جستجوی مقالات مرتبط با کلیدواژه "کاشی هفت رنگ" در نشریات گروه "هنر و معماری"

The mosque is one of the important socio-cultural symbols in the Islamic Iran. One of the important mosques is Vakil mosques, where different designs have been used in the decoration of Haft Rang (seven-colored) tiles. The purpose is to investigate the impact of changes in socio-cultural perspectives of governments on the design of Haft Rang tile. What effect the socio-cultural perspective has had on the design of mosque designs and what is the nature of design changes in the Haft Rang tiles in these mosques? The research method is descriptive-analytical. The results show that the patterns in the seven-colored tile during the Zand period are influenced by the Zandi Ethnic-Illyrian view and are associated with simplicity and beauty. These patterns are drawn in an abstract way and have less variety in terms of design and color. In contrast, the designs in the Qajar period are influenced by the westernize perspective and are very colorful and rich, reflecting nature realistically. Repairs made in the Qajar period introduced this type of design and color to the Vakil Mosque, causing changes in the structure of Haft Rang tile designs. Therefore, it can be said that the difference in socio-cultural attitudes in different eras will have an important impact on changing artistic perspective.

Tile Painters artists in Shīrāz played an essential role in preserving Qājār ‎traditions and restoring historical buildings during the Pahlavi era. Among them, ‎Moḩammad Bāqer Jahānmiri (1883-1959), known as "Hāji Moḩammad Bāqer-e-Naqāsh" or ‎‎"Hāji Bāqer," a tile painter, stained glass artist, stucco artist, and mural conservationist of ‎the Pahlavi era in Shīrāz, kept the legacy of the tile Painting alive and worked tirelessly to ‎preserve it until the very end of his life. His works stood out due to his skill in painting and ‎his complete familiarity with ceramic techniques during his time. However, these works ‎have been less studied and categorized. One of the reasons for this is the small number of ‎his works with figures, and another is the shade of tile painters such as Mirzā Abd al-Razzāq ‎Kashipaz (1867-1937 or 38).‎

The current research deals with the "interpretive-historical strategy" ‎and an analytical approach to describe, recognize, and study the works and life of ‎Moḩammad Bāqer Jahānmiri, and its final goal is to reach a "monograph." Parts of the ‎necessary data are collected from library sources, and an essential part of the ‎documentation is the result of fieldwork and photography that produced first-hand data and ‎had no previous traces in the research. Since the reference to unsigned tiles reduces the ‎accuracy of the results, only signed tiles have been used as the basis for analysis and ‎classification, and the presentation of samples without signs or those attributed to him has ‎been avoided. Undoubtedly, some signed tiles may be kept in private buildings or personal ‎collections; therefore, access to them was impossible in this research. The research ‎questions are as follows: (a) at what intervals can Jahānmiri's artistic life be divided? (b) ‎Who were his supporters, colleagues, and students? (c) What are the categories of his works ‎and the prevalent themes?‎

The artistic life of Moḩammad Bāqer can be divided into three ‎general periods: the first period is the "Qājār period," the second period is the "Rezā Shāh ‎Pahlavi" and the third period is "the Moḩammad Rezā Shāh Pahlavi period." Unfortunately, ‎an essential part of the painter Haji Moḩammad Bāqer's artistic life was spent in the ‎turmoil caused by the Persian Constitutional Revolution (1905-1911), the First World War ‎‎(1914-1918), and the Tremendous Iranian Famine (1917-1919). The names of the masters ‎and workshops he gained experience during the first period of his artistic life have not been ‎mentioned, but it seems that the beginning of his artistic life must be in the era of Muzaffar ‎al-Din Shāh. But so far, no significant works of him related to the Qājār period have been ‎found, and there is no document of his collaboration with any tile workshops in that period. ‎The Rezā Shāh Pahlavi era is the second period of Moḩammad Bāqer's artistic life. This ‎short period (1925-1941/ 16 years) can be considered the time when many of his important ‎works were created with Qājār's theme and were less affected by the social and political ‎developments of the time. His employers and supporters in this period were folks and ‎wealthy people who owned public buildings. The third period of Moḩammad Bāqer's artistic ‎life is the Moḩammad Rezā Shāh Pahlavi period. This period is from 1925 until he died in ‎‎1959 (18 years). In these days and ages, most of his activities are to carry out essential ‎orders, primarily government employers. The signed works identified by Moḩammad Bāqer ‎Jahānmiri so far, and I observed them from close inspection or documentation, include 14 ‎works that belong to the second and third periods of his artistic life during the Pahlavi era. ‎Signed items can be classified into 5 groups in terms of location:‎a) Works in residential buildings: Sa'dat and Towhidi houses and tiles on the front of an ‎unspecified house in Shīrāz;‎b) Works in religious buildings: Vakil Mosque, Jame Atiq Mosque, Siyavshān Mosque, ‎Imamzāde Seyyed Tajuddin Qarib, Imamzade Ibrahim and Aghā Bābā Khān School;‎c) Works in commercial buildings: Haj Naser Korhani bazaar;‎d) The works in the monuments: Qorān Gate and Sa'di Tomb;‎e) The works in health and treatment buildings: Jawanmardi bath and the entrance of ‎Namāzi hospital.‎Compared to masters such as Mirzā Abd al-Razzāq, his signed method shows that ‎Jahānmiri used his name in many cases in a small, simple, and uncomplicated way. This ‎issue can represent his humble and blushing character.‎

In this research, 14 of his signed tiles have been identified, which include a ‎variety of residential, religious, commercial, and memorial buildings. Most of his works with ‎figures from religious buildings and monuments are placed at the end of his life. The ‎available evidence shows that Jahānmiri did not collaborate with any other tile painter ‎except Karim Faqfouri, and there is no indication of the number of other painters who ‎worked under him in his works. However, plaster painters and tile painters were trained in ‎his workshop, some of which are known in the oral history of Shirāz artists. The classification ‎of his signed tiles shows that these works can be placed in 6 groups, including "floral and ‎bird motif (Gol-o-Morgh)," "Antiquity," "Iconography & portraiture," "Europeanized ‎motives," "Imaginary painting," and "Tile-Epigraphy." Flower and bird tiles and floral motifs ‎can be seen in almost all works and periods of his artistic life. The analysis of the theme of ‎his tile paintings, in general, suggests four ideas as the ideas governing the works. These ‎cases include "Europeanized motifs" (in the design of buildings, landscapes, and Western ‎sceneries), "Religious motifs" (in the portraits of religious narratives and Shi'ite figures), ‎‎"Ancient Iranian motifs" (in the design of scenes and figures from the Achaemenid and ‎Sassanid dynasties), and "Motifs derived from Iranian painting" (in the design of floral and ‎bird motifs and plant patterns). Further studies can validate and verify other tiles attributed ‎to Jahānmiri based on the design and artistic features governing his works with figures, ‎which hopefully would be noticed by others.‎

The socio-economic developments in Iran and the world in the early 19th century CE which paved the way for cultural, social and artistic transformations in Iran on the one hand and the Qajar courtiers, some artisans and enlightened people’s inclination towards western art and culture which set the stage for the popularity of some European criteria and norms in this country on the other, had a profound impact on Iran’s traditional styles of culture and art. The influence of western art on the Persian miniature painting is more tangible because the traces of change in the extant Qajar works of art are more visible and comparable. The two characteristic examples for the metamorphosis of the Persian miniature painting in Qajar Period are the Gulistān Palace in Tehran and, on a smaller scale, the New Courtyard of the Shrine of Imam Reza in Mashhad. The New Court was constructed on the orders of Fatḥ ͑Ali Shah in AH 1233/1817-18 CE and the decorations, mostly Iranian haft rang (Persian: seven colours) tiles, were added later. These decorations, which were different from the ones applied in the past in terms of their essence, material quality and motifs, indicated ineptitude, negligence and decline despite the artists’ divergence from the past traditions and their inclination toward the West. The conceptual and mystical aspects of the motifs and colors are neglected and the sheer naturalism represented in the tiles’ images makes the viewer miss the opportunity to conceive, comment and interpret them. The predominant colors of blue and lajvardina, which used to symbolize water and sky and represent in-depth spiritual concepts in this sacred place, were replaced with garish colors of yellow, red and turquoise. This article examines the backgrounds and the reasons behind this transformation in the motifs and patterns of the New Courtyard tilework.

The Chāhārfasl (Four Seasons) Bathhouse is considered as one of the most beautiful historic places with glorious tiles from the Qajar dynasty, Iran. This bathhouse is unique for its diverse artistic patterns, particularly in its apodyterium. The tile patterns and motifs of this bathhouse are a testimony to the past rich culture and art of the Islamic world, which in the absence of written documents would play a considerable role in depicting Qajar artistic taste. On the other hand, such traditional patterns reflect the beliefs and culture of the people. Therefore, an analysis of subjects and concepts of the mentioned patterns of these tiles can help us extend our understanding of Iranian architecture and art in the recent centuries. The shortage of academic studies on the architecture and art of Arak is a matter emphasizing the importance of carrying out a detailed investigation into its historic sites and places, most specifically the Chāhārfasl Bathhouse. It should also be noted that no specific study has ever been undertaken on the themes of this bathhouse’s ornaments. Considering this issue and the need to know more on art and culture connections, we proceeded to study the themes and subjects of the tiles in the bathhouse’s apodyterium. This study is based on analytical-descriptive methodology conducted by the means of field and desk research. The motifs studied here could be categorized as: sun, spiral icons, human soldiers, lion and dragon, lion and cow, birds, owl, flower and vase, landscapes and arabesque and khata’i. Results of the study indicate that these icons, patterns and designs are not just decorative, but they derive inspirations from epic, historic, religious, political and western figures.

The polychrome tile work of the Qajar era reveals the identical illustration, which has a different artistic style comparing to former eras. Shiraz tile makers of this period provide polychrome tiles with specific features according to costumes and public folklore and established Shiraz school of painted tile work. This article concentrates on the decorated tile work of an archway at the London art auction, Bonhams.Analyzing and comparing it with the other similar tile works of Shiraz from the Namazi Clinic and Salehi and Atrvash historical houses are carried out, attempting to work out the chronological, spatial and the artist assignments of this archway based on the available documents. The method use in this article is comparative-analytical method and the data has been gathered via field observations and literature review.  The following results indicate that this archway is related to the tile works of the investigated places in Shiraz, both in style and subject and shares common motifs which shows that this archway belongs to Shiraz’s school of tile work in late Qajar period. Also survey inscription of this archway and the other available inscriptions of the investigated places reveals that Ostad Ebrahim was a tile maker from Shiraz during late Qajar era, was contemporary with Mirza Abdolrazaq, one of the famous tile makers of Shiraz school of tile work. Tiling is an art that is of high importance and importance in Iranian architecture. Almost all of the buildings that are considered masterpieces of Iranian architecture have a great deal of beauty and splendor from their beautiful tiles adorned with a variety of motifs. Tiles in Iran have a long history and have varied in artistic style in different regions and periods. The industry was of particular interest during the Qajar era and underwent major changes in decoration, coloration and patterning techniques. Seven-color tiles that have been installed on Iranian buildings from the late Safavid to the Qajar period are a new movement that has displayed a distinctive identity of Qajar visual art. Despite the general similarities in style and style, the tiles of this period have their own characteristics in different areas (Tehran, Shiraz and Isfahan). Many of the Qajar-era pictorial tiles, like many other artworks, have been sold at antique auctions since leaving Iran and are on display in museums and personal collections. The subject of this article is the introduction and examination of a crescent-shaped crescent to seven-color tile with subjects such as Solomon's Tomb, flower and chicken images and images of women leaving Iran and its current location is a London art auction called Bonams. In this study, according to the existing documents and also comparing and matching common decorative features, patterns, colors and inscriptions of this work with similar works in Shiraz tiles (Salehi House, Atroush House, Namazi Clinic and Vakil Mosque) The issue of the timing, location, as well as the identity of the creator of this work should be clarified. The method of this study is analytical-comparative and the method of data collection is based on library studies as well as field studies.

Tilework decoration has an importance role as an art in Iran's architecture. Almost all Iran's architectural masterpieces have taken advantage of glorious tilework that are beautifully painted. The polychrome tilework of the Qajar period reveals the pictorial identity of its era which has a different artistic style comparing to earlier periods. In spite of some similarities in artistic style, the decorative tiles of this era have their own characteristics in each region (Tehran, Isfahan, and Shiraz). Shiraz’s tile makers of this period provided particular polychrome tiles with specific features according to costumes and folkloric culture and established the Shiraz school of tiling. The enormous use of polychrome tiles with various subjects decorating both inside and outside of nonreligious buildings, especially residential buildings, is an important character of Shiraz tilework in the Qajar era. The themes of this tiles revitalize national-religious, cultural and traditional desires. These themes which are the combination of Shahnameh’s tales within folk narratives and sacred fictions, famous male and female portraits in European costumes, and flowers and birds known as Gol-O-Morgh are painted in naturalistic style. Another characteristic of Shiraz tiles is the use of bright and lighthearted colours such as pink, purple, brown, yellow, green, white and blue, however it must be noted that pink is more prominent than other colours .The composition, colours, motifs and painting style of these tiles are repetitive in most of the buildings of this period.
Just like the rest of Iranian art pieces that have been smuggled from Iran, the tile works of the Qajar era have been sold in antique auctions and are kept in personal and public collections and museums out of Iran .This article studies an archway decorated with inscriptive polychrome tiles which was located in an art auction house: Bonhams, London. Paintings of this archway depict Solomon's kingdom, birds and flowers, Gol-O-Morgh motifs, separate frames of Qajar women and young couples. The visual impact of this archway is very similar to the tile decorations of the rest of the buildings in shiraz during the Qajar era and the two inscriptions below this archway’s pillars demonstrate this piece was made by master Ebrahim’s factory and ordered by Haji Abdolmohamad.This article concentrates on the tilework of this archway, comparing its common features with the other contemporaneous similar tileworks in Shiraz such as that of Namazi clinic, Salehi and Atrvash historic houses as well as clarifying the time, place and the identity of the artist attributed to this archway, in addition to recognizing the specific features of the Shiraz school tiling based on available documents.The method of this article is comparative-analytical and data has been gathered via field study and library research.
The following results of this article represent that this archway is related to tileworks of the mentioned places in Shiraz in terms of themes, motifs, colour palette and colouring method which elucidate that the archway belongs to the Shiraz school of tiling in the late Qajar period. Also examination of the inscriptions of this archway and other available inscriptions in the mentioned places, clarifies that the artist of this tilework is Ebrahim Ibn Fereydoon whose signed works exist in Namazi clinic and Vakil masque and that he was a tile maker from Shiraz during the late Qajar era and he was contemporaneous with "Mashhadi Abootaleb" the architect and "Mirza Abdolrazaq", one of the most famous tile makers of Shiraz in the late Qajar era. Despite previous researches on Qajar tiles, due to the wide geographic extent and large numbers, these tiles have a great deal of research potential in different aspects of technical and decorative styles. Field and documentary studies on artworks outside Iran's borders are necessary for the sake of understanding the origin of artistic identity and the preservation of cultural values