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

Among numerous calligraphy scripts, Nastaliq is inseparably associated with Iranian culture and literature, as it represents part of Iranian culture and art. The consonance of Nastaliq’s appearance with the spirit of Persian poetry provided the basis for more interaction of this writing style with Persian literature to give a balanced structure to the rhythmic poems. This script has various forms that are mostly applied in poetry, calligraphy, and Chalipa as kind of it.  The quatrains No. 103 of Khayyam’s poem with a high degree of repetition by calligraphers in the form of Chalipa have been addressed in this research. To comprehend the concepts behind these artworks, it is required to study the textual relationships between them and carry out the relevant transtextual studies. The transtextuality approach of Gerard Genette targets all existing relationships between texts, among which hypertextuality is more adaptable to artistic texts. This term is defined as the influence of one text on another. Therefore, this research aims to systematically study the quatrains 103 of Khayyam’s poems, to address the textual relationships among them. The main research question here is to know how the hypertextuality of Genette can be identified in the mentioned works. The research method was based on a descriptive-analytical approach, and the data were collected relying on documented resources and observation by using qualitative analysis. According to the research findings, the reference to the hypotext in these works is significant, and the function of hypertexts is often serious, so the process changes very slowly.

Art has always played a significant and important role in the effective transmission of ideas and judgments.The Wisdom of the Soil in Khayyam Neyshabouri's Artistic MysticismTo explain the aspects and dimensions of Iranian Islamic art, the discovery of mystical and esoteric foundations and contemplation on the inner aspects of this art is an undeniable necessity. Iranian art cannot be identified without mysticism. Mystics and artists reach common ground in the field of Iranian art; Both mysticism and art reach the nature of existence through the path of discovery and rational intuition - that is, the reflection of absolute existence (absolute light). Both the mystic and the artist consider the universe as a manifestation of God's love. The difference is that mystics have no obligation to share their mystical findings with everyone, and this is the reason for using the code language. But artists have to convey their mystical findings in a tangible way. As a result, the most serious topics of nominal art in mystical texts have been highlighted and the most magnificent works of art in Islamic culture belong to those who have walked the path. Since in the field of art and mysticism we see traces of each of these phenomena in the other, we can examine this relationship in the worldview of mystics and mystical artists. The traditionalists who emerged in the world of modernity with the element of tradition seek to create a world using the world of art and mysticism to guide the modern man from the turmoil of the modern world which leads to the originality of the partial intellect to the general intellect. They believe in the influence of art and mysticism on each other and challenge works of art in a mystical context. Mystics and artists look at all phenomena of existence from the perspective of intellectual intuition and consider them as symbols of God's grace. Among these cases we can mention the soil. In the artistic mysticism of the sage Khayyam Neyshabour - whose artistic experiences are in the light of mystical teachings - we sometimes come across words that he has repeated many times in his poems; A repetition that may be a kind of reminder. Among these words are soil, mud, jar, pottery, and the like, the explanation of which can lead to a broader understanding of the valuable foundations of Iranian Islamic art. Khayyam; First and foremost, he is a man of wisdom, and his poetry finds meaning under wisdom. Therefore, he seems to consider poetry - an imaginative and explanatory expression - and a compound for a specific purpose. But what he does is the product of an artistic will in the form of a quatrain — as a capacity for concise, solid, and complete expression. He makes the most of the symbolic capacities of soil and jars to institutionalize his ruling destination. This article is a post-structuralist approach, written by descriptive-analytical studies with the aim of explaining symbols such as soil and jars in his poems, and the author has tried to collect written evidence with a qualitative approach.Keywords: soil, artistic mysticism, Khayyam, world,jar

Persian painting throughout its history, has always been influenced by Persian literature, and various magnificent works by the themes of epic, lyrical, mystical, moral, etc. In other words, Persian painting owes much of its ideal examples and allegorical themes to literature. The continuous development of Persian painting, rather than the style of visual painting schools in several centuries, has always been remarkable in its relationship with the literature and use of aesthetic basis and poetic themes. This trend continues till today, and contemporary artists are trying to create works that while having relation with literary tradition, reflect the problems of the contemporary world. In the dialogue with Khayyam's poetry, Hossein Behzad, a contemporary painter, seems to be the first person that illustrated Khayyam's quatrains. Due to the problems and sufferings he endured during his miserable life and the bitter events he faced, he felt closer to Khayyam's quatrains and portrayed the works of this poet in visual language. But what is unprecedented in these historical relations and distinguishes Behzad's works from other paintings is their subject-affinity with Khayyam's philosophical ideas. Despite Khayyam's questionable ideas that show specific approach to the world and human beings, the painter had nevertheless portrayed them in such a way that his works were direct interpretations of Khayyam's poems. What can be said about the necessity and importance of this study is that while Behzad referring to the past tradition of literary interaction with painting and showing his perception of literary ability in the visual structure of his paintings, the other artists of his period, separate from traditional literature due to social and cultural conditions of their time, prevalence of re-evaluated thought and the reflection of Western culture and art, in order to create the works in confrontation between tradition and modernity. For this reason, such a case study not only contributes to the visual deepening of the paintings, but also leads to an aesthetic understanding of the conceptual signs and poetic elements involved in those works. Therefore, this research raises the following question: by using which visual signs and in what way has Behzad been able to recreate the hidden thematic of Khayyam's poems by visual language? In order to answer the question of research, first it is tried to explain and interpret the themes and meanings that express the poet's philosophical thought and point of view. Then the visual and symbolic elements used by the painter in illustrating the poems have been analyzed, and finally the thematic signs of the quatrains and the visual signs of the paintings are compared in order to clarify how a literary text can be represented in visual text. Relying on the critique approach, this study tries to put together two literary and visual texts by discovering thematic and visual signs, and then analyzes the quality of representing Khayyam's quatrains in Behzad's paintings. Accordingly, the present study is a descriptive-analytical method based on credible electronic-librarian resources to understand about the quality of representing the themes and meanings of Khayyam's poems in Behzad's works. So investigating the thematic signs and their effects on the paintings in the form of visual signs will lead to a more accurate critic and attractive reading of both poetic and visual texts. The findings show that however that Khayyam's quatrains are philosophical and reflect existential issues such as astonishing of creation, looking for the mysteries of creation, attending to the unreliability of the world, viewing the world wisely, thinking about death and the enjoyment of life, Hossein Behzad has used two types of signs in his visual works in dialogue with Khayyam’s quatrains: 1. Thematic and symbolic signs that illustrate in the paintings in the form of pottery, potter, pottery workshop, soil, water and greenery, old narrator, genius elders, kings, birds, trees, earth mounds Candles, colorful costumes, angels and tormentors, as well as colors such as blue, red, green, black and brown in their special meaning. 2. Visual signs with special visual representations such as point rhythm, color contrast or the dominance of one color on the space, different narration in the background and background in relation to each other in one work and creating different sensual states in faces and figures. The sum of these signs has led the painter to have tremendous innovations and make possible understanding of the themes and concepts of Khayyam's quatrains in his paintings.

Leonardo Da Vinci’s name has been integrated to Industrial Design in a way that his date of birth has been called World Industrial Design Day. He was an inventor, painter, sculptor, architect, scientist, musician, mathematician, engineer, geologist, astrologist, author, historian, etc. But why is he an industrial designer? Probably because a designer should be a multidimensional character, from one side related to art and design, and from the other side to industry and technology. A designer is responsible to make change in his environment. Leonardo found it 500 years ago and Omar Khayyam 500 years before him. Khayyam is one of the most intelligent mathematic genius all over the world, and at the same time one of the greatest poets of all times. The main point is to compare the eras, the two genius lived in. Take into consideration that in Khayyam›s time, painting, sculpture and drawing were symbols of blasphemy, we understand how poetry was the most complete art to the Iranian peoples at that time. In this note I tried to know the two genius in their own specific social and historical contexts.