جستجوی مقالات مرتبط با کلیدواژه "کاخ خورنق" در نشریات گروه "هنر و معماری"

Contemporary postmodern painters often create new works by referencing previous literary and artistic texts, appropriating and deconstructing them. These hypertexts, created within various discourses, can closely resemble or differ from their source texts, serving as references to a title or element of the source while conveying new meanings. One significant source of inspiration and adaptation for contemporary Iranian painters is miniature. When referring to these works, contemporary artists sometimes deconstruct and critique the art of the past.These references establish a textual interconnection between the past and present, conveying artistic and cultural themes and traditions. This article will use a descriptive-analytical method, gathering data from documentary and visual sources, to examine the diachronic reproduction of the image of Behzād’s The Khawarnaq Castle in contemporary painting. It will analyze the study and experiences of artists in this adaptation and address questions such as: What mechanisms underlie these adaptations, what formal and figurative changes have occurred, and how have these changes produced new meanings? To this end, the analysis will utilize Gérard Genette's typology of Hypertextuality, ultimately demonstrating that artists, when confronted with and adapting a singular figure, through changes in its quality and quantity, as well as attention to contemporaneity and temporal displacement of the image reflect their concerns, issues, and worldview in a new visual system.

Nizâmî’s Haft Peykar, which through its depiction and description of architectural states and features directly and indirectly presents architecture and architectural spaces, provides valuable material for understanding and comprehending the architecture of the past and the architectural culture of Iran. The study of the text of this work reveals that architects pay attention to elements that give shape and vitality to the buildings they create. In his work, Nizâmî describes two buildings, Khawarnaq Palace and Seven Domes, along with the events taking place inside them, which can shed light on the elements and symbols associated with architecture. The research methodology employed in this study is descriptive-analytical and historical. It is based on library research, involving the interpretation and analysis of content to examine the mentioned buildings. The study focuses on several structures mentioned in the text, namely the Khawarnaq Palace, and Seven Domes, as well as the mentioned architectural features, characteristics, and symbols. The research findings indicate that each of the aforementioned areas has rules and frameworks for describing and explaining the architectural culture of the order in the text. The architectural characteristics of the mentioned structures and elements and symbols related to architecture and the poetic and architectural narrative of the work include attention to the grandeur and magnificence of the structure, its form and appearance, suitability for lifestyle and use, customs and cultural aspects of life within the building, consideration of ancient patterns such as iwans, attention to its location, neighboring structures, and the focus on color and its meanings in verses, hierarchy, views, condition and quality of materials, attention to form and shape and its influence on the evolution of the story, attention to celestial sciences and stars, etc. Furthermore, the role of the architect in relation to the client, the multi-disciplinary expertise of architects, the prescription of lifestyle and style by the architect, etc., are features of architecture in Haft Peykar by Nizâmî.

An illustrated copy of Khamsa Nizami preserved in the British Museum, compiled in the Timurid period, is world famous due to high artistic value of the paintings and the presence of painters such as Mirak, Behzad, and possibly Qasim-Ali and Abdul Razzagh. Also, its text is a valuable relic of Hakim Nizami, which is one of the most cited research works in the field of Persian literature. Nizami is one of the talented Persian poets, who not only has a separate method and style, but the influence of his style on Persian poetry is also quite evident in the poets after him. He had a great knowledge of the common knowledge of his time, including literary sciences, astronomy, philosophy, Islamic sciences, jurisprudence, theology, and Arabic literature, and this characteristic is reflected in his poems. Khamsa Nizami has been very popular with Persian painters and calligraphers and many copies of it have been reproduced in various periods from the Timurid era to the Qajar era, which are scattered in museums all over the world, and this is due to the special charm of Khamsa Nizami's romantic-mystical and sagacious stories. It is popular with audiences all over the world today and shows Nizami's ability to attract the collective unconscious of humanity. This magnificent collection includes 22 paintings, which are important in terms of showing the way people lived in the Timurid period and reflecting it in Persian paintings. On the other hand, Behzad is an outstanding artist who, in addition to accurately recording the daily life of the people, deeply adheres to the social concerns of his time and benefited from mystical references in his works, which is his close and deep connection with prominent mystics and poets(Jāmī and Nava'i) and mystical circles that are proof of this claim. In this regard, the painting of “Khovarnagh Palace ’s build” by Kamaleddin Behzad, was chosen due to the special paradox hidden in it, which is unprecedented in Behzad's artistic career, so that a deeper reading can be provided by discovering the possible mystical sources of the work. In this regard, the precious work of, Najmeddin Rāzi “Mersād al-Ebād”, is one of the important sources of   Islamic mysticism, whose basics are useful in the mystical interpretation and has a lot of harmony and consonance with the present painting. In this regard, it is possible to use the theory of Razi's colorful lights in order to adapt it to Behzad's color selection in the direction of Razi's mystical views. To put it better, Razi's colorful lights is a bridge between Behzad's paintings and Razi's mystical works. The upcoming research is of a qualitative type and descriptive-analytical and interpretative method and it has benefited from library resources(real: available books - virtual: images and related websites).The results of the research indicate that the building of Khovarnagh Palace is a great symbol of the human format at the beginning of creation entertained by insatiable worldly ties in order to forget the nearness of the truth and the unseen world, and to join the world of sense, and Senmār (Khovarnagh Palace's architect) is also a manifestation of this attachment, who was caught by the burning lights of God's wrath. The glory and wrath of God engulfed and was destroyed him. A repeatable fate for those who have closed their hearts to the material world and got caught in its wrath.

Since there are distinctive similarities and differences between miniatures and paintings of Tower of babel and Khovarnagh Palace, this research aims to uncover the seemingly hidden and obscured reasons behind it. To this end, this study examines and analyzes the visual structure of Persian miniatures in comparison to Western miniatures in order to find differences and similarities taken shape in Tower of Babel and Khovarnagh Palace. Hence, in this research, first the main question to be answered is;” Does the Persian miniature like Khovarnagh Palace own the same ideologies and values the same as Tower of Babel in Western miniatures or due to various reasons, they have got some other thinking and interpretation? As the findings of this research, it has to be mentioned that, besides the differences, Persian miniature - rooted in an ancient oriental culture –has also a lot of similarities in comparison to western cultures and civilizations; such as avoiding void, characterization, gradient and shaping, removal of perspective, the use of unreal colors, and regarding the choice of subject matter, the use of historical buildings and the attention to working class people instead of a monarchy. Ultimately, as the obtained results, it should be said that impacts occurred by different landmasses regarding the variability of religious, traditional approaches as well as the social values of “time” are all matters which should be proceeded with. Thus, the created visual atmosphere guides the addressee to investigate the similarities and differences. And changes in races, civilizations and cultures or even in various nations have a significant role in creating aforementioned points. Given the fact that factors and elements formed in “Persian miniature”, in addition to their differences, have also similarities with “European miniature” and particularly “Western painting”, thus in this comparison and inquiry, one can point out these differences and similarities between these artworks very well.
Research Analytic –Descriptive method. References are taken from library resources and also, in some cases, from reliable internet websites.