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

Iran, the altar is considered one of the most important parts of a religious building and it shows the skill of the artists who built it. In the history of architectural decorations of Islamic art, altars have always contained the best and most valuable examples, both in terms of construction methods and in terms of motifs and values ​​of calligraphy and calligraphy. Among the methods and techniques used in decorating altars, using gold tiles is one of the most difficult and at the same time the most beautiful methods. The masterpieces left from the altars of Zarinfam show the peak of the use of decorative techniques for the construction of altars.The Zarinfam altar of Imamzadeh Ali bin Jafar Qom is one of the most magnificent Zarinfam altars, and among the Zarinfam altars belonging to the Ilkhani era and existing in Iran, it is considered the largest among them, and due to the fact that it was not visible to the public for many years, little information is available about it. Maybe it is because so far this unique masterpiece of Iranian art has not been properly introduced and its visual and content quality has not been studied and reread. The purpose of this research is the thematic and visual analysis of the golden altar of Imamzadeh Ali bin Jafar Qom as one of the masterpieces of altar making and the largest golden altar of the Ilkhanid era in Iran.The results of the research provide important information about the status of the Zarinfam tile and glaze industry in the Ilkhanid era, the name of the manufacturer, the year of production, and the visual and thematic quality of the largest Zarinfam altar of the historical Ilkhanid period in Iran.Key words: Iranian art, Ilkhani era, golden Mihrab,, Imamzadeh Ali bin Jafar Qom.

This descriptive-analytical study investigates the dragon motives in architectural decorations in the buildings of Imamzadeh Ali Ibn Ja’far (PBUH), Imamzadeh Ismail (PBUH) of Qom and Takht-e Soleiman of Takap Palace built in Ilkhanid period.

Problem statement: Tiling as one of the most prominent decorative elements in Islamic-Iranian architecture is seen in many Islamic buildings. Some tile designs, such as the dragon pattern, are seen as one of the recurring patterns in the art of Iran and other nations such as China.Now the question arises what are the similarities and differences in terms of format and content between the role of the dragon in the tiles of Iranian buildings and the role of the dragon in Chinese art? To answer this question, the tiles of the two buildings of Imamzadeh Ali Ibn Jafar (AS) and Imamzadeh Ismail (AS) in Qom have been examined. Research objective For this purpose, the dragon motifs in the ancient cultures of Iran and China were compared; the similarities and differences between the dragon motifs on Ilkhanid tiling in Iran and dragon motifs in Chinese art were studied in terms of form, content, and meaning. Therefore, the authors were able to investigate the hypothesis of research stating that the dragon motif in the Ilkhanid period, unlike previous periods in Iran, has found a positive meaning and has been used for religious purposes in religious buildings and palaces after getting acquainted with Chinese culture and art.

The research method of this article is descriptive-analytical and library, documentary, and field sources have been used to collect information.

Finally, the hypothesis of this research was approved and it was concluded that despite the negative and evil characteristics of dragon motifs in Iranian literature and art in previous periods, the dragon motifs on the golden tiles of the Ilkhanid period were influenced by Chinese culture and found a positive meaning and a good concept.

Among the traditional arts, Islamic architecture and its associated decorations has always been the perfect setting for the presence of various visual elements, particularly decorative ornaments. A number of remaining monuments from the Ilkhanid era such as the tombs of Qom's Green Dome (the tomb of Khajeh Ali Safi which is the main focus of this research) provide a clear example of this artistic richness that due to its potential visual abilities can be found in today’s art and in branches of contemporary art including graphic arts. This research is based on a "historical-comparative" method and a collection of findings based on library and documentary sources and field surveys. Firstly, a brief study of the historical background of the monument and the identification of the types of ornamentation used in the tomb, including herbal, geometric and inscriptional decorations among which the plant motifs occupy most of the ornamentation will be studied. In the following, the factors and elements of this role are discussed and their visual characteristics (rhythm, balance, symmetry, composition, unity, harmony of positive and negative space, etc.) are identified in order to understand the graphical dimensions of these motifs. Given that visual qualities and literacy are well-respected in these motifs, the above decorations can become a rich visual source for today's graphic designers.

1. Identifying the variety and characteristics of the motifs of Khajeh Ali Safi's tomb. 2. Extraction of motifs and studying its graphical features which can lead to revival and reuse of motifs in today's graphic arts.

Research questions: 

1. What are the features and visual literacy of the tombstone designs of Khajeh Ali Safi? 2. What is the diversity of the decorative elements of the tomb?

Besides destructing a part of Iranian cities during primary Mongol invasion that was inevitable in war with the aim of conquering for domination and separation of absolute rules, the appearance of other areas, especially Azerbaijan, not only witnessed no destruction of urban sections but also experienced bloom and revivification. Undoubtedly, religion has proved its role as one of the most prominent and powerful forces for unifying the regimens during their lifetimes. Besides controlling wasteful developments in the historic structures, the grasp of Mongols about this point prevented human disasters by establishing religious complexes outside residential areas. During this era, by appearing Ghazan’s personality and his different mentality about Islam’s frameworks through introducing new ideology around the submergence of burial tombs´ location, Ilkhanid architecture was pioneer in innovative and noble styles of complex making ways by centralizing religious units with the feature of mutual mentality about urban structures, unprecedented till that time.
Designing and building the architectural collection of Ghazaniyeh with the national name of "Abvab-Alber" was an elementary attempt in this field in which the shrine of the founder was the core element of the complex. Recognizing the architectural form of Ghazan’s tomb as the oldest Mongol’s burial type in an extra-large scale besides different viewpoints of Mongols about traditional funerary methods has always been blurred; thus, this study aims to clarify different dimensions of Ghazaniyeh complex, recreating Ghazan tomb’s structure by analyzing its historic contexts. In this way, supposing monotype architectural patterns in tomb-making traditions of northwestern Iran during Ilkhanid area, the main focus of this project will be on the architectural dimensions and proportions of Ghazan’s tomb in his burial complex. According to the results, unlike stereotype mentalities around this issue, the plan of Ghazan’s tomb, not only is a dodecahedron cylinder charter, but also like most of Ilkhanid tombs, located in Azerbaijan, is a voluminous domical cylinder. Then, its architectural features in terms of proportions and spatial arrangements are comparable with outstanding types like Sultan Ahmet Khodabandeh’s tomb in Sultaniyeh.

In the year of the Hegira 617, Mongols, continuing their conquests, reached Iran and brought massive destructions. Many main pottery centers of Iran were destroyed and never regained their past glory. At the end of this century, the production of under glazed pottery, known as the general title of Sultanabad (a region in Arak) pottery, increased in Iran. Examples of these products can be found in Kashan, Kerman, Bojnourd and other centers, which archaeological findings cannot give an exact answer as to the exact location of their production. It seems that proposing an approach to the study of these types is possible based on the formal elements. In this study, we tried to extract and classify the characteristics of the under glazed bowls in cases such as: shape of the body, composition structure of motifs and decorations through the comparison of various samples. This article attempts to answer these questions: what are the special indicators of Sultanabad under glazed bowls? And what formal indicative aspects stand out in the observation of these types? This research is based on library sources and uses descriptive- analytical method. Results indicate that bodies are generally shaped either conical or trumpet shaped, imitating the Chinese Celadon; and motifs including various ranges of plants, animals, humans, compounds, geometries and inscriptions, are placed in three general positions of scattered, circular and radial on the bowls. Also, the origin of some of the motifs was the continuity of Iran’s visual tradition, which is a remnant of a distant past; and others are under the influence of the Chinese visual culture which was widespread in this period.

lkhani period in Azerbaijan holds the first place in Iranian architecture. Ilkahnid architecture commenced since Tabriz became the capital and it began to flourish by using the past experiences and Iranian traditions to configure a new era is an important period in creating local styles in art and architecture of this land. The utilization of cut-patterned tile whose effect on formation of artistic traditions of Iran is considerable. Grandeur observed in the architecture of this period especially in Azerbaijan province is premium full of care taste، and selectivity. The existence of magnificent and artistic monuments in this area is not surprising because Azerbaijan has been cradle of art and zeal in all periods. This position is clear for the people who have recognized the styles of Azerbaijan in traditional Iranian architecture and are familiar with their techniques. Although the lack of recording these achievements and study shortage along with technical examinations are the big deficiencies in anonymity of this monument، there are clear and valuable evidences in this area that necessitate more studies in this regard. During this period and regarding central monarchy of Mongols as well as their specific attention to the trends of developing international business in main paths of silk route the areas around it gained great importance. In this regard، they pay higher attention to flourishing those places. They tend to making magnificent buildings in their architecture. Among the most significant attempts in this regard، building and decorating caravansariesin the framework and time period of first era of Azeri style as the most grandeur business body and the most eminent social service can be mentioned. The monuments ofIlkhani caravansaries are seen in different places of Azerbaijan province. The view and tendency ofIlkhani monarchy to founding caravansaries in North West of Iran has differentiated it from other eras in a way that it is considered as the start period ofcaravansary foundation in Iran and paying specific attention to protecting from business routes. The question which comes to the mind is that what chain of events can be considered for the creation of such structural bodies in that era. The answer to this question lies in the location of Azerbaijan province which is concerned as one of the most important business-communicative centers. It has always been a strategic area in Iran and its eminent role in economic interactions and oversea transactions and domestic fields is not something to be denied. Although because of full destruction of other sections of Alaki caravansary، it is not possible to study and examine its elements in a comprehensive and favorable manner for the researchers، the arch of entrance door left from the ruins is so magnificent that is actually graceful and appropriate for the dignity of a king’s entrance. These details reveal higher welfare level compared with that of other known caravansaries beforehand in Iran. Therefore، it necessitates building a different construction and decoration combined by superb Azari architectural features of creating grandeur، the using of carved stones and principals. A specific attention to creating grandeur in the minds of observers that is the main feature of Azeri style in architecture and their harmonic structure reveal the existence of a specific module for the construction of Alaki caravansary. The ratio of width to the length of its arch in a background made of turquoise tiles for making it more significant is an unusual and exotic feature of this monument. As a matter of fact، such view and feature today seems much less unusual for its era than for the observers of it at the moment. The basis of decoration in this structure is on considering geometric rules in a module which has appeared in the most delicate form in it. Full follow of geometric rules in the patterns and symbols are all embodied in a unique building of this style called Alaki Caravansary which is the product of continuation of local traditions and is the sign of harmony and order which are main features ofIlkhani art. The margins around are arranged using decorations with tiny-pattern tiles in order which is beyond the normal style of the caravansaries in the area and that era. The structure of Alaki caravansary differs with other caravansaries in Azerbaijan considering two aspects: first، the plan with four balconies in caravansary building belongs to it and is registered in architectural records. The caravansary in Mongol monarchy era which starts its development in Azerbaijan province and becomes quite indigenous modes of Azerbaijan. Therefore، studying the structure and introducing the decoration of Alaki building is considered the main objective of this research; obviously the restoration and recognition of architectural and decorative features of a ruined Ilkhanid building could lead us to a better understanding of architecturefor that area becomes pioneer for other caravansaries in the area such as Ayrandibi and Darediz. From this aspect، it is completely different with roofed construction of Azerbaijan caravansaries that are formed proportional with cold and mountainous weather of this province. From the other hand، its flamboyant decorations seem to form in passage from Razi style to Azeri style، parallel with religious beliefs. In fact، engineering and decoration evolution، especially in the area of Azerbaijan. of this monument is a kind of reflection and reference of religious architecture of Ilkhani which is revealed in gravestones and altars of that era. This study is descriptive-comparative and analytic. To gather data، field and library methods were utilized. This paper was provided in an attempt for examining the construction and high decorations of Ilkhanid caravansary as the oldest example of four-balcony caravansaries in northwest of Iran. According to the findings of this research، the techniques used in the implementation of the Alaki Caravansary decorations are among the oldest Ilkhanid architectural innovations for decorating various forms of Caravansary in the area of Azerbaijan. One of the most distinctive examples of the decorating style of this building is reveled on the unique pattern of the main entrance gate in form of decorative arching which are parallel with Ilkhanid religious works and achievements.