نشریه پیکره
پیاپی 24 (تابستان 1400)

The tribe of Kurmanj, enforced to immigrate from the west of the country to protect the eastern borders by the order of Shah Abbas of the Safavid era, were mostly stockbreeders and accustomed with nature. Among their handcrafted art, woven footwears are distinguishable that bestow a unique design and pattern. Footwear consisted of woolen socks, Pataveh, and Charuq that narrate the lives and memories of nomadic men and women with their texture and sewing. These motifs have arisen in the cultural and climatic range of the Kurmanj people.

 Classification of designs and recognition of significant symbols, meaning, and concepts in the footwear of the Zafaranlu and Shadlu tribes in Shirvan, Bojnourd, Quchan, and Kalat Naderi.

 The overall research approach is qualitative. The methodology is descriptive and analytical in terms of purpose, basis, and essence. Data is collected by library research with the aid of field materials including interviews and photography.

 The footwear of the Kurmanji tribe can be classified into three types: socks, Pataveh and Charuq. The variety of patterns applied in socks are more perceivable compared to other footwear. The applied patterns include animal, plant, and geometric designs that are significantly abstract and geometric. The use of the mentioned patterns is mostly the same bearing variances in some tribes. The source of inspiration for the usage of the applied patterns and the beliefs of the Kurmanji tribe root in nature, vegetation, birds, animals, daily affairs, and climatic conditions. In Kurmanji art, symbols such as blessing, fertility, power, endurance, revival, life, protection, hazard, fertility, transcendental and cosmic forces can be outlined.

In the face of the promotion of modern art schools in Iran, Khiali-Negari painting was formed as a continuation of the miniature tradition and its combination with the artistic methods of its time, and attempted to find its method of expression appropriate to popular and religious art. The origin of the identity and originality of these works refer to the inner principle of the artist and is manifested through symbolism and cryptography in a material form. Based on Coomaraswamy's views and the link between his views on the concept of traditional art and the works of this school, it is possible to explain the structure of thought and artistic method in Khiali-Negari painting so that the position and value of Khiali-Negari painting among the schools of art and traditional arts can become more noticeable.

 This article intends to explain the structure of thought school of Khiali-Negari painting based on the definition and function of traditional art based on the Coomaraswamy point of view.

 The research method in this article is theoretical and based on qualitative analysis and data collection has been performed in the form of desk study and using library resources.

 Coomaraswamy sees art as the physical expression of a pre-conceived form that refers to something beyond itself, and this art is always symbolic. In this regard, the traditional artist goes through two areas: one is the area of ​​liberation and the other is the area of worship. Traditional art is understood on the basis of the intuition of exemplary forms based on intuitive reason. In addition, regarding the basis of this concept, the thought, as well as the ultimate goal ofthe  Khiali-Negari painting, is nothing but the expression of truth and the attainment of truth. As a result, it was discovered that the structure of thought and artistic method in the school of Khiali-Negari painting was formed in the shadow of Islamic tradition and spirituality, Shiite b,eliefs and a theological worldview; moreover, the artist relied on rationality and deep thinking to create the artworks. This is considered a form of worship by the artist. When the theological and Sufi view is an important concern for the Iranian artist, creating a copy of the world of immortal material is considered useless, so he/she depicts a world that is the product of her/his belief and imagination

It is noteworthy to study the presence of women in contemporary painting in the two neighboring countries of Afghanistan and Tajikistan and to process similar aspects within a civilization like culture, language, and art. Moreover, the type of government of the two countries as the Islamic Republic and Republic, and the proximity of Tajikistan to Russia and other civilizational factors, despite all the similarities, have caused differences in the representation of women in contemporary paintings of the two countries. The current study questions which artists from these two nations have depicted the female face in their works, as well as evaluating the similarities and differences between them?

 The present study to explain and be aware of the similarities and differences between the representation of women in contemporary painting in Afghanistan and Tajikistan.

 The present study follows a descriptive-analytical method by using existing library resources and archives.

 The portray of women is similarly represented in both countries. In contemporary Afghan painting (from the Amani era until the end of Ghani's presidency), double symbolism in the representation of women in the realms of love and self-sacrifice is observed and in Tajikistan, the religious narrative of the woman as Eve and the beginning of the universe is also traceable. The female body is also a means of expressing and confirming the sufferings of this segment of Afghan society, and realism verifies these pains. On the other side, the representation of the female body in Tajikistan is based on the application and equivalency of Western academic teachings. In addition, realism in the recording of women's daily lives is seen in the works of both countries. Thugh, there is a  aimsstrong emphasis on problems such as women's suffering and tradition critique, freedom of speech, and women's rights in Afghanistan compared to Tajiks. The contrast between tradition and modernity is present in the paintings of both countries, but in Afghanistan, in addition to diversity in style and materials, it emphasizes the critical aspect, while in Tajikistan, this has led to more diversity and imitation in style. What is important in the representation of women in contemporary painting in both countries is the concept of respect and admiration towards women.

Zamen Ahoo is one of the valuable Shiite narrative themes that has been the basis for the creation of works in the field of visual arts in Iran. "Hassan  Ismailzadeh", "Mohammad Farahani", "Mohammad  Tajvidi" and "Mahmoud Farshchian" are among the artists who have represented this theme in their paintings. The works of the mentioned artists have similarities and differences in structure, concept, and narrative. Hence, while focusing on the mentioned differences and similarities, form and the amount of influence of each artwork of the present artists on the promotion of this theme will be studied particularly the pinnacle of the concept which is the “Zamen Ahoo”.

 Among the goals of this research is to understand the structure, concept, and narrative, and also qualitative characteristics of the mentioned paintings by recognizing the differences and similarities in matters of structure and concept.

 In this research, an adaptive comparison of four paintings with the subject and theme of Zamen Ahoo has been carried out in a descriptive-analytical method; also, library studies, documents, databases, and observations of paintings have been used to collect and evaluate research data.

 The similarity of the mentioned works can be traced more in the structure as it can be sought in color, form, light, following the same visual pattern, and thematically addressing the climax of the story namely the Zamen-e Ahoo. But the distinguishable differences are generally in the quality of expressing the concepts which are formed due to the technical abilities of the artists by applying a variety of indicators and symbolic elements of animal, plant, color, and similar features. Accordingly, the differences in a direct relationship with the quality of the structure can be evaluated positively to promote the concept

Among the hand-woven items of the nomadic regions of Sistan and Baluchestan is a decorative woven pendant. Weavers have used patterns in these weaves that have been formed for spells and amulets in order to be safe from the sufferings of the times and to overcome fears. Hence, the question to be considered is how the motifs related to magic and amulets are engraved on the practical handicrafts of life and what is the reason for the use of these designs in these handicrafts?

 Since no comprehensive study has been done on this subject, the authors decided to accomplish research in this field. The present article has tried to identify the types of weave pendants in Sistan and Baluchestan, while trying to eliminate the shortcomings of existing and comprehensive research, to analyze and study the patterns of these weaves.

 This research isqualitative and revolutionary and method used in this research is descriptive-analytical and the information is collected in a library and field research method.

 The results show that the handicrafts in this region have been in the form of one-piece pendants (handicrafts with short width and long length), amulets, cattle necklaces, harnesses and sequin,s all expressing the beliefs of the people of the region. The most widely used geometric form of motifs with the base of triangle, square and rhomb,us. The use of this form and motifs in these textures shows the influence of regional climate and culture on thpartrt of this system. The use of these motifs, along with decorative ornaments,hase been created to ward off disasters with the purpose of amulets and spells.