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

Astrology, one of humanity's oldest sciences, has a rich history of exploration Abolhassan Abdurrahman Sufi Razi Fasavi is a prominent Iranian mathematician and astronomer of the 4th century who lived in Fars during the Dilmian period. He authored the book "Sural al-Kawakb," a corrected rendition of Ptolemy's "al-Majsati," which was rooted in his personal astronomical observations. The objective of this research is to identify the types of illustrated constellations, analyze the image structure and decorative images, and analyze their differences and commonalities in three illustrated versions of Abdur Rahman Sufi's constellations, related to the 6th, 9th, and 12th centuries of the lunar calendar. The research questions are as followed: 1 What are the visual characteristics present in the three illustrated constellations versions that depict the shapes and symbols of the twelve zodiac signs? What discrepancies and commonalities exist within the decorative forms of the illustrated constellations? This research adopts a fundamental, descriptive-analytical approach with a comparative study framework. Data collection entails library research, direct observation of copies, and utilization of modern tools such as digital equipment, photography, and scanning. The study's population encompasses three illustrated versions of Abdur Rahman Sufi's constellations, specifically: Version numbered 64615782, consisting of 54 images, held in the Berlin Museum. Version 13.160.10, containing 257 images, housed in the Metropolitan Museum. Version 1975.192.2, comprising 78 images, also housed in the Metropolitan Museum. The non-probability purposive sampling method is employed, complemented by qualitative analysis of selected samples. Findings unveil a shared visual attribute in all three versions: the deliberate use of line elements in image representation. This includes a deliberate manipulation of line quality, speed, and rhythm to convey visual depth. Another shared feature is the emphasis on the role of the frame in visual presentation. Astrology is the study of changes, physical and chemical characteristics of the position and movement of "celestial objects" such as stars, planets, galaxies and celestial events such as the aurora borealis and cosmic radiation originating outside the Earth's atmosphere. In early civilizations, astronomers carefully studied the night sky with simple astronomical instruments. (این پاراگراف به نظر اضافه است. Abolhassan Abdurrahman Sufi Razi Fasavi, the leader of "Islamic Renaissance"era, named by Adam Metz, changed the way we look at the stars in the sky and is recognized as one of the most influential astronomers in the world. He devoted his life to advancing our comprehension of the stars and constellations. He wrote the book Sural al-Kawakb, which was a corrected version of Ptolemy's al-Majsati, based on his observations, and described the position, color and magnitude of 1081 celestial objects In astronomy, constellations denote a grouping of stars that are proximate, forming distinct shapes akin to objects or creatures in the human mind. Abd al-Rahman Sufi is the pineering individual who depicted the constellations and the twelve constellations in a written and precise manner, and his drawings in the book Sur al-Kawakb became a global visual reference in the creation of the celestial spheres. In this book, he discusses the forty-eight constellations known as the fixed stars, which, according to the medieval conception of the universe, resided in the eighth of the nine spheres around the Earth. The constellations each appear twice in the mirror image seen from Earth and from the sky. The work of Abd al-Rahman Sufi called "Sour al-Kawakb" is one of the scientific masterpieces of astronomy of the Islamic period, which he wrote in the fourth century of Hijra under the aliasAzd al-Dawlah. ” Sur al-Kawakb” by Abd al-Rahman Sufi is one of the treatises on astronomical sciences of the Islamic period, which was very important in the history of astronomy. This book has been illustrated by artists in different epochs of painting history. In this study, we delve into the illustrated versions of Abd al-Rahman Sufi's constellations from the 6th, 9th, and 12th centuries AH, scrutinizing constellation types, image structure analysis, decorative elements, disparities, and commonalities.In order to analyze the twelve zodiac signs, indicators include visual elements in the image, visual elements in the text, the type of space creation (location of the role), the emphasis element in the image, the type and quality of the frame, the dominant element in the illustrated page, the characteristics and the way the image is executed, as well as the way it is represented. The image in the twelve signs was examined in three versions. Therefore, in response to the research questions, the results show that one of the common visual features in all three versions is the use of the line element in the representation of images in such a way that in all three versions, the quality and speed and slowness of the line and its use in showing depth. This attribute is most prominent in the second version (Metropolitan). Another visual aspect involves the frame's role in visualizing the subject. Artists accorded the frame a distinct role in illustration.Although in some pages the frame has the conventional shape, the artists imbued the image with a sense of breaking free from the frame, aligning with contemporary painting attributes. This feature is observable in selected illustrated pages in both the second and third editions.Color tones also constitute a visual feature across all versions. Notably, the second version's crab depictions employ unconventional colors, including blue. In addition to this, the visual artists have also paid attention to three versions of the texture to show the mane and the end of the tail in the images of Burj AsadIn summation, In version number one, the twelve-fold sign is the dominant visual element of the line compared to the other two versions. The type of space creation is associated with the combination of text and image, which is formed in the pages related to towers with the dominance of the image in the upper or lower half of the composition page. In the second version, similar to its counterparts, the emphasis centers on the line element, utilized by painters to imbue volume. In this version, unlike the other two versions, the page is dominated by the image and has no frame. The text in this version is limited to a small frame and often drawn at the top of the page. The dominant color is brown, and gold is used to show the position of the stars, and the circles are surrounded by red. The illustration of this version is realistic in showing animals and unrealistic in showing human figures. In the third edition, distinct from the other two, color serves to dimension and adorn body parts, clothing, textures, and other image elements. This version, like the first version, has a frame, its characteristic feature is that the image elements are broken and overflowing from the frame. Despite the image's prominence, writing complements the version, aligning closer with nature and reality compared to the preceding editions. While some frames maintain their traditional appearance, artists purposefully allow images to overflow the frame, coupling text and image to create spatial compositions, particularly evident in pages linked to towers.

"Kitab Suwar Al-Kawākib" (Book of Fixed Stars) written by Abd al-Rahman Sufi Razi (291-376 AH/903-986 AD) is one of the most famous books of ancient astronomy. This book is an illustrated map of the sky that includes the celestial coordinates, color, apparent magnitude and variable luminosity of the stars, constellation information tables, as well as the detailed classification of the stars of each constellation in terms of brightness. In this book, eight non-stellar objects have also been recorded by the author. The constellations have two images for each constellation, one for the sky and the other for the celestial sphere. It seems that the illustrations of the images, which (like other scientific books) started from the first manuscripts to help better understand the difficult contents, have continued in the later manuscripts, and the illustrators, in addition to maintaining the general state of the drawings, have used the artistic features of their period. Recognizing the cryptography of the constellations, both from an artistic and an astronomical point of view requires more attention to the art history of the period in question, as well as to the knowledge of astronomy and astrology.Among the 48 constellations of Suwar Al-Kawākib, there are 14 human-related names that are structurally divided into two categories: human and imaginary human beings. In the present study, the drawings of the constellations Cepheus, Bootes, Hercules, Cassiopeia, Perseus, Auriga, Ophiuchus, Andromeda, Gemini, Virgo, Sagittarius, Aquarius, Orion and Centaurus, which have human bodies, belonging to two versions of the 9th century AD (820 AH and about 853 AH) have been studied. Both copies belong to the Ulugh Beigh Library. This research has been done from an artistic and astronomical point of view. The main purpose was to answer the question "What changes did the painters of Suwar Al-Kawākib make in the iconography of human paintings in the ninth century AH with the aim of observing the astronomical criteria and the position of the stars?" Regarding the method, the authors of this study, by quantitative and qualitative analysis of the paintings, have dealt with those pictorial differences in iconography and clothing that have astronomical origins; the cases in which the painters, due to astronomical considerations (to record the exact position of the stars), have been forced to make changes in the normal state of the figures, which cannot be justified except for astronomical reasons. Or, because of the shape of the human body, they are forced to make minor displacements in the position of the stars.During the research, it became clear that the studied paintings, in addition to the relative imitation of the previous versions, also reflect the common patterns of their time in iconography. With the intention of observing scientific accuracy in the exact location and maintaining the astronomical position of the stars, painters have in some cases made unusual changes in the design of some human paintings that have only astronomical reasons. For example, in both books, the protrusion of the horse's buttocks in the constellation Sagittarius and the very long sleeve of the constellation Orion relative to the other sleeve are designed and executed simply because of the precise recording of the stars in that part of the sky. These cases and the like cannot be due to the inability or negligence of the painters, because the other sleeve of Orion (and other sleeves in other figures) as well as the body of the horse in Centaurus or the constellation of Pegasus in these two versions are acceptable and they are conventional.The research findings show that the painter of Suwar Al-Kawākib in the Library of Congress (2008401028) attempted to record the positions of the stars in order to match the joints of the figures to the stars, which led to distortions in some of the figures. This is not the case with the ARABE5036 version of the National Library of France, and the painter did not necessarily adapt the stars to the joints of the figures in order to become a cause for distortion. The stars in this version are only close to the joints. The proportions of the head, arms, and legs relative to the torso are further observed, and, if necessary, fabric twisters are used to position the stars. Although in this period there are cases where the normal state of the statues has fallen victim to recording the exact position of the stars, but these changes with the intelligence and creativity of painters are much less than similar examples of the past. In general, it can be said that the painters of the constellations in the ninth century AH were able to observe the aesthetic aspect along with astronomical criteria by making small changes in the common traditions of the representation of the constellations, such as the movement of stars on figures and changes in the shape of clothes.

Many scientific books in various fields of knowledge prepared and produced by Muslim artists have been decorated with images of humans, animals and plants. Although human iconography in the art of Iran (Islamic period) was affected by the religious view of the Islamic society regarding the representation of the human body and living things, there were ups and downs, but it seems that the illustrators of scientific books had more freedom of action. One of these scientific books, which is considered one of the most famous educational books on ancient astronomy, is Suwar Al-Kawākib (about 355AH) written by Abdul Rahman Sufi Razi. This book is an illustrated map of the sky, and in addition to comprehensive information and detailed tables of celestial objects, it has pictures for understanding and memorizing constellations. The iconography of living beings (humans and animals) can be seen without any restrictions, even in the oldest versions of Suwar Al-Kawākib (belonging to the early fifth century of Hijri). It seems that the tradition of illustration of Suwar Al-Kawākib, which started from the first editions and at the same time as the book was written, has continued in the later editions, and the illustrators, in addition to preserving the general state of the illustrations, have also taken advantage of the artistic features of their era. To the extent that in the versions of the 9th, 10th and 11th centuries of Hijri, the effects of the artistic patterns of the era can be clearly recognized on the paintings of Suwar Al-Kawākib. Therefore, the pictures of Suwar Al-Kawākib can be studied as a representative of a type of science painting in different periods.In Suwar Al-Kawākib, the fourteen constellations Cepheus, Bootes, Hercules, Cassiopeia, Perseus, Auriga, Ophiuchus, Andromeda, Gemini, Virgo, Sagittarius, Aquarius, Orion and Centaurus are associated with “man”. The present

In the ancient culture of Iran, attention bestowed on the stars and planets, has a rich history. The ancient inhabitants of Iran were fascinated by astronomy. The Iranians are one of the first nations to interrelate between celestial symbols and spiritual aspects. They, much like their neighboring civilizations (Sumer and Babylon) imagined the stars as creatures they encountered and dealt with on earth such as birds, animals, women, men and fish. So they would fictionalize them and tell tales about them, a quality that may well be observed in mythological culture of Iran. Following the conquest of Iran by the Muslims, they became familiar with the astronomical tradition of Iran. Its influence mostly occurred through the presence of the Iranian scientists at courts as well as the translation of astronomical books and manuscripts into Arabic. The science of Iranian astronomy and mathematics in Islamic periods are, without doubt, a collection of treasures that have significantly contributed to enhancing world knowledge. It was during the tenth to twelfth century AD that science reached its highest point in Iran. During the Buyid period, many astrological accomplishments were achieved including the valuable book by Abdul Rahman Sufi Razi (903-986 AD) with the title of “Sovar-al Kavakeb”. The prevalence of astronomy during the tenth to the thirteenth centuries AD had a high influence on various social, political, economic and artistic fields of Iran in which many of the artworks entailed astronomical decorative elements. Such cosmological and astronomical concepts highly influenced the artworks of various stages of Islamic art history; an influence which is particularly evident during the eleventh to the thirteenth century AD. This indicates the impact of such concepts on social aspects and simultaneously on the political and economic fundamentals of the governments. Artworks are a reflection of scientific, social and folklore actions; hence, artists, being a part of the society, acknowledged the significance of astronomy and the universe, and applied such astronomical symbols in the form of decorative features in their artworks, particularly in the realm of tilework. Luster tileworks are the decorative manifestation of the use of astronomical symbols. Many of such tileworks are preserved in museums worldwide. The luster-glazed tileworks of the Imamzadeh Jafar’s tomb represent such peace, benevolence and valuable features. What occurs to the mind of the spectator at first sight is the unrelated relationship between animal motifs and romantic poetic verses on the tileworks of a holy site Since in Iranian-Islamic art the application of animal motifs is not common in holy buildings and places of worship, the current research strives to acknowledge and study the symbolism, reflected in the decorative tilework of the Imamzadeh Jafar of the city of Damghan. Hence, parts of the tileworks of this monument that are preserved at the Louvre museum are studied and interrelated with the book illustrations of “Sovar-al Kavakeb” by Abdul Rahman Sufi Razi in order to emphasize its astronomical concepts and features. The unrelated relationship between animal motifs and romantic poetic verses, represented on the tilework of a holy place is the first comprehension of the audience at first glance. Hence, the author seeks to answer the following questions: What is the connection between the motifs of the tiles, the poems and the function of the building? What are the relations between the luster-glazed tileworks of Imamzadeh Jafar with astronomical beliefs and concepts? And, how are these decorative patterns related to the illustrations of the Sovar-al Kavakeb book? In order to answer the mentioned questions, the luster-glazed tilework of Imamzadeh Jafar, which is preserved at the Louvre museum, is studied and compared to the illustrations of the Sovar-al Kavakeb book, which is initiated and completed throughout various historical periods. A descriptive and analytic methodology is followed throughout this study and data is gathered using library research method. The results of the research emphasize on the hypothesis that the romantic poems, represented on the margins of the luster glazed tilework of Imamzadeh Jafar show no direct relation with the depicted motifs and the function of the building. Furthermore, the depicted plant, animal and human motifs do not merely have decorative aspect, but display symbolic concepts related to the astronomy, as well as evident influences from the illustrations of the Sovar-al Kavakeb.

Designs over Islamic pottery are among the most beautiful and yet so full of mystery decorative motifs of Islamic art that represent various aspects of past people's lives. Interpretation of Meanings and Concepts behind these seemingly ordinary motifs requires knowledge from various sources that influence their use, including mysticism, astronomy, literature, etc. The important point in the interpretation of these motifs is attention to the lack of purely decorative or aesthetic use of motifs. The present study is an attempt to establish a connection with some of these beautiful designs and decipher their meaning. As we know astronomy had importance for various religious and nonreligious reasons in the Islamic period and obviously potters couldnt ignore that for attracting more customers and were encouraged to applicate astronomical signs. Obviously identification of different kinds of theses motifs can show us condition and amount of relation between pottery art with other life aspects of people especially scientific or even superstition. In this way main decorative characteristics and most important factors of application and concepts of astronomical motifs especially individual constellations in many of typical potteries with these motifs from early Islamic period until Safavid period, has discussed and analyzed. Research Method for achieving these aims is a combination of historical, descriptive and comparative methods. In firt step, typical examples of Islamic pottery wares with constellations motifs has been selected from different books or museums and after detecting their period of making and method of decoration, their astronomical concepts have compared with astronomical designs of book of Sovar Alkavakib Alsufi. Towards the important findings of the research, constellations motifs over the Islamic potteries aren’t completely similar to constellations examples of astronomy books. Also animal and human symbols of asterism especially female kind in human symbols had more application toward to its further decorative nature.

Astronomy and astronomical instruments during the Islamic era due to various needs and requirements in Muslims life، such as awareness of time، sunrise and sunset for praying and issues of navigation and geographic matters and astrology phenomenon، and crossed the Sad days، nights and different times، became one of the most important scientific phenomena. Iranian metal worker artists of those days which were a part of the body of that society were aware of the importance and role of astronomy and astronomical matters and tried to reflect astronomical concepts and themes as decorations، as well as the production of a variety of astronomical astrolabe (the flat، spherical) and sundial، on metal works. The purpose of this paper is follow the contents of different kinds of decorations in Seljuk metal works especially in Herat school، besides introducing and proving the importance of place of astronomy and astronomical instruments especially by surveying on astronomical concepts like astronomical constellations، the twelve Zodiac tower and astrolabe and its components as a product of astronomical instruments on brass catchments made in Herat at Seljuk period. The question posed in this study is whether the astronomy and astronomical concepts has been used as decoration on the surfaces of metal works in Seljuk period? This article is a descriptive – analytical study and its data collections have been done by library and field (search the museum) researches.