نشریه پیکره
پیاپی 32 (تابستان 1402)

Problem Definition:

The child's painting is a subset of his various activities in children's art. The central taste of this type of activity, which has always been associated with children's games, has challenged the artistry of this activity. While considering the mentioned challenge, painting is an activity aimed at improving children's thinking and creativity, and in this regard, it is necessary to be studied educationally. Therefore, in the present study, an attempt is made to use Vygotsky's «theory of development» to answer the question of «How to teach drawing to children so that their creative activities are not harmed in the natural path of development»?

From the above-mentioned point of view, children's tasteful and creative activities in painting may be exposed to educational damages with incorrect training. Having the aim of preventing possible damages, one of the effective theories on the development and achievement of children is the evaluation index of this educational activity to witness favorable exploitation in this field.

The present study is based on fundamental theoretical research (Vygotsky's socio-cultural theory of «Zone of Proximal Development») and is of a descriptive-analytical type. The research is included in the group of qualitative investigations. The painting will be taught, and after analyzing and presenting 33 painting samples selected from over three thousand works, a suitable educational solution will be suggested.

The findings of this research show that children who, according to the mentioned theory, have faced the mediation and proper training of parents and trainers in teaching painting. Accordingly, they have presented painting works beyond their current level in a social process in line with the natural process of development.

Problem Definition:

The art of the Islamic period, with a scope beyond the geographical borders of the Islamic countries, has always been reproduced and represented under its function or application in all parts of the world and has been the focus of the work of researchers of scientific and research centers. Among the forms in which these studies are published are articles indexed in reliable databases, of which the international database «Scopus» is outstanding. Therefore, the current research seeks to evaluate the Islamic Art articles in the indexed journals of this database thematically, and to answer the following questions: «How the publication process is?», «What are the main topics of research in Islamic Art?», and "What countries and organizations are involved in the production of this research?". Also, introducing the best journals and articles in this subject area and the status of Iranian studies in the Scopus databases are other problems of this research.

The aim is to identify the thematic approach of researchers in Islamic Art as well as the main and frequent topics of this area in the Scopus citation database.

This research is descriptive, and based on Scientometric indicators, it examines the statistical community of 475 Islamic Art documents indexed in the Scopus database. Using co-word analysis, the key Islamic Art topics were investigated and a co-occurrence map was drawn using "VOSviewer" software, and by analyzing the data in Excel software, the articles, journals, countries, and the top authors of this area were identified.

The present research showed that most Islamic Art studies have been conducted on topics such as Islamic Art, museums, handicrafts, art, and geometry of motifs. «Haill» was introduced as the best journal in Islamic Art with the most published articles in this area. It was also found that the United States had the most productions in this area and «Mohammed Bin Abdullah», «Oxford» and «Islamic Art» University of Tabriz had the first rank in the co-ownership of productions in this field. The results showed that the trend of publishing Islamic Art studies is upward, and in 2016, it had the most scientific productions in this field. Also, Iran ranks fifth in the production of publications in this area.

Problem Definition:

There are different approaches in the study of Islamic art, each of which offers different interpretations of Islamic art. Among these, the historical approach emphasizes the two components of contextualization and interpretation and seeks the genealogy of Islamic art by referring to the characteristics of the historical sequence. Influenced by this point of view, «Sheila Blair» investigates Islamic studies, and the most important orientation of her thought, when dealing with Islamic art, is to pay attention to the historical context in which the work is formed. Therefore, the current research seeks to answer the following question: «How can Sheila Blair's method and perspective reveal the understanding and acceptance of Islamic artworks»?

This research aims to pinpoint the historical perspective of Sheila Blair in the identification and reading of inscriptions in Islamic architecture.

The current research was carried out using a descriptive-analytical method and qualitatively analyzed library information and documents.

The results show that by using this type of study, it is possible to achieve a specific pattern of establishing the structure of the inscriptions, which is effective in identifying the date of anonymous works. Based on the historicist method, Blair considers Islamic art and architecture as a phenomenon that is the product of historical truth. Based on this, what is important in the first stage of his research method, including in the book entitled «The first inscriptions in the architecture of the Islamic period of Iran», are material and mostly tangible evidence, and mystical, spiritual, and transcendental interpretations have no place in her attitude. Blair considers the main reasons for the presence of religious inscriptions to be their preaching message and, in examining the content of religious inscriptions with an emphasis on historical aspects and a formalistic view, she obtains comprehensive information in this regard. Her research, including the book under review, besides providing a list of the most important inscriptions of the Islamic era of Iran, is a very useful reference for learning how to deal with inscriptions. In general, Blair records the inscriptions with a historical perspective and provides researchers with detailed information on the description of each inscription in terms of content, history, and geography, as well as formal and calligraphic analysis, which reveals a wide range of Islamic artworks for researchers in this field.

Statement of the Problem: 

Looking at the developments of painting in Iran, we have witnessed the spread of the painter's signature or the insertion of his name since the Timurid period in Iran and the lands influenced by Persian culture such as Gurkan India. Among the works of this period, "Gulshan Album (Muraqqa'-e Gulshan)" has a special place because of the direct supervision of Jahangirshah (Gurkan) in the collection of pieces, from the two aspects of the number of signed works and the method of signature, which differs from the Isfahan school. The key question is "In "Gulshan Album (Muraqqa'-e Gulshan)" and in Jahangirshah's era, in which way and in what structure did the painters design their signature and what meanings hide in their signature form"?

To identify the placement method of the signature in Gulshan Album's paintings in terms of form and structure and to discover its hidden meanings which is to reveal the relationship between the composition of signatures in the work, with the artist's motivation in representing his social position and establishing interactive (interpersonal) relationships with the viewer through the signature method.

In the current research, by using library resources and directly observing the paintings and signed margins of the inscriptions in the Gulshan Album, the data was collected; Then, five non-random samples of signed works were selected, and each one was analyzed according to the research objectives by visual reading method based on the three metafunctions of composition, representation, and interaction.

Results: 

 Three results were obtained in the examination of signed paintings. First, five compositional patterns were identified in terms of structure in the signed paintings; Second, the narrative and conceptual relationship between the composition method and the verbal content of the signatures with the social position of the painters in the court and their relationship with the production of Gulshan Album was revealed. Finally, by observing the arrangement of signed paintings in different dimensions, distances, and sizes, the motivation of the painters in interacting with the viewer was revealed.

Statement of the Problem:

 Islamic Ornamental Textiles or Sassanid Designed Textiles, Christian Clavos-Tablion are weavings that, in the past, belonged to certain spiritual and courtiers, especially Islamic caliphs, Sasanid kings, and Christian emperors, because of their social and political prestige. The design and making of the Islamic Ornamental Textiles show the influence and continuity of Sasanid and Christian art, which has not been researched for its historical attribution. The present research addresses two questions: “What are the points of similarity and difference between Islamic Ornamental Textiles or Sassanid Designed Textiles and Christian Clavos-Tablion?” and “Which design of the Sassanid style and Clavos-Tablion has influenced the Islamic Ornamental Textiles?”

This research aims to describe and recognize Sassanid Designed Textiles, Christian Clavos-Tablion, as evidence to influence the Islamic Ornamental Textiles.

The current research method is descriptive-historical. The data has been collected through library and museum websites. First, the Islamic, Sassanid, and Christian textiles are described based on historical and visual sources, and then according to the shapes, motifs, and designs, influence of the Islamic Ornamental Textiles has been determined and qualitatively analyzed in the evaluation section of the research.

 In terms of structure and decorative elements, the Islamic Ornamental Textile continues the tradition of Sassanid and Christian textile weaving. They first followed the Sassanid style in terms of the type of textile, production method, and design, and then, in the final path of their transformation and change, they modeled themselves on the Christian Clavos-Tablion forms, with the difference that the early Islamic scripts were placed in the Islamic Ornamental Textile instead of the Christian elements. Like Sassanid Designed Textiles and Tablion, the Islamic Ornamental Textile has a prime material and spiritual importance, and like the Christian Tablion, it is a modified form of the Christian Coptic Clavos decorative strips.

Statement of the Problem: 

Mirrorwork is one of the delicate and productive arts related to architecture, which is created by putting together small and large mirror pieces. The mentioned array is usually used in the interior parts of various buildings, including sacred places, palaces, and residential houses, which besides the decorative dimension, also has important practical aspects. Traces of this art were observed in various buildings of the Safavid period, and its development and peak can be seen in the buildings of the Qajar period. In the current research, technical studies and content analysis of motifs and symbols of mirrorwork in fifteen buildings of Isfahan City have been carried out, according to the time frame. Therefore, the present research seeks to answer these questions: 1. What are the characteristics of the mirror work decorations in Isfahan from the Safavid period to the present? 2. What are the techniques used in the historical building of Isfahan?

This study aims to investigate the techniques and decorative motifs of Isfahan mirrorwork.

In the current study, the research method is qualitative and analytical. The data was collected using library sources and field observations.

According to the research conducted the most common mirrorwork from the Safavid period to the present is the embossed and semi-embossed mirroring technique, as mirrorwork on plaster. Also, concerning the motifs, the motifs of "Shamsa" and "mirror-frame" among the geometric and decorative medallions and "pot" among the plant category were found to be the most widely used. Among the motifs, "yellow lily flower" and "Motacilla" are among the local motifs related to the region of Isfahan, which were observed in Safavid and Qajar houses.