نشریه رهپویه هنرهای صناعی
سال سوم شماره 1 (پیاپی 7، بهار 1402)

Mani was a painter, calligrapher, and an Iranian Prophet of the second century and the founder of a dualist Christianity tradition inspired by ancient Persian beliefs. The sect's most important theological thought arose from the question: Why does evil exist, and whence did it come from? “Dualism” was their answer to that question. The Good and the Evil are considered two separate existing principles. The good principal couldn't, be responsible for the bad in the world. Hence, they considered an evil principle for creating an evil material world and trapping fragments of light in it. The realm of God is the realm of light, and the realm of evil is darkness. The benevolent light is cognitive, but darkness is ignorant and mischievous. Because of this legacy, seeing has a superior position among the senses. It is in the light that we see and understand, which implies that seeing is knowing, in contrast to the Semitic beliefs that hearing is knowing. In the Semitic culture, hearing is of higher value because, in their belief, God does not reveal himself to humankind and only speaks to us through his prophets, who preserve and convey His words to the followers. In the Dualist tradition, the “Good principle” is light, and through the light, we perceive the truth.Thence depiction and inscription are considered holy and of great value. In the presence of the benevolent light, the holy images are unveiled, revealing "The Truth." Hence, Mani, took his unique painting skills into action and summoned the trapped divined souls to salvation. Art was considered holy, and Mani’s paintings were seen as a miracle. Mani is the only prophet who expressed his ideas through writing and painting, while also requiring his disciples to copy and translate holy books, thereby establishing and fostering an artistic culture. His legacy influenced various cultures and religions, illustrating that images serve a didactic purpose. This article will argue with a cultural, social, and philosophical approach that depiction in Mani’s religion was not only a means for the illiterate to understand his theology but also served a significant and complex role in helping humankind to salvation.

Decoration is one of the essential aspects of the visual structure of Iranian painting and book decoration, and it has always been an important principle. In different art styles, it has found various forms, and finally, it has taken a codified form by compiling the seven decorative principles of Iranian painting art in the Safavid period. The focus of this research is to study the application of the seven decorative principles of the art of painting in the magnificent version of Khams of Nizami, preserved in the British Library, which can provide valuable information about the characteristics of painting in the later styles of Herat. This research aims to conduct a comparative study of the application of seven decorative principles of Iranian painting in the paintings of Khamsa Nizami belonging to the year 846 AH. The main question of this research is how the painters in the later styles of Herat used the seven decorative principles of Iranian painting art in the paintings of Khamsa Nizami 846 AH. This research employed a descriptive-comparative approach and gathered information through a library-documentary method by examining the paintings of the Khamsa of Nizami, version from 846 AH. According to the research findings, the principles of Eslimi, Khataei, Nilufar, and Gereh have been predominantly used in the analyzed paintings. The Abr principle was used in 7 paintings, and the Waq principle was the least used. The painters of Khamsa of Nizami have been loyal to the decorative tradition of Iranian painting art. While showing their skill in this work, they also show the characteristics of the book decoration of the late Herat styles and the early Tabriz styles of the Safavid period..

In Iran during the Islamic period, wooden arts had an important place among Islamic arts, examples of which are kept in museums and historical centers. One of the most important periods in Iranian art history is the Timurid period. In this period, all kinds of arts progressed and reached a high position. One of the prominent arts of the Timurid era is wood art. One of the other popular arts in the Timurid period was book design. In this period, illustrators had a special position in terms of the power of book illustration. The painting school of this period is known as the Herat school, and among the illustrated works, Baysunghur Shahnameh is considered one of the most perfect examples of the art of this school, and it is of great importance in terms of book design and artistic value. A work left over from the Timurid period was created in Herat by a group of prominent artists. This version’s illustrations include a collection of wooden tools within their spatial designs. A collection that provides the audience with important information about Timurid-era wooden arts in Herat city. The abundance of wooden art in the paintings of the Baysunghur Shahnameh shows the prosperity of these arts in Herat during the Timurid period. This research aims to identify and analyze the position of wooden art in the illustrated version of Baysunghur Shahnameh. This research examines the frequency and use of wooden works in paintings, distinguishing them from other forms, and their significance within the broader context of artistic works. This article employs a descriptive and analytical research method with a library data collection approach. The wooden works drawn in the spatialization of the paintings include royal thrones, chairs, doors and windows, fences, coffins, caskets, musical instruments, and spinning and weaving machines. The recognition of these works in the paintings initially relied on their use, followed by an analysis of their role and color. Most of these works can be classified under applied arts, and some can be classified as decorative arts due to their artistic decorations. many of these works have been used in the illustration of building elements (such as doors, windows, fences, etc.) and some others have been illustrated on other objects (such as beds, chairs, tables, musical instruments).

Due to the significant role of quadrupeds before the advent of vehicles, horse caparisons, and saddles have been intricately crafted throughout various eras. The history of carpets has focused more on underlays, and other weaves have received less attention. Horses are depicted as mounts in numerous paintings, often accompanied by riders and accessories like saddlebags or caparisons. Corresponding to the transformation of the role and design of artworks in the era of Zand, the clothing of the quadruped has also changed. The article examines the stylistic motifs of horse caparisons, a prominent feature in the paintings of the Shiraz school during the Zand era. It seems that “Rose” is imprinted on the luxurious clothing of the quadruped in the Zand era as a meaningful sign. The criteria for applying the adjective “luxurious” is the themes of the works. The “Rose Flower” pattern or the “European Flower” can be seen on the copies of 6 study samples of paintings in the Brooklyn Museum: Khusraw Discovers Shirin Bathing, Bahram Gur and Azadeh, Queen Shirin Visiting the Sculptor Farhad, Sultan Sanjar and the Old Woman, and Hunter on Horseback Paintings. The research employs a qualitative approach with descriptive and analytical methods grounded in historical context. The collected information is the product of library studies and observations of visual documents on the Brooklyn Museum website. This research reveals that the “Red Flower,” also known as the “Farang Flower” or “European Flower,” was a prominent element in the luxurious clothing of Zand era mounts. The role of the “Red Rose” on the clothing of the quadruped bears a ceremonial sign and has a significant connection with the themes of the paintings. Therefore, in the Zand period, the motif of the rose flower (European flower) was woven on the saddles of the court horses. Another result is that the European flower was not an imported pattern among Iranian woven motifs; Rather, it is the same red flower renamed under the influence of European design.

The sword has always been important in ancient wars. The forms and decorations of swords have undergone many changes in time. Its use has changed from a fully functional object to a purely decorative object. During the Safavid and Qajar periods, noticeable changes appeared on it, so the main question is: what are the features of Safavid and Qajar swords? The first goal is to know the decorative elements used in Safavid and Qajar swords, and the second one is to identify the differences and similarities of the research samples in terms of form and decorations. Therefore, with a descriptive-analytical and historical method with a comparative approach, relying on library sources and gathering information in an observational field research, the swords of the Safavid and Qajar eras have been investigated. The research uses a stratified sampling method. The statistical population is divided into several sub-communities based on the names of the kings, and two swords were randomly selected from each.The results indicate that the materials used to make the blade and some decoration techniques, such as gold plating and engraving, have been constant in both periods. Also, the following differences were identified: loss of quality of the materials used, changes in the shape of the blades, and increase of the decoration techniques, especially in handles of swords. Safavid sword-making has gone through the stages of growth, evolution, and brilliance of steelmaking and sword-making from the beginning to the end of this period. Although sword-making in the Qajar era can be seen as the continuation of Safavid blade-smithing; gradually, through contact with the West and because of the advent of firearms into the field of war weapons, it underwent changes that led to the creation of works of fusion of Iranian and Western art. The practical aspect of swords has changed, and swords have become more symbolic and decorative. Finally, by comparing the swords of the Safavid and Qajar periods, it is concluded that although Qajar sword-making is a continuation of Safavid sword-making, as a result of not paying enough attention to the changes in its usage, it has become only a decorative object merely used in ceremonies as a sign of the wealth of the owner. In this era, the Iranian craftworker was so immersed in the blind influence of the West and the excessive decorations of the sword that he forgot to adjust it according to the needs of the day, and so, over time, the sword has become a separate part of the culture of this border, and this has caused the decline of this precious industry.

The coffee house paintings, which were created by uneducated people and based on imagination during the Qajar era, helped the public visualize epic, national, and religious stories and traditions. From the founders of this style of Iranian painting, we can mention Hossein Qoller Aghasi, who depicted the narrative of Rostam and Sohrab’s tragic story, a sad story of the father and son’s confrontation and the son’s death by the father, based on the element of fantasy and his mental imagery. The current research is based on rereading the painting related to this narrative by Hossein Qollar Agassi from Gadamer’s hermeneutic perspective. Hence, this work is read by the six parts of Gadamer’s approach, namely social and historical context, common language, dialogue, prejudice, and fusion of horizons. This research is descriptive-analytical by nature and has a qualitative approach in terms of its fundamental goal. The information and data required for this study were gathered from library sources and documents. The research answers the question of how to read and interpret the tragic painting of the death of Sohrab by Hossein Qollar Agassi through a hermeneutic perspective. By examining the mentioned painting with Gadamer’s approach, it was observed that the desired factors of Gadamer’s approach indicate the structure of the work. Hossein Qollar Agassi engages in a conversation, aware of his limited knowledge but drawing on his experimental grasp of traditional Iranian art and the common Persian language. He weaves together his biases shaped by the era he lives in, referencing Ferdowsi’s poetry and Iranian painting. By interpreting these influences through his perspective, influenced by the Pahlavi era and popular constitutionalism, he endeavors to bridge this gap. This endeavor results in a creation reflecting his cultural, social, and political milieu, yet simultaneously reviving a national and cultural identity of the past. The outcome is a distinctive style and approach that is emblematic of his time. Re-reading this work based on Gadamer’s philosophical hermeneutic approach helps to find the factors that make understanding easier. Therefore, hermeneutic approaches, including the mentioned approach, are a way to better understand the work or text under study.