نشریه نگارینه هنر اسلامی
پیاپی 19 (بهار و تابستان 1399)

Literature has always inspired Iranian artists, and there is an undeniable connection between them. This research has explored the connection between Iranian poetry and painting in the intertextual and intersemiotic translation of the paintings of Sultan Ibrahim Mirza and Haft Orang Jami. Prince Ibrahim Mirza (April 1540 - 23 February 1577) was a Persian prince of the Safavid dynasty, He brought together a group of talented artists to illustrate the Haft Awrang, including seven Masnavi of Jami's most enduring poetic poems, which led to the creation of a collection of twenty-eight magnificent Masnavi paintings. The main purpose In this study, the author intends to examine the story of the prophet Muhammad Miʿraj in kerad nameh eskandary by drawing it from the Haft Awrang of Sultan Ibrahim Mirza Examine from the perspective of intertextual studies and relying of Genette Hypertextuality by Descriptive-analytical method and answer this main question. A critique of the issues of similarity and convergence in poetry and drawing, and accuracy in substitutions, shows that the painter did not oblige herself to illustrate all the verses. According to a comparative study between the painting and Muhammad Miʿraj Mostly dominant from the perspective of Genette is variation, And among the moving cases, Decreasing and increasing is the most reliance on increasing that is based on the painter's imagination.

While many historical gardens’ research in Iran focuses on the geographic region of Iran, the fantastic attributes and the mythology in gardens of Islamic civilization have not been much considered by Iranian scholars. Based on this gap in Persian literature the research questions are: What methods and elements of garden designing in Islamic civilization have been used to create a mythical and fantastic open space? Is the design and construction of mythical gardens in Islamic civilization merely a product of the decorative approach? Can we consider the environmental approach as the basic concept of creating the mythical and royal gardens in the early to the middle ages of Islamic civilization? This paper uses an exploratory approach based on a descriptive-analytic research methodology, with a study of important English bibliographic sources for each garden. Furthermore, the researcher instead of obtaining a historiographical approach that examines the garden as an enclosed object, by adopting an environmental approach, considers a larger context from the perspective of study to discuss the causes and effects, and the balance between natural forces and cultural values. Garden sites that have the value of studying from the perspective of unique mythology and design represent the spectacle of the landscape architecture of the Islamic period, which includes a wide variety of gardens and landscapes which are geographically aligned with Muslim domains of governance from the second to the eleventh century. It means the author for completing this study has selected the garden sites from Spain, Maghreb, Algeria, Tunisia, Egypt, Turkey, Syria, Iraq, Iran, Central Asia, Pakistan and India. The results of this study shows that the root of the creation the mythical gardens in Islamic civilization should be sought in the environmental approach of the landscape architects of that civilization. The diversity of mythical gardens and mythological practices in the royal gardens shows the fluidity of the meaning of the garden and its placement on the frontier of imagination and reality. The lands conquered by Muslims who shaped the Islamic world (Saudi Arabia, Syria, Jordan, Anatolia plateau, Iran and North Africa) were largely desert landscapes that, as a result of irrigation techniques and agricultural growth in the Islamic period, the gardens were the symbol of sovereignty. Water and water systems boosted green lakes, which were both economically efficient, and aesthetically pleasing. If the main function of water was the flourishing economy of agriculture, the objective of gardening was recreational applications in the form of pools and basins as the symbols of politics and wealth. Therefore, mythical gardens were a metaphor that not only reflected the particular way of organizing the landscape, but also the specific way of political economy. It is important to note that the mythical gardens were not the result of extreme decorations, but the planners and gardeners of the Islamic period applied on a three-dimensional environmental approach.

Over the chronicle of graphics Iran, landscaping has always occupied a peculiar position, being demonstrated through an array of forms and accompanied with different manifestations. Landscaping, which was under careful attention of painters and its flashy representation during the ninth and tenth centuries, undertook considerable alternations in Isfahan style of painting, losing its own previous practicality when the two prominent painters of Safavi court - Sadeq Beik afshar and Reza Abbasi - were the thorough masters of their own styles; the former as the representative of the new and the latter ancient forms of landscaping.Taking a glance at the works of these two artists, the viewer can easily see the differences. Since they are the notable delegates of the new and modern schools of Isfahan Safavi era, the recognition of their works' visual resemblance and discrepancy in one of the unique and most controversial domain of landscaping ,namely scenery, is highly necessary. Accordingly, the issue of inquiry is drawn up in this way; which special properties have been applied in the new and modern styles of Isfahan Safavi School baded on artistic works of Reza Abbasi and Sadeq Beik afshar?To do so, firstly, the nature and the basis of landscaping of the two styles have to be defined and then contrastive studies among their works are to be conducted. The outputs depict obvious distinctions in their special tendencies of landscaping which are being manifested through their exclusive inclination to the nature.This research is qualitatively categorized using contrastive and analytical bases of inquiry. It is a selection of works presented by Reza Abasi and Sadeq Beik afshar having been created in a specific time with a shared concept.

On hundreds of tombstones found in the eastern Mokrian area, which are constantly lined up in the cemeteries of the Qajar era, and like a thick book, tell the history of the dusty people sleeping under a pile of dirt; There are motifs that have doubled the beauty and importance of these works. What is certain is that these motifs are not only engraved for decoration, but can also express the interests and attachments of the deceased and survivors, beliefs, location and time and a manifestation of the culture of the society or a symbol and concept of myths and deep thoughts of the past. To be. The present study is of descriptive-analytical and historical type and its findings have been collected based on field studies and document studies; Seeks to study and analyze the tombstones of the cemeteries of the Qajar era of Eastern Mokrian and the designs placed on them and in this regard pursues the following objectives: 1- What are the cemeteries of the Qajar era in the geographical area of Eastern Mokrian and including What are the designs? 2- To what extent have the motifs depicted on the tombstones of the Qajar era of Eastern Mokrian been influenced by the beliefs and customs and cultural traditions of the society? Studies show that these tombstones contain various designs of human, animal, plant, geometric and inscriptions. In general, most of these motifs, while having special meanings and symbols, are influenced by the culture of the region, beliefs and their temporal and spatial position. On the other hand, Shiite and Sunni religions, in addition to the form of tombstones, have also had the greatest impact on the type of motifs of these works.

< p >The ALI QAPU building has reached its current situation from the initial small core after consecutive changes, and SAFAVI kings’ beliefs and opinions as employers were influential on the palace’s creation. ALI QAPU, as a government house, was a place for resolving public affairs besides of being a governmental place. As a result, significant distinctions are observed in the decorations and implementation techniques among different floors. The purpose of this research is to study the process of changes in used arabesques in ALI QAPU’s floors. Furthermore, the recognition of distinct types of Islamic patterns, and the procedure of their implementation in different floors of ALI QAPU are compared, and then answers of following questions are provided. What are the differences and similarities of different types of arabesques in different floors of this building? What are the implementation techniques in different floors? Is a general pattern is used in this motif in designing all floors? To response the questions, the needed data for article were gathered through an onsite visit, taking photographs, and library research. In the next step, the data were analyzed with a descriptive-comparative method. The research’s results show that in second, third, and sixth floors, painting is used with “Koshte_Bori”, while in other floors only painting is used. The patterns and implementation techniques are more simple and less various in first and second floor as they were accessible to people and connected to bazaar while from third to sixth floor, as they were separated and only accessible to kings, the patterns and implementation techniques are more complicated and various.

With the advent of Islam in the 7th century AD, the course of artistic trajectories was transformed enormously, and in the shadow of Islamic civilization, an opportunity was provided to other nations to benefit from artistic and cultural achievements. Meantime, Persia had the highest position of gaining interest in other nations because the vast majority of Islamic art was rooted in Persian art (Sassanid), and in this way, and in this way, the dark and silent Europe during the middle ages, most of whose lands were conquered by Muslims, gained the most.In the 12th century, the Normans overthrew the Islamic State of Sicily and inherited the achievements of Islamic civilization. The aim of this research was to study the aesthetic components of Persian art and to introduce some of its global effects in the form of Sicily Island in the Norman period art and to analyze historical events as well as the process of transferring to other nations. To identify influential trends in the process of transferring Persian culture and art to Middle Ages Europe and Especially Sicily, as well as determining the role of the motifs and concepts which are used in this area’s art works and has been impacted by Iranian art, It should be said that the spread of Persian art in countries has been emerged through direct and indirect factors: the Crusades, Muslim conquests on European soil and consequently, the Governance of the Muslims in this region and residence of Iranians, Trade in Italian peninsula with the Islamic World and especially Translate scientific resources that reserved to Iranians and muslims. What we call Persian in the works of Sicily are: Iranian mythical themes, decorative and lyrical like Griffon, Hunt, Plant motifs, Dance, Animals around the tree of life especially in textile design which is somehow a reflection of their Iranian origin, Animal Controversy, falconers on horseback, Horseback riding shooter. This research is of historical type and analytical-comparative method, and has been done by comparing images, and data collection method is secondary research.

Trends and interest in Islamic society to divine persons and Imams, particularly in the thirty years after the Islamic Revolution, caused the creation of works of art in various parts of visual arts which, icons of Imams were in their, main element or had a central role. One of the areas that faced seriously with the iconography and in fact, the main one, was the area of children's literature and to be more precise, the religious illustration taken from the stories of the Quran and religious books for children and adolescents.history of iconography in Iranian painting, that its various periods and schools, is full of works which the artists have benefited of different methods in drawing the icons of Imams and holy persons, represents the trend to a kind of symbolism in drawing icons in the past which it’s reflection is seen in the contemporary period, too. The affected of illustrators, from the background of painting and drawing of Iran, especially of Persian paintings and miniatures, the iconic features of those images also seen in contemporary religious illustrations, which seems the symbolic view to the icons of saints in illustrations, has had a significant impact on the child and adolescent's mind to focus on characteristics and surrealistic features of holy saints and representing their special place, and has contributed to the relationship between audience, subject and content of the stories associated with the saints more than a simple sensitive connection with their icons, which is important characteristic of these works.

Religious buildings have a special place in the Iranian-Islamic architecture, in addition to the architectural structure in terms of arrays. Isfahan, as one of the historical cities of Iran, includes different types of religious buildings, especially in the Safavid and Qajar historical periods. The mosque-school of Chaharbagh and Rokn al-Molk have been studied as two significant examples of the Safavid and Qajar eras in the present study. It should be noted that the main goal of the present study, while briefly recognizing the structure and decoration, architecture of the mentioned buildings, is to focus on the study of the fit of the body of the building and their decorative arrays. The purpose is to answer the question that what are the most important decorative arts used in the two mosques-school, Chaharbagh and Rokn al-Molk, while explaining the points of difference and similarity? What are the main components of these arts in terms of visual structure, adaptation to architectural structure, as well as role and content? This research is comparative in terms of approach and descriptive-analytical in terms of method. Also, data collection has been done by documentary method and field observations and the information has been qualitatively analyzed. The findings of the present study indicate that the two quadrangular buildings studied in this study, while having similarities in the structural dimension, have significant differences in terms of building dimensions and performance quality. Arts with arts such as engraving, traditional goldsmithing, tapestry, gilding on plaster, etc. have significant differences with the building of Rokn al-Molk. But there is a remarkable fit between the architectural arrays and the architectural structure of each building. Also, in terms of motifs and content, both buildings have represented the artistic features of their time, so that in Chaharbagh building, we see the multiplicity of geometric motifs, Islamic and Khatai motifs and abstract motifs with cold colors such as azure and turquoise. There are more of us, and in front of the mosque-school, Rokan al-Mulk is full of naturalistic motifs, human roles and various and predominantly warm colors.

The Baysonghory, Ibrahim Soltan and the Tahmasebi Shahnameh are among the most important illustrations of the Shahnameh, each of which is created with the principles of artistic quality and aesthetic taste of the time. Also, Serpent Zahhak's (King Zahhak with Snakes Protruding from His Shoulders) hanging scene was depicted in the three Shahnameh. This research answers these questions by comparing and reviewing the relationship between text and image in this Illustration and studying the similarities and differences using descriptive-analytical method with a comparative approach. A: What techniques have been used by painters for text and image loyalty in depicting Zahhak's hanging illustration? B: What are the similarities and differences between Zahhak's hanging illustrations in three versions of Baysonghory, Ibrahim Soltan and Shah Tahmasp Shahnameh? The data of this research have been collected through library resources and observation of works. The results indicate that the dualism of ancient Persians is the basis of the creation of images, but the way it appears in versions is different. The image qualities and the properties of the elements of the Tahmasebi Shahnameh illustration imply on an approximate loyalty to the original text. From the similarity of three illustrations, can be noted to loyalty to the principles of the arts of the time and from the clear differences of three illustrations can be noted to scenography, the composition and the number of elements.

Persian carpet has long been a manifestation of Iranian art and civilization and a manifestation of the imagination and creativity of the Iranian artist. The design of the altar is one of the designs that has its roots in ancient rituals. Such designs, which have a spiritual and religious aspect in addition to being decorative, are woven in different urban, rural and nomadic areas of Iran. The most prominent examples of nomads are Baluchi and Turkmen funeral rugs. The study of the design structure of these two areas is one of the main objectives of this researchThe following questions are raised in this regard:1. What is the design and composition structure of the altar rugs of the Turkmen and Baluch tribes?2. What are the common features in the design and role of altar rug carpets in these two areas?This research is a descriptive-analytical method and the materials have been collected in a library. Based on the results of the research, it was found that in general, Baluch and Turkmen funeral carpets have common cultural roots. The implementation of the structure is different.

Examples of high-rise shrines include the shrines of Imam Hussein and Hazrat Abbas (as), which were designed by Iranian and Iraqi artists. The purpose of examining the history of their shrines throughout history and their inscriptions is to connect the selected verses with the dignity of the pure Imams. The research method is analytical-comparative and is a collection of library and especially field information. The findings show that in two shrines, 13 inscriptions with three pens, Naskh and Nastaliq have been written in his position and status. Due to the different dimensions of the building of the two shrines, one row of inscriptions has been used more in the shrine of Imam Hussein (AS). In terms of content, the inscriptions of the shrine of Imam Hussein and Hazrat Abbas (PBUH) are divided into four groups: 1- Quranic, 2- Asma al-Hassani and fourteen infallibles (AS), 3- Narrations and hadiths, 4- Poems are classified as inscriptions. The Qur'an has more effect than other parts.

Glassmaking as one of the most prominent arts in Iran, has continued to shine throughout history despite the vicissitudes. Behind several millennia of Iranian art history, valuable glassworks have been left with glass bowls as an integral part of them. The study of glass bowls focusing on its constituent elements, forms and decorations under the title of morphology can lead to understanding the background and historical evolution of Iranian glassmaking. It is to claim that morphological studies of any period can be of a great step in examining the development and historical evolution of form and decoration in the field of works of art. Considering that the basis of criticism in art with any approach is focused on the form of the work of art, a general picture of the shape of the works can be achieved and thus they can be examined and refined from this perspective. The attempt is made in this study to present the evolution of the art of glassmaking over time by examining glass bowls. Samples of pre-Islamic glass bowls have been collected and studied in order to find an answer to the fundamental question of “what changes have been made morphologically in Iranian glass bowls throughout history?”. The method of this research is descriptive-analytic and the data have been collected through library sources. The results show that the method of making glass bowls of the Islamic period of Iran is in fact a continuation of the method of pre-Islamic glassmaking while mixed with the initiative and innovation of glassmakers of the Islamic period. Pre-Islamic glass bowls during the Achaemenid period were made by pressing the mold and in the Sassanid era by blowing into the mold additionally. Glass bowls of this period have similar shapes to hemispherical molds and are often colorless and decorated with cuts. The cutting methods of these bowls are surface, double surface and embossed surface, and the most widely used is the role of honeycomb. The glass bowls of the first century of Islam had a shape similar to the bowls of the previous era, and their decorations is taken from the decorations of the glass bowls of the pre-Islamic era.These decorations are created by surface, double surface and linear cutting on the given works which the latter one was marked in the glass bowls of Islamic period. In the following centuries, glass bowls were often made and decorated by blowing into the molds. Pre-Islamic glass bowl decorations are mostly pure geometric abstract decorations including circular and honeycomb motifs, two specimens of which are decorated with plant motifs. Over the centuries, these ornaments have continued and iconic-abstract ornaments containing animal, plant and human motifs and purely abstract ornaments including written and non-geometric motifs have been used by the glassmakers.