مجله جلوه هنر
سال دهم شماره 2 (پاییز 1397)

The Golestan Palace complex, residence of Qajar dynasty monarchs, is considered one of the most beautiful and oldest buildings of Iran. This palace consists of a variety of buildings placed beside each other at a large area. The ancient area of Golestan Palace is covered by a lot of tile works decorations. These tiles are a visual set of diverse motifs of national and historical concepts; all portraying and illustrating social and political characteristics and circumstances of Qajar era. The authors of present papar made attempts to investigate the feature of tiles motifs in ancient area of Golestan Palace. What has been studied in present research is the presence of human motif as one of the main Qajar motifs in this building. Accordingly, the following research questions were addressed: Which motifs have been used in the tile works of the ancient area of Golestan Palace? How have been the human motifs depicted in Golestan Palace area? The required data were collected by means of documentary (library) and field surveying approaches and a historical - analytical method was used. The results indicate that human motifs of men and women are amongst the significant motifs which have been depicted in different realistic and abstract formats. Motifs of men are more regular than woman’s, and the wester methods had a great effect on depicting human motifs depicting and characters’ clothing. Aside from westernization, motifs have kept Iranian intellectual originality in thematic format. Therefore, we can see a linkage between Iranian and European art in human motifs of Golestan Palace area.

Judith is a female character in the Bible, the Old Testament who was able to free her occupied city by killing Holofernes, the Assyrian general. This narration has been the subject of numerous works of art throughout history. One of the most important and most controversial example of this collection are the works by Artemisia Gentileschi, female painter of the Baroque era. The painter has four approved versions of it in her repertoire, and the Florentines version is the main focus point in present paper. Present study aims to analysis and compare visual narrations of such theme in various works of several painters and works of Artemisia based on their historical context. One of this painters is Caravaggio whom Artemisia is his fallower. The question that arises is: in comparison to other painters, how Artemisia`s gender and her life`s events affected her choice and expression of such subject? Despite the solidarity of the story, the results indicated that besides stylistic and historical circumstances, other factors including gender and author`s biography have been effective in formation of her Florentine version; Especially considering the fact that this subject is considered among the power and heroines subject`s category.

During Nader Shah sovereignty, civil and foreign wars happened, which affected the status of art, especially painting. About half a century after these wars, France deals with a great revolution which influences all Europe and leads to short kingdom of "Napoleon" which is accompanied by great territorial expansion. According to mentioned political similarities during almost identical periods of time and by confirmation of the fact that art contents resembling the flows of thoughts of the current time, there must be similarities in arts of both territories despite stylistic differences. Thereafter, this research is supposed to find an answer to the question "What similarities in formal structure of their figurative paintings are the result of similar militarism and policies of "Nader Shah" and Napoleon"? In following, we willanalyzes formal structural components of eight figurative paintings of Nader Shah and Napoleon in expository manner by using reflection approach in sociology. The main purpose of authors of this article is to focus on similarities of these artworks. One of the necessities of this research is neglecting of art in Afsharid era. While comparative tradition can suggest cultural proximity which can confirm possible values. By using analytic method, this research indicates that Afsharid erapainters of Iran government created 2D and 3D spaces by using traditional art principles including distributed lightening, formal configuration and ornamenting. In west, Napoleon gave recognition to Neoclassical Art and emphasized on referring to ancient Rome values. However, power and wealth led to portrayal of kings in both territories with depiction of carbuncled arrays in order to induce their wealth. As a result, Iran and France had different approaches in nature drawing. Nevertheless, in this era they are similar in their artistic background and their emphasis on ornamentation due to extreme emphasis on portrayal of royal glory.

Motifs used in Iranian architecture decorations are among interesting research topics of historical monuments artists in Iran.motifs used in Gharakelisa, Saint Stephanos church are inspired by the architectural motifs used of Mithraism religion in ancient Iran. Present research will analyze motifs of sun, cross, lotus flower and cedar in architectural decorations of Armenian churches and IranianArt. Research method of present study is descriptive- analytical and its of qualitative type research with comparative approach. The main parts of present research have been conducted based on library and field studies. Most decorative elements used in Armenian churches and architectural of ancient Iran monuments are motifs of the sun, lotus flower and cedar.
Present research aims to study motifs of sun, cross, lotus flower and cedar in Christian and Mithraism religions, to find the similarities and differences in Iranian ancient art and Iranian Christian art. Research questions are as fallow:what is the extend of motifs inspiration of Armenian churches from Mithraism religion in ancient Iran, and if these motifs are similar to each other?
Results indicate that the Iranian art of Mithraism religion went through a conceptual and religious transformation in the 900s, as a result of its association with Christianity, and thus survived to continue its life cycle. The influences of Mithraism motifs are evident in architectural decorations of these Armenian churches. These Motifs are very similar to each other and partly close togetherin terms of design and form.

Sassanid Seals’ Motifs presented in bestial, vegetative and human forms, indicate the effect and influence of mythical beliefs symbols and religious beliefs. The main part of these illustrations are based on khvarenah and gods of Zoroastrian religion and also partly from other cultures and civilizations. The present paper aims to study Sassanid seals’ motifs and find out their function and the reason they were used. The research questions are: 1- what was the aim of using these seals during Sassanid era? 2- what concepts are used in these seals’ motif and what is their connection with religious and mythical beliefs of Sassanid era? To answers these questions, the author first presents an explanation about how these seals work and what is their physical shape; then an explanation about symbol and myth is presented and finally, the motif of these seals are interpreted by presenting a number of Sassanid seals. The study concludes that religious and mythical beliefs of an individual had the greatest effect on choosing a seal. On the function of these seals, one must add that, beside the usage as a kind of ownership document, they also worked as a talisman and such point played a very important role in selecting a seal.

Architecture is designed to answer people's cultural and environmental needs. every part of society affects this architectural design. Islam's emphasis on privacy and veil causes has led to domination and great effect of these two factors on all social and cultural dimensions - architecture being one of its manifestations. Privacy not only exerts other criteria to traditional housing, but is also considered as the most important factor of housing construction.
The main objective of present study is to understand the level and importance of privacy in the Qajar period housing architecture and traditional houses of Dezful city were chosen as a case study. Dezful is known as an era with religious people and very bonded to Islamic principles from the very past. Privacy is one of the main features in traditional houses of this city, the issue examined in this article. The main research question is: "what are the essential factors and elements of forming privacy in traditional houses of Dezful city in Qajar era? The research method is descriptive-analytical which applied was delivered based on library studies in the field and regard to privacy, urban architecture of Dezful and Qajar era and accompanied by field studies with direct observation of traditional houses of Dezful. Eight indexed traditional houses – which were chosen by Non Probability Sampling method - were studied and analyzed in this study.
The results indicate that space is divided and separated in two “indoor and “outdoor” spaces in traditional houses of Dezful; and the division of private and public spaces of the hos, using loggia, central and connecting and interface corridors, room portals and waiting rooms, controlled openings and low height thresholds and similar solutions have led to forming and creating privacy in Dezful traditional houses. What’s more, architects have formed and created the private territory by creating various movement levels to circulate in spaces, creating interface spaces to prevent any direct access to the household’s environment and various architectural solutions and arrangements.