نشریه پژوهش هنر
پیاپی 19 (بهار و تابستان 1399)

Mina`i pottery produced in the late Seljuk and Khwarezmshahi periods under the supervision of pottery masters and painters, is more diverse and magnificent in terms of design and portrait than the previous works. In this group of pottery, human figures have a special place and are often seen in pottery. Various geometric patterns have been used in the apparel of these motifs, which has made enamel pottery very remarkable in terms of the application of geometric designs. The purpose of this article is to study and identify the types of geometric ornaments in the apparel of human figures in the mentioned pottery. In order ro achive this goal, the main research question is: How are the geometric patterns in the apparel of human figures in mina`i in terms of variety in structure and position of drawing? This research is descriptive and the method was based on library studies (Internet sites, reputable museums, etc.), preparation of images and analysis of mina`i pottery. The sampling method is based on the available samples and the variety of geometric patterns in the apparel of the human figures. The results show that almost all of the apparels of figures in enamel pottery use geometric patterns, especially node, which include a variety of about 30 nodes. “Shesh Va Toke” is one of the most frequent geometric pattern. The results show that there is not much difference between the knots used in men and women’s apparel, and it seems that the artist’s purpose is emphasizing on geometric arrays, using these decorations on clothes, and creating different patterns of plant designs on clothing which accomplished this goal beautifully and skillfully.

With the development of the concept of context, text is not just the criterion of context, and any interpretability phenomenon can be regarded as context. Therefore, any contextual phenomenon can be studied using text reading methods. The main question of the present research is studying the way of reflection of blue and white porcelain in Shah- Tahmasebi’s Shahnameh based on Gonette’s transtextuality theories. Accordingly, the main purpose of this research is examining the blue and white porcelain depicted in this Shahnameh, and finding documented samples in considered porcelain in the museum collection of Victoria and Albert, and analyzing their relationship from the perspective of Gonette’s transtextuality theories. In this descriptive-analytical study, based on library sources and purposive sampling, it is tried to study and analyze the blue and white porcelain depicted in Shah- Tahmasebi’s Shahnameh paintings with the samples in the Victoria and Albert Museum transtextuality. The most important result of the research is that based on the Gonette’s transtextuality views, the relation of illustrations in Shah- Tahmasebi’s Shahnameh as hypertext with the blue and white porcelain as pre-text is of the same type. In other words, although Iranian painting has never been merely a representation and the painterchr('39')s world has been formed by his imagination, blue and white porcelains have been used as pre-text based on Gerrard Gonettechr('39')s theories and assuming the hyper-text of the Shahnameh.

In a wide range of fabrics attributed to Sasanian era, animal motifs are observable in the form of geometric designs, including medallions. The case study in the present paper concerned animal motifs of Sassanid textiles with a focus on natural and non-domesticated animals that were able to be depicted in the form of a Medallion design alone and without the presence of a hunter. According to the surviving samples, most of the illustrated animals are defined as rams, boars, lions, deer and elephants. The question now is: What can be the reflection of the motifs of wild beasts frequently used on the Sassanid Medallion textures that had the chance to be depicted without the presence of hunters? The main purpose of the research was to attain the true meaning of each motif in the cultural and historical context of its era; because, throughout the Iranian history, different meanings are defined for each of these species, but it is only investigation in time periods that can distinguish each motif’s symbolic meaning from the others in a certain time spot. Accordingly, this paper deliberately examined five pieces of Medallion-designed Sassanid fabrics through a historical and descriptive analytical method and using library studies. The result showed that the mentioned animal motifs in every and each form, including rams, boars, lions, deer and elephants, all emphasize the symbolic meaning of the king’s power, strength, immortality, and dauntlessness. This is despite the fact that they are the most terrestrial creatures to which even other elements such as wings are not divinized or their symbolic values are not emphasized while interacting with the rider and predator. Indeed, as the design always superiors the motif, Medallion design was the guaranteed that the motifs affirmed the power, strength, and position of the monarchy, even though these motifs represent the most common instances of creation in their original and natural form.

Historical cemeteries are a reflection of the culture and religion of the community in which they were formed. With the expansion of cities, most of these cemeteries have been abandoned in remote areas, outside the city or in unsuitable protected areas, and no trace of dynamics and currents of urban space can be seen in them. As these cemeteries are a valuable part of tangible and intangible heritage of each society, it is essential to consider their recognition, registration, and conservation measures. Dezful is one of the cities with a unique living historical context and also historical cemeteries. Locating these cemeteries in the urban context has led to be effected by brick and patterns used in the structure of the city, and due to the fact that these cemeteries have been neglected over the years, they have been subject to risks such as complete destruction. This research seeks to investigate the brick designs of graves in Dezful cemeteries named Roudband, Baba Yusef, and Kashefiyeh. The main purpose of this article is studying the brick designs of gravestones located in the historical cemeteries of this city, classifying and identifying these cemeteries as treasures of the ancient architecture of Dezful City. In this regard, the research method used is descriptive and the required data gathered through field and library studies. The results of the research show that the brickwork decorations of the cemeteries in Dezful are divided into three groups: historical graves with glazed brickworks, historical graves with simple brickworks, and historical graves with combined brickworks (the combination of simple and glazed bricks). According to results, brick decorations with glazed bricks had a bigger share in this category, after which brick decorations with simple bricks, and finally the combination decorations. On the other hand, in addition to geometric and plant motifs in the heart of the motifs that are the result of using bricks and its proportions, religious, social, and plant motifs have been used on some graves.

Rock art can be regarded as one of the oldest art forms of human societies throughout history. Therefore, the study and analysis of the art of petroglyphs plays a special role in understanding social relationships, beliefs, culture and other aspects of human life. These motifs are of great importance regarding archeological studies of anthropology; anthropology and art history was of great importance, and so far many petroglyphs have been discovered and identified in different parts of the world. The northwestern region of Iran is also one of the prone areas of rock art. During the archaeological excavations on the periphery of the permanent Quru River in the summer of 2012, several collections of petroglyphs were identified. These petroglyphs have a variety of motifs, including human, animal, and symbolic motifs, often scattered on petroglyphs and rarely scratched on the surface of individual rocks. This study investigates and overviews the petroglyphs of the Dava darasi area of Horand County and seeks to answer the following questions: What was the living structure of communities of this area based on petroglyph motifs? And how many categories can the paintings created on the rocks be classified into? The present study has been done by using descriptive-analytical method and data gathered through field and library studies. The results show that these motifs contain human, animal, symbolic and instrumental motifs, and have qualitative and quantitative similarities with the motifs of different regions of Iran. This can be due to the cultural connections and biological and social similarities of communities in these areas. In addition, according to the created petroglyphs, these communities had a livelihood structure based on animal husbandry (nomadism) which was the dominant pattern of pre-historic communities of this area.

With the beginning of Freud’s critique of psychoanalysis, a great change took place in the field of critique: since before Freudian psychoanalyzing method, all the critics were analyzing art and literatures based on artists’ conscious mind and their conscious intentions, but after that analyzers focus on unconscious mind to interpret artworks, and Jung who was one of his students, offered ideas on evaluation and in some cases even opposition to his ideas. Jung considered the unconscious mind to be individual and collective. The purpose of this paper is examining the relationship between Arthur tress’s artworks, American contemporary staged photographer, and the individual and collective unconscious mind. This photographer was chosen because Tress is very interested in studying Jungian psychology, and dream is an important concern for him, so investigating these artworks would not be far-fetched. This article seeks to find the reasons of repeating some components or themes of Tress’s works, which are likely attributed to his unconscious mind. This research was carried out by analytical-historical method, and in the first stage, Arthur Tress’s works were analyzed using Jung’s special method and terms regarding individual unconscious mind, and then in order to examine the effect of the collective unconscious mind on his photographs, these works have been compared with the myths that certainly attributed to the human collective unconscious mind. Therefore, in this stage of the research, the critique method of Gilbert Dorna’s mythoanalysis was used, which was based on the study of the similarity between the repeated themes in today artists’ works with ancient myths. The findings show that some of recurring themes in Tress’s works are rooted in his individual unconscious mind which is related to his personal life and memories. In addition, as these themes are perfectly aligned with the themes of ancient myths, it can be concluded that human collective unconscious mind has an important role in forming this photograph’s works.