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

The art of painting is the manifestation of national and religious ideas. Muslim artists in diverse lands have reflected many common moral and religious themes; in the interim, due to cultural, religious ties and wars between nations that led to the conquest of lands, the paintings and illustrations of the Safavid and Ottoman illustrated manuscripts of the fifteenth to seventeenth /ninth to eleventh centuries highly influenced each other and many common concepts including religious, literary, mystical and historical themes are found in their illustrated versions. Therefore, considering the characteristics of the paintings of the Safavid and Ottoman periods, the hypothesis of this research is that despite the relationship between cultures and the common political and social changes of both empires, significant effects are considered. The present research is a qualitative content analysis and the method of data collection is accomplished via the library method.   The findings of this research display that the paintings of the Safavid and Ottoman empires are similar in a number of features, however they are diverse in terms of method, style and context. In addition, the prominent visual features in the paintings of each era were influenced by the culture and religion of the society of that time and reflect the cultural and religious situation of that period despite their variances.

1. A study on the characteristics of the paintings in the Safavid and Ottoman periods. 2. An analysis of the paintings with similar themes in Safavid and Ottoman paintings.

Research questions: 

1. What themes and stories have been used in Safavid and Ottoman paintings? 2. How are common themes and stories depicted in Safavid and Ottoman paintings?

There is a circle in survey from idea to effect –which makes the act of creation - and from effect to idea –concerned in the scope of thinking, cognition and perception, which is conducive to the formation of culture and civilization. Formation of any civilization is the result of interaction between ideas and forms. If there is no idea, there will be no form and effect and if there is no effect, idea promotion would be meaningless. During the history and past religious idea – there was a myth as a guiding idea for other ideas, i.e. Philosophical, Mystical and Political ideas that based on their interaction, creation of a civilization forms was possible. Architecture as a historical form has been the result of interaction between the triple ideas proposed under religious idea. The culture of any society and civilization results from impressionability of various ideas in different spheres of the society. The subject dates back to the golden age of Persian art and culture and Islamic- Persian culture, when several elements of culture had a close and multifaceted relationship with each other. In other words, art and architecture works of different periods can not be studied separately and we can not limit each period with a special ideas framework; Because idea and effect ( (work), in each period, were the results of evolution of the past and among them something as a whole included all ideas and effects; a whole that can not be decomposed into its components and it is the same mythic-religious thinking. The whole idea (religion) is not just composed of its components ( (mystical, philosophical, political ideas) but it is more a structure which is caused by interaction of its components with each other and the components with the whole. This study is an attempt to explain the role and contribution of each idea in creation of architectural works of sasanid civilization by definition of each idea and it aims to review their role in relation to architectural form that is attended with a kind of unity by consideration of historical form of the period which is based on a philosophical-mystical- political idea, and in other word, the study aims to clarify the interaction between the dominant idea of the time ( (Zeitgeist) and architectural effect(work). This structure represents the unity of a dynamic relationship in which each component is involved in performance. Religious idea as a whole is the leader of the three ideas in each culture that are accompanied with forms creation by interaction with each other. The three ideas include: 1- Philosophical ideas, 2- Mystical ideas, 3- Political ideas that play an important role in creating artistic, architectural and literary works under influence of each other. Each of these ideas shows two kinds of belonging: natural and divine belonging and another belonging is resulted from historical circumstances that have been created in different historical periods. This study is an attempt to define the triple ideas and obtain some points from their impressionability in the sasanid period. projects in the study sample were used. Finally, examples of effective components of the solutions culture-based to successfully achieve urban regeneration projects.Keywords: Religious, Philosophical, Mystical, and Political Idea, Architectural Effect, sasanid Era

Iran is a manifestation land of many myths that their presence and appearance in the lap of art and literature has flourished and perpetuated. The myths have been analyzed many times, but still have the capacity to be evaluated with fresh perspective and attitude. Great works such as Attar, Suhrawardi, Hafiz and Saadi, who despite many research, still give us new visions. One of the great works is Attar’s Conference of the Birds. The theme of that is reaching to Simorgh in form of far-fetched and unattainable myth. Simorgh includes profound concepts with different aspects of mythological, epic and mystic. Hence the question arises that what is the role of the Simorgh image interaction system on Attar’s literary Conference of the Birds. The requirement to respond to it is the narrative line that starts with the epic Simorgh and ends with the mystical one. From this perspective, in the first part the legendary character of Simorgh is studied in the Persian literature. Then, the role of the mythical bird analysis in mystical literature with emphasis on Attar’s Conference of the Birds is analyzed and finally an analysis of the implementation of the presence or absence of insightful relations between Attar’s Simorgh literary system and its contemporary paintings is conducted. The result indicated a clear difference between the two Simorgh presented in mystical and mythological narratives plus lack of demonstrating the picture firstly due to religious commitments and iconoclasm in second type Simorgh because of the presence of this bird as the national legendary-epic symbol.