نشریه هنرهای صناعی اسلامی
سال دوم شماره 1 (پیاپی 2، بهار و تابستان 1396)

This research tries to show Congruences and links between Pilgrimage photography with Ghahve-Khaneh painting through an intertextual approach. Its main reason, on the one hand, is Pilgrimage photography’s popularity and its deep, unbreakable bond with everyday life, Formed on the basis of religious traditions, on the other hand, people’s tendency to make record of spiritual events by means of these photos, as this type of photography especially in the holy city of Mashhad as the capital of pilgrimage photography in the Muslim world, has continued to be popular up to now. In addition, Ghahve-khaneh painting- Iranian Folklore painting- that peaked at the end of Qajar and early Pahlavi simultaneously with the Iranian Constitutional Revolution, has a great importance to the art of Iran for its highly valued and narrative features, and non-school painters like Hossein Qollar Aqasi, the founder of Ghahve-khaneh painting, have drawn the shrine paintings for pilgrimage photographers. For this reason, the authors have used Ghahve-khaneh painting as a source for the implications of pilgrimage photography, with using intertextual reading which creates a conversation and interrelationship between texts as the meaning of texts gain through their referencing of other texts and generates related understanding in separate works. Therefore, the paper aims at explaining intertextual relations of Pilgrimage photography with Ghahve-Khaneh painting, so this way, cen be obtained a more different and deeper understanding of the semantic and functional layers of Pilgrimage photography. For this purpose, the following question is what similarities and relations can be found between Pilgrimage photography with Ghahve-Khaneh? This research done on the basis of descriptive-comparative method with an intertextual approach; the descriptive method is for a separate study of pilgrimage photography and Ghahve-khaneh painting and the comparative method is also intended to explain the relations between the two arts through the interdisciplinary reading . Intertextual readings are also based on Roland Barthes’s theory, a French literary theorist, about the importance of the role of the audience in interpreting and denying the myth of the Genealogy in the text. The data were collected through library research by referring to visual and verbal documents. The most important findings of this study indicate 2 apparent and interior relations; Apparent relations which explain the exterior and explicit connotation of these two arts in the initial encounter, can be noted in sharing in popular (folklore) culture, national and religious roots, Nabis artists (who didn’t go to school), Attention to the audience's demands, covering the boundary between reality and imagination, which reflects similar roots of their formation. In interior relations, the narrative factor plays an important role in identification, rebuilding of experiences and common perceptions, In which, by activating the role of the audience against the passivation of the painter and the photographer in the creation of the next meaning of the work, leads to the death of the author in the theory of Bart's reception. Thus, the same structure can be distinguished in the intertextual reading of these two arts Which have achieved the similar expression through semantic substitutions and the exchange of signs.

The decorations used in the Safavid period are among the elements of artistic significance in terms of using motifs. The motifs applied on the doors of Safavid period have been designed with the aim of creating profound aesthetic influences on the projects, on one hand, and their particular expression on the other hand. Different forms of motifs have been created to make spectacular composition, based on the basic concepts and the artist’s perspective. The present research was an attempt to answer the following question that: what kinds of artistic and compositional elements have been used to form the decorations? First the doors of the two Timurid and Safavid periods were studied for the aspects of the manner of execution, the decorative elements and the existing themes. Then the Haftrang and Retiform Gereh Chini doors in Astan-e-Qods Razavi Musuem were investigated as the case studies. The findings of this study revealed that the doors bear a deliberate and rich carvings, representing Shiism concepts which strongly emphasize on Shiism as the official religion in the Safavid period. The findings of this study show that in the Timurid period the size of doors are taller grandeur and magnification, characteristic of the style and clover flowers, dahlias and the sun and the arabesque has buttons for the most commonly used. In the Safavid style, the main characteristic that occurs for the first time in inscription is carved writings in Sols and Nastaliq in door Baos. The invented arabesque styles with some elements such as intake collar, Kashkouli and Khatai (twenty full flower, pomegranate flower, and bud pomegranate and star flower) and the geometrical patterns of the Safavid doors include the acute twelve point star, six and drum girih and the acute ten point star. Composition index crossed the Safavid period. The width of the door is more than the length, so Safavid period is the era of wide doors and doors of the Teimurid periods are larger and the motifs are bigger. Therefore magnificence and glory can be mentioned as the indicator of this period. The raised carving around the components (called Hamil) is so thin which is similar to the paintings of this period, in terms of appearance. Shamse with double flowers and bunches appear in the center with geometric and medallion composition. We encounter a symbolic painting in this period that does not even have the usual form of abstraction in the same motifs and acquires the formal beauty of the particular kind of role and the relationship between the components and the colors. A symbol that is a cipher of some of the deepest Islamic teachings, each part of which refers to the presence of God and the cult of non-His. Also the frequently used geometrical motifs of star and Shamse can be assigned in one hand to the concepts such as the light as a symbol and appearance of God and on the other hand the sky as the home of lights and divine revelation, which are considered among significant concepts of Islamic Mysticism The colors are the self-direction of the mystic journey beyond time. These motifs are combined with mild colors and pleasant contrasts and pass takes the eyes from the diversity to the unity.

This study discusses quality and hierarchy of issuance of act from human soul from the view of Sadr al-Din Muhammad Sadra Shirazi's (Sadral-Muta'alihinmystical thought with an emphasis on the process of creation of Islamic art oeuvre by a mystic artist. Mystic attitude, suggests that agency of Almighty is by emanation and in the mystical cosmology of Sadra, this is based on the unity of existence in the form of self-disclosures and reflections of God to be eternal and endless. Based on this, what is done as the foundation of Islamic art and architecture with regard to recreation and representation of the hierarchy of existence by a mystic artist, is the demonstration and representation of the self-disclosure of Almighty God in this mystical perspective. Sadra applies the allegory of quality of soul and its powers in explaining the relation of Almighty and creation, by suggesting the resemblance of soul and God in nature and acts, expresses quality and process of act issuance from soul to be affected by the process and phases of Almighty's agency. At this thought, the ratio of the human soul to the forms and perceptions of the world of reason and forms of the imaginary world is like the ratio of the doer of the action and the creator of the creature. God has created the human soul like his own nature, attributes and actions. As the relation between God and creatures is in the form of the knowledge by presence between the soul and intrinsic information, the soul is capable of inventing the substantive rational forms and material-dependent imaginary forms. On the other hand, in mysticism, the formation, perfection and growth of Islamic art and architecture is the result of representation and recreation of the theories of unity of existence and self-disclosure in Islamic mysticism, which is attained through the mystic artist’s attention to self and self-discovery. Due to symmetry and close relationship between different mystic groups such as Fattian and architects in the first centuries after Islam, many thinkers and particularly contemporary traditionalists considered the creation of abstract forms in the Islamic art and architecture by architects as the result of mystic revelations and recreation of the forms in the celestial world that are achieved through the revelation of the soul of the architects and their relationship with the celestial world via discovery and observation. From the mystical point of view, divine acts with regard to being from the unseen world of possibilities to the world of reflections could be categorized into favor, destiny, board, and value. Sadral-Muta'alihin considers God’s favor as his knowledge of the system of the states of things. Scientific destiny is the forms of creatures to God and the objective destiny is the existence of rational forms of all creatures with the innovation of the almighty. Value is the stability of the forms of all creatures in the universe on the minor face and in compatibility with their personal external materials that are the documentation of their causes. This investigation, by applying descriptive-analytic comparative method, has concluded that according to mystic attitude of Sadra, soul by promoting and transcending itself during essential movement and with knowledge by presence, is capable of innovating and creating the form of worlds beyond itself that after acquiring the perception of rational and imaginary forms in soul, issuance of act from soul during "grace", "providence", "tabula" and "free will" is accomplished in consistence with God's agency and due to the artist's connection to Sufi guild cycles of "Fatian", process of creation and forms of Islamic works of art and architecture is the result of mimesis and imitation of principles and hierarchy of issuance of soul according to Sadral-Muta'alihin's theorem

Despite the change of forms and reduction of royal official exclusivity of wall paintings in the Qajar period, they had an important role in decorating of historic buildings in this era. Art of wall painting can be considered as one of the branches of Iranian painting, with many exampleswith different styles and techniques, related to the historical periods. The Qajar painting school can be considered as a combination of Safavid wall murals and classical European painting techniques. As it initially became more Iranian, it gradually gave way to European realism. The mid-Qajar wall murals are characterized by the slip of the formal and courtesy form. This is both practical and technical, and subject-matter. The prevalence of wall paintings, especially in the middle of the Qajar era, made it a popular art. Unlike previous periods, the support of the princes diminished and wall painting appeared in public places such as houses of moderate people to a large extent. Considering that in the Qajar period of Tabriz after Tehran, Tehran was considered as the second Iranian capital and residence of the Qajar prince and also a major center of attraction of artists in many traditional arts. Therefore, in Tabriz, like the capital, residential houses were decorated with various decorations such as wall murals that played an important role in the development of traditional arts and encouraged artists. House of Hariri in Tabriz (HHT) and Qavam-al-Dowlah house in Tehran (GAHT) as historic monuments belong to middle age of Qajar dynasty and have a unique collection of mural paintings in their alcove. Regarding the same ages for these houses, comparative study and investigations on their wall paintings will furnished a better understanding of visual and thematic approaches of these two important cities in the Qajar era. Due to the lack of comparative data on this subject, the main aims of this research are characterization and evaluation of visual values in the wall paintings between HHT and GAHT. Considering aims of the research, the question that arises is to what extent are the similarities between murals of HHT and GAHT? And which historical - social components and also stylistic features can distinct and identify the wall-paintings in these two buildings. The investigation has been carried out in comparative-historical method as well as field study and library resources with the descriptive analytical approach. Finally, the results of assessments showed that there are nine different issues in wall-paintings of HHT and GAHT. The frequently painted figures of plants and the style of “Gol o Morgh” (flower and bird) are among the most important differences. The figures are painted with oil paints in GAHT and Tempra in HHT in certain framing formats. Also the effects of western painting are observable in most common subjects in two buildings. Despite the similarities, there are some patent differences directly related to the social class and status of the building owners, which are the most important reasons for distinctions between murals of the two buildings.

Ascension is one of the most religious occurrences. Ascension is illustrated in the history of Islamic art based on different historical and cultural approaches. Ottoman Turks spread Islam in all aspects of their lives after its embracing. The life of prophet Mohammad (p.b.u.h.) and his ascension were the topics considered by Ottomans commonly in the illustration of literary and religious expressions. .Eskandarnameh which was written in 1416 in Amasya, contains a scene of prophet ascension. Over time, the Ottoman sultans had more attention and support for the illustrative versions of literary, religious and historical expressions within the painting house of the Ottoman palace. The peak of support was in the time of Sultan Mehmet and his son Bayazid II. Other books between 15 to 16th centuries have been illustrated and have a scene of the ascension of the Prophet. Ascension images can be found in: 1. Ahmadi Eskandarnameh of 1440-1450. This version was illustrated in the Ottoman Palace by Timurid and Turkmen artists for the Ottoman court in Edirne that is now kept at the Library of Venice. There is two scenes of prophet ascension illustrated in this book. 2. Zubdat al- Tawarikh 1450-1440. This was written by Seyyid Lokman Ashuri. This version depicted the story of 42 prophets for sultan Morad III. This version is kept at the Islamic and Turkish art museum in Istanbul. It has two scenes of prophet ascension. Unlike to Eskandarnameh, the face of prophet Mohammad is covered in this script. 3. Siyar-I Nabi of 1596-1595. This script is kept in the Topkapi Sarayi in Istanbul. It contains 612 pictures. Mustafa Darier wrote that. It illustrated prophet Mohammad’s life. This version has only one scene of prophet. This paper uses descriptive and analytical methods. The data collection was library-based method. This paper presents the evolution of illustration of the prophet ascension in Ottoman art and studies the books with prophet ascension images. This article introduces the ascension of Mohammad in three versions and analyzes paintings of ascension in these three Ottoman versions. We have studied visual cues in the ascension of Prophet Mohammad. Although these scripts (Ahmadi Eskandarnameh, Zubdat al- Tawarikh, Siyar-I Nabi) are historical verions but they have illustrated the religious topics. The results show that ascension scene are illustrated not only in the religion but also in the literary and historical versions. The Ottoman miniatures have common elements in all ascension painting. Some of these common elements include prophet, Buraq, gerbil, angels, night sky and haloes around angels and prophet. However, in these paintings, certain visual elements and signs are depicted in each individual piece. These certain visual and elements are sometimes taken from the Hadith and Quran. These elements are sometimes taken from traditional religious illustrations from the neighboring Islamic countries such as Iran. Ottomans developed Islam in all their life, with the support of the kings after acceptance of Islam, with a peak of brightness at 15 to 16th centuries.

Handicrafts, as the productions of activities involving the making of decorative or other objects by hand and also as a rich source of Iranian culture and civilization, have unique potential in introducing cultural features and social beliefs to the world. Utilizing this potential, especially among the international addressees of handicrafts, requires employing modern and ingenious information and methods. Packaging can act as a valuable medium for introducing Iranian handicrafts to the global market and improving its status in an effective way. Iranian packaging is due to the very limited history of advertising and industrial design in the West. This issue has caused problems such as mismatches with identity and Iranian culture. The lack of creative packaging in harmony with Iranian culture, has led to dissatisfaction of Iranian handicraftsmen. On the other hand, in order to prevent the export of these products in bulk and with national identity, it is also necessary to consider multicultural packaging patterns. One of the effective indexes in selection and purchase of the packaged goods is the identity-giving factors. In a traditional market where goods are unpackaged and buyers directly contact with the goods themselves, consumers directly view the goods and cannot fully check them before they are purchased. In addition to the information on the package, the apparent shape and overall packaging condition inform us with a view of application, quality level, price range and product identity. A product such as chocolate, in a typical package, with the same product in ultra-luxurious and luxurious packages, offers different identities. As a result, they will target different buyers. In the same vein, the present study was conducted to identify an appropriate method to provide a good design for Iranian handicrafts while considering exports approach, in such a way that the identity-giving visual elements appropriately reveal the Iranian taste, identity and culture. Expressing the identity-giving factors is impossible without considering the effect of packaging in identifying the goods. Hence, in order to access the information of this project, after presenting the definitions and functions of packaging and determining the basic visual elements in packaging, the effect of handicrafts packaging in exports was investigated. Considering the significance of the multi-cultural packaging in products’ exports, this issue was investigated. Finally in order to consciously integrate identity and culture in designing packaging, the culture-oriented, in order to design a product based on culture, analyzes are done in three areas of user, design and product. Models of designing were proposed. By employing the proposed designing models, it is revealed that the packaging design, while considering the cultural elements, can ascertain the adaptation of the proposed solutions. Moreover, with a better understanding of the experiences of other purchasing cultures, it can present functional and effective solutions in this field while maintaining the Iranian cultural and identity attributes in designing handicrafts’ packaging. In other words, the use of cultural experiences of the producer and buyer group by the designers of the field of packaging of handicrafts improves the proposed designs.