مجله هنر و تمدن شرق
پیاپی 38 (زمستان 1401)

Egypt’s modern art was formed in the background of independence wars, leftist ideology, and nationalist sentiments during the 1920s to 1960s. Modern Egyptian artists were looking for native, national, and Egyptian art so that they could depict the wholeness of Egypt through it. Contrary to the idea that modern art is a western and European phenomenon, artists from non-western countries such as Egypt have achieved important experiences in local, national, and non-western artistic modernism. However, in modern art historiography, these experiences are often ignored and given less attention. In this article, we will address these questions: How was Egyptian artistic modernism formed? How did Egyptian nationalism affect the national and Egyptian artistic movements? What experiences did the artists achieve in Egypt? To answer these questions, the historical research method is used to draw an inferential process of the evolution of modern Egyptian art by collecting the documents and studying the available sources. The purpose of this research is to investigate the formation of modern art in Egypt as a non-western country and the shedding light on political, social, and cultural nationalism in that country. The current research was done qualitatively and descriptively and analytically using the historical research method.The results of the research showed that three sub-currents should be distinguished in Egyptian nationalism and artists influenced by these three currents reflecting different experiences of modern Egyptian art. Including 1. Cultural nationalism: archaic and historicist (like the works of Mahmoud Mokhtar), 2. Social nationalism: localist and landscape (like the works of Ragheb Ayad), 3. Political nationalism: expressive and socialist (like the works of Abd al-Hadi Al-Jar). Examining the artists’ works indicated their efforts in shaping local and national artistic modernism. These experiences of Egyptian artists inspired many artists in the Arab world during the years 1920 to 1960.

Cultural, identity, and personality factors are different elements that can form privacy in a different weight importance. Investigating the effective factors on creating or disturbing privacy is considered when it is analyzed and criticized in a spatial and temporal context, in accordance with the specific cultural and identity conditions. In this analysis, the effective elements and components are tested and the weight percentage and effectiveness are specified. The present study attempted to evaluate the various factors affecting privacy. For this purpose, a questionnaire was designed to identify and prioritize the components providing privacy. This study is a descriptive-analytical design that initially studies privacy as a semantic concept of theoretical aspect with library resources and then presents a qualitative-quantitative analysis via field survey (in-depth interview and questionnaire). According to the research case, the results of the study indicate that the perception of the sense of privacy is subject to objective and subjective elements, and this component plays a role in the perception of privacy. Objective elements are more effective when communicating with “others”. In the subjective measurement section, the perceptual difference is insignificant in terms of gender. Unlike men, the statistical population of women considers the body’s cover as a more effective motive in securing privacy, but “security” and its origin “others’ misuse “ is the main concern of the statistical population of both genders.

Afghanistan is a country in the Islamic world, as well as Iran’s civilization domain, which is of special importance both politically and culturally. Historical texts and ancient excavations from the reign of Shah Amanullah Khan and then in different regions of Afghanistan have provided much evidence of the existence of paintings from the prehistoric era as well as the historic era scattered all around Afghanistan. This study attempts to shed light on the historical Afghan painting from prehistoric times to Afghanistan’s independence and analyze it. The current research was carried out using the library and archival sources with a descriptive-analytical method and through scrutinizing historical texts and reviewing archeological documents. The findings of the research show that the works of the Old and Middle Paleolithic eras have no motifs, and the works of the New Paleolithic era have zigzag line drawings. In the Bronze Age, there were geometrical designs and drawings on pottery, including geometrical shapes such as rhombuses, squares, and parallel lines, and the design of love flowers and animals such as goats was done by observing real proportions and in a linear manner. In the works of the Neolithic era, which include realistic or symbolic designs of animals and plants, as well as abstract geometric motifs in the Greco-Bactrian style, the Cybele tablet can be seen as a painted relief. Paintings in the Kushan era can be seen on ivory and glass with condensed figures, also in the painting of Buddha.  reflect his life in the two schools of Gandhara and Mathura. The wall paintings of the Ghaznavid era in palaces, towers, and ramparts also benefit from the region’s special aesthetics. In the Timurid era, with the emergence of masters like Behzad, we witness a high point in terms of the aesthetics of form and content, which gradually declined and there is no sign of painters of the later era. However, from the time of the Durrani Shahs to the Amani reforms, painters such as Mohammad Azim Abkam, Mir Hessamuddin, Mohammad Reza Naqash, Mohammad Heydar, and Ali Ahmad appeared who were the pioneers of Afghan painting traditions until the arrival of western academic painting aesthetics.

Spatial quality is one of the features of Iranian anatomical architecture, which, like the legacy of past architects, has been passed down from generation to generation and has been advanced and expanded in the architecture of each era consistent with its needs. This sequence of alteration from the late Qajar period to the beginning of the Islamic Republic has a different procedure that can be discussed according to the other changes in this period of adjustment. Via the interpretive method, processing design documents and field observations of well-known buildings in the Pahlavi area have been processed and, after initial estimation, the hypothesis in selected samples is tested to identify volume processing solutions. In the physical volume processing literature, empty space does not act as a mass in the volume and mass design stages, like the courtyards of traditional houses. In the process of physical space, residential buildings evolve from a continuous space to spots in plan, changes, and porosity in the facade, and finally, the total volume due to the structural systems and the boldness of the architects enter. Spatial quality is one of the features of Iranian anatomical architecture, which, like the legacy of past architects, has been passed down from generation to generation and has been advanced and expanded in the architecture of each era consistent with its needs. This sequence of alteration in the late Qajar period to the beginning of the Islamic Republic has a different procedure that can be discussed according to the other changes in this period of adjustment. This issue is significant when the architects of this era, due to politics, cultural nature, and educational practice, tried to develop creativity by modeling imported architecture and did not hide such an issue. However, compared to the previous era, life experiences in the previous space caused a secret connection in this period. This study aims to understand how sufficient empty space is present in the quality of contemporary housing and residential buildings in Tehran and what changes have been made in the design system from the late Qajar period to the beginning of the Islamic Republic. In this regard, via the interpretive method, processing design documents and field observations of well-known buildings in the Pahlavi area were examined and, after initial estimation, the hypothesis in selected samples was tested to identify volume processing solutions.

 From the end of the 6th century AH until the beginning of the 10th century AH, which is generally referred to as the Ilkhanid (Timurid-Turkmen) architectural word for this time, Tabriz was one of the most significant and influential cities in the art and architecture of Iran and the bordering regions. It is also used sometimes. In the city of Tabriz, innumerable architectural works were constructed in the form of collections and individual structures throughout this time. Unfortunately, these works were severely damaged or destroyed in earlier eras due to major earthquakes and governmental wars. The architectural remains, archival documents, and travelogues of travelers to Tabriz until the end of the Safavid era are the only sources of data regarding the layout of the architectural spaces of these structures. Paintings that include key architectural topics or depict cities or architectural works as their primary subjects are among the most significant historical records, particularly when the building in the painting is destroyed. The illustration for Tahmaspi’s Shahnameh, which was created at Tabriz’s Royal Library during the Safavid period (10th century AH), includes a drawing titled “Nighttime in a Palace.” By examining this artwork, one may learn vital details about the architectural environment of the city of Tabriz. The Timurid era is when it was acquired (9th–10th century AH).The purpose of the upcoming research is to understand the architectural space of Tabriz (9th-10th century AH) by examining the architectural space of the painting “ Nighttime in a Palace”The present study’s methodology is based on Saunders Research Onion, which is grounded in the interpretative epistemology paradigm. It is qualitative in terms of method, and historical in approach. The method of data collection is documentary-bibliographic, the method of data processing is analytical-comparative, and the results are both descriptive and analytical in form.The findings of the research indicate that the complex shown in the Shahnameh Tahmaspi painting is probably similar to the architectural space of the Sahibabad complex in Tabriz by analyzing the structure of the architectural spaces of the painting “Nighttime in a Palace” and comparing it with the architectural spaces of the Sahibabad complex in Tabriz (9th-10th century AH).

Shahcheragh Shiraz, an urban space with a variety of functions such as religious, social, political, and economic in the traditional city of Shiraz, used to be the central religious-social nucleus a hundred years ago. It was a daily or weekly meeting place for people with different beliefs and convictions. With the expansion of the city of Shiraz and the changes in the physical borders of the city, the historical context around the shrine has been the target of development and conservation from the approved programs of the administrators since 1951. After the destruction of a large part of the historical context of Shiraz under the pretext of the revitalization plan, 57 hectares of textures near the Holy Shrine of Seyyed Alauddin Hossein were about to be destroyed in 2021. This plan has not been implemented until now despite the efforts of experts and knowledgeable people. Owing to people’s awareness of the performance of Astana and Shahcheragh, and their sanctity,  the question is the destruction of the boundaries of the two shrines and their connection can be done at what purpose and at what cost, by the city managers who are the trusted representatives of the people? In the belief of Muslims, religious spaces and the sanctum of religious spaces for the purification of the soul and experiencing the predominance of the spiritual atmosphere of the space. Can a place of pilgrimage be called Bayn al-Haramayn while commercial use is not in line with religious and historical context? Can officially prevent the pilgrims from soul purification and encourage them to pay attention to material things. In such an atmosphere, the audience does not seem to be a pilgrims, but a tourist buying necessities and souvenirs.