نشریه نامه هنرهای تجسمی و کاربردی
پیاپی 39 (بهار 1402)

Disagreements On visual narratives, especially Still narratives, had hindered the development of visual narratology until the 1980s. Linguistic narratologists rejected any positive interpretation of the narrative based on two important characteristics of linguistic narrative: the repetition of elements in the sequence of time and the causal order of events. Art historians, with a positive approach and emphasizing the fundamental distinction between linguistic and visual narrative, have shown that linguistic narratives work better in temporal analysis (sequential narrative) and visual narratives in temporal integration (Static narrative). This article examines the typological studies of narrative in the history of art, with the aim of examining the types of visual narratives in non-European art; Examines 3 examples of studies of Armenian murals in Isfahan Julfa: first, by experimental indicators involved in the meaning of the narrative ("episodes" and "references") in the method of " Gyongyver Horvath`s reference analysis", static and Sequential visual narratives To be analyzed in study samples. Then, in addition to the visual indicators that make up the meaning of the narrative in the Horvath method, the proposed indicators were also examined. The results show that the indicators of "conversation" and "Gaze" can be added to the diagnostic indicators in the reference table as “reference signs”.Disagreements On visual narratives, especially Still narratives, had hindered the development of visual narratology until the 1980s. Linguistic narratologists rejected any positive interpretation of the narrative based on two important characteristics of linguistic narrative: the repetition of elements in the sequence of time and the causal order of events. Art historians, with a positive approach and emphasizing the fundamental distinction between linguistic and visual narrative, have shown that linguistic narratives work better in temporal analysis (sequential narrative) and visual narratives in temporal integration (Static narrative). This article examines the typological studies of narrative in the history of art, with the aim of examining the types of visual narratives in non-European art; Examines 3 examples of studies of Armenian murals in Isfahan Julfa: first, by experimental indicators involved in the meaning of the narrative ("episodes" and "references") in the method of " Gyongyver Horvath`s reference analysis", static and Sequential visual narratives To be analyzed in study samples. Then, in addition to the visual indicators that make up the meaning of the narrative in the Horvath method, the proposed indicators were also examined. The results show that the indicators of "conversation" and "Gaze" can be added to the diagnostic indicators in the reference table as “reference signs”.Disagreements On visual narratives, especially Still narratives, had hindered the development of visual narratology until the 1980s. Linguistic narratologists rejected any positive interpretation of the narrative based on two important characteristics of linguistic narrative: the repetition of elements in the sequence of time and the causal order of events. Art historians, with a positive approach and emphasizing the fundamental distinction between linguistic and visual narrative, have shown that linguistic narratives work better in temporal analysis (sequential narrative) and visual narratives in temporal integration (Static narrative).

Naqshbandiyya, instead of being a Sufi and away from the masses, paid attention to work and livelihood and was able to capture the pulse of Transoxiana trade by expanding trade through the Silk Road and influencing the ruling class. The ultimate purpose of examining the textile situation of the timurid period, (specifically the city of yazd)and the practice of naqshbandi khajagans in achieving monopoly of the economic cycle and its reflection in the safavid period So what was the situation of agriculture and silk trade in the city of Yazd during the Timurid period? And what effect did the Naqshbandis have on the prosperity of the Timurid textile trade, especially in Yazd? The qualitative research approach, in terms of purpose, is applied and descriptive and analytical in nature. The method of collecting information is library and documentary.Findings show that trade development, business prosperity, attracting craftsmen and farmers, development of textile industry, silk weaving and silk products which were strategic goods were at the forefront of Naqshbandian economic activities. The presence of Naqshbandians in this lucrative trade and the monopoly of the economic cycle made them aware of the city of Yazd, the origin of silk and the main base for the production of the finest silk textiles. However, with the demise of the Timurid dynasty, the Naqshbandiyya dynasty faded due to inseparable ties with the government; However, their intellectual heritage and artistic current were reflected in the Safavid period and its manifestation can be seen in the works of art of Shah Abbas I period, including the works of Ghiasuddin Naghshband, the culmination of Yazd's weaving art.Naqshbandiyya, instead of being a Sufi and away from the masses, paid attention to work and livelihood and was able to capture the pulse of Transoxiana trade by expanding trade through the Silk Road and influencing the ruling class. The ultimate purpose of examining the textile situation of the timurid period, (specifically the city of yazd)and the practice of naqshbandi khajagans in achieving monopoly of the economic cycle and its reflection in the safavid period So what was the situation of agriculture and silk trade in the city of Yazd during the Timurid period?Findings show that trade development, business prosperity, attracting craftsmen and farmers, development of textile industry, silk weaving and silk products which were strategic goods were at the forefront of Naqshbandian economic activities. The presence of Naqshbandians in this lucrative trade and the monopoly of the economic cycle made them aware of the city of Yazd, the origin of silk and the main base for the production of the finest silk textiles. However, with the demise of the Timurid dynasty, the Naqshbandiyya dynasty faded due to inseparable ties with the government; However, their intellectual heritage and artistic current were reflected in the Safavid period and its manifestation can be seen in the works of art of Shah Abbas I period, including the works of Ghiasuddin Naghshband, the culmination of Yazd's weaving art.

“Jeqqa” is one of the prevalent types of Iranian royal jewelry during the Qajar era, which was used to decorate the headdress of shahs and princes. The use of this ornament as a sign of kingship in Iran dates back to Safavid era. It was embellished with birds' feather, and precious stones and jewels, and was mounted on the Shahs' headdress or crown. Its typical form was similar to the Paisley (Buta-jigha) pattern and was probably named as “Jeqqa” due to this reason in Persian. Royal Jeqqas are often known as ornaments for men, and is specially designed as a decoration or cover for shahs or princes in ceremonies like coronation (tāj-guẕārī), new year fests (salām-i nowrūz), public levée (bār-i ͑āmm) and etc. Hence, Jeqqa is occasionally introduced as a monarchy appliance as well as crown, throne and sword. This jewelry is diverse in terms of form, embellishment as well as construction methods, and their study can be useful in recognizing part of the history of jewelry and jewelry-making tradition in Iran. For this purpose, available Jeqqas in the Iranian Treasury of National Jewelry have been carefully studied and evaluated. The selection of samples was in such a way that can cover all types of Jeqqas, and thus, its results can be generalized to all of the royal Jeqqas. . In this study, documents of the Royal Houses from the Golestān Palace were also used to identify and authenticate the selected Jeqqas.The method of this research is descriptive-analytic, and it is written based on field observations and library studies. Accordingly, Iranian royal Jeqqas in Qajar era are discussed in three general categories, including “Paisley Jeqqa”, “The Lion and The Sun Jeqqa”, and finally “European-Style Jeqqa”. Paisley Jeqqa has been used from Afsharid era and influenced by the Indian Sarpech in Iran royal jewelry and remained unchanged until the end of Qajar era. The Lion and Sun Jeqqa has been commonly used in Qajar royal jewelry since the second half of the 13th AH/19th AD. Use of this motif was prevalent in royal jewelry, but it was used in Jeqqas in the reign of Nāṣir-al-Dīn Shāh Qajar. Also the use of two symmetrical lions and suns, is the main feature of royal Jeqqa. European-Style Jeqqa are the most diverse type of Iran Jeqqas in Qajar era. These Jeqqas are influenced by “Georgian” and “Victorian” jewelry styles. The effect of these two styles can be seen in European-Style Jeqqas of Fatḥ-ʿAlī Shāh and Nāṣir-al-Dīn Shāh periods respectively, and their recognition is possible according to their forms and decorative patterns. However, the effects of Victorian jewelry have led to the development of jewelry making in Iran. Thus, it can be considered as the most prominent sign of combination of traditional and European-Style jewelry in royal Jeqqas.

In the late Wittgenstein's view, language is a social and non-private matter, and in this case, the meaning of words will be based on compliance with the rules approved by a linguistic community. But due to the multiplicity of people's ways of life, the rules governing these societies are diverse and these rules show the meaning of words, as a result, a word will have the same meaning as the number of ways of life in which it is used. It is obvious that the most basic urban component that can describe this variety of language communities is the urban graphics of that place and at first glance the element of color. The element of color not only affects the understanding of smaller situations such as the design of a store, but also has a wider effect in giving identity to large urban environments. Therefore, the purpose of this research is to analyze the understanding of the spatial identity of the citizen society in the dynamic process of place-making through color, emphasizing the privacy of language in the aforementioned theory. The present research is theoretical in terms of its fundamental purpose, and the necessary information has been obtained through descriptive-analytical and library studies from reliable sources. The obtained results show that in order to negate the private language, the understanding of the environment through the sense of belonging of the people to the environmental graphic content has become general, and in this way, a color reference point that can be read by the general citizens can be reached. Relying on this point of view, the conclusion was reached that the public image has replaced the self-image by preserving individual memory, and in addition to preserving individual color tastes, by participating in people's lives, it will be possible to present an acceptable collective color pattern for urban graphics.

The Dado refers to the lower part of the wall from the floor to a height of about one meter, and it often has different decorations than other parts of the wall. Dadoes, in different periods, are often done with decorations such as Brickwork, carving, Tilework, a combining stone and tile, etc and with divers plant and geometric designs and motifs. Tile dadoes of Timurid Monuments in Iran are no exception to this rule and as one of the most magnificent decorative effects in the architecture of this era, includes a unique collection of geometric motifs. Therefore, the purpose of this article is to introduce and classify the geometric motifs of exquisite used in the Tilework Dadoes of Timurid Monuments in Iran and also Survey their Common features with other significant buildings Iran, in comparative studies. Therefore, the main question of this research is arisen as follows: What are the most common and major geometric motifs/ knots in the Tilework Dadoes of Timurid Monuments in Iran? Data collection has been made based on field research and written references that has analyzed the collected data from the samples through Historical-descriptive-comparative method and with a comparative approach based on geometric motifs. The results of this study, which are obtained from the study of Geometric Motifs of tile Dadoes of Timurid buildings in Iran, shows that; In the tile Dadoes of this period, the majority of ornaments , from the aspect of Geometric Motifs, are composed of numerical motifs on the basis of six, such as, "regular hexagonal" motifs, which are often located in Yazd province and often in turquoise color, "Six and Jointed Triangle", "Six and Stretched Give", "Six and roundel", "Six and Triangle", etc. The mentioned results, in addition to Iran, have been common in the buildings of other parts of the Timurid rule also the Dadoes of the tiles of the buildings of the illustrated manuscripts of this period. The Dado refers to the lower part of the wall from the floor to a height of about one meter, and it often has different decorations than other parts of the wall. Dadoes, in different periods, are often done with decorations such as Brickwork, carving, Tilework, a combining stone and tile, etc and with divers plant and geometric designs and motifs. Tile dadoes of Timurid Monuments in Iran are no exception to this rule and as one of the most magnificent decorative effects in the architecture of this era, includes a unique collection of geometric motifs. Therefore, the purpose of this article is to introduce and classify the geometric motifs of exquisite used in the Tilework Dadoes of Timurid Monuments in Iran and also Survey their Common features with other significant buildings Iran, in comparative studies.

Harpy is a composite form whose roots are in the mythological vision of early civilizations. The first entered Iranian art as a human bird through the Urartian art, and later gained sacred meanings in Elam and Assyrian art, and with the arrival of Islam in Iran, it appears in a new form in the art of the Seljuk period. As Persian art took its form from its rich ancient sources and added Islamic concepts to it, the Harpy form also can have hidden roots in Turk mythology. In addition, in the Orkhon inscriptions, we encounter a legend that was the mother goddess and was worshiped by the Oghuz Turks and was referred to as "Umay Ana" which has similarities with the form of the Harpy in Seljuk art. By examining the features of this myth in ancient Turkish mythology, examining the evidence that the Oghuz Turks, who are the ancestors of the Seljuks, worshiped this goddess and the emergence of this new form of harpy in the art of this period, we can ask this question: what is the relationship between this new form and Turk ancient myths? The second question is what is the relationship between the formal features of the harpy in Iranian and Turkish art, considering the geographical borders expanding in the Seljuk period? The aim of this study is to investigate Turkish mythology and its relationship with the emergence of the new harpy form in Seljuk art, and to examine the similarities and differences between the form of the harpy in Persian and Turkish art. The method of this research is comparative-analytical. The findings of the study show that there are many similarities in the visual characteristics of the form of the harpy in Iranian and Turkish artworks, which largely overlap with the mythological features of the goddess "Umay Ana" in Turkish mythology. Thus, we can conclude that the new harpy form can be used in Iranian and Turkish art to evoke Homay, who in Turkish mythology has become the face of the goddess Umay and the way she uses her power. In fact, such a similarity in the use of the harpy form between the artists of the two countries with the Seljuk domination in Iran and the expansion of its geographical borders to the eastern half of Turkey is not beyond reason and can certainly be seen in the art of later periods. The point is, there is still a slight difference between artworks of both countries in the use of the harpy form with a dragon and fish in Turkish sculptures and tiles. This may be due to differences in the mythological features of the goddess Umay Ana or other Turkish myths that are uncertain situations that warrant further investigation. However, since the goddess Umay Ana has a special place among Turks of other countries, it is possible that it was associated with features and reflected in Turkish art. It is hoped that further research in this area will help resolve existing uncertainties.