نشریه رهپویه هنرهای صناعی
سال سوم شماره 2 (پیاپی 8، تابستان 1402)

Coffeehouse (Qahveh khaneh) painting is a folk painting method that flourished by spreading in coffee houses during the Qajar period and by prominent painters. While benefiting from a rich cultural background, these paintings are simple in form and have deep content. The Bazm (ceremony) theme is one of the recurring themes in Iranian culture and art. It is regarded as one of the main themes of coffee house paintings. This research aims to examine the visual aspects of two Bazm paintings: "Kai Khosrow's Court", and "Shab-e Chelleh", and to analyze the thematic features of these paintings performed in connection with the political, social, and cultural conditions of the Qajar period. Therefore, the current research aims to answer the question: What are the visual and thematic characteristics of the two coffeehouse paintings with the theme of ceremonies (Bazm)? Considering the fundamental goal, the research is descriptive-analytical with a qualitative approach, and data is collected through library studies. The research findings reveal that the visual features of the two paintings reflect composition and perspective inspired by Iranian art. They portray the scene from a front and overhead angle to enhance depth and provide a clearer view for the audience. The paintings exhibit a uniform light distribution without shadows, utilizing simple forms and realistic characterizations. The clothing and architectural elements are adapted to the Qajar period, while the adoption of bright, transparent colors aligns with the harmony of the form and content. Empty spaces are minimized, with rameshgaran (performers) and khoniagaran (singers), and female musicians prominently depicted as central figures in the joyful gatherings of Iranian culture. The ceremonial themes in these works narrate two types of Bazms, including the Bazm after victory in the ruling class, and the Shab-e Chelleh (Yalda) celebration in the common class. The Bazm theme in these works reflects the cultural characteristics, hopes, and aspirations of the people. The main theme of the narrative of both works promises the victory of good over evil, the ultimate domination of light over darkness, and a bright future that is a full-view mirror of the political, cultural, and social conditions of the Qajar period after the constitutional movement. Coffeehouse painting effectively established a form of social art by using the traditions of Iranian painting and some features of Western painting in close contact with the people; an art in which attention to culture, traditions, national myths, needs, and people's opinions were prioritized.

"Islamic art" is a word that was first used by Orientalists. Despite the many definitions of "Islamic art" presented so far, it is still discussed and investigated by thinkers, since Islamic art cannot be considered a specific movement or style. In this research, the concept of "Islamic art" is considered from the point of view of Sheila Blair and Jonathan Bloom, and the comparison of their point of view with the approach of semanticists and essentialist orientalists. Now this question is raised, what was the purpose of Islamic art from the point of view of Blair and Bloom, and what was the approach of these two researchers in the study of Islamic art and the classification of these works in comparison with orientalists of the essence of belief and semanticists? The purpose of this research is to analyze the concepts and approaches related to Islamic art from the point of view of Sheila Blair and Jonathan Bloom and compare their point of view with the approach of semanticists and essentialist orientalists. The research method of this research is qualitative and its presentation method is descriptive-analytical. Information has been collected based on studies and library documents. The results show that regardless of the definition of art in the West and because of the lack of a specific definition of Islamic art, Blair considered it free from the restrictions of region, period, school, or specific style and considered the works in the realm of Islam as "Islamic art". On the other hand, Blair and Bloom promoted the Western-based study approach to the level of interpretive-based studies, but the approaches of these two researchers contrast with the object-oriented and traditionalist orientalist approaches.

The connection of miniature with other arts has provided interdisciplinary studies, especially comparative and inter-textual studies. Inter-textual studies have adopted different theoretical approaches in their historical course. This has led to the expansion of the scope of studies. These theories can be seen in topics such as Bakhtin's dialogism, Yulia Kristeva's creative intertextuality, Roland Barthes' and Michael Rifater's and Genie's reading intertextuality, as well as Gérard Genet's trans-textuality. In this sense, examining the inter-textual relationships of different arts in a period can help explain the influence and effects of these arts.Among the arts that flourished in the Safavid period, we can mention the reverse painting on glass and the miniature. Despite the closeness of time and their historical and artistic importance, the influence and effects of the works of art belonging to each have not been studied. The art of reverse painting on glass was a decorative art, and after becoming prominent in European countries, it moved to Asian countries and entered Iran in the Safavid period. Iranian artists found a particular ability in this art, gave it a native color and flavor like miniature, and popularized it. Iranian miniature flourished during the Safavid era with the formation of different art schools concurrent with the political and social developments of the time.Despite the closeness of time, the influence and effects of reverse painting on glass and the miniature of the Safavid period have not been adequately studied. Also, its investigation and the relationship between different pictorial texts with an inter-textual approach can lead the way in better explaining these relationships. Therefore, the current research aims to investigate the inter-textual relationships in the mentioned artworks of the Safavid period based on Michael Rifater's theory and tries to answer the main question of what inter-textual relationship exists between the art of reverse painting on glass and Safavid period miniature. As one of the prominent figures in inter-textuality, Michael Rifater was inclined towards reading inter-textuality. Therefore, in Rifater'sopinion, the reader is the central axis and builds inter-textuality.The research method is descriptive-analytical, and the information was collected using library and internet sources. The research findings show that according to the reviewer's opinion and the central role of the audience in reading the text, there is a possible inter-textuality between the reverse painting on glass and the miniature of the Safavid period. The reverse painting on glass of this period shows the influence of other visual texts while maintaining its unique characteristics.

The Bayazid Bastami Tomb Complex in Bastam houses various artifacts from various historical periods. Previous research on this complex has focused on describing the mihrab, inscriptions, decorative motifs, and geometric relationships. This study examines the imagery and epigraphy of the mihrab in the men's mosque of Bayazid. The research questions addressed include: "What forms do the motifs in this mihrab take?" and "What types of scripts and texts are present in the epigraphs?" The research method is descriptive-analytical with a qualitative approach. Data collection methods include library research, field observations, interviews, and photography. The findings imply that the motifs and epigraphy of the mihrab were made of stucco used with the protruding stucco (barhashte) technique. The inscriptions are in Kufic, Suls, and Naskh scripts, set against backgrounds of vegetal and geometric patterns, and contain texts from the Holy Surahs of Tauba, Baqarah, Jinn, various sayings, and the phrases Allah Rabbi and Muhammad is my prophet. The mihrab motifs can be categorized into three types: Vegetal motifs such as dragon-mouth designs, Khataei stems, flowers, and leaves; geometric motifs including interlacing patterns, polygons, and simple geometric shapes; and a combination of intertwined geometric-vegetal designs or relief work on vegetal patterns. Symmetrical balance in the mihrab and harmony between imagery and epigraphy can be seen in the inscriptions. The mihrab and its geometric and vegetal motifs display a structured and regular geometric relationship based on golden ratios.

Greater Khorasan and the city of Herat are part of the crucial cultural bases of Iran, especially during the Islamic era and the Middle Ages, which has always been the cradle and platform for the cultivation of all kinds of Iranian and Islamic arts. In the meantime, metalworking and the production of all kinds of functional metalworks with high levels for the nobility and aristocracy was one of the prominent arts of Herat, which, in terms of technical and artistic dimensions, could surpass other schools of metalworking in the Islamic world like the centers of western Iran (Jaziratol-Arab-Mosul). Despite this, Herat was neglected as an effective pole of Khorasan in metalworking. Hence, introducing the Herat metalworking school and technical and aesthetic analysis of four significant works attributed to it is the aim of the article; the leading question of the research is: what are the dimensions and technical and artistic components of the studied works of Herat? The findings suggest that the metalworking center in Herat, in addition to influencing other schools in western Iran (such as Aljazeera-Mosul), introduced new technical and artistic dimensions that were original and distinctive for its time. Production methods include casting, molding, and inlaying (finishing metalwork - placing silver or copper metal on the work’s background), which are some of the innovative methods used in that era’s production of works. In the decoration section, various classes of motifs, narratives, and pictorial themes are utilized, including astronomical concepts, twelve forms, symbols, hunting, music, and wine drinking. This research is of qualitative type and descriptive-analytical research method, and the data gathering is through library studying method.

During the Qajar period, the art of book design and painting declined, and methods such as oil, enamel, and lacquer paintings became popular in this era. Paintings with the theme of flowers and birds are among the arts that were growing in this era. The first mentality that emerges after hearing this topic of flowers and birds is the presence of two visual elements of flowers and birds in nature. Artists of different ages have used these two visual elements in different ways and created valuable works. Among the prominent artists of this area in the Qajar era, we can mention Mirza Agha Amami. Mirza Agha Emami has created lasting works in different fields of art such as flowers and birds, gilding, poetry, fuel cover, carpet design, pencil painting, and wooden door decorations. This research tries to introduce five of his works of flowers, to compare the forms of flowers and birds and the visual structure in the visual elements of the selected works, and to investigate the visual components of the studied works. The method of this research has been done in a descriptive-analytical and qualitative manner, and data collection is based on library information. Therefore, this research seeks to answer two basic questions: What similarities and differences do flowers and birds have with visual elements in nature in five selected works? The research results showed that the flowers of Mirza Agha Emami are more inclined to the naturalistic style, and they are similar to natural elements. He has used flowers such as cherry blossoms, primroses, marigolds, dahlias, and jasmine. Pigeons, lunar birds, and partridges can also be seen in his works. Mirza Agha Emami's works of flowers and birds are significantly concentrated regarding composition structure, form, and color, and birds or flowers also have a triangular composition. Balance, lack of dullness, harmony, decisiveness, integrity, variety, and repetition are the visual components of this painting.