نشریه رهپویه هنرهای صناعی
سال دوم شماره 1 (پیاپی 3، بهار 1401)

Simurq is one of the most frequent motifs of ancient times on various works and buildings that has a mythological basis and is related to political and religious concepts. This study aims to recognize and investigate the political andritual role of Simurq on Sassanid fabrics. The research method is descriptive-analytical and based on the iconology approach. According to Erwin Panofsky’s views and in order for finding the content and semantic meaning of the role of Simurq on fabrics, this study attempts to read the image and the three levels in the text of the work of art. The sample size includes 5 case samples of available fabrics that have been selected purposefully. The results of the study indicate that the role of Simurq originates from the culture and religion of the people of Iran and has a prominent role. As a symbol of unity between material and spiritual powers, this bird was illustrated in the form of a creature combined of real animal organs such as the dog’s head, horse’s neck and chest, eagle’s wings, lion’s legs and peacock’s tail in the Sassanid period. In fact, the role of Simurq in the dress of the Sassanid king is a manifestation of God’s support for him and his political and religious legitimacy accordingly; as he is endowed with glory, supported with wide open wings and empowered by the Simurq.

Gender is one of the most important concepts which is related to and getting meaning based on power. In each age, different discourses on gender define some propositions and rulings about femininity and masculinity and regulate social relations based on them. In the meantime, conceptual metaphors are one of the most important tools of discourse for this meaning-making. Conceptual metaphor, proposed by cognitive linguists Lakoff and Johnson, considers the structure of human perception and conceptual system as metaphorical. According to this theory, it is possible to conceptualize one area of experience in terms of another experience, and to understand something based on something else. Based on this, this study intends to study the conceptual metaphor of gender in the Safavid era and to address its consequences in art, society and social relations. This research has been carried out with a descriptive-analytical purpose and in a qualitative approach by studying library resources, and uses the conceptual metaphor theory as a theoretical framework for analyzing the murals of Chehel Sotoon Palace. The results of the research indicate that the concept of gender has taken on an earthy color and smell and got much closer to the real world due to the kingdom discourse changes in the period of Abbas, the Safavid Shah (king). In addition, modern gender dualism did not exist in the Safavid era, and femininity and masculinity were merely meant in relation to the power of the king; in the sense that both men and women can be the subjects and objectsof desire in this age, but everyone is an object in the face of the king.

Profound contemplation is indispensable in the cognition and achievement of accurate perception in calligraphy. In view of that, what is more worthy than studying the works of eminent and renowned calligraphers? And who else might be more commendable than Mir Emad Hassani? The presence of such amount of visual beauty in Mir Emad’s works is the result of different variables that could be revealed by scrutinizing his works. The present study attempts to examine and analyze Mir Emad’s type and point of view on good adjacency and emphasis on the baseline letters and words by investigating this principle of calligraphy; and to answer the reasons why Mir Emad utilized such special arrangements of words using fluid baselines. Therefore, after elaborating on the basic definitions, some lines from Mir Emad’s Chalipa works and some sections from the lines were selected respectively. Then the baselines, letters and words were depicted and the details were analyzed by the considering the image of shapes, negative spaces and good adjacency of words. Data compilation method is based on field studies in some parts of the article and written and library resources in some other. Moreover, an analytical-descriptive approach is adopted in the analysis of the works in order to follow a fundamental purpose. According to this, the results of the study indicate that, from Mir Emad’s point of view, good adjacency in arrangement of letters and words of the combination plays a significant role and is more or less superior to the principle of baseline.

The Sagittarius or Rami Constellation comes in the form of a Centaurus drawing a bow and pointing arrow at its dragon tail. This role has repeatedly combined various factors of astrology, astronomy and mythology; and created the combination of scientific enthusiasm and aesthetic taste of the artists. These works can be classified into two categories: the first are drawings that are extracted from astronomical treatises and represent it through the science of astronomy; the second are created from an aesthetic point of view and based on the astrological rules influenced by the worldview of their era. This research conducts a visual study on Sagittarius constellation with an iconological approach in three stages of “description”, “analysis” and “interpretation”. Likewise, adopting a descriptive-analytical approach of this icon, attempts are made to answer the question of “in what ways does the role of Sagittarius exist in the architectural monuments of Isfahan and other astrological works of Iran during the Islamic period, with an emphasis on the spandrel of Qeisariah gate in Isfahan.” The study revealed that the Sagittarius constellation on the spandrels of the monuments in Isfahan is a reflection of its astrological ancient kind in the Babylonian boundary stone and other astrological kinds of the Islamic period. Yet, various shapes of the Sagittarius constellation in connection with the myths are considered as artistic attempts to break away from similarities in its scientific origin. Sagittarius comes in the form of half-horse in the astronomical scientific texts based on astrology, and mainly on the basis of astrology rules and connecting with the myths in combination with dragon in the artificial and architectural arts. The drawing methods are also in different forms by adding various colors and decorations from linear designs in astrological versions to painting methods in the tile works of architectural monuments such as Qeisariah.

Although Abul Hasan Mostofi Qafari as the first painter in the succession of Qafari family painters is of significance importance, what makes him stand out even from other Iranian artists in the field of illustration is his dual life as both a historian and court secretary and an expert painter. This issue opens a new approach in relation to the explanation of his personality, thoughts and art. Therefore, it is intended to conduct an iconological study on his works in the range of modern qualitative-historical studies and by adopting an iconographic approach through the comparative study of the valuable historical text left by him (Golshan Murad) and other documentary texts. It is also intended to review and revise the existing comments and analyses related to his works while explaining the angles of his art and thoughts and analyzing the works left. In this way, it is specified that to what extent can the generalization of direct sensory perceptions based on personal undifferentiated experience be misleading and incorrect in the deviation of the hidden meaning in works of art.

Art of different ethnic groups specifically in the field of the production of handicrafts has always been one of the most principal factors in the formation of the culture of that group. Ceramics, as a subset to handicrafts represent the culture of people in a region. Mazandaran, which is known for its environmental features, has a long and rich culture that has served as the foundation of pottery since long ago. However, despite the existence of numerous pottery workshops in the region, the pottery products are not in conformity with the identity features of Mazandaran. Accordingly, it is essential to pathologically investigate the conditions of Mazandaran workshops. The present study is actually an attempt to reidentify the products of major pottery workshops of Mazandaran today from a native identity perspective and by applying a pathological approach to the products. The present research is a subset of applied studies and considered descriptive-analytical in terms of identity and method. The data collection method includes library studies (written and online sources), and field studies including observation and interviews with workshops and production fields in the study district. After studying the identity, culture, ethnicity and ecology of Mazandaran, spotting the natural features of this region and finally investigating the artworks produced in the major workshops of this province, it was revealed that the process of ceramic production is plagued with some challenges such as rise in the number of non-native potters, diminishing role of traditional potters, rise in the products with non-native identity and changes in the customers’ tastes.

Since the Safavid period, Qurkhāneh (arsenal) was a major center among the governmental organizations and societies which continued later into the Qajar era. Affairs concerning the supply of war equipment and ammunitions were dealt with in this center, but in the Qajar period as ordered by Naser al-Din Shah the function of Qurkhāneh was different from the past. Under his order, its building was constructed on the north side of the royal citadel, between Toupkhaneh square, Marizkhaneh (Sepah) street and Jalil Abad (Khayam). The building, under Shah’s personal patronage, consisted of a variety of workshops and factories titled Qurkhāneh Mobārakeh (Glorified Arsenal) and ruled by one ministry. Today, only a portal and a part of the southern wall of the original site have survived, while the rest has transformed into a subway station. Regarding the significance of Qurkhāneh, it is worth mentioning that it was not only an exclusive organization doing military affairs, but also a place with evident influence on the arts of Qajar period. The present research aims to study the functions of Qurkhāneh and to answer whether or not it was such a place restricted to making war equipment or was it supposed to participate in art production as well. Adopting an analytical-historical approach, this study would examine the issue of art production in Qurkhāneh for the first time. An investigation on historical documents and available samples confirms that Qurkhāneh, under the impacts of West industry, was considered the most significant and equipped workshop of arts and crafts in that time. In addition to manufacturing war equipment including cannons, weapons, etc., it has also had diverse and precious artistic products such as statutes, cast metal doors, wooden artifacts and crystals.

Astan Quds Razavi has had the most extensive administrative network among the religious sites of Iran. A various number of seals have been used for the accreditation of documents and correspondence in this complex. Many of the mentioned seals are in the name of the custodians of the regular affairs in Astan Quds Razavi. All the same, a number of seals in the name of Ali ibn Musa al-Riza (PBUH) are also available which may be considered the sacred seals of the collection. The physical characteristics and combination method of three sample seals have been examined in this article. The seals were made during nearly forty years (1856-1894 BC) in the Qajar period. The research adopts a historical-analytical approach and is written based on library research. The examination and comparison of the seals indicate that their text content is selected relatively similar in terms of content and structure. The relatively large dimensions of the seals and their shapes which resemble a Mihrab or a crown also confirm their significance and the spiritual dignity of the holy shrine of Razavi. Moreover, Nasta’liq and Thuluth scripts are used in the composition of the seals, and the calligraphic scripts of their main frame are based on the basic rules of composition in late Islamic seals. The sacred seals of Ali ibn Musa al-Riza (PBUH) can be compared and matched with the administrative seals of Qajar kings in terms of script, composition and physical characteristics.