نشریه نگارینه هنر اسلامی
پیاپی 21 (بهار و تابستان 1400)

In the process of producing the artworks, the artist either considers himself/herself bound by certain stylistic and scholastic principles, or goes beyond it and lays the foundations of another style. Meanwhile, in works where stylistic and scholastic codes have a strong presence, there is less opportunity for the presence of the artist's personal codes. Iranian painting is one of the arts that due to the heavy presence of stylistic and scholastic rules, the presence of the author in it faces many challenges and limitations. But it seems that in the contexts in which Iranian painters have been able to free themselves to some extent from these restrictions, some forms of the presence of these personal codes have also spread. One of these contexts is the "Indo-Iranian" school, which was founded by Iranian artists in India. This research deals with the stylistic and thematic analysis of the painting “Humayun and Akbar Meeting” which belongs to Indo-Iranian school. The research is based on the assumption that this work is a distinctive example in terms of using different forms of artist presence in an oriental painting. Therefore, the main question is what are the different types of the artist's presence in the “Humayun and Akbar Meeting” painting? The research method was descriptive-analytical in the process of which the stylistic, written and thematic layers of the image were studied. The results show that the artist's stylistic loyalty to the Iranian tradition of Tabriz school, especially the mobility and dynamics of the figures and the type of composition of Behzad's paintings, recording the artist's figure in the inscription and in the text itself, is an example of the artist's personal codes in the work. Also here and in a very rare phenomenon in the oriental art, we see the visual presence of the artist himself in the painting and also the representation of the image of the whole painting in the work, which in addition to being the most important form of the author's presence in the work, makes the “Humayun and Akbar Meeting” a distinct artwork. This research deals with the stylistic and thematic analysis of the painting of “Majles-e Homāyoun va Akbar" of this school. The research is based on the assumption that this work is a distinctive example in terms of using different forms of the artist's presence in an Oriental painting. The main question can be posed like this; what are the different types of the artist's presence in the "Majles-e Homāyoun Akbar" painting? The research method is descriptive-analytical in which the stylistic, written and thematic layers of the image are studied. The results show that the artist's stylistic loyalty to the Iranian tradition of Tabriz school, especially the movement and dynamics of the figures and the type of composition of Behzad's paintings, recording the artist's figure in the inscription and also in the text of the work itself, are examples of personal artist codes in the work under study. In very rare phenomena in Oriental art, we see the visual presence of the artist himself in the painting and also the representation of the image of the whole painting in the work. These forms of the artist's presence, in addition to being the most important form of the author's presence in the work and turning “Majles-e Homāyoun and Akbar" into a distinct work, .

Persian Garden can be considered the most beautiful product, which is based on the principles of aesthetics and naturalism of Iranian culture, that it concept has been manifested in many of the arts of this land, including the art of painting. The garden is the synonymous of the word "Pardis" and in Iran there are many famous gardens that are not available now. With the entrance of Islam to Iran, the garden received special attention. Whatever made the garden different from the pre-Islamic period, the persistence of the Persian Garden was in the framework of the miniatures, as if it were forever immortal to us. The images featured in these miniaturists are an attempt to embody the nature of heaven or the Ferdos-e-Barin and the triumphal world. From the perspective of the form, Iranian miniatures portray the garden design as precisely as its architectural manifestation, with all natural and human elemental elements. The art of painting in the eighth to tenth centuries passed the degree of perfection, and two schools of painting in Herat and Tabriz II are the hallmarks of this period. What we intend to address in this article is the presence of gardens in the paintings of these two schools and their characteristic s that will be examined on a case-by-case basis.The research method used in this study is descriptive-analytical using library tools. Since the Safavid painting was largely the heritage of the Herat school, the elements of the garden appear to be the same in both schools, and the differences are confined to a number of painting and painting features.

The integration of literature and art has always been an important issue in analyzing the artworks. This paper aims to study the integration of text and the image in the miniatures of «Fighting Rakhsh and Lion» from Shahnameh by hyper-textual reading method. This battle happens in the first labor of Rostam, a legendary hero in Persian mythology. In this labor the horse is the champion and kills the lion by himself. The role of animals is eminent and the only human being in this miniature is asleep. Thus, the question of the paper is to what extent has the artist been faithful to the text of the poem in order to depict the narration of the «Fighting Rakhsh and Lion»? In order to analyze artworks, the approach of hypertextuality presented by French theorist Gérard Genette has been chosen. Hypertextuality refers to any relationship uniting a text to an earlier text, upon which it is grafted in a manner that is not that of commentary. So, a hypertext derives from hypotext(s) through a process which Genette calls transformation, in which text B "evokes" text A without necessarily mentioning it direct. Genette introduced two terms of Imitation and Transformation, to address Hypertextuality. The result of this research which was conducted by using the library resources and a descriptive- analytical method indicates that the traditional artist despite following the text, has used his creativity. In other words, the artist has tried to change the visual elements as well as the narrative with Imitation and Transformation by using reduction and augmentation, and as a result of the artist's creativity, an artwork with new features have been created.

Tekyeh Moaven al-molk is a historic Tekyeh located in Kermanshah city of Iran. It was built during Qajar era as a Shia mourning space. It was registered as National monument of Iran in 1975. It is well known for its exclusive tiling, picturing Islamic era events as well as Iranian kings. In this research, one of the tiles of the mentioned architectural heritage entitled “Majles Dervishan” related to the 14th century AH, has been studied. This tile depicts a scene related to Dervishes and their symbolic tools, ancient sports equipment and shoemaking tools in a space similar to a Zurkhaneh. Thus, apparently not so related elements are gathered in this picture. The purpose of this study is to interpret the semantics of drawn elements, discover their relationship and the reasons for performing this painting. The research method is descriptive- analytical and the date is collected through library studies. The results of this research show that the profession of shoemaking is one of the guilds considered by Ajam sect. The ritual of chivalry has long been associated with Sufism, meaning that the behavior of ancient athletes has always been based on the principles of the Fotovat customs. For this reason, the painting of Majles Dervishan is depicted the Zurkhaneh space, which is very similar to the Sufi prayers and is related to Sufism.

Nauʿi Khabushani’s Suz va Gudaz (“Burning and Melting”) received much attention in the Safavid period. The story comprises the Hindu practice of sati. According to this tradition, after the death of a man, his widow burns herself by joining her deceased groom on the funeral pyre. Although many Persian poets have referred to sati in their poems, Nauʿi Khabushani, Amir Hassan Dihlavi and Mujrim Kashmiri are the only poets who have composed independent works on sati. By the sixteenth century, because of the migration of many poets to India, some of the Indian themes, like sati, entered into the Persian poetry. The wealthy Mughal patrons provided an attractive incentive for the Persian poets and artists.  Although the sati was a bitter and dolorous tradition, its theme of “the unity of lover and beloved” was accepted by the Persian poets. Nauʿi’s Suz va Gudaz, which is a rather unusual subject for a Persian text, enjoyed great popularity in Iran, so that at least five illustrated copies of the text survive. Subsequent to Shahnama, Suz va Gudaz was the most popular illustrated text in later Safavid Iran. The poem, which is modeled after Nizami’s Khusrau va Shirin, recounts the story of the love of a Hindu youth and his marriage. When he rides towards his beloved’s house, and crosses an old bazar, the buildings collapses, burying him and his companions alive. The bride accompanies her groom’s coffin and immolated herself on the funeral pyre. When her friends fail to dissuade her, the Mughal Emperor Akbar, who had heard about the event, promises to adopt the bride and provide her with every comfort, but she remains steadfast in her decision. Thus, the Emperor asks his son Daniyal to accompany the bride to the funeral pyre. This paper, which seeks to survey the reason of the widespread popularity of this text in the Persian art of the seventeenth century, introduces the illustrated manuscripts of the Suz va Gudaz, and in particular focuses on a codex preserved in the Walters Art Museum. Based on historical evidence, the reason of the popularity of Nau‘i’s work can be traced in an event that occurred during the conquest of Qandahar in later Safavid period. Vali Quli Shamlu, the court historian of Shah Abbas II, recounts the story of the death of one of the officials of the Mughal emperor during the siege of the Qandahar fort. His faithful wife decided to commit sati on the funeral pyre. Shamlu detects parallels between this incident and the story of Nau‘i’s poem. He claims that this event inspired Nau‘i to compose a poem. Thus the popularity of the Suz va Gudaz, was in large part related to the commemoration of the single most important military victory of Shah Abbas II.   The poem, which is modeled after Nizami’s Khusrau va Shirin, recounts the story of the love of a Hindu youth and his marriage. When he rides towards his beloved’s house, and crosses an old bazar, the buildings collapses, burying him and his companions alive. The bride accompanies her groom’s coffin and immolated herself on the funeral pyre. When her friends fail to dissuade her, the Mughal Emperor Akbar, who had heard about the event, promises to adopt the bride and provide her with every comfort, but she remains steadfast in her decision. Thus, the Emperor asks his son Daniyal to accompany the bride to the funeral pyre.This paper, which seeks to survey the reason of the widespread popularity of this text in the Persian art of the seventeenth century, introduces the illustrated manuscripts of the Suz va Gudaz, and in particular focuses on a codex preserved in the Walters Art Museum. Based on historical evidence, the reason of the popularity of Nau‘i’s work can be traced in an event that occurred during the conquest of Qandahar in later Safavid period. Vali Quli Shamlu, the court historian of Shah Abbas II, recounts the story of the death of one of the officials of the Mughal emperor during the siege of the Qandahar fort. His faithful wife decided to commit sati on the funeral pyre. Shamlu detects parallels between this incident and the story of Nau‘i’s poem. He claims that this event inspired Nau‘i to compose a poem. Thus the popularity of the Suz va Gudaz, was in large part related to the commemoration of the single most important military victory of Shah Abbas II.

Five calligraphy pieces, portraying five eras of individuality transformation, examined here to show different forms and levels of calligraphers’ presence in their artworks. By individuality, we have the immediate meaning of the ways, one projects him/herself in his/her work and makes it identifiable. During the first era (beginning with the 1st century AH), according to the limited numbers of scribes, and the obviousness of their presence, there is almost no trace of the calligrapher in his/her work. It is the absent presence of well-known contemporary scribes. Beginning with the 3rd century AH, the ownership statements, waqf (Islamic donation) statements, and Anjameh (colophons) contain the date and name of scribes, waqifs, and owners. This is the era of Tarqime. From 9th century AH, the era of comprehensive presence initiates by multiskilled poet-calligraphers who write their own poems in single pages gathered in Muraqqa. The next era, beginning with the upscaling of Siyah Mashqs as artistic products, from 11th century AH, represents the pure individuality of calligraphers abstracted to a great extends from the content of the folios. The last era, with no determined start date, characterized by the absolute presence of the calligrapher’s professional life in his/her work. All the process of exercising, elaborating, and finalizing incorporated in the art piece and projects the totality of artistic individuality. This era is the conscious sublation of the first era in sense of contemporality and absoluteness.

The Impact of Social Change on One Hundred Years of Contemporary Iranian Graphics(According to the theory of social change Guy Roch Freemwork)Throughout the human biosocial period, the impact of social change has always been seen and reputable sociologists from all over the world have dealt with it and considered criteria such as learning, effectiveness, occurrence in a certain time frame and continuity. It is "Gay Roche" who enumerates the threefold process such as: factors, conditions and agents of change for the formation of social change. Graphics, as a living art stream, has not been free from the influence of social change in the position of representing the surrounding phenomena. This study, which aims to identify the social changes affecting one hundred years of contemporary graphics according to Roche's theory of social change, has explored the most important events affected by social changes in contemporary Iranian graphics. Considering the threefold process of "Roche" theory of social change, the main issue of this research is what are the social factors affecting one hundred years of contemporary Iranian graphics and how the changed conditions are affected by these factors and also who are the agents of this change? The present study, with a qualitative approach, examines the phenomena, events and important changes in Iranian graphics in various library sources and databases and describes and analyzes its results in a quasi-statistical manner. Based on the findings of this study, the three main factors of social change affecting one hundred years of contemporary Iranian graphics, modernization and modernization of the first Pahlavi period, the Islamic Revolution and the introduction of web-based digital technologies. The changed conditions are influenced by these three factors, respectively, the gradual change of visual taste from traditional to modern, more reference to the Iranian-Islamic visual culture and also the formation of paperless graphics lately. The first and third factors have been mainly dependent on global conditions.

Rey region in the north of the central plateau of Iran has long been one of the most important regions of Iran and the Islamic world and today it is a part of the metropolis of Tehran. Lavassan region in the northeast of modern Tehran has been in direct connection with Rey region since ancient times. There are many tombs in these areas belonging to the descendants or relatives of the Prophet Mohammad and the Shiite Imams.There are a number of wooden transennas and doors made by local artists in these tombs which are of artistic, historical, political and religious importance. The main purpose of this research is to identify and introduce the "Lavassani" family who has presented their works and art on several examples of transennas and doors of the tombs in the areas between Lavassan and Rey. These questions arise in this way that: who were involved in the construction of these transennas, which areas have been their activity extent? And what are the beliefs of the makers or customers of these transennas? The present research is of descriptive-analytical method and the research it’s data have been collected based on documentary and field studies. According to studies, the transennas and the doors in question are made by the famous “Lavassani” family in the fifteenth century AD/ ninth century AH. The creators or patrons are on the Shiite religion According to the quality and variety of the transennas and the doors, as well as the Qur’an inscriptions and themes, the hadiths, and the designs used in them. the continuity of the work of these artists indicates the fame of this family at that time.

AbstractIn Iran, the production of wooden works and related arts has always had a special significance for artists and craftsmen. Unfortunately, the process of producing and decorating many of these works has been overlooked for several reasons. Spoon cutting is a traditional art in Iran that has long been practiced by a large number of woodcarving artists in some cities such as Khansar and Abadeh. Currently, except for a few artists, not many people are engaged in this profession. Khansar is one of the most prestigious cities in Iran in the field of spoon-cutting art, where many workshops have been engaged in producing these works in the past. In the field of traditional spoons produced in Khansar City, no scientific and purposeful research has been conducted so far, and it is necessary to pay more attention to this traditional and almost forgotten art. Accordingly, the main purpose of this study was to describe and analyze Khansar spoon-cutting art. The research method was descriptive-analytical, and the method of gathering data was a mix of field studies, interviews with local people, museums and library studies. According to the results, compared with other spoon-cutting centers, the distinctive feature of Khansar artifacts is the production of simple single-or decorative spoon-cutting works. Thus, several types of small and large spoons with different applications were produced, that are introduced in this study.

Traditionalists have expressed their views on art and architecture in recent decades, and their views have become the dominant one in the interpretation of Islamic architecture. The followers of the school of traditionalism considered art as a cryptic thing and considered it a sacred field.Accordingly, numbers, whose use in architecture is geometrically embodied, took on a mystical and metaphysical nature, and the forms expressed a special meaning. The octagons, which are specifically considered as octagonal planes in this article, are no exception to this rule and have been criticized only from a traditionalist point of view. In the last decade, however, traditionalist thinking has faced challenges and its dominance over the subject of architectural interpretation has diminished. The present article has interpreted and studied the prevalence of octagonal plan use in Seljuk tomb buildings with a practical approach (without considering the mystical point of view) and according to the necessity of using a variety of brick designs. Brick working, which is an art related to architecture, flourished in the Seljuk period with the use of experience and the development of skills, and bricklayers, due to their ability to decorate, faced a limited space due to their desire to provide various and unlimited decorations. Therefore, they used segmentation and framing to present decorations, and finally abandoned the principle of symmetry as a limiting subject to present more decorations. In such cases, having a plan with more sides, such as an octagon, would give more precedence to a quadrilateral plan. Therefore, the expansion of the octagonal plan in the tombs of the Seljuk period, based on the widespread use of brick motifs, is more reasonable than presenting a transcendental nature according to the views of the traditionalists, without any logical argument. The information of this research is collected based on library resources and with a inferential approach and is presented in a descriptive-analytical method.

Mimesis is one of the most original terms in literary and art criticism. Plato called it imitation and believed that mimesis was manifested in 'particulars' which resemble or imitate the forms from which they are derived; thus, the mimetic world is inherently inferior in that it consists of imitations that will always be subordinate or subsidiary to their original. In contradiction to Plato Aristotle views mimesis and mediation as fundamental expressions of our human experience within the world - as means of learning about nature that, through the perceptual experience, allow us to get closer to the "real". In 17th and early 18th century conceptions of aesthetics, mimesis is bound to the imitation of (empirical and idealized) nature. In 20th century approaches to mimesis, authors such as Walter Benjamin, Adorno, Girard, and Derrida have defined mimetic activity as it relates to social practice and interpersonal relations rather than as just a rational process of making and producing models that emphasize the body, emotions, the senses, and temporality. Theodor Adorno (1903-1963), the German philosopher and sociologist from the Frankfurt school, believes that mimesis is not imitation, but a kind of simulation of the original pattern that mixes with it. By adapting the traditional meaning and the use of the term, Adorno aims to show the dynamics of mimesis. So, for him, mimesis also has features such as expressiveness and artistic creativity. The extension of this theory to the paintings of Farah Ossouli (1932-), the present Iranian painter, is the subject of this study. Most of her derivative artworks in Wounded Virtue paintings have quotes from contemporary Iranian poems by Ahmad Shamloo or Forough Farrokhzad even in compositions that reference famous images by Frida Kahlo, Francisco Goya, Pete. The figurative, decorative, and narrative style of Persian miniatures provided her with expressive potential and a rich tradition of refined beauty. Moreover, she found the impassive look of miniature figures suitable for her male and female protagonists engaged in universal themes. In Wounded Virtue, she selected famous artistic icons, because of some concept she liked, and then added her ideas and style of painting. She also made use of all three traditional characteristics of Persian miniatures — calligraphy, Tazhib (the decorative arts and book illuminations), and painting. In Wounded Virtue, however, they are infused with new features, such as contemporary Farsi poems, Tazhib designs with weapons, and new painted themes.This search with the goal of knowing more contemporary Persian painting is done in a descriptive-analytic method and seeks to answer the question: Do Farah Ossouli's artworks include in Adorno's definition of mimesis? According to Adorno's view of mimesis, in this study seven features and characteristics of mimesis - expression, simulation, the language of society, showing reality, artistic creativity, - were extracted, and based upon them, derivative paintings by Farah Ossouli were studied. The results show that these works of Farah Ossouli overlap with the mimesis theory of Adorno.

One of the traditional arts related to architecture is Girih wood working which is used in different spaces based on structure and components, and therefore has an effective role in the richness of the architectural space. The purpose of this study is a comparative study of visual features and decorative patterns of Girih wood workings in traditional architecture of historic residential houses. The historical period of these works includes the Afshar, Qajar, and early Pahlavi periods, all of which are located in the city of Darmiyan in the province of South Khorasan. The present article is descriptive-analytical in terms of attitude and approach to the problem and content analysis in terms of method. In this study, 5 historical houses including Tavakoli , Abdul Azim Beyk , Abdullah Beyk, Abdullah Khan and Mahdi Khan Houses which possess wooden Girih decorations have been studied . The results of this study show that most of the girih are of mesh type and the least number are of solid type. The most diverse girih can be seen in the house of Mehdi Khan Rafiei. The most common application of girih in the residential architecture of the studied houses is the use of mesh girih in the openings (windows). This type of girih , in addition to providing light and maintaining wind flow, has maintained the privacy of the private space due to its use in the summer living space on the upper floor of the mansion. In terms of matching the quantity and quality of girih works with the historical period of each building, it can be said that the more historical the houses are, the more variety and quality of works there is in residential architecture. Therefore, in the houses belonging to the late Afshar dynasty, such as the house of Abdullah Beyk and the house of Mehdi Khan Rafiei, the art of girih has been used more widely than the houses of Qajar (Abdul Azim Bayk) and Pahlavi (Tavakoli). The research data indicate that at least 11 different types of girih can be identified in the studied houses. The most prolific and diverse geometry of the designs can be seen in the construction of Tavakoli and Mahdi Khan Rafiei Houses. In addition, the most widely used geometry is girih naming "eight and four". According to the results of the present study, Mehdi Khan Rafiei house has the most diverse type of girih making both in terms of geometry of designs and in terms of application and use of girih in interior architecture.