مجله جلوه هنر
سال سیزدهم شماره 3 (پاییز 1400)

Animal painting (Zoomorphism) and the use of animal motifs in natural landscapes have been among the most widely used subjects in royal murals. Sadeghi Beyk has described the nature and importance of animal painting in his treatise Majma 'al-Khawas. This tradition of mural painting has continued in Qazvin and Isfahan schools during the Safavid period. The similarity of Chehel Sotoun Palace murals of Isfahan and Qazvin with the murals of the Tabriz school is a proof of this claim. These murals, made by artists trained in the Tabriz and Qazvin schools, also undergo changes and developments in a short period of time. The motifs of mythical and trapped animals are the least used in them.The authors' hypothesis is based on the fact that the original murals of Chehl Sotoun the palaces of Isfahan and Qazvin, which belong to the period of Shah Tahmasb and Shah Abbas I, correspond in style. They belong to the painters who studied in Tabriz and Qazvin schools.This article answers these questions: What are the similarities between the Animal drawing style in the murals of Chehel Sotoun Palace in Qazvin and Isfahan, and what are the differences that they have for about fifty years?The method in this research is descriptive-comparative, and it uses library resources and field research or field observation. The visual information in the Chehel Sotoun Palace in Qazvin and Isfahan was collected by visiting the Chehel Sotoun Palace and cooperating with Qazvin's cultural heritage. Library resources, digital resources and the statements of Hossein Aghajani, the restorer of Chehel sotoun in Isfahan, have been used during the interview. The main purpose of this article is to investigate the use of animal motifs in the Qazvin school and its continuation in the Isfahan school. Therefore, the common animal motifs between the murals of Isfahan and the Chehel Sotoun palace of Qazvin were identified and classified, and the art schools of Tabriz and Qazvin were analyzed and compared.The result of the study showed that the freedom discussed in Isfahan school is not seen in these paintings, because the murals with animal motifs in nature are related to the style of Qazvin and Tabriz schools According to Sadeghi Beyk Afshar, although murals include all three methods of animal painting, in the remaining works in two important buildings of the Safavid period, there is no motif of mythical animals such as dragons and phoenixes (Simorgh) and the scene of animal fights in these murals is very limited. The mentioned changes and developments in animal painting have started from the last years of Tabriz II School and have been displayed in the Chehel Sotoun murals of Qazvin and Isfahan. The animal motifs used in the Chehel Sotoun of Qazvin are less varied. The animals in nature are full of flowering trees and a variety of flowering shrubs, Khitan flowers, and leaves, and show paradise views similar to those in the Second Tabriz School.Plant motifs for moqarnas and plants such as flowering trees and flowering shrubs were used for landscaping in the two murals. Here, arabesque frames - in the form of Toranj and Sartoranj - are just as easily placed in the middle of the painting next to the natural landscape, just like the murals of the Chehel Sotoun of Qazvin, where the branches of the flower grow from a rocky bed. The blossoming tree is one of the characteristics of Tabriz school, but it is less found in the works of Qazvin, Mashhad and Isfahan schools. The blossoming tree is used symmetrically in the wall painting of Chehel Sotoun Palace in Isfahan in the red field. However, the artist seems to be more inclined to the Timurid school in the green field because, as in most Timurid works, the background is full of flowering plants and animals painted on the bushes' side.The plants painted in them already existed in the field of painting in Tabriz school, but here they are bigger and have been painted more clearly. The size of the bushes is so large that the animals next to them look very small. None of the murals use motifs of legendary creatures such as dragons and ostriches. This cannot indicate the obsolescence of this type of motif in the school of Isfahan because they have been used a lot in the tiles of the Hasht Behesht Palace in Isfahan.

Iranian literature and painting have a deep connection, especially during the Safavid period, Iranian painters created magnificently illustrated manuscripts such as Shah Tahmaseb's Khamseh and Ibrahim Mirza's Haft Awrang. The painters of the Second Tabriz School and the Mashhad School painted these two valuable manuscripts in H. 946-950 (1539-1543 AD) and H. 963-973 (1556-1566 AD). Therefore, a comparative study of these paintings can yield valuable information from both schools. For this purpose, we chose two paintings named "Majnoon Coming to Lily's Tent" among 17 paintings of Shah Tahmaseb's Khamseh and "Majnoon Approaching Lily's Caravan" among 28 paintings of Ibrahim Mirza's Haft Awrang and studied the use of color according to Itten's color theory in these paintings. This theory examines color aesthetics from the three visual, emotional, and symbolic aspects. Colors have a transcendent aspect in Iranian painting. Each color has its own allegory and there is a relationship between each color and sensations of man and the soul. The color in Iranian painting, instead of imitating the natural colors, reflects an extraterrestrial reality outside the world of the senses. Correct knowledge and understanding about color combinations and the right choice of each color express the symbolic meaning of colors and their interaction in the human psyche. For example, the colors green, yellow, blue, and red in Persian painting not only reflect the visual and sensory beauty of the color but also the deep and symbolic meanings behind these colors, which are known and used by Iranian painters very well. Based on the views of Muslim thinkers, green is a sign of goodness and a symbol of life, a blend of knowledge and belief, a soothing color, a harbinger of peace and freshness, a perseverance expression and determination. Green is also a symbol of faith and belief, and resurrection in religion. Blue creates a kind of inner judgment in people and makes them think about themselves and their feelings. Blue is the color of the cape of the Sufis who were at the beginning of the moral path. Sky blue symbolizes God's kingdom and infinite mercy. Azure blue represents the expanse of the calm sky on clear mornings, while red is a sign of knowledge and wisdom. To our knowledge, there is little research comparing the use of color in the two major schools of painting: the Second Tabriz School and the Mashhad School. It is also important to learn more and more about Iranian literary and painting works, especially during the Safavid period, not only because of their literary and artistic merits but also to recognize the background of Iranian culture and identity. Therefore, we aim to compare the use of color in two selected paintings from visual, emotional, and symbolic perspectives. The main question is: How the colors are used in the two paintings according to Itten's color theory? The research hypothesis is that there are probably visual, emotional, and symbolic differences in the use of color between the two paintings. The research method is comparative-analytical. The statistical population of this work are taken from Ibrahim Mirza’s Haft Awrang in the Freer Washington Gallery and Khamseh Shah Tahmaseb in the British Museum. We used Itten color theory to analyze the data and studied the color use method visually, emotionally, and symbolically. Johannes Itten (2009) presented the color theory in a book called The Art of Color. In this book, he deals with the scientific and practical issues of color and believes: "It is the color of life. Because the world without color appears dead. Light creates color, just as light creates a flame. Like the tone of voice. It gives color and shines to words, color conveys a spiritual sound in form." (Itten, 2009). Itten theory examines color aesthetics in three ways: an impression (visual), expression (emotional), and construction. Impression of color focuses more on the manifestations of color in the nature. Color expression examines the mental and emotional values ​​that color expresses, and finally, it examines the symbolic meaning of color in construction. To separate the colors and determine the share of each color in the picture, we used the software "Image color share recognition" (Jégou, 2013). It is important to note that the error rate is due to the quality and we can neglect the image's resolution due to the nature of this study. Because this error will not affect the results. The findings show that there is a clear visual difference and a more beautiful use of color in the colors of men's and women's clothing, tents and other components in the Mashhad School compared to the Tabriz II School, due to the use of more diverse, warmer and more beautiful, and brighter colors, beautiful color contrasts and closeness of complementary colors in Haft Awrang; whereas In Tabriz II School, cold, limited, quiet and cautious colors were used. On the other hand, the findings of this study show that these two paintings have semantic differences in terms of the emotional and symbolic use of color. The colors of Khamseh Tahmasebi's painting evoke a sense of serenity, knowledge, and kingship, but the colors in the Haft Awrang paintings are passionate and vibrant, delicate, and at the same time luxurious. In addition, while the symbolic use of color in Khamseh Tahmasebi describes the concept of love with spirituality, consciousness, kingship, and divinity, the symbolic use of color in Haft Awrang paintings evokes another meaning of the concept of love, poetic, glamorous, passionate and eager. The only similarity between the two paintings is the blue color of the frantic dress, a symbol of a young and humble seeker approaching Leily, reaching a stage of enthusiasm and immersion in which he only sees Leily. Overally, a comparative study of the two selected paintings based on Itten's color theory shows that there are obvious differences in the use of color in the two paintings; Tabriz and Mashhad. Despite the thematic convergence, there is a difference in meaning and content between these two paintings, because the love had different meanings for the two painters, and there was deference depending on the special social and religious atmosphere of the Tabriz workshop under the auspices of Shah Tahmasb and the Mashhad workshop under the auspices of Prince Ibrahim Mirza. In fact, the findings show that according to Itten color theory, despite the beauty of colorful visual effects in Haft Awrang and the use of warm, cheerful, and soft colors in Mashhad school, and also the cautious and private atmosphere of Tabriz workshop and school, emotionally and symbolically, we can see a better reflection of the deep and sublime meaning of love in Khamseh Tahmasebi's painting from Tabriz's second school rather than in Ibrahim Mirza's Haft Awrang from Mashhad school.

Throughout human history, clothing has always been influenced by social and cultural aspects in addition to individual aspects and has had different functions. In such a way that we should "forget the usefulness of goods for eating and drinking and think about those clothes are suitable for thinking and consider them as non-verbal media for human creativity." In the last decades of the twentieth century, profound changes in the concept of art and the aesthetic structure emerge, which are accompanied by the formation of artistic movements. After the 1960s, the form and content of the work of art and its relationship to man and nature were challenged. In fact, the most important feature of the art of this century was its experimental aspect, which originated from a strong and growing desire for innovation and a great fascination with new phenomena. Contrary to the expectations and habits of the audience, the artist seeks to create works that surprise and immerse the viewer, and this is where the creation of the work is completed with the participation of the viewer's mind. In the meantime, there are artists who have seen the ability of the human body and its postures more than any other tool to communicate with the audience of appropriate works of art. Non-functional clothing design is emerging as one of the effective ways of artistic expression in this period. The artist manifests his desired concepts by combining clothes with the characteristics of visual arts, human states and traits, body movements and sometimes acting abilities. The main purpose of these clothes is not to cover the body, but to show traits, feelings and thoughts. Among the few costume designers working in this field of meaning, special attention can be paid to Rei Kawakubo's creations. A postmodern artist who blurs all the boundaries. As much as she used architecture and conceptual art to create her works, she has also benefited from the effects of the "Body Without Organs". Alexander McQueen once said of her work:" When you look at her collections, at first it seems strange and unusual, not only for the public but also for the professionals. But, when you see someone challenging themselves like this and presenting new things every season, then you realize that it is the presence of such people that keeps the fashion world alive and does not allow it to lose its freshness and newness ". Leading European designers Victor and Rolf have also spoken about her:" We were 12 and 13 years old when we first met Cam Garsons in the 1980s, and this brand had a profound effect on us. The creativity that Kawakubo presents in her work was something that attracted us to fashion and we owe her a lot". Jill Deleuze, who invites man to creativity in all fields and forbids any representation in return, believes: “The realization of art is not presented and received by the state of the perceiving subject, rather, art must present a set of emotions or the pure existence of emotions”. From Deleuze's point of view, the body is trapped under the body. Unstable organs are trapped under the organization of fixed organs. Postmodern works of art in the contemporary world have true characteristics and meanings. Moreover, theoretical studies and the use of the perspective of modern philosophers can answer many ambiguities and hypotheses related to these works and why they were created. Among them, paying attention to the views of the French post-structuralist philosopher Gilles Deleuze as one of the prominent postmodern philosophers can lead to a correct interpretation and judgment of the works of these artists. The present study emphasizes Deleuze's views to examine some of the creations of Rei Kawakubo, the well-known postmodern costume designer concentrating on the concept of the "Body without Organs" and using a descriptive method to describe the characteristics of clothing. (It must be mentioned that the method of data collection is done using documentary and library studies and clothing images are optionally selected). Regarding the background of this research, it should be noted that although some studies have been conducted in the field of studying Kawakobo’s designs based on Deleuze's idea, they are not completely independent and focused on this concept. In general, the findings of these studies include these topics. The first part tries to rely on Deleuze's views, in particular, the concept of the "Body Without Organs", which is the intersection of libido forces on the one hand and external and social forces on the other and the interaction of these forces that create the shape of the body and its specific qualities and its use in a different context such as clothing design. It has realized the existential philosophy of art, which is the transmission of the feeling of the object as it is felt, not as it is known, and has increased the ability to understand the complexities and difficulties that enhance our perception. Among the pioneering designers, Rei Kawakubo has been selected since in her collections one can clearly see the obvious desire of deviation from meaning, harsh and contradictory details, deconstruction, and the creation of a new language of expression. Furthermore, a few of her designs in accordance with Deleuze's philosophical reading from the author's point of view are examined. She tries to present a concept of a human being or a human body that is asexual, a body without organs and gender, without an inner, internal structure, there is no fundamental underlying coherence or concept that is not in conflict with the organs but in the organization of the organs, and it is the ratio of forces that creates the body that is not dead. In all her works, the clothes somehow meet our state between potential and reality and evoke a state of vitality and dynamism in the mind of the spectator. In her designs, we can understand the concept of a body with an indeterminate organ that is constantly in the process of being influenced by forces, the pressure of the surrounding space and their constant experience.

Iranian literature and painting have a deep connection, especially during the Safavid period, Iranian painters created magnificently illustrated manuscripts such as Shah Tahmaseb's Khamseh and Ibrahim Mirza's Haft Awrang. The painters of the Second Tabriz School and the Mashhad School painted these two valuable manuscripts in H. 946-950 (1539-1543 AD) and H. 963-973 (1556-1566 AD). Therefore, a comparative study of these paintings can yield valuable information from both schools. For this purpose, we chose two paintings named "Majnoon Coming to Lily's Tent" among 17 paintings of Shah Tahmaseb's Khamseh and "Majnoon Approaching Lily's Caravan" among 28 paintings of Ibrahim Mirza's Haft Awrang and studied the use of color according to Itten's color theory in these paintings. This theory examines color aesthetics from the three visual, emotional, and symbolic aspects. Colors have a transcendent aspect in Iranian painting. Each color has its own allegory and there is a relationship between each color and sensations of man and the soul. The color in Iranian painting, instead of imitating the natural colors, reflects an extraterrestrial reality outside the world of the senses. Correct knowledge and understanding about color combinations and the right choice of each color express the symbolic meaning of colors and their interaction in the human psyche. For example, the colors green, yellow, blue, and red in Persian painting not only reflect the visual and sensory beauty of the color but also the deep and symbolic meanings behind these colors, which are known and used by Iranian painters very well. Based on the views of Muslim thinkers, green is a sign of goodness and a symbol of life, a blend of knowledge and belief, a soothing color, a harbinger of peace and freshness, a perseverance expression and determination. Green is also a symbol of faith and belief, and resurrection in religion. Blue creates a kind of inner judgment in people and makes them think about themselves and their feelings. Blue is the color of the cape of the Sufis who were at the beginning of the moral path. Sky blue symbolizes God's kingdom and infinite mercy. Azure blue represents the expanse of the calm sky on clear mornings, while red is a sign of knowledge and wisdom. To our knowledge, there is little research comparing the use of color in the two major schools of painting: the Second Tabriz School and the Mashhad School. It is also important to learn more and more about Iranian literary and painting works, especially during the Safavid period, not only because of their literary and artistic merits but also to recognize the background of Iranian culture and identity. Therefore, we aim to compare the use of color in two selected paintings from visual, emotional, and symbolic perspectives. The main question is: How the colors are used in the two paintings according to Itten's color theory? The research hypothesis is that there are probably visual, emotional, and symbolic differences in the use of color between the two paintings. The research method is comparative-analytical. The statistical population of this work are taken from Ibrahim Mirza’s Haft Awrang in the Freer Washington Gallery and Khamseh Shah Tahmaseb in the British Museum. We used Itten color theory to analyze the data and studied the color use method visually, emotionally, and symbolically. Johannes Itten (2009) presented the color theory in a book called The Art of Color. In this book, he deals with the scientific and practical issues of color and believes: "It is the color of life. Because the world without color appears dead. Light creates color, just as light creates a flame. Like the tone of voice. It gives color and shines to words, color conveys a spiritual sound in form." (Itten, 2009). Itten theory examines color aesthetics in three ways: an impression (visual), expression (emotional), and construction. Impression of color focuses more on the manifestations of color in the nature. Color expression examines the mental and emotional values ​​that color expresses, and finally, it examines the symbolic meaning of color in construction. To separate the colors and determine the share of each color in the picture, we used the software "Image color share recognition" (Jégou, 2013). It is important to note that the error rate is due to the quality and we can neglect the image's resolution due to the nature of this study. Because this error will not affect the results. The findings show that there is a clear visual difference and a more beautiful use of color in the colors of men's and women's clothing, tents and other components in the Mashhad School compared to the Tabriz II School, due to the use of more diverse, warmer and more beautiful, and brighter colors, beautiful color contrasts and closeness of complementary colors in Haft Awrang; whereas In Tabriz II School, cold, limited, quiet and cautious colors were used. On the other hand, the findings of this study show that these two paintings have semantic differences in terms of the emotional and symbolic use of color. The colors of Khamseh Tahmasebi's painting evoke a sense of serenity, knowledge, and kingship, but the colors in the Haft Awrang paintings are passionate and vibrant, delicate, and at the same time luxurious. In addition, while the symbolic use of color in Khamseh Tahmasebi describes the concept of love with spirituality, consciousness, kingship, and divinity, the symbolic use of color in Haft Awrang paintings evokes another meaning of the concept of love, poetic, glamorous, passionate and eager. The only similarity between the two paintings is the blue color of the frantic dress, a symbol of a young and humble seeker approaching Leily, reaching a stage of enthusiasm and immersion in which he only sees Leily. Overally, a comparative study of the two selected paintings based on Itten's color theory shows that there are obvious differences in the use of color in the two paintings; Tabriz and Mashhad. Despite the thematic convergence, there is a difference in meaning and content between these two paintings, because the love had different meanings for the two painters, and there was deference depending on the special social and religious atmosphere of the Tabriz workshop under the auspices of Shah Tahmasb and the Mashhad workshop under the auspices of Prince Ibrahim Mirza. In fact, the findings show that according to Itten color theory, despite the beauty of colorful visual effects in Haft Awrang and the use of warm, cheerful, and soft colors in Mashhad school, and also the cautious and private atmosphere of Tabriz workshop and school, emotionally and symbolically, we can see a better reflection of the deep and sublime meaning of love in Khamseh Tahmasebi's painting from Tabriz's second school rather than in Ibrahim Mirza's Haft Awrang from Mashhad school.

The works of the third period of Reza Abbasi's life, which are related to the time of his return to the court, have not been yet extensively studied. By reviewing the political, religious, literary, intellectual, and economic situation, this article intends to answer the following questions that what is the meaning and meaning of the works of the third period of Reza Abbasi's life, and what difference do they show in the artist's approach compared to the first and second periods of his life? The works of this study consist of five paintings including: "Golgasht with Ashrafzadeh (right)", "Golgasht with Ashrafzadeh (left)", "Golgasht in the desert", "Lovers and old man" and "Thief, poet, and Dogs ”. They have been purposefully selected as a perfect example of the artist's dominant approach in the third period of his life. This research is considered fundamental in terms of purpose, and with an interpretive-historical method and collecting information from library sources, including primary sources and new research, it has analyzed the subject. The results show that the works of the third period of Reza Abbasi's life express a dual and critical approach to life, part of which is derived from the experiences of the period away from the court. Reza Abbasi's time is a very important period in the history of Iran from a political, social, and artistic point of view due to its coincidence with the reign of Shah Abbas. The abundance of articles and research about the life and works of Reza Abbasi shows his importance in the history of Iranian art. Despite leaving and rejoining the court, he is an artist who has been revered by prominent figures of his time. Nevertheless, a series of contradictions rooted in the past and the events of that time raises many issues. Conflicts about tradition and modernity, different or new religions and beliefs, old and new military forces, confrontations between the court and the tribes, are only part of this chain. Reza Abbasi entered the court simultaneously as a talented young man in the field of painting and left the court in 1011 AH for various reasons. Historians of Shah Abbas's court, including Iskanderbeg and Ghazi Ahmad Qomi, in addition to describing his characteristics, cite his connection with intimidators and wrestlers as reasons he did not get much respect. Reza Abbasi returned to the court in 1018 AH and resumed his work as a painter. According to Canby, this distance and his return to the court divide Reza Abbasi's life into three parts: the first period, which coincides with his early works, the second period, which is known as the period of rebellion, and the third period, which corresponds to the return of Reza Abbasi to the court. Meanwhile, the last period of Reza Abbasi's life is doubly important for two reasons. First, the amount of researche so far has been more focused on the rebellious period of Reza Abbasi and less on the third period of his life. The second is the maturity of Reza Abbasi's works in this period and considering the third period as the result of his artistic life. More than his previous works, the works of the third period challenge the presuppositions and attitudes about the art of painting and the methodology of analyzing the artworks. The present study aims to explain the thematic features of the works of the third period of Reza Abbasi's life by relying on the artist's life. The main question is that, considering the historical context, what meaning do the works of the third period of Reza Abbasi's life hold, and the second question is that compared to the first and second periods of Reza Abbasi's life, how these works show his different approach from the past. The use of a balanced and comprehensive method in the art of painting have mutual importance. First, it is possible to get a more accurate understanding of history from information about art and examine the artist's living conditions from another perspective.Second, one can get closer to creativity in contemporary art and thought by carefully recognizing and analyzing all of these themes in past art. In order to deal with this method, it is necessary to put together the historical contexts, the contexts of the thoughts around it to reconstruct the life of the artist and, most importantly, a detailed analysis of the theme of the works of art. This research, which is considered qualitative, with an interpretive-historical method, intends to analyze the inferential analysis of the studied subject by collecting information from library sources, including primary sources and the new research.The statistical population includes the works of the third period of Reza Abbasi's life and the studied samples include five drawings that have been selected purposefully and rely on a theoretical framework. According to the historical method used in this article, first, the situation of the rulers of the time, a set of socio-political contexts, economic situation, history of literature, and contemporary thought of Reza Abbasi is studied. After recognizing these cases and receiving a picture of the formation of the works, the theme of the works and their various dimensions, based on the shreds of evidence and documents, are analyzed. The issue that needs to be addressed in the present research method is that all three dimensions of history, theory, and works of art are necessary to answer the questions related to the art of painting, and these three should be addressed in a balanced way. During the reign of Shah Abbas, the economy reached its most advanced level during the Safavid period. In addition, Shah Abbas, with his tact, upgraded the country militarily and security-wise. All the favorable policies of that time can be best seen in Isfahan of that period and from the available reports and travelogues. Nevertheless, one should not ignore the socio-cultural gaps and issues, and contradictions of that era. During this period, Reza Abbasi entered the court as a talented young man and grew up. In the middle period of his life, due to his religious tendencies, he distanced himself from the court for several years (this period is known as the period of Reza Abbasi's rebellion), and after returning to the court, his painting style changed significantly, in terms of both form and theme. During this period, most of his works express his dual approach to life. For example, in Golgasht with Ashrafzadeh, although at first glance a completely different atmosphere is observed from the second period, with further analysis, it can be concluded that Reza Abbasi in this period of his life is trying to cope the court life and tendencies outside the court. However, in this connection, like the literary tendencies common to poets at that time, there was an attempt to create a special language, enigmatic, metaphorical, and containing content subtleties, which, firstly, need more reflection to discover its dimensions, and secondly, in no way to the audience. It does not convey a definite and final meaning. Apart from such attempts to construct a special language, Reza Abbasi also seeks a way out of the usual tendencies to express his protest, which, according to current information, is unprecedented until then. Throughout the history of painting, imitation of the past works has been pervasive, and painters have imitated these works for educational and technical purposes. However, the imitation of Behzad's work by Reza Abbasi, for the reasons mentioned, indicates a kind of conscious choice, which, considering its subject, clarifies the content of his protest. In general, it should be said that Reza Abbasi's works in the third period of his life narrate a dual and, at the same time, critical approach to the life and current situation of the society during the artist's life. There is a narrative hidden in the heart of his visual metaphors and clever choices, and it is not possible to receive it except by recognizing the socio-historical context of the formation of works and the re-creation of the artist's life.

One of the main beliefs in Christianity is the belief in the return of Christ in the end times and his final judgment. Through this just judgment, the eternal place of human beings in Heaven or Hell is determined. There are numerous references such as the holy books and texts about this return that its conditions are the topic matters of this research. In the scriptures, the return of Christ for final judgment takes place in two stages. The first return occurs in the sky, and the second return, known as the Last Judgment, occurs on Earth. The Last Judgment has been one of the topics to which Christian artists paid great attention in different eras. The fourteenth, fifteenth, and sixteenth centuries of Europe, known as the renaissance, are the period of the rebirth of thought in all fields. Some thinkers focused on the renaissance of traditional education and some on the rebirth of new knowledge. In these developments, the great tendency of people to the classic works of the past culture was called "Humanism". In these developments, southern Europe, including Italy, was mainly focused on the lexical and intellectual heritage of Cicero and the classic works of Greek and Roman civilization; and, in northern Europe, including Flanders, Christian Humanism was formed under the influence of Erasmus. The main motto at the time was "Return to the Sources", and the Bible in the original Hebrew and Greek languages, as well as the works of the early Church Fathers, were highly regarded. Hieronymus Bush of the Netherlands (1450-1516 AD) and Michelangelo of Italy (1475-1564 AD) are two prominent European artists of the 15th and 16th centuries who have dealt with the subject of "Last Judgment". Bush's mysterious art had little in common with the Flemish and Dutch paintings of the time. Hence, his art has been considered an autonomous art. The features of his work are such that his art is often seen as a full-blown mirror of the insurances and hopes of the decline of the Middle Ages with images of torment and fear, painful daily life, and sometimes images of Heaven and salvation. There are three paintings on the subject of the Last Judgment in Belgium, Vienna, and Munich attributed to Bush. In this study, the one which is kept in Belgium (Bruges) is comparatively investigated with the painting of Michelangelo on the wall of a Sistine Chapel. Michelangelo is a sculptor, painter, architect, and poet and one of the most important figures of the Renaissance. "Last Judgment" was one of the first works of art that Paul III commissioned to this artist after the election as the papal in 1534. The objective of this research is to examine the differences and similarities between perspectives of the two artists of Renaissance, Bosch and Michelangelo, on the Last Judgement. The reason for choosing these two works is the historical importance and significance of the artists who created them in the history of art due to the researcher's mental concern about the subject and the knowledge gained from previous studies on these two works. This qualitative research has been done with descriptive, analytical, and comparative methods. The research questioned the thematic and topical differences and similarities between Michelangelo’s and Bosch's The Last Judgment. This research was based on the theory of reflection, and it hypothesized that there is a relation between the existence and substantiality of the created artworks and the characteristics of a historical period, a social group, or an individual. In reading the images, Panofsky's iconographic approach to finding the objective reality of the image and understanding what is depicted in the work of art is considered. In conducting the research, first, the subject of the Last judgment and different perspectives in relation to this event were examined in order to obtain general knowledge about the subject of the works. Afterward, two artists, Hieronymus Bush and Michelangelo, are introduced as related topics regarding their artistic style. Finally, the works of each have been examined and matched, both in terms of visual and structural values and in terms of meaning. Information analysis shows that although the subject of these two works is the same and the socio-historical conditions at the time of creation have similarities, the style and mentality of the artist have played a major role in creating the content and message conveyed by the works. The studies show that loyalty to the narration of events, simultaneous representation of the two stages of judgment, and depicting the elements in the Last Judgment are the similarities of the two artworks. What is obvious at first glance is that the same theme, and the similar Humanistic approach of both artists in creating images, are powerful similarities and commonalities that serve to send a religious message. However, the important point is that these two pillars in the process of creating the work and passing through the artist's world, by sending different messages from two separate paths, reach the desired result of the artist. These works have been created with a Humanistic approach and yet are influenced by two different historical roots. While being loyal to the religious narrative of the Last Judgment, both artists have depicted the religious text based upon their own personal ideology and worldview, so the eventual theme and message that is proposed in each work have found an utterly personal content. Bush's Humanism is influenced by the philosophy and form of Humanism of medieval Christianity; and, it seeks to distinguish between man and what is superior to him. The atmosphere of this work is based on the representation of suffering as one of the defining Christian teachings; therefore, Hell and the depiction of its atmosphere have been closer to the artist's thought. In his work, Bosch has depicted the subject on three wooden panels by focusing on humankind’s lowliness vis-à-vis the Sublime. In the upper part of the image, in the peace and sanctity of God, without showing the instruments of torture and harassment, Christ watches over those present in the image and the viewers of the work. The depicted scene is like a visual sermon that, along with the kindness of Christ, conveys punishment and fear of punishment to the general public. Nevertheless, Michelangelo's Humanism is a new re-enactment of Greek Humanism and a construct of thought that distinguishes man from what is superior to him, whether animals or even uncivilized people. With a focus on the pivotal role of humankind and while narrating a Christian teaching using images based upon the art of ancient Greece, Michelangelo has immortalized the birth and the young movement of Renaissance Humanism on the great altar wall of the famous Sistine Chapel. In the middle of the work, Christ, with half of his face in the shadows and thus obscuring the authority of his gaze, is listening to the question of the questioners with a human action similar to the other figures. Hence, we are faced with two works with unique stylistic features that need to be read more carefully. These works have been created with a Humanistic approach but were influenced by two different historical roots. The study of the composition used in the two works shows their adherence to the themes desired by the artists. In Bush's painting, the Last Judgment as a religious belief is the main theme and is conveyed to the audience; however, in Michelangelo's painting, the first and last thing that will engage the audience is the fate of man. The present elements and the quality of their presence in Bush's paintings are a function of the torment of the Last Judgment; and, in Michelangelo's painting, such elements are influenced by their relationship to humans and their effect on their real lives. Consequently, it can be said that the work of Hieronymus Bosch is created for God and Michelangelo’s for humankind.

Traditional arts are inseparable from sacred knowledge and their understanding is the acquisition of insight into a truth that shapes the inner nature of man as a divine craftsman and is a sign of God's beauty. Now, since the traditional arts are a symbol of a higher truth, one must go from the outside to the inside. In fact, what the artist has done in creating the work is related to the level of reduction (descent from the world of meaning to the world of matter), and what that is needed to understand these artworks today is the level of interpretation (turning from the material world to the world of the meaning). Therefore, with interpretation, we can return to the original and the first truths. Meanwhile, color, as one of the most important appearance elements in traditional arts, has special and symbolic meanings of the mystical tradition that needs to be interpreted in the face of the views of Islamic mystics and Sufis. In this realm, mystics usually do not speak of color as the decomposition of light but consider it as the cause of emergence; In other words, immaterial light is objectified through the color. Therefore, the color indicates the stages of conduct and light is always a condition for obtaining and a condition for appearing and seeing colors, which appears in the stages of conduct on the enlightened human being. Because the "light" is influenced by the holy texts and the Holy Quran in the holy religion of Islam and among mystics, the foundation of existence and God. Therefore, according to mystics, what is close to the concept of color in the modern sense is light, and color has become meaningful alongside the light as the main artistic manifestations. Since the color has a comprehensive relationship with mysticism and Sufism, this article intends to interpret color on the one hand, based on the view of Ala Al-Dawlah Semnani from the Kobruyeh dynasty and the views of Sheikh Mohammad Karim Khan Kermani from the Sheikhiye school. The Kobruyeh dynasty with mystics such as Najmuddin Kobra, Najmuddin Razi, Ala al-Dawla Semnani, etc. in the seventh and eighth centuries, for the first time explicitly described and interpreted light and colors. As well as combining the two categories of color and light, they also created new concepts in the field of mysticism that also influenced the opinions of mystics afterward.Sheikh Mohammad Karim Khan Kermani is the third scholar of the Sheikhiye school in the thirteenth century AH, who is known as Goethe of Iran according to his theory of colors. On the other hand, this paper aims to study the effect of color on the art of carpet weaving, which in addition to its use has also a role in the mystical solitude of man especially in the prayer carpet, which emphasizes the place of worship, "approach to God" and "war in the way of God". Since a large part of this type of carpet was formed in the Qajar era, which in addition to loyalty to the previous traditions also noticed significant changes, in this opportunity, examples of their various ranges are studied.This research aimed to answer the question of how to recognize the nature of colors in the prayer carpets of the Qajar era according to the views of Ala Al-Dawlah Semnani and Sheikh Mohammad Karim Khan Kermani? This study, by analyzing one of the aspects of holiness that reflects the essence of truth and the conduct of the mystic and the artist, intends to look at the traditional arts with a new viewpoint and perception; Because the traditional artist's understanding of the nature of colors depends on religious and mystical sources which are effective in their application in these arts.In this regard, this research has been done in a descriptive-analytical manner and using library documents. Sampling is purposeful and its statistical population is f 15 prayer carpets belonged to the Qajar era from different cities of Iran and currently housed in auctions, companies, and museums around the world. The studied carpets were plain and with a combination of chandeliers, columns, and vases. The color spectrum was analyzed based on four parts: border, panel, lachak, and text. In a way, the main focus is on the totality of the dominant colors used in these four sections. It is important to mention that Semnani's thought is related to human levels and raises the question of what is the relationship between these levels and carpets? Therefore, it should be noted that these carpets have been used for worship and prostration for human beings and are considered as a place for the spiritual journey of man, emphasized by the use of symbolism. However, the colors used in them can also be an allegory of a spiritual journey. Data analysis was performed qualitatively and with an interpretive approach, to define the effect of the opinions of the two mystics on the nature of colors in the prayer carpets of the Qajar era. What has been considered in this study is not the similarity and the adaptation. It is an effect, to find out how the thoughts of these two mystics are related to the interpretation of color in this art. The result is that, As mentioned, what emerges from Semnani's thought is the guidance of color.With his mystical interpretation of the Quran and its seven esoteric meanings, citing the seven inner prophets and the seven existential levels, he introduces Mystical levels. Each of which is seen by halos of light and color, and the mystic observes the levels of existence to reach the essence of God in these colors. According to Sheikh Kermani, God and the servant have a relationship similar to the relationship between light and color to the extent that the servant literally becomes "the color" of his God. finally, color leads us to the intersection of mystical experience, prophetic experience, and guardianship, and the theme of color rises to the point where light and color mean the Prophet and the Imam. Although it is difficult to determine why these colors are used in carpets, among the three natural uses of color in art, including "hint, harmonious and pure", it can be said that the colors used are often of the hint type that is, color is used in its symbolic sense. So according to the opinions of these two mystics, the colors have been used by the artist intentionally to express the inner excitement and strengthen the asceticism of the devout in the prayer carpets of the Qajar era. In other words, the carpets have become a medium for expressing the truth and finding a way to return to the origin by embracing every seven colors in Semnani view and four absolute and transparent colors in Kermani view. Black, blue, red, white, yellow, green, sandal (khaki) and brown have been used in various parts of rugs, in such a way that there is a change only in the color range and the part of the colors used. However, it should be acknowledged that the mystic's journey based on the order of colors does not necessarily end to a green altar in all carpets. It can be considered as an allegory of a part of man's mystical journey to God, and on the other hand, according to Kermani's views, it can be interpreted in relation to the inner Imam. That is, each of the four colors is the embodiment of the Prophet or Imam who directs the worshiper and guides him to the center. Therefore, the studied carpets can be considered as a part of a cultural complex that is related to aspects of meaning in the mystical system. It is worth noting that it cannot be said that all these artists were aware of the esoteric secrets and stages of conduct, but always there were some at the head, conducting and transmitting their findings to students.