نشریه پیکره
پیاپی 28 (تابستان 1401)

Problem Definition: 

Sarouk rugs are one of the most crucial rug brands in Iran and one of the most famous rugs among the world audience, which were produced from the middle of the 19th century until the beginning of World War II under the management of French companies, especially Ziegler. There are samples of these rugs with Corner and Medallion designs and a unique structure in the Claremont collection, which differ from common samples regarding the type of design pattern. The limitation of comprehensive and salient research resources about Sarouk rug and its exquisite and export samples that were produced in the past reveals more of the necessity of research on this issue. The main research question is "What are the features, visual qualities, and structural elements of Claremont Collection rugs?"

 In the present research, the structural elements of Sarouk rugs of the last quarter of the 19th century, which are preserved in the Claremont Collection, will be analyzed. This article's structural and aesthetic elements include the background space, Medallion (Toranj) and space above Medallion (Sar Toranj), Corner, Margins, and the colors used.

 This research is qualitative and fundamental, and the research method is descriptive-analytical. The method of collecting data is library-based in addition to searching the websites.

 The Sarouk rugs produced in the late 19th century, which were woven for export, are all of the Corner and Medallion design and are unique in their design pattern and color. They are often produced on large scales with vegetable dyes. The color of the Margin and background change between red, navy, and ivory colors. In some rugs, the color of the central Medallion is the same as that of the Margin and Corner. All these rugs are various in Corner and Medallion design, and the central Medallion forms the structure and identity of Shakhe Shekasteh motifs (cursive-curve). The structure of the designing pattern, the logical color scheme and the visual order of the motifs are the differences between Sarouk rugs and other Iranian rugs.

Problem Definition:

 By observing the status of fire and fire-place in the reliefs of works left by the kings of the Medes and Achaemenids, it could be understood that fire had a very high and sacred position in Pre-Islamic Iran. In the works left from this era and also in artistic and ceremonial works, the presence and manifestation of fire in catacombs, public ceremonies of kings, and religious and ritual ceremonies can be observed. Therefore, the question raised in this regard is: “What symbolic concepts does the fire motif have in the Median and Achaemenid periods?”

 The aim of this study is to Symbologically investigate and analyze the fire motif in the history of Pre-Islamic Iran (the Median and Achaemenid periods) and the status of this element in the culture and art of this period.

 Considering the historical aspect of the present research, the adopted method is descriptive-analytical. The obtained data were classified and reviewed. The data analysis was carried out using descriptive methods and the presentation of images.

 The results of the research show that in investigating the remaining motifs of the works related to the Median and Achaemenid periods, the symbolic fire always shows the logic of cleansing evil with good. Fire is the manifestation of Asha (piety and truth) on earth, and the fireplace is the place to worship and praise Ahura Mazda. Also, fire is a symbol of purity and peace of being, benefiting from the property of purifying matter and soul essence. In fact, if the fire was devoid of this characteristic, it could never be the connection between the earthly human world and the spiritual realm of Ahura.

Problem Definition: 

The era of the Qutb Shahi dynasty in the Deccan is one of the top periods of Iranian culture outside its geographical borders. Due to being of Iranian origin and Shiite, the Qutb Shahi dynasty had a notable tendency towards Iranian culture, and a large number of Iranian immigrants and brokers (agents) in the Deccan added to the prosperity of Iranian culture in their territory. With the support of Iranian culture, many artistic and literary works were formed, comprising a magnificent cultural interaction between the culture of South India and Iran. One of these works is an illustrated Falnama (Book of Omens) prepared in Golconda. This Falnama includes 37 paintings with different themes, each of which can be somehow related to Iranian culture, politics, and religion. Therefore, the problem of this research is "to what extent it is possible to read out different aspects of Iranian culture and its influence in Qutb Shahi court culture through the different themes of the paintings in this book".

 The aim of this research is to know more about the influence of Iranian culture in the Indian subcontinent, especially in the Deccan region.

 Using a descriptive-analytical method and concerning historical documents, the influence of different cultural aspects in Deccan is analyzed.

 Khalili Falnama's paintings are a mixture of religious and Islamic themes focused on Shiism. In addition to these themes, several paintings deal with the literary issues, and ancient history of Iran and one painting of this manuscript covers the contemporary history of that time by addressing Shah Tahmasp. Scrutiny in the paintings shows that in all of them and various forms, different cultural and even political aspects of Iran are witnessed, from the formal culture to the public culture, which indicates the closeness of these two cultures.

Problem Definition: 

This article seeks to have a historical and artistic analysis of the modern art movement of Iran, take a look at its roots and emergence contexts, to clarify the foundations of the innovational movement in the art of modern painting in Iran, especially in calligram. Calligraphy, which has a sacred background and is related to the writing of the divine book, has followed its historical course from the past centuries with a rich history until secularization and has gone through many ups and downs. The problem of this article is whether Calligram (Iranian Letterism Movement) can be classified in the contemporary art of Iran based on the duality of traditional and modern art? What characteristics does this classification explain the duality of traditional and modern art?

 The purpose of this article is to study the cognitive style and discuss the visual culture of Iran, and it seeks to classify the Iranian Letterism movement based on the traditional and modern approach in the form of painting-calligraphy.

 The method of this fundamental research article is qualitative with a descriptive-analytical presentation. In obtaining results and collecting data and materials, this study has benefited from library resources and visual study of works.

 The achievement of this article makes it clear that calligram, following the modern "Letterism" movement in the West, was widely welcomed by artists in the Saqqakhane movement with an identity-oriented approach. It is divided into two types, traditional and modern, or calligraphic and painterly approaches.

Problem Definition: 

Baudrillard's prominent popularity is due to the presence of essential theories such as Simulacrum and Hyperreality. He considers the post-modern world a simulacrum world in which the boundary between reality and representation has disappeared. In matching image and reality, he recounts four stages during which the image goes from the stage of reflecting reality to the stage of concealing reality, then to the stage of concealing the absence of reality. Finally, in the fourth stage, it reaches a stage that has nothing to do with reality and produces Simulacrum. This research explores Baudrillard's philosophy, mentions the four stages of Simulacrum, and reviews it in photography. For this reason, to explain the empirical evidence, Azadeh Akhlaghi's photo series entitled "By an eyewitness" has been chosen to answer the following questions: "What is the function of staged photography? How is Simulacrum depicted in this particular type of photography?"

 This research's primary goal is to review Simulacrum in staged photography, specifically in the photo series entitled "By an eyewitness".

 This research is descriptive-analytical, and the data collection method is library-based.

 This research describes the simulacrum theory and explains its different stages. While introducing staged photography, it concludes that according to the definition of Simulacrum and its function from Baudrillard's point of view, the main focus of the photo series entitled "By an eyewitness", is based on Simulacrum. The photos of this collection, like what Baudrillard mentions in the definition of Simulacrum, are opposed to simulation and have the power to produce reality; thus, they have obviously challenged the reality that happened in the past.