پژوهشنامه خراسان بزرگ
پیاپی 50 (بهار 1402)

Promoting contentment has a long history in Iranian literature and religious teachings. Environmental issues are among the most crucial human concerns in today’s world, making sustainable art works a major condition of development. Although given its geographical location and cultural position, Iran has witnessed numerous crises, wars, and calamities, it has risen like a phoenix from the ashes owing to its resisting policies and culture. Studying the life style of a community’s ancestors and adopting their instances of contentment as a model could reveal a way out of the current economic problems. With their prudent perspective, Iranian women artists have helped economic prosperity in production of handicrafts during different periods. This study aimed to introduce and analyze “sarjameh kilim” from Boshruyeh, South Khorasan, Iran and “zhendeh kilim” from Buinzahra, Qazvin, Iran as forms of recycled art. Moreover, the importance of these two weavings in sustainable development was discussed. Accordingly, the study sought to explain the recycled characteristics of “sarjameh” and “zhendeh” kilims. The data were collected through library research and direct observation of works. The comparative study of the characteristics of “sarjameh” and “zhendeh” kilims in terms of recycled art demonstrated that both types met the conditions of green and sustainable productions. These weavings could also help flourishing of rural productions and overcoming over-consumption and consumerism.

In the Timurid period, "Tashiir" was formed on the margins of books and "Murraqa" was created. The present study is based on descriptive-analytical method Tries to answer the questions of how the painting of flowers and birds as one of the subjects of Tashiir in the margins of murraqa was considered as the main subject of the Painters, And How can the effect of flower and bird painting in China on Iranian flower and bird painting, especially in the Timurid period, be explained?The findings, based on visual analysis of the paintings, indicate that the aficionado nature of the Timurid rulers and the treasures full of gold and the desire for luxury, enabled the formation of murraqa for the Timurid princes so that artists could use freely take gold from paintings that were ‘Halkari’ (dissolved Gold) with themes Was "Struggling" and Tashiir It was read. One of the Favorit topics by the artists in the design of Tashir in the Murraqa was "Flowers and Bird", which consists of two The perspective can be examined, firstly, the desire for realism in the design of these Tashiir which led the artists to objective subjects, and secondly, due to the arrival of Chinese works of art, Herat artists were influenced by the naturalistic style of Song and Ming. Most of the information in this study is completed by the four sites in the Topkapi Palace Museum in Istanbul and the Diez album in the Berlin Museum.

The talisman is a part of foreign sciences with religious roots in Islamic civilization. Hence, in most of the spell motifs, verses of the Qur'an, names or attributes of God are included. One of the essential uses of spells is clothing and jewelry. Unique clothing and jewelry have been the most critical human practical items from the past until now and have a protective function and reflect each person's religious thought. This subject has a special place in the Kurdish cultural geography of Khorasan. Accordingly, this study seeks to answer what types of spell patterns are present in clothing and jewelry of the Kurdish tribes of northeastern Khorasan Razavi (Kalat, Lain, and Zavin villages)? This research is descriptive-analytical. The collection method is library and field observations, and the analysis method is qualitative. This study studied nine cases of spell motifs of Kalat, Lain, and Zavin villages. This study shows that we can classify motifs into three categories: geometric, animal, and cosmic talismans. Also, this paper shows that the motifs are based on the imaginations and sciences of strangers arising from the beliefs of these tribes, which have the symbolic meaning of the same culture.

Iranian paintings are illustrated mainly in accordance with Persian literature. The present study examines the thematic, formal, and structural drawings of the illustrated version of Jami's Selselatozzehab. This copy, which has 14 drawings, is currently kept in the treasury of Golestan Palace and is one of the lesser-known copies of the Safavid period, of which no exact information is available except in some sources.This study aims to provide a comprehensive understanding of the illustrated version of Jami's Selselatozzehab by introducing narrative and visual features as well as examining the structure of the design and composition of the drawings. The data of this research have been collected in a library method and have been compiled from a qualitative perspective and in a descriptive-analytical method. The statistical population is all illustrations of the illustrated version of Jami's Selselatozzehab. The results of the analysis show that this illustrated version, which is based on Jami poems and with the philosophical and moral teachings of Masnavi of the Golden Dynasty, as illustrated in the Safavid period around 977 AH, the result of the Mashhad school of painting during the reign of Ibrahim Mirza, ruler of Mashhad. And the content and sources of the narrations, the date of illustration, and the structure of its drawings are all proofs of attribution. This illustrated version has a relative adaptation of the text and images of the drawings, and the involvement of the painter in the development of the anecdotes of the Jami Dynasty has led to a rich narrative and visual richness. The drawings have different focal points, different areas, and open and diffuse structures, which has led to the dynamics of the design.

To explain the features of Persian paintings prior to the 7th century, art researchers rely on the 5th-6th centuries Seljuk ceramics that were painted in accordance with the style of the oldest remaining illustrated manuscript, the 7th century Varka-o-Golsha. In doing so, they disregard the oldest paintings of Iran's Islamic era, found on Nishapur's buff ware's figurative ceramics of Samanid reign in 3rd-4th centuries, on the basis of a seemingly disconnect between their visual features and those of Varka-o-Golsha's. The present study aims to resolve this misinterpretation, using Chomsky's theory of deep and surface structures. Therefore, using Samanid ceramics, we can provide explanations about visual elements of pre-Seljuk illustrated manuscripts despite the fact that none of them have survived. To demonstrate this, first I analyzed 110 figurative Samanid ceramics, 26 of which are reported in my article. Then, I compared these ceramics with Seljuk/Mongol paintings. Based on the analysis and compression, I argue that Samanid painters knew about the visual function of frames, picture space, and the simple methods of vertical perspective drawing by increasing visual layers, but were unable to depict 3rd dimension of objects. The artists used painting some natural elements, typically flower shrubs, for filling/decorating foregrounds, not for naturalistic purposes. They drew the most important figures taller than others (i.e. perspective of authority) for emphasizing their political/social rankings. The Samanid artists avoided to display the Aura, unlike Sasanian and Seljuk artworks.

Brickwork, which had been the focus of Iranian architects since pre-Islamic times, peaked during the Seljuks and Khwarazmahs dynasty. In addition to the flourishing brickwork of the Kharazmshahi dynasty, this period can be seen as the beginning of the use of colored glazed bricks in the building's façade. The complete and exemplary sample of this ornament can be found in the Zozn Khaf building. Decorative bricks include more than 75 types of different brick layouts and various bricks with geometrical, plant and inscription designs that despite their importance in Islamic art, so far no studies have been done on them. Accordingly, in this paper, it is attempted to study descriptive-analytical method using field and library studies of geometric brick decorations of this building. This research seeks to answer the following question: In what categories are the geometric brickworks decorated by King Zozen Khaf? What geometric patterns and proportions have been used in these ornaments? The study revealed that the brick geometrical decoration of this building is very rich and has been implemented in 27 brick geometric decorations. The decoration also uses detailed geometric patterns and proportions that will be addressed throughout the original text.