An Analytical Review of Traditional Arts in Javanmardan Computer Animated Series

Javanmardan computer-animated series is one of the series produced by the order of Saba Animation Center. The first sequence of this series is produced in 13 episodes of 20 minutes. The story of this series revolves around an imaginary character named Shahab al-Din, who was the commander of the Iranian corps during the Mongol invasion of Iran and was defeated in battle due to the betrayal of one of his troops. After losing his troops, Shahab al-Din with entrance to the city called Gharan decided with the help of several people and his close friend, Murad, to forme a group called Javanmardan, and to defend the people in the face of the Mongol oppression. This animation is produced in computer three dimensions, directed by Ali Ahmadi and produced by Elham Ebrahimi. In this research, considering the period of this series, ie the Mongol invasion of Iran, which takes place in the early seventh century AH, it has been tried to examine to what extent the traditional arts coincide with the period this animation, that is, Seljuk and Khwarazmian, has been used, and in what fields has this use been more? The purpose of this study is to examine the historical realism-graphy in today’s figuration. The type of research is basic and the research method is descriptive-analytical and data collection is done in the form of library, field, observation, and interview. Due to the short life of the Khwarazmian government and the few works of that period, in addition to the art of the Khwarazmian period, the art of previous governments, especially the Seljuks, was also studied because the eastern Islamic lands between 391 and 617 AH., have a common artistic language and the art of the Seljuks, Buyid, Ghaznavids, Ghourid, Qara Khitai and Khwarazmian are mixed. In this research, the traditional arts used in the Javanmardan animation series are divided into several categories. Urban planning, architecture, architectural elements, pottery, textiles, carpets, and metalworks.The result of this research showed that in the design of this series, no attention has been paid to its historical period and only space with an Islamic attitude has been created, regardless of its geographical and historical location. In other words, an attempt has been made to use a beautiful Iranian face, and in this way, they have even used the art of more recent periods, such as Safavid and Qajar. During the comparison and study of the arts used in this series with historical examples of the sixth and seventh centuries, AH, only a few parts of the brickwork and tiling decorations, inlaid doors, urban structure, market architecture, and men’s clothing can be considered consistent with this period, although in these sections there are contradictions in the details and decorations in such a way that in some cases. Still, the existence of these works in that period cannot be ruled out with certainty, there are no obvious signs of the art of that time to represent the artistic richness of that time.