نشریه نگارینه هنر اسلامی
پیاپی 24 (پاییز و زمستان 1401)

Saqakhaneh School of Painting was an art movement that was formed in the 1340s using elements of modern art and some traditional-religious and ancient elements in Iran. Saqakhaneh painters were trying to give their works an ethnic-Iranian identity. Artists attributed to this movement, while honoring ancient pictorial elements, created works that sought to differentiate their art. Using ancient art, they established a link between modern art and traditional art. What can be seen more in the study of Saqakhaneh's works are visual-symbolic elements that arise from deep themes and intellectual foundations. In the science of semiotics, the types of signs and the rules and principles of thought are studied. Also in this science, the codes of visual and written semiotics in Sadegh Tabrizi's works are explained by considering the alignment of his works with the objectives of this research. Therefore, this research tries to introduce and identify the works of this artist, to examine the characteristics of visual elements in his paintings, and also to explain the structure and themes of these visual elements with a semiotic approach. Therefore, two basic questions are raised in this research: What visual elements do the visual elements in Sadegh Tabrizi's works have? What kind of sign structure do these elements have, in other words, how does the semiotic approach work in the selected works? This research is descriptive-analytical with qualitative method and also the collection of information has been done in the form of library and internet. The result of the research showed; In Sadegh Tabrizi's works, visual signs are classified into six categories. In general, visual elements are more indexical and symbolic. The largest volume of pictorial elements is of the symbolic-iconic type and is composed of figurative and simplistic abstract signs and is the least naturalistic sign. In the study samples, the commonalities between the visual signs as well as the semiotic divisions of the concepts have been observed a lot. Written motifs have a special place in Tabrizi's works, which are combined with religious and spiritual themes and the Iranian third line. These motifs have been observed in all works. Plant motifs are more symbolic and human and animal motifs are more iconic.

Since long ago, the movements of celestial objects and what occurs in the sky have been wondrous and thought-provoking for humans. Their curious minds have continually sought clear answers to discover the relation between their destiny and celestial events. In historical documents and books, humans and the world have regarded their significant historical events to be related to celestial events and recorded them. Attention to this matter can also be observed in most religions and myths recorded by humankind. During the period after Islam, this relation laid the ground for one of the most important scientific activities of Muslims and numerous books have been written concerning astronomy. The presence of cosmic elements in works of art, including miniatures are a reminder of the importance of paying attention to celestial objects that humans believed played a role in their destiny. This research seeks answers that would clarify the relation between human destiny and celestial changes with a new meaning. Therefore, by examining some illustrations of the Persian Topkapi divination, looks for the reasons for believing in the relation between humans and celestial events and it answers the question of what were the concepts and meaning of the cosmic motifs used in these paintings, and what factors have contributed to the emergence of celestial elements and the belief in their influence on human destiny. The purpose of this research is to investigate the astronomical elements and to discover the cause of their belief in connection with human destiny, and in the way of reaching this goal, the theories of philosophers with an archetypal approach have been used. This research used a descriptive-analytical method and the documentary and library data were collected through note-taking and image-reading. Further, the data have been examined through qualitative analysis. The research results indicate that the cosmic elements have been created due to their clear concepts and effects on the destiny of generations of humans. Further, they have been passed down from generation to generation throughout centuries as a collective unconscious due to their significance and repetition. Ultimately, they have been recreated by artists to convey the concept according to the influential archetype in human destiny and have ended up in the form of illustrations. The identification and analysis of the secrets and symbols used in the illustrations of this study are the living witnesses to this theory.

one of the main areas of mysticism in eastern Iran and the land of Khorasan. the buildings of this collection , with respect to religion and government , over time and from the seventh century A.H until the Qajar era , around the Tomb of sheikh-e Jam ( 441 - 536 ), one of the mysticisms of the 5th and 7 century A.H was formed and mirrors are represented in Iranian - Islamic art. Among the monuments of the complex, Gonbadkhaneh to focus on the formation of decorations, And the existence of an inscription in the Creation Time -narrative concept At the time of the " Al-e Kart kings " period , at the time of the late Ilkhanid rulers, It has a special study area where the Authors Aim of this study survey, analyze, and comprehensive explicate this inscription in order to achieve architectural chronology Further recognition of Gonbadkhaneh in terms of construction periods and artistic interpretation has been the decorative patterns of this work. According to this research, Gonbadkhaneh inscription is one of the few rare and historical monuments of Al-e kart inscriptions, with regard to the type of document, historical hierarchy, and narrative in terms of semantics and concept, the first known inscription in the Islamic architecture of Iran, with historical - narrative nature. This research has been done to answer these questions: (1) the text of the inscription on which historical, political, religious and religious themes are important. (2) Which Archetype Iranian - Islamic pattern can be addressed in decorating this inscription? the method in this research is descriptive - analytical and in addition to documents and field studies, the application of Iconographic method in order to examine the archetypes of array as a part of cultural component and scrutiny in artistic creation and utilizing laboratory analyses in order to determine the nature of color used in inscriptions and changes and chemical effects in them. The result of the research proved the fact that Gonbadkhaneh inscriptions in addition to the decorative usage in this building, including political, religious, initial history in the form of mysterious and a narrative of the founders of the renewal of this building is that the fields and its margins are decorated with archetypes derived from Iranian art.

The art of Girih tiling is a collection of geometric shapes that are placed next to each other in a harmonious order. The city of Masouleh is one of the historical structures in Guilan province, which includes many decorative arrays used in the construction of openings. The purpose of this research is to recognize the decorative types used in the openings of Asad-Mahaleh of Masouleh. The research method is descriptive-analytical and the library method was used to identify the decorative types used in the openings. The research questions are as follows: In how many levels are the openings of Asad-Mahaleh building classified? What Girih tiling and Ghavarebari patterns have been used in the openings of Asad-Mahaleh Buildings? The results of the research show that the decorative arrays of the openings of Asad-Mahaleh buildings are classified in three levels: integrated windows, Sarbariah openings with inscriptions and Sarbariah openings without a border (single). The decorative arrays of the openings of Asad-Mahaleh consist of fifteen patterns of Girih tiling and Ghavarebari. Eight-square Shamseh Girih patterns and Ghavarebari with Paisley design are the most repeated patterns in the arrays of Asad-Mahaleh openings. Also, the results show that Sarbariah with inscriptions and integrated windows have the highest pattern of Girih tiling and Ghavarebari, and Sarbariah without a border design (single) have the least pattern of Girih tiling and Ghavarebari in the openings of residential buildings in Asad-Mahaleh of Masouleh.

Art is formed in every period under the influence of various factors, and the art of the Qajar period is no exception to this rule. The art of this period, which can be divided into two branches, court and folk, in the form of painting, architecture, painting and gilding, especially in the branch of court art, has been considered by researchers. The pottery of the Qajar period, which is available in many domestic and foreign museums and collections, has been further classified and typified, and like other arts of this period, it has been studied from the perspective of court art, and the reflection of folk art on these vessels has not been studied much. Based on this, in this research, the collection of 35 Qajar terracotta vessels belonging to the Great Khorasan Museum was studied.The main question of this research is that what role did people's beliefs and folk beliefs play in the production and decoration of folk pottery of this period and what factors and motivations caused the tendency of potters of this period to use folk themes on pottery. To investigate this issue, the descriptive-analytical method and the collection of library and field information have been used. This research shows that due to the expansion of the wave of Shiism along with the nationalist tendencies among the people, we see the reflection of these motifs on the folk pottery of this period. However, the execution method of these designs is not of good quality in many cases.

Human interest in planets and stars and their role in human life and destiny dates back to thousands years ago. Astrology has had numerous effects on medical science. One of its important roles is the appearance of "zodiac-man" based on the position of planets and stars in the sky and the coincidence of its effects on human organs. "Zodiac-Man" shows the image of a human that the position of the twelve constellations and the related medical effects are marked on his body. Each of these marks determines the appropriate month and time for surgery of each organ of body or the appropriate medical treatment for patient based on his astrology. This image can be seen in medical handwritten illustrated copies or single sheets in Iran and India. The question is: What connection exists in the (chosen) paintings of Iran and India, in terms of concepts and human illustration method of the zodiac-man? According to the conducted studies in general; the style of "Zodiac-man" iconography in both paintings follows the same pattern and idea, but its processing way, has turned into native form. The research method is descriptive-comparative. Medical science is one of the sciences that combined with astrology, and the outcome of this combination can be seen in "zodiac-man". The resulting illustration of this combination in Iran and India is observable in medical or astrology books. The application of "Zodiac-man" is more in medical science, so each person has a specific fortune at birth, and based on that, one's medical affairs is done. In "Zodiac-Man", twelve constellations have drawn and organs of the body must be treated or operated based on that, so the patience regains his health. In addition to Iran and India, "Zodiac-Man" received a lot of attention in other eastern and western countries. The existence of these paintings can be considered as a map and model for philosophers and physicians who have used it to determine the time of surgery or other medical operations on the patient's body. The primary image that Jorjani drew based on the "KhwarezmShahi's book" is very simple and without details, which is due to the fact that, it influences from Mansouri's paintings and the first copy of the book "Tashrih alAbdan". This drawing is very simple and understandable that later the drawings of the zodiac are frequently drawn in Iranian books. A distinguished example of this painting can be seen in the Ottoman royal calendar. The Indian illustrated "Zodiac-Man" is based on Jorjani's illustrated "Zodiac-Man" but the only difference is in the representation of the zodiac figure. The face of human figures is an important and special point that is visible in the paintings of the Indian zodiac and indicates the Buddhist beliefs and their Indian gods. The painters of both countries, as a result of the structural concepts of their society, have designed the "Zodiac-man" and the zodiac, and it can be admitted that they have been very successful.

Inanimate nature is one of the subjects that can be seen in paintings in the first Qajar period, but it has been less seen in the iconography of the court of formal art of this period. Inanimate nature is seen as an independent subject in the margins of early Qajar paintings. This painting is decorative and can be seen both independently and in combination with female iconography. In the painting of inanimate nature, colorful food and fruits are depicted on colorful tablecloths, and sometimes animals such as cats, rabbits and partridges are seen next to the tablecloth. The purpose of this study is to find out the characteristics of inanimate nature painting in the first Qajar period and its visual features in combination with other subjects in this period. Question: What visual features does inanimate nature painting have in the art of the first Qajar period? How to work independently and in combination with other elements? The research method in this research is descriptive-analytical and using library resources and reviewing samples of paintings of the first Qajar period and the method of analysis is based on the study of visual principles and rules used in the art of inanimate nature in painting. The results of this research show that the inanimate nature in the paintings of this period has been worked both independently, which is a limited number with specific features, and has been combined with sculpture, especially of women and animals.

The Azeri-style residential architecture of buildings has largely disappeared, their interior architectural elements have been lost, or their arrangement patterns have changed according to the tastes of space users. A significant emphasis has been placed on research conducted on the history of Islamic art and architecture on the architecture of Iran during the recent era and its architectural details. Iranian art flourished during the patriarchal period and has produced numerous paintings from this period. Many of these paintings depict details of interiors; given that the surviving buildings from this period are few, historical evidence is needed. There is no validation of drawings and study of the history of Iranian architecture in that period. By comparing the architectural buildings left from later periods, one can find many similarities between the spatial elements displayed in the paintings and architectural buildings after the Azeri style, which shows the connection between different fields of art in different schools. This study aims to study the furniture and elements of Iranian interior architecture in the surviving paintings from the patriarchal period to the early Safavid period. The purpose is to present the arrangements of Iranian interior spaces during that period. The studies were conducted to answer these questions: What are the standard features between Iranian architecture in the Azeri era and surviving paintings from that period? How were the architectural buildings displayed in the paintings? This research examines and analyzes historical documents with the method of historical research. Based on historical documents such as surviving paintings from the patriarchal to early Safavid period and other contemporary painting styles with that period and comparing them with surviving buildings from that period and later periods, the data needed to study the types of interior architectural elements and layout patterns of spaces. The interior of residential houses was obtained during the Azeri period

Shirin bathing narrative of Khamsa Nizami was one of the literary subjects that many artists tried to depict in various periods and schools of Persian painting and created great works. On the other hand, it seemed those pre-determined and defined visual conventions were assumed for each subject or literary narrative, in the tradition of Persian painting. Also, painters in every era and school were faithful and committed to the same structure in their works. Due to their continuity, these conventions became a structural model in the same literary subject. This article aimed to find the overruling structural pattern of the "Shirin bathing" works in the Persian painting tradition. It sought to answer the question, what were the structural similarities and differences between the paintings with the "Shirin Bathing" theme? This study was done by the descriptive-analytical method with a comparative approach, which collected library information and viewed pictures directly. The method of data analysis was qualitative. The structural similarity of the illustrations of Shirin bathing's narrative includes "guidelines and the focal point of the picture", " eye movement track in the picture and visual form" and "the direction of the figures gaze". Painters have used two parallel diagonal guidelines that created a 90-degree angle with the diameter of the painting to embed the elements of the painting, especially the figure of Khosrow and Shirin. The eye movement track in the picture was coordinated with the visual triangle. Due to a group of images having axial symmetry with another group, the direction of the eye movement track on the works was different. The direction of Khosrow's look at Shirin was slanted from top to bottom, like other "pictures of glance" in the tradition of Persian painting. On the other hand, although the painters were less deconstructive in portraying this narrative, the paintings were structurally different from each other in the "frame proportions" component.

The role of flowers and chickens is one of the most common decorations in the Qajar period and after. Flower and chicken paintings used in the historical houses of Shiraz are considered as valuable examples of Iranian painting. The aim of this research is to study the flower and chicken motifs used in Narenjestan Ghavam and Zinat al-molk. Therefore, what are the visual and technical features of the flower and chicken motifs used in Naranjestan from a visual and technical point of view? And what were the factors influencing them? The results show that the differentiation of the designs indicates the different use of these two buildings. Narenjestan Ghavam, as the capital of Persia, is more in line with its role in terms of role, color, composition and rhythm in order to validate its power. Intimate atmosphere prevails. The motifs are influenced by ancient Iran and Islamic, Eastern art, especially Indian and European art. Also, the geographical location of Shiraz, the fame of the city of Globalbal and the royal palace have influenced the formation of designs. Shading, dimensionality, color variation and design can be seen in all spaces. The designs can be divided into six categories: chicken, flower and chicken, bouquet, vase, flower and Islamic, bouquet and landscape. These motifs are painted with oil paint, metal oxides, mosaics and wood on a bed of wood, stone, tile and mirror.

Women’s clothing during the Qajar era was frequently cited in historiographical sources, such as the travelogues of foreign tourists, and portrayed in paintings and photographs. This article addresses the following question: What are the main parts of women’s clothing in the Qajar court (From the era of Fath-Ali Shah to the end of the Naseri era and prior to the popularity of European clothes), and how are their qualitative characteristics compared? From the time of Fath-Ali Shah until the end of Naser al-Din Shah’s reign, this article examines the form, texture, color, design, and pattern of main and frequently worn parts of women’s clothing in the Qajar court, especially during the reign of Fath-Ali Shah. The objective of this developmental research and the analytical-historical study was attained by utilizing probability sampling and qualitatively reviewing documentary studies, text reading, and image reading. Results indicated that women’s clothing in the Qajar court mainly consisted of shirts, Arkhalig, and Kolija. All social classes wore shirts, but their fabrics varied, with silk fabrics being more acceptable at the court level. Arkhalig is a short gown worn over a shirt with short and long sleeves as well as sleeves with triangle/samosa lace; its later type with a more decorative appearance was known as Chigen. The economic status of the wearer determined which types of simple fabrics, Mahrams, and motifs (tartan) would be used in the sewing of arkhalig. During the reign of Naser al-Din Shah, the kolija grew in popularity, and although it was deemed more appropriate for the winter season, it was evidently worn throughout the year. This mantle is up to the middle of the thigh and typically has sleeves that reach the elbow. Kolija is very similar to the men’s kind; like the men’s kind, it was a special dress of the affluent. Plain and expensive fabrics such as velvet or motifs (tartan), particularly cashmere, were frequently used in sewing kolija.

The Mashhad school of painting was active in the second half of the 10th century under the guidance and support of Ebrahim Mirza Safavi. In this historical period, the illustrated version of Jami's Selselatozzehab was illustrated on the date of 977 AH. This lesser-known version of the Safavid period has 14 illustrations and is preserved in the treasury of Golestan Palace, which has various decorations of Tash'ir in the margins of the pages and illustrations? In the margins of the paintings, two types of Tash'ir decorations and decoration in Zarafshan style can be seen, half of the paintings and some of the pages are decorated with plant and animal motifs. Based on this, the main question of this research is that what are the visual and formal features of Tash'ir in the illustrated version of Jami's Selselatozzehab? The main purpose of this research is to examine the elements of poetry in the illustrated version of Jami's Selselatozzehab. This research is of a fundamental type, with a qualitative approach to the analysis of data using a descriptive-analytical-comparative method. According to the findings and general results of the research, the Tash,ir elements of this illustrated version can be categorized into several sections; The elements of poetry in the illustrated version of Jami's Selselatozzehab series include a variety of plant motifs (such as trees, flowers, slimy snakes), animals (birds, deer, goats, foxes, tigers, Kailin and Simorgh) and supplementary motifs (clouds, rivers and imaginary creatures).