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

The subject of captivity is the most common subject of textiles of Shah Tahmasb period in the middle of the tenth century AH. An examination of the reasons for the pattern of captivity on these textiles shows that there are important purposes behind the formation of this role. It is important to study this subject when significant examples of them have been identified and dated, if there has been little artistic background on this subject so far. This provides the necessary motivation for this research. This provides the necessary motivation for this research. Therefore, the question that arises is what was the main reason for the role of captivity in the textiles of Shah Tahmasb period? Studies to date have identified the most important reasons for the formation of this role as Shah Tahmasb's successive expeditions to Georgia and the attainment of large numbers of male, female, and child prisoners. However, considering the role of these subjects only on the textiles of this period and its lack of formation on any other artistic field, the need for more research is felt, which is carefully in the political and social history of Shah Tahmasb period and changing the approaches of art supporters. This can be achieved by looking at past issues for textile design and the need to demonstrate the power and spiritual influence that prevails in the region. Among all the events of the period, the internal disputes of the Ghezelbash, the repentance of Shah Tahmasb and the rivalry with the Ottomans in the war against the infidels, along with religious restrictions in book illustration and also the practical role of textiles in managing one's inner feelings and the propaganda aspect of these textiles. Role-playing has been effective Among all the events of the period, the internal disputes of the Ghezelbash, the repentance of Shah Tahmasb and the rivalry with the Ottomans in the war against the infidels, along with religious restrictions in book illustration as well as the practical role of textiles in managing one's inner feelings and the propaganda aspect of these textiles. Role-playing has been effective. Thus, the present study with the approach of historical sociology to explain why and how this role is formed on the textiles of Shah Tahmasb period and the result of this discussion shows that a set of interrelated factors in this The period motivated the war with Georgia and the subsequent creation and production of these pictorial textiles.

Iranian carpet that appeared after Islam, especially in the Safavid period, was created with the approach of manifestation of paradise, Garden of Eden, paradise gates and human entry into the paradise. It incorporated an eternal and sacred perspective into its seemingly earthy elements.
The view in the Safavid era, especially regarding the inclination of Safavid kings to Islamism and the observance of religious norms, was very popular and had a high status. Each of the motifs in these rugs expresses specific concepts, originated from within the artist and his society, which together has created a beautiful and harmonious work, and the artist mirrors the art, culture and ideas of the people of that time in the form of a magnificent rug. Symbolism can help us achieve this goal to a considerable extent. The aim of the researchers in this field, considering the two hunting rugs belonging to the Safavid period, is to explore the body and concepts in the margins of these two carpets in order to achieve the symbolic layers in them and to understand the effects of the environment on the creation of these works. In order to conduct the research, with the help of documents and writings in the field of culture and beliefs of Safavid society, in addition to using the Holy Quran, the transformation of earthly man into a holy man was observed. Using the obtained data, the main question of the research is in regard to the reason for the difference in the two margins of the studied carpets, despite the similarity in their main bodies. With a symbolic and semantic approach, the motifs used in the edges of these carpets were studied in order to represent the transformation of earthly man into a holy man from a hermeneutic and post-structuralist point of view, culturally and value-wise, with the help of currents during Shah Tahmasp I by comparing two Safavid-era rugs in Boston Art Museum and the Museum of Applied Arts of Vienna. In order to achieve the purpose of the research, the method was first described in the section of theoretical concepts and literature of the holy art as well as the holy man, and then in the same section a description of the religious situation and the adherence of Safavid kings were given. Following the description of the general characteristics of rugs and the appearance of both margins, as well as the intertextual observations, the patterns used in these margins were analyzed. In order to get closer to the purpose of the research in another part of the analysis of patterns of the margins, firstly the angels and the winged men were described, and then paradise in the hunting scene carpet of the Vienna Museum was done. Subsequently, in order to achieve the goal of the research through intertextual study, paradise was described from the Quran's point of view, and was then compared with the Vienna carpet’s margin in form of a table.  A separate table provides the result of the comparison of heavenly features, extracted from Quranic verses, and elements used in the Vienna carpet.
In the other part of the research, hypertextual studies were conducted. In this context, firstly a brief description of hypertextual studies and their process were given, and after repentance of Shah Tahmasp, and the decree of enjoining the good and forbidding the evil, the hypertext of the research was examined. Finally, according to the documents as well as the work of Sultan Mohammad and its comparison to the design of the carpets, it can be said that the designer of both carpets was Sultan Mohammad. However, the important issue about these two carpets is that the design and weaving of the Boston Museum's carpet belong to the pre-repentance period of Shah Tahmasp while the Vienna Museum's carpet belongs to the period after the Shah's repentance.
According to research studies, it becomes clear that Shah Tahmasp, after his repentance, removes all signs of sin from the country. As for depiction of king's binge in the margins of the Boston Museum’s carpet, given the king's keen interest in the art of carpet weaving and the promotion of this art, and the fact that his interest in this art was so great that he designed carpets, as well as the fact that this carpet is one of the most luxurious or even the most luxurious carpet of this period; in the case of this carpet, Shah Tahmasp's decision to cleanse this carpet faces a challenge, and finally he made a new decision for another carpet to be woven with the same theme and different margins. This decision was in line with his interest in the art of carpet weaving and in keeping with his repentance.

Many of the Safavid additions to Qazvin have been destroyed, especially those belong to Shah Tahmasb era. The extent of these damages and subsequent changes to such an extent that there is now no understanding of the layout or position of Meidān-i asb as a royal square. This will undermine the understanding of Qazvin's cultural significance, and more importantly, it changes our understanding of the Safavid city and also reduces the course of the urban transformation in Iran. In addition, it should be noted that the squares in the Safavid capitals were considered important elements of government in representing the king and court policies and played a role even beyond an important urban space. Therefore, the removal of these elements from the city may lead to a lack of understanding of relations beyond the physical and urban environment. In order to recognize and represent the Safavid Qazvin and its components and its main elements, numerous studies have been carried out and there are different views on them. Some of them believe that the avenue in front of ālīqapū as a royal portal, which is one of the remaining elements of the Tahmasb era of Qazvin, is one of the squares of the city called Meidān-i asb. Contrary to this theory, some scholars also believe that the mentioned square is located somewhere in the east of the avenue. In addition to the position and the existence of the squares, the social and political role of these spaces is not well recognized. Therefore, there is a need for a closer look at both the cultural dimension and the spatial organization of the city.
In this article, with the study of previous researches as well as the study of primary sources, it has been attempted to provide a more precise interpretation for Dār al-Saltanah or the royal quarter of Qazvin, which focuses on Meidān-i asb to answer some questions: How the square was related to the activities inside it, whether it was related to Qazvin's other square, the Sa'adat square? where it was located and how it was in general, and how it was combined with the elements around it, both new and old? The research method applied in this article is an interpretive-historical method and attempts have been made to depict an image of Dār al-Saltanah, especially Meidān-i asb, based on the interpretation of historical descriptions such as poetry of the poet of the court and the texts of the Safavid historians. This image is completed with the help of other sources, and compared to the existing urban context, and the remaining signs, including Ālīqapū portal, the historic avenue and the Heydariyeh mosque, will be more scaled and more accurate. In this regard, the sources of research, including ʿAbdī beig-i Shirazi’s descriptions and Safavid historical texts and drawings by Engelbert Kaempfer, were collected, studied and analyzed. Along with the research and field studies, the signs in the area between Dār al-Saltanah and the Heydariyeh mosque were also surveyed.
The information obtained from the total resources studied along with the study of the social structure of Safavid Qazvin, the behavior of the Shah, the movements and interactions of the court in this paper reveal the layout and the position of Meidān-i asb as well as its position in the city, and, moreover, clarify how the square is connected to the avenue and nearby important buildings. Accordingly, Meidān-i asb is not a completely public square, which is a frontage for Dār al-Saltanah, which is located in the east of the Ālīqapū portal, south of the Jahan-Nama palace and north of the Heydariyeh mosque, and connects to the northernmost section of the avenue in the south of Ālīqapū portal. Although this article presents an image of Meidān-i asb, but a better understanding of the dimensions and layout of this safavid square requires more extensive field studies and excavations that the findings of this paper are their preliminaries.

When Qazvin was chosen as the capital of Shah Tahmasb, governmental quarters were set up there in a garden complex in an area called Zangī-ābād. Following the destruction of a large part of Safavid Qazvin, little remains of those quarters. What remains along with other resources have always been used in order to restore the layout of the city and the plan of the governmental complex and its adjacent gardens. However, it seems that the information available to restore the plan of the Safavid city and the characteristics of its important components such as the avenues are insufficient. This article seeks to find out about the location and characteristics of the avenue(s) of the dār al-saltana (seat of the kingdom) of Qazvin. Upon the order of the king, ‘Abdi Bayg Shīrāzī, the court poet, has described the dār al-saltana including the Saʿādat garden, the palaces, avenues, and squares, in a poet. These descriptions are an important document for understanding the spaces of the new city that was built at the time of Shah Tahmasb in the northern part of Qazvin. Some Europeans who visited Qazvin have also described and depicted their observations of the Safavid royal complex in their manuscripts and drawings. Among them, Pietro Della Valle, Don García de Silva Figueroa, and Engelbert Kaempfer have provided considerable information about Qazvin’s royal complex. With an interpretive and historical-descriptive research method, ‘Abdi Bayg's description of the avenues was studied first. By identifying the spaces described in the poems and comparing their features to Kaempfer’s drawings and writings of Della Valle and Figueroa, the existence and location of the avenue(s) and their interconnections is understandable in the context of the city. Conclusively, besides the north-south, private avenue inside the garden surrounding the Urushi-Khāneh and other internal avenues, two avenues can be identified outside the private gardens: first, a semi-public avenue that connected the Ālī Qāpū gate to the entrance portal of the Urushi-Khāneh garden; and second, an avenue that connected the Ālī Qāpū gate to the city of Qazvin, reaching at its southern end to the forecourt of the Jame‘ Mosque.