نشریه پژوهش هنر
پیاپی 24 (پاییز و زمستان 1401)

Aali Qapu Palace, one of the prominent buildings of the Safavid era in Isfahan, is significant in terms of architecture and decorations. Despite numerous studies that have been conducted on this building, it still has outstanding capabilities, especially in examining the types of decorations and architectural ornaments. By taking a closer look at the motifs in the plaster decorations of this palace (killed paste), we encounter repeated geometric patterns in the plant motifs. These characteristics were overlooked due to reasons such as: The density of motifs, wear, and fading of the plasters. Therefore, this research intends to analyze and draw the Girih in the stucco decorations of Aali Qapo Palace and to find the characteristics of the motifs used. The main question of this research is: What are the Girih and geometric patterns used in the plaster decorations of Aali Qapo Palace, and how do they interact with plant motifs? The data for this study was collected through field study and library research. The research method was descriptive-analytical. By analyzing the motifs under investigation, it was found that the use of geometric patterns (Girih) is sometimes evident (for example, in the Girihs of the roof tiles and windows) and sometimes hidden in the combination of Arabesque motifs and khatais in plaster of Aali Qapo Palace. These geometric patterns and hidden Girihs include: The Rhombus network, the Square network Qenas, Upside Down Ferfereh Girih, Moj, Hasht and Chahar Lengeh, Sineh-Baz, Sormeh-Dan Qenas, Chahar Lengeh Hasht with Tabl, Shamseh, and Chahar Soli which due to the transformation of broken lines into curves and the concealment of the surface of the Girih by Arabesque and khatais, it has undergone changes in appearance and its visual characteristics have changed.

Clothing is one of the most important indicators of the culture of societies, which plays a key role in the history of their civilization.  Since Timurid dynasty was one of the most important periods in the promotion of Iranian culture and art and the information obtained from the clothing of that period is specific to a few fabric samples found in the graves related to that period, it is important to identify the components of the clothing of Timurid period.  On the other hand, the variety of clothing of that period is considered essential in order to understand the hidden aspects of the history of clothing and its relationship with social classes in Iranian civilization, a topic that is clearly lacking based on previous studies.  Therefore, with the aim of identifying the relationship between social classes and the design and color of clothing in the Timurid period, Kamal al-Din Behzad’s paintings were used. Artworks that have a special attitude towards human beings and a realistic approach in the presentation of their subjects are quite evident. For this purpose, the design and color of clothing were included as the main coding index in this qualitative research and its separate categorization has been studied based on the division of headgear, bodysuit, and footgear.  Furthermore, the number of 11 images were purposefully selected as the sample size and the diversity of subjects and the multitude of human figures were the determining factors in the selection of the samples. The method of collecting information was also based on the method of library research, document analysis, and internet sources. A descriptive-analytical method was adopted, which was conducted based on two types of study sources, i.e. written sources and visual sources.  Finally, the results revealed that clothing in the Timurid era had a variety of designs and colors in men’s and women’s clothing and was directly related to their social classes.

The house of Akhawan-e-Haghighi in Isfahan, which is a building belonging to the late Safavid to early Qajar period, contains a significant collection of wall paintings. Monochrome azure paintings on the plaster surface, which is one of the traditional examples of wall painting of the Islamic period, can also be seen in this building. Both in terms of amount and size and in terms of the subject, the azure paintings of the Haghighi house are remarkable and unique. The similarity of the use of azure color on a white background in European pottery with azure color wall paintings on plaster surface can be a key in finding new hypo texts for this type of wall painting. This research aims to show the impact of imported pottery from Europe on Iranian art, especially in this case, trying to reveal the content and basis of other murals of this kind found in the cities of Isfahan, Kashan, and Shiraz, and furthermore to examine the intertextuality relationship of these motifs with tiles and pottery. It also reaches one of the less mentioned sources of the influence of Western art on Iranian art, that is, the pottery exported from Europe to Iran. In this research, an attempt is made to answer the question of what are the hyper textual relationships of these paintings by examining the intertextuality of this type of wall paintings in a descriptive-comparative way. And can the so-called Dutch blue-white porcelain of Delft be considered the hypo texts of the wall paintings of this house? In this research, by examining the homogeneity of the form and content of the wall paintings of the Haghighi house with the assumption that the European pottery is the hypo texts of the azure paintings of the Haghighi house, the main question addressed in this study is whether the intertextual and hyper textual relationships of these motifs can be based on theories of Gerard Genette’s hypertext? Then, executive, reduction, displacement, deletion, thematic, thematic, hypo texts and text content are examined. As a result, with the help of Genette’s theory of intertextuality, the place of the Dutch blue and white pottery motifs is revealed as one of the hypo texts of the wall paintings of the Haghighi house, and the relationships of transformation and homogeneity between the hypo texts and hypertext are investigated.

Gonabad pottery is one of the types of pottery in the country that shows the cultural authenticity and civilization of Khorasan. However, the name of this pottery and the motifs used on it are in danger of being destroyed due to the problems related to the potters and neglecting the place of this valuable art. Therefore, the current research intends to study the role of the original ingredients of Mend Gonabad pottery and its effect in business by field investigation. This process consists of 4 steps. First, knowledge and awareness of the problem, collecting information about that problem, which ultimately leads to the identification of different aspects of the problem in question. The second is the analysis of information and prioritization of data so that by relying on them, the stage of creativity and ideation can be formed. Then, it is time to draw and materialize the ideas. In other words, the visual expression of creative ideas and solutions found for the desired problem. Finally, the final display and implementation of solutions and ideas. Since the use of various motifs in handicrafts is related mostly to the taste of the market, we are looking to answer this important question as to what extent can the use of original motifs be effective in the success of the brand and visual identity design? The statistical society of the research included 48 people, 14 potters to confirm the authenticity of the patterns and 34 graphic artists to confirm the use of patterns in visual identity design. The target society was 50 potters among the potters who were selected for analysis. The results show that in addition to emphasizing the national identity, Persian motifs can also be used in visual identity design and product commercialization. Among the motifs, which include geometric, plant, animal and allegorical motifs, the bird motif had the highest percentage of influence. The present research is practical in terms of descriptive-analytical method and in terms of purpose.

Pedro Almodóvar is a renowned and influential director in contemporary Spanish cinema whose works have a unique style and aesthetic presentation. Almodóvar has frequently stated that his films are inspired by various sources. This Spanish director drew inspiration for his works from various movies, TV programs, paintings, and literary works. Meanwhile, film references and scripts play an important role in his works, and he is one of the directors whose works incorporate a combination of such texts. Thus, “intertextuality” is one of the topics that can be properly examined in this Spanish filmmaker’s works. This research investigates intertextuality in Almodóvar’s works and answers the following question: “How are Pedro Almodóvar’s films created through their intertextual links with other films?” A descriptive-analytical method and comparative method were used to address this question. In addition, Gérard Genette’s theory of intertextuality has been used to analyze and categorize such intertextual relationships. The statistical population of this research consists of Almodóvar’s feature-length films produced during the 1980s, which are regarded as his most renowned works. The results demonstrate that the various cinematic texts mentioned by Almodóvar, such as cinematic excerpts, script titles, and cinematic allusions, within Genette’s theory take on the roles of para-texts, quotations, cinematic references, and inter- and intra-authorial allusions, which, in addition to their conventional functions, have a metaphorical function.

In every civilization, we face art that is like a mirror reflecting religion, customs, etc. In the contemporary era, the school of thought that paid attention and re-recognized art in traditional civilization is the school of traditionalism, and the followers of this style of thinking are called traditionalists. In the traditionalist’s thought, art in the traditional civilization, in which nothing outside the scope of tradition that is in line with divine truth has the right to exist, has its own definitions, which are called “artistic”. On the other hand, in our civilizational background, we are faced with handicrafts, which is a production relying on hand power, and is not considered art in the common definition. In order for handicrafts to be placed in the field of art, we will face issues that can be pointed to such as: The creativity of this handicraft, its practicality, its integration with everyday life and other things in this art. Considering the meaning that traditionalists in modern and traditional society has towards art, it can be used to evaluate the artistic value of handicrafts. In this regard, we are faced with the question of what is the relationship between traditional art and handicrafts from the perspective of traditionalists. The research method in this article is descriptive and analytical, and the means of collecting information is based library research and data collection. In this article, by comparing the concept of traditional art and its characteristics with the concept of handicrafts and its related characteristics from the thought of traditionalists, we will reach the conclusion that handicrafts are in the framework of the concept of traditional art and the characteristics traditional arts is obvious in handicrafts and handicrafts is considered one of the most obvious manifestations of traditional art. In this way, the problems that occur in modern thinking on traditional and art vision can be solved.