience tells a new story in the heart of an old play.Or, due to the growth process of plants, the painter's religious attitude has been entrusted with the task of moving the linguistic boundaries relying on the endless life and a new narrative.A structure that is remarkably aligned with the opinions of other researchers, but so far, the ability to decipher it with such features in the solitude of paintings (monographs) did not exist, except by collecting data that has been clarified based on statistics in all paintings.Hence, it is expected that despite all the veiling of the artist, the plant-derived proportions (statistical events) caused a part of the classic effectiveness of the works (adherence to the preceding values); and the status of flowers and trees had undergone his fundamental and spiritual variations. He has placed his ideal audience before him in search of an unfamiliar truth and has taken a step in hope of a utopia that is yet to be seen.

Garshasp-nama is a poetic and agonistic story about the adventures of Garshasp ancestor of Rostam, which was written by Asadi Tusi, a poet of the 5th century. There are 39 complete and incomplete copies of Garshasp-nama, few of which are illustrated. The purpose of this essay is to introduce the British Museum version with the number or.12985 and the date of writing 981 AH/1573 AD and explore the visual structure and formal characteristics of its paintings to gain more knowledge of historical and abandoned Iranian documents and knowledge of the visual culture of the past. This illustrated sample has 8 illustrations that have the pictorial and stylistic characteristics of the Qazvin school. The present article tries to answer the question, what are the formal features of the index and the common aspects of the paintings? The descriptive-analytical and historical research method was conducted in a qualitative and inductive way. The results of the study showed; the illustrations of the edition are depicted in two themes of war and banquet, which are more prominent in the development of the theme and artistic expression due to the epic theme of the work. Although in contrast to the characteristic feature of Asadi's poems in describing the scenes of marvel, we are faced with the cautious and naturalistic approach of its writers. The centrality of the hero's character in the image and his facelessness, attention to the richness and color effects as well as the proportional composition are the most important common visual features of Garshasp-nama's paintings.

During the Safavid period, Iran underwent great political and social changes. King Ismail, the first Safavid king, declared Shi'ism the official religion of Iranian society and in addition to establishing a unified dynasty, prevented its dissolution in face of the Ottoman Empire and the Uzbeks. Inside the country, Safavid kings maintained a balance between different political groups, which led to the establishment of complex social, political, and economic relations, as well as between the people and the government. Since in any political and social system, the relations that lead to its stability and strength can be predicted, the impact of these relations on the various pillars of society can be predicted. It seems that these conditions also exist in the social systems of art. Researchers who have used sociological studies in the field of art rely on theoretical assumptions with different implications. On the other hand, this relationship has affected artists in the Safavid period. Painting workshops have always been in the shadow of the support of the Shah and the influential supporters of the court throughout the history of Iranian painting. This support also existed traditionally during the reign of the Safavid Shah Tahmasb. With the support of the court, the painters have illustrated books such as Shahnameh and Khamseh Nezami. However, since the middle of the tenth century AH, due to the escalation of political wars between Iran and the Ottomans in the northwest and the Uzbeks in the northeast, as well as the upheavals in internal affairs, attention to art decreased. The purpose of this article is to obtain the factors and reasons that have changed the political and cultural developments during the reign of the Safavid Shah Tahmasb and its effect on the painting of this period according to the theory of reflection. Accordingly, this study seeks to answer the question of how Iranian painters during the reign of Shah Tahmasb I showed social changes in their paintings. In fact, this theory has shown us how socio-political influences affect social activities, including art. This theory holds that art is the mirror of society (or is conditioned or determined by society). This approach focuses on researching works of art to enhance our knowledge and understanding of society. The reflection approach in the sociology of art includes a wide variety of research, which is the common ground of all of them (art is the mirror of society). Due to its diversity of social reflections and the views of sociologists such as Plekhanov, Max Weber, Panofsky, Hauser, and Wolf, this approach examines the various conditions of society associated with political, cultural, social, and ideological life. The research method is descriptive-analytical and has been used to collect materials from library sources. The Safavid government has gradually reduced its authority over Ghezelbash and increased the authority of Shiite clerics. At the same time, the court system, and the sufficient skill of the Iranians in that regard, had dominated the general structure of the administrative system of government. These changes took place during Shah Tahmaseb's dominance and after a period of turmoil and chaos caused by the power that Ghezelbashs considered to be both a right and a responsibility in the court. However, the pressure exerted on the Shah from all sides, as the center of political and religious movements, caused his influence on members of society, including artists, to disperse from the court. This dispersion, along with the support of wealthy newcomers and the Indian court, led painters to experiment with a variety of subjects and paintings, which gradually changed the previous way and indicated independence in the type of commission and dealing with everyday subjects. Therefore, the following results can be enumerated:- The court's support for the royal workshops and its reflection in the colorful works have shown the importance of the painted manuscripts in the court.- The influence of the Shiite religion that led to Shah Tahmasb's attention to religious affairs has shown a pervasive spirit in the culture and society of that time. Producing and illustrating religious issues in works such as Shahnameh and Khamseh Nezami, in continuation of books of divination, have all been performed with religious themes.- Independence of artists from the court led to a change in the choice of painting subjects.- Changes in the economic pace of society and the emergence of the low-income wealthy as the new social stratum led to the production of works that were weaker in terms of pride and less colorful in terms of color.- Changing the themes of the paintings drew the painting towards more social and popular themes.

After recognition of Shiism in Iran, Shia beliefs painting with an explanatory approach, Book Layout was over before serving. Early in the reign of Shah Tahmasp in Qazvin, a Falname called "Imam Jafar Sadiq (AS)" was illustrated, later in "Falname Tahmasebi" became famous. This Falname that after repentance Tahmasp and his conversion to Shiism and promote it illustrated religious themes, a Shi'ite approach in the text, painting and application. The aim of this research is to study the relationship Book layout of Falname Tahmasebi with how it is in the representation of Shiite concepts. So first determine the application version and its Shi'ite approach, then the role of the Shiite painting and its effects will be discussed in Book layout this release. The study was descriptive and analytical information, library resources collected. The population consisted of all Tahmasebi Falname paintings and texts related to them. The overall findings of the research shows the importance of the Shiite perspective in painting Falname Tahmasebi and its application in the process of Book layout this version.

The paintings of Falnama in Safavid period are important in several different aspects. Considering the fact that Falnama is one of the first manuscripts of Qazvin painting school, its paintings has great research value in terms of stylistics. Another important point is related to the intertextual relation of paintings with their multitude texts of their age, which shapes different themes in certain direction. In addition, the art of painting in contrary to its traditional function, in book designing and illustrating literary texts, used for a different function. Therefore, the paintings of Falnama, in terms of semantics, composed of multi-layer structures. What are the implicit and explicit semantic layers in paintings of Safavid’s Falnamas? This is the main issue here. Dispersed Falnama are the most widely reproduced and recognizable of all extant illustrated versions. Of its thirty known folios, one was published as early as 1913, but it remains unclear how any of them arrived in Paris, where they initially came to the attention of collectors. The Belgian dealer George Demote seems to have been responsible for disseminating several, if not most, of the folios among private and public collectors in the first decades of the twentieth century. Except for Four Lions Devour Zaynab, the folios of the dispersed Falnama represent some of the largest known Persian paintings and measure about 59x44.5 cm. By or before 1913, they were removed from their surrounding margins, which would have further increased their size. The varying degree of Surface damage suggests not only the illustrations were frequently used but also perhaps they have been separated for some time. The text-image relationship of the dispersed Falnama, however, demands an ordered sequence, since each illustration is linked conceptually to a facing text, and viewing the pair side by side is critical for understanding the full meaning of the augury. Furthermore, all pictorial Falnamas with related textual auguries appear in codex form, even if the text and images are not Contemporaneous, as is the case of the Ahmed I Falnama and the Dresden volume. Although it is impossible to determine at this time when the folios of the dispersed copy were separated and the reasons for this alteration, circumstantial evidence suggests that they, too, originally were bound, allowing the seeker to view text and image together. The style of the illustrations indicates that the dispersed Falnama probably was created between the mid-1550s and early 1560S, The Scale and treatment of the figures, the more simplified compositions, and the looser, more spontaneous brushstrokes depart from Works created in Tabriz. This paper tried to analyze Falnama’s images (Tahmasbi version, dispersed) with an iconology approach. A discriptive-analytic method used to analyze the images in three steps. The result of this study showed that the existence of religious and Qur'anic themes in the paintings of dispersed Falnama, and their abundance compared to other themes, is intended to make the perception that this book is in accordance with the tradition of Istikhareh, and therefore it is unobstructed in Sharia law. Along with that, other beliefs revived through non-religious themes of images.

Shiite texts contain a collection of Quranic exegesis, beliefs and narratives. They are result of centuries of Shiite efforts, especially Shi'a scholars, by collecting resources, reviewing content, and then writing and compiling them. These texts had significant effects on Persian painting, like other categories of Persian art. Falnama Tahmasbi is one of the manuscripts of the Shah Tahmasb which has several pictures and is influenced by Shiite sources. This version is also known as the “Imam Sadeq's (AS) Falnama” and “dispersed Falnama”. Imam Ali (pbuh) has a special place in Falnama Tahmasbi, and the Alawite's themes in Falnama show holiness, courage and dignity of him. The analysis of this version indicates influence of Shi'a texts on it, but the role of the stories and beliefs which were common in the Safavid era cannot be ignored. The research method is descriptive-analytical with comparative approach and information is gathered from library and field resources. This study includes seven paintings of Falnama Tahmasbi related to Imam Ali (AS) that have iconography from Amir al-Momenin (AS). Research objectives: 1. Identify the themes, visual elements, and symbolic effects associated with Imam Ali (as) in Falnama Tahmasbi.
2. Explaining the level of influence of Shie texts on alawi paintings in Falnama. research questions: 1. What are the themes of the Falnama Tahmasbi in the range of the Sira and Manāqib of Imam Ali (AS)?
2. What are the visual manifestations of Ali (as) in Falnama Tahmasbi and how much the Shiite texts had influenced on Alewi paintings?

The Shahnameh of Ferdowsi, kept in the National Library of France, registered under number 490 and transcribed by Mohammad Jan Al-Kermani in 1012 AH, was first introduced in “Manifestation of Persian Art” by Francis Richter, but the data presented there has been limited to a library registration form that merely referred to the painters, orderers, and the workshop where this copy of the book was produced. Quoting Stchoukin, Richter writes in the same book that “Stchoukin believes these paintings are the works of numerous artists of that era in Shiraz and Qazvin”. Transcription of this well-known poetry book by Ferdowsi, as it can be found out from the signed page of the book, page 469, was performed in the late Dhu al-Qidah of 1012 AH (April 30, 1604 AD). This copy includes 50 paintings that without doubt have been painted later than the texts, considering that their transcription and style are entirely different from the first five paintings. The specifications of this copy of Shahnameh are not mentioned in any of the manuscript books listing, except for Francis Richter’s book. Richter believes that fifty paintings existing in this illustrated copy belong to a time later than its transcription. “The first four paintings are not related to the Shanameh’s text, but the fifty other ones inserted into the Shahnameh manuscript correspond to the Shahnameh stories”. This manuscript is described compared to the 1008 AH copy of Shahnameh kept in Niavaran palace-museum. The 1008 AH copy of the Shahnameh is transcribed and illustrated in Herat workshop, while transcription of the 1012 AH Shanameh has begun in Herat library, but its paintings have been completed some years later (the interval between transferring the capital from Qazvin to Isfahan) in the era of Shah Abbas I in a royal workshop in Isfahan.
The purpose of this research is to identify and introduce the patron, workshop and its illustrators. For this purpose, this research identifies and introduces this version, through the examination of the features such as illumination, the method of painting of the illustrations and comparing it, comparatively and historically with similar copies, artists, patron, and the workshop in which this version has been created. The main question of the present research is that, “what is the ordering workshop”, and “who are the illustrators” of Shahnameh of National Library of France, numbered 490. The methodology of this research is based on a comparative, historical comparison and reviewing of the executive methods of the illustration. For this purpose, written references, and historical and library documents are used. It is concluded that both manuscripts were transcribed under supervision of the same workshop artists. The similarity between paintings in terms of structure and executive method also support this claim. On the other hand, the name of the writer of these two illustrated copies of Shahnameh, i.e. Mohammad Jan Al-Kermani, reinforces this probability. The scribe of this copy has not signed it, but from its execution method and its style and register we can find out that at least three of four artists, have cooperated in creating the paintings of this copy.
Since this copy is transcribed in 1012 AH and in Herat City, as one of the most prominent painters of this era, we can name Habibullah Savoji. The ruler of that era took him from Qom to Herat and assigned the responsibility of the workshop to him. After that, he was recruited by Shah Abbas I and began his work first in Qazvin and then in Isfahan. Welch in his book “Shah Abbas and Isfahan Artists” writes “He was in the service of Abbas Mirza in Herat and was transferred to Qazvin along with him and was considered one of the court painters”. The visual features of the illustrations of Shahnameh of French National Library represent the characteristics of the Qazvin and Isfahan schools. Considering the position of Habibollah Savoji at that historical period and the influence of his operational method on the illustration of this version of Shahnameh, some of its illustrations can be undoubtedly attributed to him; other illustrations of this version were performed in the manner of Mohammad Heravi. In fact, creativity of the artists who have been active by 1006 AH in royal library of Herat and then in Qazvin, has flourished in Isfahan school, and on the other hand, is followed and supported in Herat and in the library of Hossein Khan and Hassan Khan (Turkman), two patrons of illustrated manuscripts. In sum, cooperation of several painters can be seen in the paintings of the Shahnameh existing in National Library of France. Two of the most notable of these painters are Habibullah Savoji (Mashhadi) and Mohammad Heravi, whose manner of execution is recognizable in this copy of Shahnameh

Iranian painters have been tried to visualize stories with different subjects, in every historical period. One of them is the flight of turtle and the two ducks which is common in “Haft Orang”by Jami “Anwar Suhaili” by Vaez Kashefi. In this study, it is tried to represent concepts, pictorial elements, and composition between two paintings. The two paintings were compared and examined from the schools of Mashhad and Qazvin schools point by descriptive and analytic method according to library studies. The main purpose of this research is to answer this question that how was influence in the use of pictorial elements of two paintings in the Qazvin of Khorasan schools in the Flight of Turtle and Two Ducks, and the role of art patron in its formation. Then the composition and structure of these two paintings have analyzed conceptually by lyric and fiction. Among the results of this study, it can be noted that despite the historical similarities or sameness of Mashhad and Qazvin painting schools, also despite the common concept in the context of two paintings, there is no significant difference in deployment of elements and the composition. So, there are not any similarities and clear influence in these two paintings. This difference or diversity in deployment of elements comes from two different work environments which one of them is completely personal or individual and the other is in order and in support of the court and royal.