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

Iran and India enjoy a long history of cultural interactions. Meanwhile, the migration of many Safavid artists and elites to the Mughal court, and the promotion of the Persian language in India are marked as turning points in the history of Indo-Iranian cultural relations. Iranian migrant painters had a privileged position in the Mughal court by creating many works and educating many apprentices. Considering the works of Iranian immigrant artists in the Mughal court as an intercultural text, this study has tried to examine the Mughal court painting thorough intercultural semiotics. The main purpose is to find the Mughal approach in cultural relations with Iran and to identify the limits and roles of each culture involved in these interactions. For this purpose, samples of the works of Iranian painters or projects under their supervision in the Mughal court were studied with a cultural, semiotic approach. The Mughal fascination with Iranian culture and art at the Indian court provided favorable conditions for the influence of Iranian artists, elements and compositions. Furthermore, the Mughal painting is considered much more naturalistic than its Persian counterpart.    As a result, the Mughal tried to emphasize their difference from Hindu culture, as “the other”, by idealizing Persian culture, which at that time had immense popularity and position in the Islamic world. This process did not lead to the complete absorption of Persian culture and the total rejection of Hindu culture in Mughal paintings; hence, the elements of Indian painting in Mughal art were still visible. Mughal painting is an intercultural text in which Iranian culture and consequently Mongol culture (due to its identification with Iranian culture) is centralized and the Hindu culture left to the sideline. Yet, this text reclaims its identity from the constant interchange of the center’s and margin’s borders.

Tongborie” is one of the dependent elements of architecture in the Safavid Iran and Mughal India eras. Safavids and Mughals cultural and political relations have had a significant role in art influence between two countries so that many arts including Tongborie decorative art which is known as “Chini-khana” in India has gained popularity because of these relations. The main statement of this study is investigating these works in terms of form and application in the architecture of the Safavid Iran and Mughal India eras. This study determines different attitudes of artists in the application of these patterns in the monuments of two lands by investigating form features, patterns, and Tongborie application techniques.

The main objective of this study is to investigate how cultural relations between Safavid  Iran and Mughal India influence the evolution of Tongborie objects, the recognition of form features, and the use of these designs in monuments of two countries. The secondary aim is to use of resulted knowledge in designing jewelry and handcrafts which has not been addressed in this article.

The present study has been based on historical findings analysis and description of patterns based on theoretical and visual knowledge and data collection methods including a field survey of monuments, study of internal and external creditable sources, and obtaining knowledge from experts.

This study shows that the decorative element of Chini-khana has entered Indian art under influence of Iran Tongbories and can be categorized into three general forms “Altar”, “Container”, and “Epigraph” Techniques and materials used in Iranian and Indian models have had differences. Iranian Tongbories have been used in interiors with more variety of forms. In contrast, extent models in India have had a variety in mason techniques and have often been used in the landscaping of external surfaces.

India, is a land of different nations who smile with those people who do not believe any of their opinions. Along with the arrival of Islam in India by Arab merchants in 712 AD, the followers also continued to exist side by side with others, and formed part of the multi - religious society until Gurkaniyans came to power. But, at this time, the local governments of different faiths and beliefs still had their place, but sometimes they had not peaceful coexistence and many wars and conflicts also occurred between them. Nevertheless, association of different religions in India and the establishment of laws, such as cultural integration by Mughal kings has been led to integration of different beliefs and opinions and new religions such as Sikh have been developed from the integration. This regulation came into existence as a conscious effort to harmonize Islam and Hinduism. Sikh religion is in fact a compilation of beliefs, Hinduism and Islam Which are the two major religions in India. These new religions have major effect on India’s Art. According to studies, it can be said that Art in the Indian subcontinent essentially belongs to religious systems of Brahma, Hindu, Buddhism, Jain, Islam, Sikh, naturism, and Christian. The art has in fact styles many parallel styles, schools and Methods and has been subjected to many external influences .Sometimes these influences are seen more institutionalized than the internal representations. It seems that Indian art is so hungry for acceptance of foreign elements, has no desire to integrate internal styles. In fact, the influx of different influences on artists has led to the Indian art could not develop a characteristics style with a fixed properties. However, the application of all elements and Ingredients in the art is always to express symbolic purposes of an artist. Now the main question is that, which religions have effected each of the schools of Rajasthani art and Gurkany art and to what extent they have been faithful to their traditional roots and ritual. The purpose of this study is to compare the two paintings index of Rajasthani and Gurkany schools, their effects on each other and assess the influence of beliefs characteristic of Hinduism and Islam in the works and assessing and comparing the accuracy of works, study and analysis the similarity in order to achieve their artistic characteristics of each style. To achieve these goals, used the descriptive analytical method. The results show that two works from an aesthetic point of view have been faithful to their traditional and religious principles. But the image of Sri Raga shows Islamic influences from the symbolic perspective and the image of Jahangir Shah is faithful to Indo - Iranian Aryan origins and has sings of Mithraism and Hinduism. This could indicate the influence of Sikh religion in the formation of the two works. The impact of cultural integration policies Akbar Shah at this era is apparent and obvious and a suitable context for the growth of these emerging religions has been provided.

Because of having all aspects of applications among many segments of society، textile is one of the leading and largest industries in the Muslim countries، including Iran and India. For this reason Ninth to eleventh centuries AH (fifteenth to seventeenth AD) centuries are important in progression of textile art in Safavid and Gurkanid eras. By having cultural and artistic ties in the previous centuries، particularly during the Safavid state; they have had effects on each other in many different arts، specially the art of textiles. In this article، through analysis of the art of Safavid textiles and its influence on or taking influence by Gurkanid، one of its contemporaneous civilizations is comparatively studied. The main base of the research is woven designs and motifs in Safavid and Gurkanid textiles. Therefore، firstly characteristics and methods of textile weaving in Safavid and Gurkanid eras has been studied through categorizing woven designs into three groups including: Plant motifs، human، animal designs and pictographs. Then available samples of Safavid and Gurkanid textiles have been studied comparatively.