جستجوی مقالات مرتبط با کلیدواژه « تیموریان » در نشریات گروه « هنر و معماری »

Myths are part of the cultural values of every society, and myths and rituals should be judged as cultural values. In primitive societies, myth was considered as the actor of absolute truth because it was believed that myth is a sacred historical narrator. For a long time, indigenous art has been a suitable platform for the symbolic emergence of myth, and the interweaving of art and myth shows its importance, after understanding and understanding different myths, researchers have come to the fact that mythological concepts have their place. have consolidated in the pillars, foundations and principles of artistic functions. In the mythological thought of Eastern art, all signs have a magical power that mankind has always tried to achieve through the combination or repetition of these signs, which is rooted in a firm belief in them. Among the native arts of Iran, the topic of Iranian carpets can be called one of the prominent fields for the emergence and association of mythological motifs. The upcoming research tries to review and analyze the mutual interaction of the artists of Iran and the Orient with an attitude on the evolution of myth-oriented motifs in Iranian carpets, especially during the Ilkhanid and Timurid eras. Based on this, with the semiotic analysis of the remaining images of the carpets related to these dynasties, mythological motifs originating from Chinese and Iranian religious beliefs are investigated. In some cases, due to the lack of carpet works left from that era, visual art works related to that time are used. Combining the influence of Islamic beliefs in Iranian carpet art and the political influence caused by the Mongol invasion is the main goal of the research in the interpretation of the symbols of Iranian carpet myths. Due to the views of their founders, who were influenced by the views of the Mongols and Muslim thoughts, the mentioned periods were a combination of different value systems and also included significant political and religious changes. The evolution of the artistic style in the Timurid period, whose traces can be seen even in the Safavid period, led to the flourishing of carpet art. Studies show that the authenticity of Iranian mythological motifs inspired by Sassanid and Islamic patterns has always been preferred over the motifs influenced by the art of the East.

Bookbinding had been important as one of the techniques of the illumination in Islamic civilization, and bookbinders mixed their artistry ingenuity with Islam spiritual insight in the Islamic era, and produced unique covers of Quran. In the Islamic era, the period of ruling Ilkhanid and Timurid in Iran and Iraq is the period of development and promotion of the art of bookbinding. And by their wide supports, many supernal Qurans was transcribed. Contemporaneous, the dynasty of Mamluk ruled in Syria and Egypt. They also claimed that are the supporters of true Islam. To demonstrate the superiority and showing legitimacy, they strongly supported from Quran calligraphy. In result of this competition , they made many copies of Quran, that their bookbinding in comparison had a lot similarity, with those are made in the Ilkhanid and Timurid era. This research uses the descriptive- analytical method and Data is collected using field research and published material. The purpose of this paper is to analyze and compare similarity and differences aspects of covers of Quran that made in mentioned eras based on substance, motifs, and making style. The results of the research indicate that many current bindings motifs, first appeared on Persian covers in this era, and then used widely on Mamluk bookbinding as pattern of bindings of Quran.

The role of suburban streets in urban planning in Iran from the Ilkhanid period to the end of the Timurid era has been very influential. However, due to the lack of historical and archaeological sources, the structural pattern of these suburban streets in Iranian cities before the Safavid period cannot be found. Among these, the only reliable items for study are a type of suburban street that has been identified in archaeological studies due to its architectural remains. This type of street construction, which was mainly formed and flourished in the Timurid era due to the location of tombs and other religious buildings, can be introduced as the Khiaban-Mazar (street-tomb). The purpose of this study, in addition to studying the evolution of suburban streets in Iranian cities before the Safavid period, is to study one of the unique examples of street-mausoleum construction in the late Timurid period, known as Khiaba mazar-i Soltani. The main question that this research sought to answer is what structural connection did the suburban streets have with the cities, and how did this kind of street construction lead to the creation of Timurid Khiaban-Mazars? The results show that the changes in the construction of suburban streets, which started especially from the patriarchal period, due to the establishment of royal residences and suburban settlements, flourished in the Timurid period and were born due to the passage of these streets through suburban cemeteries. A new type of street construction and collection has led to this period called Khiaban-Mazar.

Decoration in Islamic art and architecture has been one of the main pillars in archiecture and has always been one of the most importan aspects of art throughout history. These decorations in mosques and religious places are glorious, beautiful and exaggerated. One of these examples is the tomb of Khajeh Abdullah Ansari in Herat and belongs to the Timurid period. The decorations of this building include tiling, brickwork, bedding, stonework and caving. In this articale, the authors try to introduce the design, colors and tiles of the northern house of prayer and the mirror house of the tomb of Khaje Abdullah ansari are mentioned and the characteristics of this place are mentioned, and apply the decorations of the prayer house and the mirror house and answer these questions: What are the similarities and difference between the designs and designs of the house mirror in terms of colors and decorations and the prayer house of the Khajeh Abdullah Ansari? The research is historical – comparative and the method of collection information is library and preparing images in the field. At the end of this study, it is found that these two places in the tomb of Khajeh Abdulla Ansari in Herat, Afghanistan, have similarities nd differennces in terms of color scheme of decoration, shape of geometric and motifs.

The construction and placement of tombs on either side of an inner or outer city street, and with it, the formation of decorated facades on both sides of a path, was common during the reign of the Timurids. Early in this era, Timur built a complex inside the shahr-i sabz, which consisted of a street on either side of which the Timurid courtiers built tombs for themselves and formed the body around the street with an orderly line of tomb buildings. At the end of the street was the great building of the Dar al-Siyadeh school, which was the burial place of two of Timurchr('39')s sons. The next similar sample was formed in Samarkand. This cemetery, known as Shah-i zindah, was built on top of the ancient hills of Afrasiab. Like the Dar al-Siyadeh, in this complex, the arrangement of tombs on both sides of passage was formed the main axis of the complex. These tombs, which belonged to the princes and nobles of Timurid, were located on both sides of the road and sometimes in front of each other, thus formed a Mazar-street with a designed facade. Among the Mazar-street complexes in the Timurid era, Khiaban-e Herat Mazar-Street had a special place in terms of importance and breadth. The Khiaban in the city of Herat was originally the name of an area in the north of the city where many graves were gradually established over the years on both sides of the path that passed through it. During the Timurid period, the construction of buildings on both sides of this street flourished so much that at the end of this era, this street can be compared in terms of the establishment of religious buildings and tombs on both sides with the Dar al-Siyadeh and Shah-i Zendah complexes. This article seeks to study the gradual formation of buildings on the main axis of Herat Mazar-Street by the end of the Timurid period by reviewing historical books, archaeological reports, and other researches done about Herat Mazar-Street. Then, by specifying the structural features of this axis, compare it with other Mazar-Street axes in the Timurid era, and then explain the characteristic features of the Mazar-street complexes in the Timurid era. The results of this study show that at the end of the Timurid era, the cemetery of Khiaban-e Herat changed from a cemetery in the northern outskirts of the city to the most important religious axis of Herat and Khorasan region, and different buildings were built on both sides of it. This Mazar-street, similar to other Mazar-streets of the Timurid era, included an arranged row of tombs that Led at the end of the road to an important religious building.

Abdollāh Tabbākh Heravi was a 9th AH/15th AD century calligrapher who worked at the Timurid kitābatkhāneh (transcription center) in Herat. He was an apprentice of Ja’far Bāysonquri. In addition to the application of the aqlāme sitteh (the six pens), he was also fairly skilled at nasta’liq script. The climax of his artistic career coincides with uproars in Herat and consequently, the dispersal of artists from Bāysonqur’s workshop. Therefore, he could be regarded as a connection between two periods of heyday at Herat court. Today a Quranic manuscript in his handwriting is preserved in Āstāne Qods Razavi, Mashhad. This manuscript has been accomplished on the order of Alāod-dawleh, Bāysonqur’s son, and the deputy, Shāhrokh Teymuri in 845 AH/1442 AD. The present essay examines the status of Abdollāh Tabbākh Heravi in the Timurid history of calligraphy, and does so the mentioned Quran and its particular features.

Sufism and Khanqah buildings are an integral part of Iranian architecture history that was considered a center for promoting Islam and its expansion in different regions for centuries. Many consider Khanqah as one of the charity buildings; because these buildings often provided the required welfare amenities for the settlement of sufis, travelers, and people of that region, such as a chamber for resting and settling, a kitchen for preparing daily meals, a mosque, school, caravanserai, cistern, etc., Having these services all together was beneficial for a Sufi, whose job was praying and mysticism, a traveler, who intended to settle in his way, and poor people. Khanqah systems were formed in various ways from an architectural perspective over their lifetime due to their status, manner, and in the period of different governments. Studying and recognizing its various aspects reveals the latent dimensions of these buildings built in any land once upon a time. Timurid era was the last period of the history of Iranian architecture in which the khanqah system, as an essential pillar in terms of the history culture and architecture, played a determining role study of which seems necessary. The nature of khanqah must be considered disregarding a place for mysticism and praying because khanqahs were often associated with the society and linked to significant urban facilities, such as mosques, schools, caravanserai, baths, etc. In recent years, few studies have been done on the aspects of the formation and architecture of the khanqah. The lack of sufficient study in this regard raises questions about its architecture. The current study aims to analyze the cultural context of Sufism and identify the patterns of khanqah system formed in the Timurid era in central Asia, Southern Asia, and a part of contemporary Iran. This research was a descriptive-analytical study. It was attempted to identify the aspects of the cultural history of khanqah by examining library sources, such as books, papers, historical and architectural evidence, recognize khanqah spaces and draw patterns of khanqah in the Timurid era by analyzing technical architectural and research documents. Research findings show that khanqahs of the Timurid era consisted of a central core, such as a main dome house or courtyard that other spaces were formed around them as a result of which the khanqahs of this period were built based on two patterns: single-buildings and complex-Arsen.

This research aims at investigating the illustrated version of Nezami's Khamseh registered under No. 5/39 in the Malek National Library and Museum; to compensate for the fact that there are various pictured versions of the work in museums and libraries that, unfortunately, have not yet been researched. Generally speaking, Nezami's Khamseh is one of the masterpieces of Iranian literature and art and is amongst the versions always attracting the attention of artists because of its high illustrative aspects and type of stories. The version under investigation dates back to the 9th century AH; however, it was rewritten. The rewriting author tried to write new pages in the same style as of the main author. Also, some illustrations were added to the version concerned. After introducing the aforesaid version and unknown images, the formal details and artistic specifications of illustrations were also investigated and analyzed. The versions include 20 single-illustrations in Nastaʿlīq script and no information is available on the illustrators and the patron. The questions of this research are: 1-What are the visual, aesthetic and thematic features of the version of Nezami’s Khamseh registered under No. 5/39 in the Malek National Museum? 2-Which parts of the version belong to the Timurid period and which parts are related to the Qajar period? According to the results, illustrations of Nezami's Khamseh may be categorized in five classifications: romantic, feast, battle, hunting and meeting. Furthermore, amongst special visual properties of the version are irregular design of figures, hasty design of scenes, multitude of figures, use of warm, cold and shiny colors, balanced distribution of live colors in the composition as well as style affinity of Nezami's Khamseh images with aesthetic principles on the basis of Iranian and western painting traditions. The methodology and nature of the research are fundamental and descriptive-analytic, respectively. The library method was used to collect the data. The answer to the second question is that the cover of the work and all illustrations and a number of pages in which the title of the story is in a rectangular frame containing plant designs belong to the Qajar period, while the other part with no designs belongs to the Timurid period.The culture and history of Islamic art in Iran has always been linked to spiritual customs; customs that have been formed within the Islamic tradition and have established a set of relations and relationships on this basis. Therefore, in the traditional Islamic art of Iran, there is an inevitable link between different types of art and literature, and each of the arts, according to its capabilities, has sought to manifest an aspect of the eternal truth of the universe. In the field of visual arts, Iran as one of the most important centers of the art of Islamic civilization, has offered a kind of painting to the world that shows the spiritual link especially to the Islamic mysticism. This art has a close relationship with the illustration of mystical books and texts and has always portrayed the mystical manifestations of poets and mystics in a special way and exposed them to viewers. Examples include Haft Awrang of Jami, Divan of Hafiz, and Bustan of Sa’adi, but among all these, Nezami’s Khamseh has a special status.Khamseh is a collection of five books of poetry, also known as Panj Ganj (The Five Treasures). Whenever Nezami talks about Khamseh in his works, he calls it “treasure”. The book has five poetic Masnavis: Makhzan al-Asrar, Khosrow and Shirin, Leily and Majnoon, Haft Peykar, and Eskandarnameh (Sharafnameh and Eqbalnameh). Each of these five poems has been authored separately at different times. Generally, writing Khamseh has taken at least more than 45 years. This collection consists of about thirty-two thousand verses and was written from 571 to 599 AH relying on didactic literature. Khamseh illustration is one of the long-standing traditions of Persian art and it can be named as the most popular manuscript among artists and supporters in this regard after Shahnameh illustration. Throughout history, Iranian painting has always flourished, and valuable exemplars of it have remained. The study of Khamseh of Nezami in different schools is useful in the process of better evaluating the Iranian painting, since it is a single book that has been illustrated many times throughout the history of Iranian painting. Because this illustrated version was hidden in a private collection, no researcher was aware of it which has kept it away from interested people until today. Now, in this article, this precious work, belonging to two artistic eras of Iran in the 9th and the 13th centuries AH, is revealed that can provide new revised research on the artistic schools of the Timurid era as well as the art and artists of the Qajar period.

The Islamic architecture of Iran is the result of a natural continuity of architecture in diverse historical epochs. Therefore, perceiving and studying the history of architecture can aid understanding the architecture of the Islamic period and its various aspects. In the late eighth century AH, the political turmoil in Iran paved the way for Timur Gurkhani to invade the country. The Timurids ruled Iran for more than a century, until the rise of the Safavids. Timur, after destroying the building and massacring the people of the cities, showed interest in building magnificent structures. His successors followed suit. As a result of these works, various arts flourished, especially the art of architecture. His successors followed the same suit. As a result of these works, various arts flourished, particularly the art of architecture. This research is accomplished via a historical-descriptive method followed by library study. The research findings also show that during the Timurid period, magnificent buildings were built mainly in present-day Khorasan, which are among the architectural masterpieces of Iran. Although the method of architecture in the Timurid period is influenced by the architecture of earlier periods such as the Al-Muzaffar era, however, the architecture of the Timurids, in terms of grandeur and richness, has achieved an unprecedented flourishing visible in various structures such as the Ghiasieh School of Khordgerd, Dodar School, Goharshad Mosque and Bibi Khanoom.

Research objectives:

1. To study the style of architectural art and its prosperity in the Timurid period. 2. To scrutinize Iranian decorative elements and its richness in the architectural art of the Timurid period.

Research questions:

پ1. What is the main feature of Timurid architecture that distinguishes the works of this period from other buildings? 2. In what structures can the style and features of Timurid architecture be perceived?

Shortly after its creation by the residents of Shiraz city and called "Naskh Taliq", Nastaliq script was used by several calligraphers at the Jalairid court, Mir Ali-ibn Elias Tabrizi and Marouf Baghdadi. Moreover, there are some samples of Nastaliq script written by Mir Ali-ibn-Hasan Soltani and Najmuddin Karkhini in Tabriz (Jalairids’ winter capital). Benefitting from the skills of Mozaffarid and Jalairid artists and the experiences they had gained in bibliopegy workshops, the Timurids also belonged to the line of pro-scholarly-literary heritage and Nastaliq calligraphy with whose support, the artists of conquered territories were transferred to the centers of their rule that led to the exchange of their artistic achievements with the artists of the new lands. Through establishing institutions in these centers, including libraries, workshops and high schools often presided over by calligraphers; the Timurids directly influenced the art of calligraphy and Nastaliq in particular. While developing a system of arts education based on "master-student" method, these institutions of the era contributed to the promotion of the state religion and well represented the favored history and literature of the Timurid rulers through employing the powerful medium of Nastaliq calligraphy in communicating the governmental decrees and rules in the most beautiful form, not only to the local community but also beyond the national borders to the rulers of other nations. It was the same skill that brought respect and authority for calligraphers at the highest levels of government and made the Timurid princes such as Iskander Sultan, Ebrahim Mirza, Baysonqor Mirza and even Shahrokh vying for adept calligraphers, which in turn prompted dynamism and competiveness among the institutions and calligraphy schools and encouraged the employment and training of calligraphers. During the reign of Shahrokh and his son, Baysonqor Mirza, Herat was one of these centers that bore witness to the competition of the best calligraphers of the Nastaliq style (Mirza Ja'far Tabrizi, Mohammad-ibn-Hessam and Maruf Baghdadi) and their following art movements. Summoning of the prominent calligraphers and artists of Baghdad and Tabriz bibliopegy workshops and their employment in the institutions paved the ground for the transfer of the experiences and achievements to Shiraz and Herat. The most important of such summoning was Marouf Baghdadi’s call to Shiraz followed by Herat which profoundly affected the calligraphers of these centers. Ibrahim Mirza’s library in Shiraz which was heir to Iskander Sultan's bibliopegy traditions was superior to Herat at the time; nonetheless, through summoning Mirza Jafar Tabrizi from Tabriz to Herat, Baysonqor Mirza imbued new spirit to Herat and Shiraz’s artistic competition scene. The newcomer Mirza Ja'far Tabrizi becomes a rival of Mohammad-ibn-Hessam, the student of Marouf Baghdadi and Baysonqor Mirza’s tutor. This confrontation is also somehow regarded a competition between the Tabrizi and Shirazi-Baghdadi styles of Nastaliq. The most significant difference between the two styles is the increase of the proportion of size, decrease in the letters’ roundness and the transfer of the center of gravity of the standing meditates and bowls to the middle in Tabrizi style as compared to Baghdadi-Shirazi. Keeping in view the works survived, although Tabrizi and Baghdadi styles have both been influenced by Shirazi style, it seems that the more active Jalaierid bibliopegy workshop in Baghdad, was mostly influenced by Shirazi style and hence, could be considered something between Tabrizi and Shirazi Nastaliq calligraphy styles. Many years later, after Baysonqor Mirza's displeasure with Marouf Baghdadi and his miserable death, Mirza Jafar Tabrizi who was then presiding over the Baysonqor's court library and his followers overcame the rivals with writing Nastaliq script continuing in his and his students' style, Marouf was no more mentioned anymore and the supporters of Marouf and his student, Mohammad ibn Hessam, were marginalized. This paper aims to examine the initial changes of Nastaliq calligraphy as one of the most brilliant achievements of Islamic art in Iran and also seek answer to this question that to which art movements does the flourishment of writing Nastaliq script owe at the beginning of Timurids’ reign? Therefore, a historical-comparative is employed to analyze, compare and explain the issue based on the existing evidences and documents. To this end, the evidence required to assess the underlying factors have been collected and examined in historical and socio-cultural context. Moreover, sufficient accuracy will be provided for the identification of the evidence for further accreditation. Therefore, data has been collected through desk study of library resources.   This research reveals the interest of the Timurid princes in writing as well as using Nastaliq script for that purpose as well as the existence of two rival and powerful Nastaliq calligraphy movements in Shahrokh's court and his son Baysonqor Mirza led by Shams Baysonqori, Marouf Baghdadi and Mirza Jafar Baysonqori also influenced by earlier regional Nastaliq calligraphy styles (Shiraz-Baghdad and Tabriz). Despite triumph over the rivals, the writing Nastaliq styles attributed to Mirza Jafar Tabrizi faced difficulties towards the end of the 9th century AH in the western regions of Iran who later became known as calligraphers of the western style of writing Nastaliq.

Cloud formation and rain production have been always of the important concerns in the Iranian plateau and have always occupied the minds of its inhabitants. The expression of this topic in the Pahlavi writings of the Parthian and Sassanian periods prove this claim. In this writings, the description of rain is mixure of myth, science and spiritual affairs. This article aims to find out the ancient Iranian ideas on cloud formation and rain production within the pahlavi writings –the Parthian and especially Sasanian periods- and compare them with the Greek philosophers’ opninons such as Aristotale as well as scientific literature belonging to the Islamic period. This paper tries to shed a light on an attitude of the ancient Iranians about natural sciences and geography and specificall

The confrontation between good and evil forces, the division of the world into two realms of light and darkness, and the belief in the permanent quarrel between Ahoorian and Devilish phenomena, is a common belief among all folks and nations, a struggle that continues till the world is set up, and the ultimate victory belongs to the light front. Demons, who are the inhabitants of the darkness, are abnormal, black creatures with long, hog-like teeth, thick and black lips, and occasionally blue eyes. The body of these cannibals is covered with thick hair and they have several heads, horns, tails and large ears with a pair of wings. Demons are one of the most devilish creations in Iranian mythology, whose main goal is to eliminate Ahoorian creatures. Ferdowsi has shown this idea in his Shahnameh; it is even seen in the epic poems afterward. Meanwhile, Demons, which represents the devil and enemy, is shown as naked animal figures with horns and tail, possessing primitive weapons. The painters have somehow emphasized the superiority of the creation of the goddess against devilish creation by displaying these features. The main goal of the research is to study the role of the Demons in Ilkhani and Timurid eras (Herat and Shiraz) and their differences in their images. The main questions of this research are: 1. what are the characteristics of Demons in the paintings of the Ilkhani and Timurid eras? 2. How can the difference between the face of the Demons in Ilkhani and Timurid periods be explained? The results of the study showed that in the painting of this era, Demons are depicted with the animal nature in the shape of human body. On the other hand, the difference in the shapes of Demons in these schools is first drawn from the metaphorical aspect of Shahnameh, and then the personal perception of the painter and his interpretation of the text, the artistic style of his era, the cultural conditions and the school in which he grew. This research has been accomplished by a descriptive-analytical and comparative method, based on library studies.

Numerous factors have influenced the way the architectural spaces in the Iranian miniature painting have been created. During the Timurid era, with the innovations of master Kamal al-Din Behzad, and employing all the visual basics, architectural spaces were given more attention and interest. In miniature paintings of master Behzad, certain principles dominated the scenery of spaces, and the architectural elements have had a special place according to these principles which are referred to as the “Golden Ratio”., the lines point to a specific part of the mosque’s construction process, and within one or two of these networks, each of the mosque’s spaces is located such as the single hole, the porch and the outer wall. Drawing lines based on the principle of “golden ratio” shows that Behzad has placed the image of consciousness with this element of the elements in a suitable place and has given his image a harmony. Due to lack of resources and researches done in accordance with the proportions and in painting, the authors need to study the studied image in a different perspective from the aesthetic aspect. The present study was conducted using a descriptive-analytical method and based on library studies, so that the relationship between the architecture of the mosque and the architectural spaces in painting can be found through the recognition of these proportions.