نشریه مطالعات تطبیقی هنر
پیاپی 24 (پاییز و زمستان 1401)

Identity is the line between "me / the insider" and "them / the other". The characteristics that distinguish us from others are the most important factor in our self-knowledge, but this path of identification does not always work correctly. The West, and specifically Europe in many historical periods, has attempted to construct identities with specific characteristics in various ways. The premise of this research is that the artworks of Jean Leon Gerome are in this format and can be studied. Therefore, this research tries to find out in the form of the main question, "What are the characteristics of the representation of identity in Gerome's artworks?" The main hypothesis of this research states that identity in Gerome's works is based on Orientalist features and has little relation to the situation in Eastern societies. This research has been done by descriptive-analytical method and the required information has been collected by library method. This study examines the representation of identity in Gerome's artworks based on the Orientalist approach in the works of Edward Said. According to this study approach, from Said the West's point of view, in order to acquire the characteristics of rational, logical, advanced, moral, etc., in representing the identity of the East in another position, described them as emotional, irrational, backward and immoral. This introduction was also made through the creation of an Orientalist discourse in which art and works of art were also involved in its formation and had a significant impact on the expansion of the constructed identity of the East. The findings of this study indicate that Gerome in his works sought to promote and expand the identity created by the West, which contradicted its reality. He also created works with a minimal encounter with the wider Eastern world, representing their Orientalist identities, and in this way considered racial superiority, moral inferiority, and colonial goals.

With the motto “Less Is More”, minimalism is a view and style whose main characteristic is to express the essence of phenomena while being concise. This view, which is made possible by the motto “Zu Den Sachen Selbst (to the Things Themselves)” through epoché and phenomenological reduction (bracketing) is in harmony with Edmund Husserl's philosophy of “Essences of Things” in phenomenology; perhaps most representatives of this philosophy in the arts can be found in the essence of graphic design. Advertising design works as one of the most important sub-branches of graphic design can be a suitable ground to examine this view. Accordingly, some questions can be raised: what is the relationship between the phenomenological aspects of minimalism and the design and understanding of works in graphic design? And how can brevity in minimal expressions connect with the method of “Wesenseinsicht (Seeing Essences)” in Husserl's phenomenology? The present article is based on the key concepts in Husserl's phenomenological thought, following the way they appear and emerge in creating minimal works in graphic design. In this regard, first, the main of Husserl's phenomenological concepts, such as epoché, phenomenological reduction, and seeing essences are briefly discussed, and then their manifestations in creating, experiencing images, and receiving graphic design works were explained and described. Examples of graphic works were selected through an intensity sampling, as a strategy of purposeful sampling method in the current qualitative research based on the inclusion criteria and presented via a descriptive-analytical method. The results indicated that minimal expressions in graphic design can be considered as phenomenological expressions that make design and accompanies the audience up to the image experience through “seeing essences” and “essential structures” of phenomena, especially concerning the component of essential necessity.

Jahānnāma Pavilion at the beginning of Čahārbāḡ Street is one of the famous palaces of the Safavid period, which, like many other palaces of this period, was completely destroyed during the Qajar era and specifically, the rule of Ẓell-al-Solṭān. With archaeological excavations in the approximate area of the palace in 2014, in addition to determining its exact location, a significant number of seven-color tile pieces with plant motifs were obtained. The present study was carried out with the aim of identifying the plant motifs used on the tiles of the ruined palace of Jahānnāma and finding the similarities and differences between these motifs and the plant motifs of the tiles of the remaining Safavid palaces in Isfahan and identifying their indicator Characters. The research questions are: What kind of plant motifs are mostly used in Jahānnāma Palace tiles? And what similarities or differences these plant motifs have with the plant motifs on the tiles of other Safavid palaces in Isfahan? The information of this research has been done through the method of finding and collecting library documents and texts on the one hand, and on the other hand, field investigation on 141 pieces of remained tiles from Jahānnāma Palace and compare them with the patterns of tiles of other palaces remaining from the Safavid period in Isfahan. So the research method is descriptive-analytical and comparative. The results of the research show that among the plant motifs in the tiles of Jahānnāma Palace, Eslīmī and ḵatāʾī motifs have the highest quantity, respectively, and these motifs, with their vast subsets, show that they are very similar to other motifs found on the tiles of other palaces in Isfahan. In all four researched palaces (ʿĀlīqāpū, Čehelsotūn, Haštbehešt, and Jahānnāma), the greatest similarity can be seen in the combination of Islamic motifs with ḵatāʾī motifs, while in some parts, ḵatāʾī motifs are used individually and only in one of the palaces.

During the rule of different governments and the reign of various rulers in Iran, the acceptance of the political and royal text of the Shahnameh and the addition of new meanings through illustrations provided a kind of political-cultural legitimacy for the clients of illustrated Shahnamehs. Throughout the Timurid period and the rule of Shahrokh and his three children, who acted as local rulers and were active in book illustration in the capital or elsewhere, the commissioning of Shahnameh was of special interest. Ibrahim Sultan in Shiraz, Baysunghur, and Mohammad Juki in Herat each had ordered a manuscript of Shahnameh with similarities and differences in their libraries. These Shahnamehs can be discussed in various ways, but the question here is whether these brothers, who all three died before their father and never attained the crown, dreamt of becoming the king? Assuming that the illustrated Shahnamehs are influenced by their contexts of origin, can we find a trace of their desire to be the king in these versions? For this purpose, initially, the political position of the princes and how they were crowned and delegated power in the Timurid period have been studied in historical resources. Subsequently, the commission of Shahnameh and historical books in this family and specifically the three Shahnamehs belonging to these three princes have been analyzed. After that, the three components of court scenes, paintings on the subject of father and son, as well as brothers, have been examined considering the connection between these manuscripts to the issue of power and succession, according to historical reports. In the end, it is shown that these manuscripts of Shahnameh, with the stories that have been chosen to be illustrated, are in the form of a political statement of its patrons and portray their mentality towards the monarchy.

In the second half of the 20th century, one of the important currents that introduced exogenous criticism to the modern theoretical foundations was the school of spiritual traditionalists. Even though his writings were considered one of the first and most important steps of non-western researchers in explaining the position of the artist and identifying the esoteric roots and principles governing traditional works of art and architecture; due to the philosophers and comprehensiveness of the dominant approach of these thinkers, we witnessed a general view of the nature of traditional art and architecture patterns, which less in the field of methodology, focused on how to achieve the principles of tradition within the framework of a work in its specific time and place. The existence of this ambiguity; More than ever, it's fueling the chaotic atmosphere that dominates contemporary theoretical studies of architectural history from the traditional point of view and the orderly framework of the ruling part. On the other hand, at the same time, we have witnessed the emergence of specialized researchers such as Christopher Alexander who, in criticizing the modern approach, tried to explain more methodically, objectively, and process-oriented patterns in the field of quality architectural design. The upcoming research is trying to use the research method of comparative studies and the George Beredy’s model method, while comparing The two model systems mentioned and expressing the points of commonality and difference of these two views in the three main axes of nature, structure, and mechanism. Then, taking into account the special and relevant features of each one, by examining the research and setting up the three analytical frameworks (the series of structuring verbs, actions and interpretation), it is trying to adapt the readable and process-like expression of Alexander with the semantic structure governing the traditional architectural model, the possibility Empowerment and greater clarity of the pattern system of spiritual traditionalists in the form of a network of triple human patterns (inherent virtues of the architect), actions (current qualities) and physical (spiritual, mystical and aesthetic traits) enables.

Head covering is one of the components of Iran's clothing culture, which, while inducing special concepts, has considerable diversity and is representative of social classes. The aim of the article is to understand the role and form of men's head covering in the Timurid and Safavid periods. Therefore, the research seeks to find out what the role, form and variety of head covering was in these two periods according to the illustrations of two Shahnameh Baysonghori and Shah Tahmasp. And what are the similarities and differences between these courses? The research approach is qualitative, and the method is descriptive, historical and comparative. In this historical process, the shape and form of hats, war helmets, turbans and crowns in the two Shahnamehs have been analyzed. The research findings show; Men's head covering of the Safavid period was influenced by the head covering of the Timurid period, but it can be said that in the Safavid period, the diversity of the form and the role of the headgear changed a lot compared to the previous period. Also, according to the style, form, color and decoration of hats and headgear, one can understand the social position of people wearing Covering the headgear. As a result of the Safavids' change of religion from Sunni to Shia,  witnessed extensive changes in the area of men's head covering during this time. The Qazalbash crown or turban of 12 Turks with a red rod, which was the symbol of the Shiites of the Twelve Imams, is one of its prominent examples.