نشریه نگارینه هنر اسلامی
پیاپی 26 (پاییز و زمستان 1402)

Avoidance of symmetry in Seljuk brickwork is one of the accessible but Difficult to understand concepts of Islamic art. The use of bricks in a variety of geometric designs without observing the principle of symmetry in the edges of the building led to a dramatic change in the structure of the brick arrays of this period that has never been experienced in any historical period in Iran. Note that changes in the artistic structure of a traditional society do not simply take place, and the coincidence of these with the height and perfection of Iranian brick art has caused a contradiction in the art of this era that has so far received little attention. However, the Seljuk era brick work debate has been a highly repetitive topic in domestic and foreign research, and despite the principle of symmetry in Iranian art, little attention has been paid to the issue of Avoidance of symmetry in Seljuk-era brickwork Explaining and interpreting this deconstruction of the new social class (middle class) as the sponsor of production that followed a new taste is of great importance. Sponsors' taste and bricklayer enthusiasm for displaying their ability, created the style of pop art in brickwork of that era that's like all the pop arts was influenced by social structures and with the political and social changes after the Seljuk era Immediately forgotten. This research aims to reveal new aspects of Seljuk-era brick art that have been neglected so far. This research is based on historical-interpretive method and based on library resources.

 The mausoleum of twelve imams of Yazd is a thousand-year-old building with a valuable inscription in decorative Kufic script under the dome, which is very important in terms of visual richness and worthy of study. Gestalt is one of the theories of the visual perception process in psychology, and the principles of this theory can be useful in the recognition of works of art. The most important principles of Gestalt are the principle of similarity, symmetry, proximity, layering, integration, continuity, relationships between form and context, superimposition and common destiny. The inscription should be placed. In this way, the amount of use of these principles in its design will be determined and the quality of the resulting performance will be revealed.This research seeks to answer the question that to what extent and how the principles of similarity, contiguity, symmetry, completion and overlap were used in the design of the inscription of the tomb of the twelve Imams of Yazd, and what is the degree of significance resulting from the use of each of these principles?This research was carried out in a descriptive-analytical way and the data were collected through library studies and field surveys.The results showed that the principles of similarity and overlap are used to a large extent, the principle of proximity and completion to a large extent, and the principle of symmetry to a moderate extent are used in this inscription. The result of the application of these principles is the realization of propaganda to a large extent, and as a result, the better organization of the components, the easier reception of the work and the active communication of the audience with the inscription.Key words: Tomb of twelve Imams of Yazd, inscription, visual perception, Gestalt theory, pregnancy.

Southern Khorasan Province is one of the most important regions in Iran for weaving carpets. Studies on the patterns used in this region suggest that the patterns are developed influenced by the geographical location were the carpets are woven and that they can be divided into three categories: urban, village and nomadic. The purpose of this paper is to study the design patterns, provide a formal analysis on the urban carpets, and present a classification of the contemporary patterns in this province in order to introduce collective information on the local and original design patterns having been used in carpets.This study is descriptive-analytical and the data are analyzed using detail-oriented (inductive) approach. The data a on literature and history were collected via library research and, for the main part of the study, the sample images of the carpets from several regions in Southern Khorasan Province were gathered using field research. The statistical population of the urban carpets in Southern Khorasan includes 208 carpets out of which 16 were studied. Besides presenting a classification of the carpets, the analysis of the data on the design patterns indicates the prevalence of carpet weaving in all the regions in the province except Sarayan.Studies show that hand-woven carpets of the individual regions display unique design patterns including medallion corner, multiple-panel, vagirei, straipped, kheshti and wall-to-wall. Moreover, some of the patterns used in different regions share the same style - khesti, although being attributed to a specific region, is seen to be the same as the one in the other regions in Southern Khorasan Province. One may refer to medallion corner as an another example which contains repetitions of twisted fish patterns and Sa'adi pattern.

Wall painting serves as a medium for representing a culture, religious and spiritual beliefs, and societal ideals, and its appearance varies in accordance with the circumstances of each historical period. Umayyad wall paintings (661-750 AD/40-132AH) were crafted in palaces and mosques with emphasis on both religious and worldly themes. Over time, wall painting has undergone transformations, and in contemporary Syria (1966-2000 AD/1385-1420AH, referring to the presidency of Rahal Hafez Asad), it has been utilized to embellish public spaces. The aim of the research is to comprehend the significance of wall painting in Umayyad and contemporary Syrian art, including its conceptual and artistic characteristics and its artistic and intellectual value during both historical periods. The central research question is to identify the similarities and differences between Umayyad and contemporary wall paintings in Syria. The research employs a descriptive, analytical, and comparative method while gathering field and documentary data. The findings reveal that in Umayyad wall paintings, the magnificence of the architecture, the expression of symbolic motifs in the inscriptions, and the description of the sky and paradise all convey the relationship between the artists and the religious accomplishments of the state. While living beings such as animals and humans are prohibited in these artworks, they were utilized in palace decorations. Contemporary Syrian artists, inspired by Umayyad art, have utilized human images in their contemporary wall paintings to commemorate the historical and cultural accomplishments of President Rahal Hafez Assad.

One of the most valuable practical and essential elements used in mosques is the pulpit. It is clear that this hand-made work has somehow been effective in the promotion and expansion of religion. A major part of the researches about minbars has been about the history of its construction, and few discussions have dealt with the aesthetic features and motifs used in it. are in Iran, where the study of the decorative and structural dimensions of these pulpits is the aim of the present research. This research has a qualitative nature and describes and analyzes the two pulpits and visually compares the roles in a descriptive-analytical and comparative method with reference to the data obtained through library and field methods. The answer to this question is what is the difference between the two minbars (Berzroud and Farizhand) in terms of appearance characteristics, patterns, inscriptions, construction, materials, etc.? In these works, there are various designs and motifs, decorations with geometric motifs. and plants, as well as inscriptions carved in Kufi and Naskh script can be seen. The execution method of the motifs is first meshed using the grid method, and then it is pasted on a background and then the inlay work is done on it. In the Borzroud pulpit, most of the designs have ½ mirror repetition, and in the Farizhand pulpit, the method of repetition is transmissive or ½ and ¼ mirror. The mentioned pulpits are in conflict in terms of seating, the form of the Frizhand pulpit is an altar shape and the Borzroud pulpit has a simpler structure, but it is more elaborate in terms of decorations.

Using the critical discourse analysis approach, the present research analyzes the most important theme of Shiite art, the narrative of Ashura and its related events, in paintings on tiles of Moaven al-Molk Tekyeh that date back to the Qajar period. This analytical approach investigates the visual language of the paintings on tiles as a social action related to the historical, political, social, and ideological factors of the two Shiite and monarchy discourses. Factors that are reproduced with special Shiite elements in the tile paintings of Moaven al-Molk Tekyeh. Shiite elements are a combination of beliefs, myths, and historical events of the Shias. The use of these Shiite elements has been effective in legitimizing the government of the rulers of the time. The research has aimed to analyze the discourses related to the reflection of Shiite thought in the paintings on tiles of Moaven al-Molk Tekyeh and to identify the elements and the function of the Shia discourse in the paintings on tiles considering the political and social developments of society in the Qajar era. The questions of the research have been what discourses led to the reflection of Shia thought in the paintings on tiles of Moaven al-Molk Tekyeh? and under the influence of what factors has this Shiite discourse in paintings on tiles taken place? The research method has been critical discourse analysis which is a qualitative research method. Additionally, Fairclough's views have been used as the theoretical basis of the research. Data were collected using library research and field study. The paintings on tiles were analyzed based on Fairclough's three-level critical analysis. The research community consists of 12 tile paintings related to Zeinabie of Moaven al-Molk Tekyeh, of which 3 tile paintings were selected in a purposeful way to analyze the most information related to the research questions. The results of the research indicate that based on the analysis of the critical discourse, the discourse of Shia is opposed to the discourse of monarchy in these tile paintings. The Shia discourse used Shia traditions to show this conflict in the existing conditions of the society. Shiite traditions were combined with Arab Shiite thought and Iranian identity. Shiite elements were reproduced in the form of behaviors and models of Shiite heroes. The artist expressed the political, social, and cultural issues of the Qajar period with an anti-colonial discourse. Shia critical discourse using the theme in the tiles showed the interaction and confrontation of Shia characters along with the negative consequences. In the framework of the Shia discourse, some social norms were reversed. The Shiite discourse in the structure and texture of Kashi paintings created its own story by choosing specific Shiite events. This choice of Shiite discourse was due to the presence of anti-royalty and critical discourse in the Qajar era and was reflected in the tile paintings.

The theme of kings sitting on the throne, due to its special narrative and visual appeal, has been the focus of painters in most of Iran's illustrated Shahnamehs and has been depicted with various qualities. Among the illustrated Shahnamehs, Shahnameh of Tahmasp is one of the most important versions that has paid special attention to the illustration of this assembly and has made good use of the king's throne as a symbol of power and a special visual element in explaining the position of the king. The question is: What characteristics are evident in the analysis of the visual aspects of the king's throne in the Shahnameh of Shah Tahmasp? The results show that the diversity of the form and composition of Karina, with the predominance of decorative motifs, is one of the main features of the king's thrones motifs in Tahmasbi Shahnameh. There is considerable variation in the way the throne is represented that is based on the available evidence from the difference in the description of the kings in the literary text of the Shahnameh. Although in most cases there is no description of the king's throne in the text and artist has drawn it with his imagination.

Islamic prayer mats, on which Muslims perform salah, are traditionally woven on simple vertical frames (dar) or more sophisticated handlooms (dastgah), with an iconic mihrab design that is either woven into them or added later by embroidery or printing. This study analyzes prayer mats from Qajar Iran and classifies them based on weaving and decoration techniques. For this purpose, it looks at those in the Victoria and Albert Museum (V&A), all of which are produced on looms (as opposed to dar-woven textiles such as rugs). The research question is: How can we categorize the V&A’s Qajar - era prayer mats according to their decoration technique? Conducted as historical and descriptive-analytical research, the study analyzed 13 randomly-selected Qajar -era prayer mats from the V&A’s collection. It found that the decoration on most of the mats was added after weaving — using techniques such as drawn thread work (Sokme Douzi), silk embroidery, cotton embroidery and woodblock printing (Qalamkar) — with only a few mats having designs woven into them. Technical limitations of looms for weaving the symmetrical mihrab design may have contributed to the greater popularity of embroidery and printing, which offer more technical freedom to producers. Although popular across Iran, the decoration techniques used for the studied mats are often considered originally Isfahan handicrafts. Among the V&A’s prayer mats, most are decorated using drawn thread work and cotton embroidery, while cotton embroidery and block printing are the favored techniques for the larger mats, drawn thread work is more common in small sizes. All of prayer mats are entirely made of linen, silk or cotton, may have a chintz lining (if existing), with most of them featuring hems made of a type of patterned fabric, known as moharramat. Regarding the motifs used, geometricm, vegetal designs and Islamic inscriptioncomprise the majority; human figures and objects are also present, but to a lesser extent.

the battle and war with the devil are one of the topics that have existed in mythology since the beginning of creation and has been of interest in all eras. A tool was needed for battle and war, and sometimes the heroes were known by the same tool. In the Safavid period, war tools had an aesthetic function in addition to military use. Among these tools, there is a war tool attributed to Safi II (Suleiman I (), which is available in the national museum of Krakow, and it includes Cuirass (Char-Aina), a shield, an armband, and a helmet, and it is decorated with poems in Persian language, Suleiman's name, capturing images, hunting. And the role of the sun. In all the mentioned devices, the visual value of the sun is more than other motifs, and the verbal text also refers to the heroes of the Shahnameh and ancient Iran. Considering that these weapons were created in the Safavid era and in an Islamic discourse, this research seeks to answer the question why the sun and signs such as horns play an essential role in the armor of King Suleiman and how the meaning of these motifs can be understood. Is there an explanation? Considering that the purpose of this research is to analyze the motifs of war weapons attributed to Suleiman, to reach a suitable answer, the tool and the images on the tool were analyzed using the iconology approach. The data of the research shows that changing the name of Safi Mirza to Suleiman is an expression of his transcendental beliefs and that era, also in this era Iranian wisdom and enlightenment is revived and it seems that the use of the sun and horn in his instruments also indicates that he has the power of seal. or light Since in Mehri religion, Mithra was also the patron god of warriors who helps them in battles, these beliefs entered the worldview of the people and the artist consciously or unconsciously used the sun, images of battles and horns to help Mehr or Mithras in the battle to the king Suleiman and the expression of his power has been used.

Geometry plays a crucial role in the design of structures in Iranian painting. such as painting, where a distinct visual language has emerged through the interaction between form and content, organized by geometric relationships and proportions. Therefore, the aim of this research is to study the calculated and purposeful geometric structure that aligns with the narrative theme depicted in the mentioned painting .For this purpose, the main research question is: how geometry has been integrated into the visual and content structure of the painting's hidden layers? Has the painter purposefully used geometry as a theme in the painting? In this article, the author employs the descriptive-analytical case method and library information collection techniques to comprehensively analyze the painting of The Prophet Muhammad’s Ascent to Heaven." The comparison and test results indicate that:1. In the Painting of The Prophet Muhammad’s Ascent to Heaven, the artist skillfully incorporates a meticulously planned arrangement of geometric and military elements. This creates a harmonious composition that effectively conveys the painting's theme.2.Moreover, the geometric symbols used in the painting express cognitive themes, irrespective of the total temporal, spatial, and technical conditions 3. The painter has employed the conventional technique of line drawing and integrated mathematical proportions and numerical relationships to organize the elements that make up the artwork.