نشریه باغ نظر
سال هجدهم شماره 103 (دی 1400)

 Traditional Iranian glassmaking in the Safavid period was revived after several decades of stagnation with the help of Venetian glassmakers who was invited to Iran by Shah Abbas. Glass Ashkdans are a collection of carafes and those that were made during Qajar period are found in most museums around the world as the hallmarks of Iranian glass art. The Metropolitan Museum has a valuable collection of this type of carafe (Ashkdan) belonging to the Qajar period, whose form and application are investigated in the present study.

The present study aims to investigate the form and application of Ashkdans in the Metropolitan Museum to answer the two questions: 1. what was the use of Ashkdan? and 2. how and when did Ashkdan become prominent in Iranian glass art? It also expresses the hypothesis that Ashkdan was first introduced by Venetian glassmakers into Iranian Glass art during the Safavid period, and its application varied over time, according to the cultural and social conditions of each period.

This applied qualitative descriptive-analytical study was conducted by using bibliographic databases and gathering the data from the field studies and through in-depth observations of the authors. The research sample is a collection of carafes referred to as Ashkdan belonging to the Qajar period. Ten samples of Ashkdans in the Metropolitan Museum were selected through a non-probability sampling method.

Based on the results, the application of Ashkdan is not related to its title and is based on its form. Making swan neck bottles became prominent by adaptation from western samples and using them as containers for wine, rosewater, and flower. Ashkdan, one of the most prominent works of Iranian glass art in the world, has received much attention since the Qajar period. The hypothesis on the influence of Venetian glassmakers on Iranian glass art in this study was approved. The form of the necks and mouths of the Ashkdans was influenced by the teachings of Venetian glassmakers, inspired by the Roman Kuttrolfs, and became common according to existing descriptions from the Safavid period. The samples in most museums around the world, especially in the Metropolitan Museum, belong to the Qajar period.

More than half a century after Wilkinson published his article on Nishapur excavations, despite the conducted research, there are still many ambiguities about the nature and origins of some of the motifs. Although some Sasanian roots, as well as influences from Samarra motifs, have been discovered during research, these studies have provided significant help in understanding some motifs that are distinctly different from other known motifs in the first six centuries of the Islamic era.

The present study seeks to present a new way of reading the motifs in the Eastern Islamic World.

This research attempts to present a new picture of the analysis of the motifs of Nishapur through a historical descriptive-analytical method.

The symbols and signs of Jainism, Buddhism, and Hinduism appear to have been one of the pillars of the Nishapur motifs. These symbols and signs have made their way into the Nishapur motifs through such means as the Hindu slaves and captives, trade relations and the Silk Road, wars and the relationship of Muslim rulers with Indian religions, as well as the coexistence of Islam and Indian religions.

 As film still photography has become more important as a means of selling more cinematic works, photographers active in other branches of photography have also shown interest in this field. In the present study, by comparing the photographs of Jassem Ghazbanpour from the film “Life, and Nothing More” and the photographs of Josef Koudelka from the film “Ulysses’ Gaze”, the issue of the independent identity of the film still photographer and his works in the film production process were investigated. The research question is “What are the similarities and differences between the actions of Ghazbanpour and Koudelka in achieving an independent identity beyond the subject and narrative of the film in the film still photography?”

Understanding the stages of selecting a film still photographer in the pre-production stage of a film and identifying the photographer’s activities during film production while maintaining an independent artistic identity are the objectives of this research.

This research was carried out using the content analysis method and a comparative approach and data was collected in both bibliographic and field study methods. First, with the help of genetic criticism, the selection stages of Ghazbanpour and Koudelka for the film still photography were examined, and then, the results of their activities were interpreted and compared based on Daniel Chandler’s theory of communication codes. Comparing the artistic performance of two Iranian and foreign photographers helps to gain a deeper understanding of the independent identity of the film still photographer.

Due to the narrative and stylistic nature of the art genre in cinema, Jassem Ghazbanpour and Josef Koudelka have maintained their independent identities while filming. Also, comparing their photographs, it can be concluded that they have similar themes and characteristics in the form of social documentaries and have a tendency towards the subject that they photographed before the production of the film.

 Due to socio-political changes, modernist actions, and uncalculated reconstructions, Iranian rituals, and religious places have been affected by distortion in the expression of identity, as well as deviations in the influential thoughts on construction. This effect is so much so that in some studies, even with the advent of a new redefinition, the essence of the subject has become contaminated with concepts and over time those concepts have changed and replaced the original beliefs. The city of Ardabil holds hidden and obvious signs of these changed identities in terms of historical, political, and ancient ritual experiences. Due to its establishment in the same era of Shah Ismail Safavid, which was a turning point in Iran, and its adjacency to the tomb of Sheikh Safi al-Din, the Saqakhaneh shrine can be examined for its construction process, and the environmental features surrounding the building.

The present study aims to investigate the effect of rituals and historical archetypes on the choice of location for places of worship.

The research is qualitative with a descriptive-analytical framework, and data collection was done by bibliographic, as well as field studies. Field studies included face-to-face interviews with the locals, who knew the history of the place in question. This study hypothesized that the choice of the construction site of temples was under the influence of ancient beliefs, i.e. pre-Zoroastrian beliefs and rituals that emphasized and relied on the presence of natural elements such as water and trees near temples.

Finally, the obtained results showed that the hypothetical patterns for the construction of religious buildings in the Mehr and Anahita religions comply with the environmental and physical criteria of the Saqakhaneh shrine.

The social and cultural areas of Iran have undergone extensive changes during the second Pahlavi era. One of the most important influential indicators in these developments is modernism in the intellectual society system. The formation of a new middle-class in the second Pahlavi period is a sign of modernism achievements. Even the housing types of this social class also reflect their fundamental changes during this period. The present article intends to model the new middle-class housing of the second Pahlavi and suggests new models for contemporary middle-class housing.

This research seeks to achieve new middle-class housing rules in the second Pahlavi period by using grammar and develop a variety of design patterns in the housing of today’s middle classes. In this regard, Narmak neighborhood from the middle period and Ekbatan town from the last period of the second Pahlavi were selected as a sample community and were evaluated according to the socio-cultural indicators of housing.

The basis of this qualitative research method is interpretive history; at the beginning of this article, during a historiographical study, the effect of social classes on the structure of houses has been studied, and then the physical-spatial dimensions of houses have been discussed by the descriptive-analytical method. The method of data analysis in this research is shape grammar. The information required in this research has been collected through field observations, library studies, and documentation.

According to the results of the research, the components of the houses of this period have been influenced by modern Western ideas and architecture and have undergone fundamental changes in comparison with the traditional housing of Tehran. The micro-spaces of the dwellings are reduced to a minimum and follow a basic shape grammar: arrangement of spaces in these houses is based on the location of a basic element. The basic shape was considered to be multipurpose spaces (living and dining areas) and then other spaces were added to the basic shape based on a set of rules. Finally, based on the algorithmic process of shape grammar led to the creation of various patterns for the modern housing design.

Modern semiotics has opened new avenues for research in various fields of science, and it has expanded the process of analysis in different branches by providing models. It seems that semiotics can provide a framework for landscape architects.

This research seeks to discover the relationship between semiotics and landscape architecture to develop a framework for the analysis and design of landscape architecture based on semiotics.

This article employs the comparative method to analogize a landscape to a text and semiotics to a text analysis tool. Using a descriptive-analytical method, it examines and analyzes the basic concepts, opinions, and divisions of experts in the field of semiotics and proposes combined models for analysis and design.

Preparing a mixed three-dimensional model, which studies thephysical, semantic and audience-based dimensions of the landscape in relation to each other for landscape studies, based on the Peirce and Hjelmslev models, is one of the findings of the study. It has also applied Wang’s extended model of Hjelmslev in studies of physical and Meaning dimensions. It is a three-step pattern for finding the meaning of a landscape or giving it meaning.

 From the end of the Ottoman Empire, the process of modernization in the social, economic, military, and artistic fields began in Turkey, and during the Republic, there was widespread propaganda to encourage Turkish artists to use the achievements of Western art. This led to the marginalization of traditional arts, including Ottoman painting. In recent decades, however, we have seen the re-approach of many Turkish artists in Ottoman painting, which seems to have a new language and has been formed for different purposes from the past.

This study attempt to examine the influence of Turkish contemporary art on the characteristics of Ottoman traditional painting.

In this article, a historical-analytical study on traditional Turkish painting was made, with reference to historical documents and study of works of prominent artists in the field of using Ottoman painting elements.

The tendency towards traditional arts, which began with the creation of nationalist movements, social will, and the encouragement of artistic institutions, caused many artists to take a new approach to traditional painting to revive national culture, achieve identity, and access a new language to express social and political issues. Comparison of these works in terms of content and structure with previous works showed that unlike traditional painting, which served to express court events and illustrate literary and historical texts, contemporary works, despite being influenced by the structure and visual components of the past, are more concerned with expressing political, social and everyday issues. In addition, the characteristics of contemporary painting have influenced other new media such as installation, animation, film, etc.

 Over the last 40 years, the Islamic Republic of Iran has always attempted to deepen the concept of “Islamic Art” in painting to exploit it for reinforcing its conceptual discourse. Hence, some painting genres have been categorized as Islamic art. Such genres may be remnants of previous centuries (Miniature, Illumination, Gol-o-Morgh, New Miniature and Qahvekhane’i paintings) or originate from sociopolitical events of the era with their idiosyncratic content and aesthetics. However, all of them have a similar representation in people’s minds.

This study aims to identify articulated predications that convey Islamic meaning according to the regime’s discourse.

This study employed Laclau and Mouffe’s discourse analysis as well as qualitative content analysis to identify all discourse elements of stated genres.

The findings revealed that the genres of Iranian painting, traditional painting, revolutionary painting, and ‘holy defense’ painting respectively have the following predications: 1) revelatory, mystical, and epic; 2) moral, spiritual, and divine; 3) ideological, propagandistic, and justice-oriented; 4) idealistic, value-based, and resilience. The said predications are centered on the pivotal discourse of the dominant power, i.e., Shia Islam; therefore, all of them can be categorized as Islamic art. In different conceptual realms of historic–civil Islam, each of the said genres, theological–didactic Islam, ideological-sovereign Islam, and political-ideological Islam, has enriched other discourse predications and helped achieve different political goals.