عناصر تزیینی

Ghahveh-Khaneh (Coffee house) painting is one of the most prominent manifestations of folk art. This style of painting is specific to painters who, despite their lack of education, succeeded in communicating what they had in mind through their special painting skills. Their thoughts originated from their pure perceptions of the social environment. In other words, imaginative Ghahveh-Khaneh painters (Khiyali-Negar) chose the themes of their paintings from the heart of society. On the other hand, architecture is a conveyor of life, and life, in all its forms, is only well expressed in architecture. Therefore, traces of architecture and all its aspects can be found in every work of both formal and folk arts. Similarly, due to its direct connection with the general public, coffee house painting is worth a search for traces of architecture in it. Therefore, the research problem started with the idea of ​​examining the architectural spaces in Ghahveh-Khaneh paintings, but later, it went beyond the limits of spaces, toward architectural concepts, components, elements and decorations. The main objective of the present research is to examine the architectural aspects (spaces, components, elements and decorations) of Ghahveh-Khaneh paintings; categorized based on painters’ generations and their painting themes. The research questions are: 1. How has the generation change of Ghahveh-Khaneh painters affected the architectural Ghahveh-Khaneh paintings? 2. How have the painting themes affected the architectural Ghahveh-Khaneh paintings? The method employed in this research is a combination of historical and descriptive methods, combined with analytical methods. Documentary studies of this research started with resources available in Astan Quds Razavi Library as well as other databases. In the first stage, regardless of the architectural aspects, 215 paintings were collected. Next, emphasis was directly put on paintings that illustrated the architecture, and 55 paintings of the first and the second-generation painters with various themes were selected from among them accordingly. The independent research variables include architectural concepts (shape, space, and order), components and elements (structural and architectural), and decorative elements. According to the research questions, the dependent variable is the degree of imagination in imaginative painting (Khiyali-Negari). After choosing the paintings, they were examined based on their architectural components and indicators, and the findings were later analyzed using descriptive statistics. Ghahveh-Khaneh painting is a form of folk painting that holds a special place in the contemporary art of Iran as it originates from the heart of society. This type of painting generally has religious, combat, festive, and folk themes. This form of painting dates back to the end of the Qajar era. After the constitutional revolution of Iran, which raised public awareness, more attention was paid to folklore. At the request of the people and based on the orders placed by coffee house owners, the Ghahveh-Khaneh painters recreated the epic spirit and the history of the bravery of the Iranian people in this popular environment. Ghahveh-Khaneh paintings demonstrate numerous indications to help understand architecture, especially in terms of space, geometry, function, structure, and decorations. In terms of architectural demonstration, the paintings are generally divided into three categories. The first group includes paintings the main theme of which is architecture. The second group includes paintings the theme of which is not architecture; yet, they depict detailed architectural information. The third group includes paintings that neither have architectural themes nor happen in a built environment. The connection of such paintings to architecture relies on the painter's perception and imagination of the spaces. In the present research, three important aspects of architecture, i.e. architectural concepts, components and elements (structural and architectural), and decorative elements in Ghahveh-Khaneh paintings have been investigated. The study demonstrates that the degree of imagination in the paintings of the first generation painters is lower than that of the second generation painters. On the other hand, the degree of imagination in combat paintings was higher than other themes. The authors suggest finding the reasons behind these findings as a topic for future research.

Islimi motifs are one of the main and most important types of abstract decorative motifs in Islamic art, the most widely used of which is in association with the valuable and sacred works of Muslims, including the decoration of the Holy Quran, the decoration depended of mosque and Sacred places, can be seen. The origins, evolution, and implications of this role have, for Western and Muslim scholars, so far been expressed in valuable research, but with different approaches. Some scholars believe that the origins of this pattern are traced back to the herbal forms of Byzantine art, ancient Rome, and Coptic Egypt, and the wing shape ornamental role of the Sassanid art, and others believe that Islimi designs are based on explicit Islamic beliefs, Religious precepts are about drawing animal and human motifs, but traditional artists express Islimi motifs with their longing for eternal paradise and striving to bring about the highest ideological and principled meaning of Islam, monotheism, in Islamic art. This article, with a descriptive-analytical approach based on the experience of traditional artists' lives and based on their sympathy with them, has recognized the Islimi fundamentals of Islamic motifs.

In Iran¡ funerary architecture had been of particular importance during Islamic era. Importance of tombs¡ particularly holy shrines of Islamic saints and hermits¡ has continued since old time in social and religious life of Iran. After mosques¡ this type of buildings has been the most used to perform rituals¡ pilgrimage¡ etc. within cities and villages so that survived in hearts of people. Our great Islamic saints and pious hermits always had deep characteristics¡ absolute faith in God¡ infinite virtue¡ morals¡ majesty¡ impressiveness¡ dignity¡ politeness¡ wisdom¡ knowledge and insight¡ self-respect¡ self-esteem and contentment¡ humility¡ courage while fighting against tyranny and trying to respect the nation’s rights and freedom. Given special geographical properties¡ our land had accepted many saints and hermits. But our social status was more important than geographical location which provided the best basis for that. Subsequently¡ formation of spiritual and religious poles and their political and socio-economic effects have always provided generosity during their lives up to now. Given devotion to all these saints¡ Iranian Shiite people have established worthy courts and shrines respectfully and divinely decorated them in the best possible way. According to importance and spiritual role of holy shrines and people’s respect for them¡ particular architecture¡ elaborate decorations and successive restoration of holy shrines have been studied in this article. This paper is based on a descriptive-analytic method and field investigations and library research and seeks following objectives.