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

The painting of persian consist of the accompaniment of a Peony (Red Rose) and a bird that is often unfamiliar on the stem, or a combination of two celestial Iris and white lilies, a single tulip or Narcissus plant. The pictorial foundations of flowers and birds can be considered as symbolic elements of pre-Islamic illustrations. In the holy trinity of the Iranians, “Mitra, Ahuramazda and Anahita” can be seen in the form of transformed Mitra with the Lotus (as we see on the stonecarving of Taq Bostan arch), Ahuramazda with a winged disk depicting the role of simorgh or Sien-morq and Anahita is the goddess of water purity. With the role of Iris, which are the flowers of Amshasbandan Amertat and Hwrtat. In the Islamic period, due to the limitations of iconography and illustration, this abstraction in the form of two Islamic or Islimi roles, Arabesque (Iris) and Lotus or Khatai found their way as the pre-Islamic religious image pattern prevailed in places such as mosques and altars. The purpose is to study how the pictorial traditions of ancient Iran continued until the abstraction of roses? So what is the transformation of the pictorial traditions of the ancient gods of Iran in the red rose of the Islamic period and what is the identity of the birds in this art? The research method is descriptive-analytical and data collection is library method. The role of the Lotus and the rooster, gave way to the prophet Muhammad and his ascension by emphasizing the manichaean Lotus and rose flowers (peony) in the Islamic period. Examination of pre-islamic artistic and cultural influences reveals an important example of the prophet’s meeting with the white rooster, the rooster sitting on An Throne (orang), which was of special importance to the manichaeans, using symmetrical patterns common in the pre-islamic period and in the works of the Timurid period. Safavid and Qajar artists with more emphasis on the principle of abstraction tried to present these patterns in the style and context of their time. In the Safavid period, although there was a tendency for traditional roles, but the emergence of western painting caused a change in the design and role of flowers and birds. The artists who tried to achieve the patterns of naturalism and realism that they learned from the european painters did not forget their themes and in the period of Afshar and Zand, using the creative mind and influenced by mystical literature, turned the rose into a symbol of prophet Muhammad. The composition of flowers and bird should be more regular and create new compositions using various flowers, but in the early Qajar period, this combination increased on practical works, especially lacquer, and its most used in this period was the cover of the Quranic book and religious prayers, which show it was the artists’ awareness of the subject; If the use of sleeping birds as a representative of the artist’s condition and the figures of recitation and recourse in the name of the pure Imams confirms this fact.

The role of flowers and chickens is one of the most common decorations in the Qajar period and after. Flower and chicken paintings used in the historical houses of Shiraz are considered as valuable examples of Iranian painting. The aim of this research is to study the flower and chicken motifs used in Narenjestan Ghavam and Zinat al-molk. Therefore, what are the visual and technical features of the flower and chicken motifs used in Naranjestan from a visual and technical point of view? And what were the factors influencing them? The results show that the differentiation of the designs indicates the different use of these two buildings. Narenjestan Ghavam, as the capital of Persia, is more in line with its role in terms of role, color, composition and rhythm in order to validate its power. Intimate atmosphere prevails. The motifs are influenced by ancient Iran and Islamic, Eastern art, especially Indian and European art. Also, the geographical location of Shiraz, the fame of the city of Globalbal and the royal palace have influenced the formation of designs. Shading, dimensionality, color variation and design can be seen in all spaces. The designs can be divided into six categories: chicken, flower and chicken, bouquet, vase, flower and Islamic, bouquet and landscape. These motifs are painted with oil paint, metal oxides, mosaics and wood on a bed of wood, stone, tile and mirror.

Flowers and birds have an ancient history and in Iranian beliefs reach the tree of life or the tree of all seeds on which Simorghi is the guardian. During the Timurid period, attention was paid to tashir, including the companionship of Khatai flocks with birds that had a natural aspect. In this field, before the Safavid period, there are no significant murals. The aim is to visually study the symbolic themes of flower and bird paintings on a case-by-case basis in the murals of the Safavid palaces of Qazvin and Isfahan (chehelsotoun), Hasht Behesht and Rakibkhaneh tower in Isfahan and the Qajar extensions in them. The paintings on the walls of these palaces are decorated with paintings from the battle of the kings to the feasts and battles of lovers and flowers and birds.The findings show that the flower and birds paintings of the mentioned palaces have been visually and thoughtfully engraved on the walls and their visual composition has been studied in five categories: Golshan or Yaleh, flowers and vases, Golboteh, Khatai and birds, Afshan and Flowers and angels. The flower and the bird can be considered as an abstract form of the tree of life before Islam and the Touba tree after Islam, which, although it has undergone changes in form and appearance, still retains its original pattern. Painters interpreted mystical stories in Iranian literature for kings who considered themselves the heirs of the religion and the guardians of Islam, using their imagination to create a second paradise. One of the main reasons for the presence of Qajar rulers in Safavid palaces and subsequent Qajar additions in the architectural decorations of these palaces was that the early Qajar kings showed themselves as heirs to the Safavid right. In the study of flowers and birds in the murals of palaces, although in terms of execution technique, the composition and symmetry are different, but both emphasize a religious theme. The choice of the role of the cypress tree to the flowering plant is a sign of the importance of the solitary bird, and the depiction of the rose plant for the bird's nest shows the importance of the bird and the rose and their literary conceptual relationship. In the paintings of flowers and birds studied in the Safavid period, the location of the flowers is outside the axis of symmetry, the bird is identifiable and its location is on a tree or branch of a flower; But in the Qajar extensions, most of the flower plants are centered on the symmetry of the effect, the bird is not recognizable, the bird's location is above the rose or centipede. The flowers of Isfahan's Chehelston Palace match the flowers of Hasht Behesht Palace, and the flowers and birds of Rakib Khaneh match the flowers and birds of Hasht Behesht Palace.