نشریه نگارینه هنر اسلامی
پیاپی 28 (پاییز و زمستان 1403)

The painting of a fairy (pari) playing a harp while riding an intra-hybrid camel in the Museum of Islamic Art in Berlin is considered one of a series of paintings showing inter-hybrid camels, with a fairy riding on it, which was popular during the Mughal painting school, as well as with some changes over time at other schools of Indian painting. There is a visual and semantic appeal to this painting which explains its popularity. There was a great deal of popularity in Mughal paintings during the 16th and 17th centuries for portrayals of inter-hybrid creatures. These symbolic works primarily portray animals such as elephants, camels, horses, etc., whose bodies are made up of all or parts of another animal's body. This paper by using the iconology method, in line with prioritizing the content structure of the painting, by using library and internet sources tries to find the answers to these questions:- According to the symbols and signs in the work, what is the topic of this painting- Which historical event does this painting refer to- What meaning was received in the stage of iconological interpretationThe results of the description, analysis and interpretation of this painting show that the main topic of the work at the second level and analysis is "love" and the importance of the position of the beloved, with the lover, so that his position is above all, even the lover himself. Also, the work probably refers to Salim, the son of Akbar Shah, and his unfulfilled love, In addition, on the third level and interpretation, the intrinsic meaning refers to the Mughal territory, which is in peaceful and tranquility. It is led by a powerful, just , glorious, divine king; so that all people live in it whit peace and security.  

As a major reservoir of Qajar art heritage, Golestan Palace Museum houses nearly thirty calico (Qalamkar) molds, of which seven depict human figures. The peak of calico art is often associated with the Safavid era, with the predominant themes of this print art, across all period, particularly Qajar era, being largely centered around botanical imagery. This study aims to examine the thematic elements of those Qajar calico molds that contain human figures in order to challenge demonstrative themes in these molds in relation to visual arts of the time such as painting, while proving presence of human figures in the calico molds of that period, identifying them conceptually. Therefore, the question of the research is “How can Qajar calico molds (of Golestan Palace Museum) be thematically assessed by examining their human figures” This historical research was conducted using a descriptive-analytical approach, with its data being gathered through documentary and field method. The findings revealed that the human figures depicted in these Qajar calico molds were demonstrated in a somewhat naturalistic style making it possible to read them in comparison with other visual arts of the period. These figures contribute to construction of forms and, more importantly, to the methods of representation of the contemporary visual arts of the Qajar era. It appears that these calico molds were used for preparation of textiles with sceneries of Mi’raj of the Prophet Mohammad and depictions of Shah Abbas Safavi and Nader Shah, as well as butlers, musician, and servants. Therefore, it can be asserted that they reflect religious, royal and ceremonial themes, with examples of elements contributing to formation of royal circles being more prominent, similar to other cultural and artistic expressions of the era.

One of the common themes in the illustrated Shahnamehs is the image of "Killing Rostam Sohrab and finding signs and lamenting over him", which was depicted based on the common methods at the time of its creation. This writing, from the point of view of nature and method, is descriptive, analytical-adaptive, which is from the set of qualitative methods and is fundamental in terms of purpose. The collection of information is in the form of library and documents, and the body of study includes analysis, adaptation, and examination of the relationship between text and image in the subject of research; The research community is three images of three Shahnamehs (with the theme and Shahnamehs mentioned in the title). This article, in line with the goals, seeks to answer these questions: 1. Despite the same theme, what is the commonality between the images of this research 2. What tricks has been used by the artist to display the visual narrative in the poem and the degree of fidelity to the text in the researched paintings The results indicate that; In showing this narrative, the painters acted like a photographer and recorded the peak moment of the tragedy for the audience, which has a high dramatic load. The method of showing the tragedy of Rostam and Sohrab in the examined pictures is symbolic and the painters have used the form, color, moods and symbolic elements, in line with the period of creating the picture. The painters of the three versions, apart from using the literary narration in the main parts of the story, other things such as the surrounding environment and the people in the picture, have used imagination and painting tricks.main characters, can be seen in the text. It was faithful and other things are related to painting tricks.

Abu Zaid Kashani is one of the most famous potters of the Islamic middle ages. He is one of the few potters who left his signature on his works. The accuracy in processing the design and the type of writing of the inscription has made him a prominent artist in the history of pottery during the Seljuk period. The necessity of conducting the research is that despite the presence of a number of high-quality vessels in design, color and composition and close to Abu Zayd's working style. As a result, identifying and analyzing the stylistic characteristics of Abu Zayd's works in signed and dated samples is important in that it can pave the way for the attribution of unsigned works to the artist. By analyzing the conceptual and visual characteristics of Abuzid pottery, he reached a more specific pattern in relation to the stylistic recognition of the works with the artist's name and signature, and a more scientific criterion. be made The question is: what are the conceptual and visual commonalities and the main characteristics of Abuzaid Kashani's pottery From the point of view of the fundamental goal, the future research is comparative-analytical and the method of collecting library-documentary information. The qualitative research implementation method, in terms of research structure, Phillips theory 3 has been used.
The characteristics of the pottery signed by Abu Zayd are unique in the processing of painting details, human figures, animal, geometric motifs and the type of composition, as well as in the inscriptions on the dishes and poems attributed to him, and it has expressed the artist's effort in the degree of realism and narration. From this point of view, it can be concluded that he has given the same value and importance to the aesthetic aspect of his works as the practical aspect.

Early man attributed all his illnesses or misfortunes to evil spirits, jinn, and supernatural forces. As time passed, and even his awareness of the causes of some natural and ordinary events, his fear of evil spirits did not decrease. For this reason, he developed a strong desire to use amulets, talismans, and charms. This led to the creation of a culture that was based on the need for treatment and healing, answering prayers, warding off disasters and evil, and attracting good and positive forces, which has continued to exist to this day. The purpose of this research is to examine the importance of made artistic tools and objects and their use in the ritual and religious culture of praying, healing, and warding off disasters, and to reveal the two-way existential dependence between this culture and the containers and objects of art. In fact, the culture of praying, healing, and warding off disasters led to the creation of related works of art, and on the other hand, the manufacture of these objects led to a tangible belief in the effectiveness of this culture among believers. The use of amulets and talismans is actually a magical act, and in a magical worldview, the need for a magical act increases when an illness or disaster occurs, or, with a positive outlook, a good purpose such as healing is urgently needed in its use. Therefore, amulets, talismans and talismans can have three main uses: warding off calamity and evil; attracting positive and good forces; fulfilling human needs and desires. On the one hand, these objects are considered blessed and sacred objects because they have verses of the Quran, divine names, the names of the Prophet (PBUH), the infallible Imams (AS), prayers and sacred symbols engraved on them. On the other hand, the sanctity of these objects can be due to the belief that they are intermediaries between the supplicant and God or the prophets and Imams (AS), and for this reason, from the perspective of those who believe in this attitude and belief, the term blessed and sacred objects can be applied to them. The sanctity of these objects was not only prevalent among the common people, but rulers and nobles also turned to these objects for their needs, and this and court orders led to the production of luxurious artistic objects during the Islamic era.

Murals of the Qajar era particularly in the historical houses are considered a valuable treasure of cultural, religious, and social concepts of this era. These figures have often been depicted with specific accuracy and elegance. These are symbols of the beliefs and worldviews of the people of that era and can be studied as a visual document to recognize developments in Qajar art and architecture. The Qoreyshi House in Amol, as one of the most outstanding samples of this era, containing varied murals full of symbolic concepts provides a unique opportunity for semiotic analysis. This research tries to reveal the relationship between figures and Qajar's religious, cultural, and social beliefs with the goal of deeper investigation of hidden meanings and concepts in various layers of mural figures in this house. Murals analysis in this research is higher than a mere description. It seeks their hidden meanings and symbolic implications to obtain a comprehensive perception of the artistic and religious views of artists and audiences of that era. The questions of this research are: 1-What concepts are observable in murals of Qoreyshi House in Amol 2- What is the semantic load of the figure layers in the Qoreyshi House in Amol based on the visual semiotics approach The methodology of this research is descriptive-analytical. The sampling method is selective with a sample size of four general murals, which themselves have twelve minor figures. In addition, it was qualitatively analyzed using a visual semiotics approach based on implicit and explicit implications. The mural figures of Qoreyshi House in Amol include animal, plant, symbolic, human, and hunting classifications where the peacock figure implies preventing Satan from entering the building, the rabbit figure implies bringing enemies to their knees, the woodpecker figure implies protecting the trees, and the comb figure implies generally human protection, respectively. There is an explicit implication to the role of a life tree in plant classification in the form of a cedar tree and a vase pattern. The life-tree figure is a symbol of the Tuba tree, and using vase figures motivates sensory stimulation in the eyes of the audience on the exterior of the building. Dragon in the classification of symbolic figures implies neutralization of negative force, the sun goddess implies the divinity and essence of the Almighty, and the bird-woman implies angels and archangels. The human figure of a hunter-man reflects the daily life of the native artists, and the lion and deer fighting in the figures classification is a symbol of the power and glory concept. The results showed the figures' impressibility from Iranian cultural and religious beliefs and social classes of the Qajar era. Regarding the cultural and artistic importance of the Qajar-era buildings, their protection is essential. Therefore, it is suggested to get inspired by the decorative figures of these buildings in contemporary art to protect this heritage and connect the past and present.

The historical complex of Takht -e Soleyman in Takab, West Azerbaijan, includes valuable monuments and cultural materials from the Ilkhanate period, in addition to the Sassanid artifact. During archaeological excavations in the 1960s at the Takht-e Soleyman complex, a large number of Luster tiles were discovered from Abaqa Khan's Palace, with over a thousand pieces transferred to the National Museum of Iran. Despite this tile collection's qualitative and quantitative richness, their organization and complete study in the museum have not been carried out in the past decades. In response to this, the present research was initiated to organize, classify, and typologize the Luster tiles. Given the artistic significance of the samples, further studies were conducted with an aesthetic approach to explain the visual characteristics and principles governing the composition of the tile's visual elements. The article addresses the following questions: what are the visual characteristics of the Luster tiles in the National Museum of Iran, and what information does their typology provide regarding the most common forms, motifs, and inscriptions How are the principles of composition and arrangement of visual elements on tiles used to create aesthetic value To answer these questions, the documentation, photography, and organization of the tiles were first completed. Subsequently, the aesthetic components of the tiles were analyzed by studying the principles of composition and the application of primary visual elements in their decoration. The results of the classification and typology indicate the presence of six types of tiles: "small flat eight-pointed star without inscription", "large flat eight-pointed star with inscriptions", "eight-pointed star with relief motifs", "borders with relief inscriptions", "borders with relief motifs" and "cross-shaped or cruciform tiles". Among these, the eight-pointed star is the most common form, with plant motifs, followed by arabesque designs, being the most frequent motifs. Symmetrical, radial, and repetitive composition patterns are seen in more than two-thirds of the tiles, contributing to a sense of proportion, harmony, and stability in the tile designs. The high percentage of about 85% of tiles featuring decorative motifs, compared to the small number 4% with narrative or storytelling motifs, suggests that for both the artists and the patrons, ornaments and beauty were prioritized over the communication of a message. Composition patterns and visual elements were employed to achieve proportion, balance, symmetry, order, harmony, stability, and ultimately, the creation of beauty.

The conquest of Iran by the Mongol people caused a lot of damage to Iranian culture and civilization and left a hard-hearted image of the Mongols. After they defeated the opponents with the force of the sword, they inevitably carried out policies to gain the legitimacy of their government and used various methods to achieve their goals, which created social and political stability in this period. The purpose of the current research is to investigate the different ways that the patriarchs used to legitimize themselves in this period. The main question of this research is: How and by what tricks were the Mongols accepted in Iranian culture and were they able to gain the necessary legitimacy to rule over Iranians The method of conducting the present research is descriptive-analytical and the findings of the research show that giving legitimacy to the Ilkhans is mainly done in the form of paying attention to religious values and cultural beliefs.

The legacy of crafting wooden Minbars in Iran, a practice dating back to the Seljuk era, has been maintained through various historical epochs, each marked by distinct preferences. Throughout these times, master artisans, often hailing from long lines of carpenters, have created pulpits of varying dimensions and designs. These Minbars are considered exemplary of Choi Islamic art in Iran. Given the Minbar’s fundamental role in mosques and its significance in religious and artistic expression, it serves as an excellent reflection of the architectural and decorative styles of its time. Consequently, documenting these works is vital for preserving Islamic Iran’s heritage. This study aims to explore and scrutinize the design, function, and craftsmanship of wooden Minbars from the Seljuk to the Safavid era in Iran. The central question addressed is the nature of the form, function, and craftsmanship techniques of these Minbars during the specified period. Employing a developmental research approach, the study compares various examples descriptively and analytically, using predetermined criteria. Data for the research was gathered through fieldwork and library investigations, spanning the time from the onset of Seljuk rule to the conclusion of the Safavid dynasty in Iran (428-1343 AH), within the present-day borders of Iran. The author’s findings indicate that, from the Seljuk to the Safavid period, including the Timurian era, only a handful of examples exist, with a significant increase observed during the Qajar period (at least 27 instances). Consequently, 24 historical Minbars from the aforementioned timeframe were selected for analysis, excluding the Qajar era. The study reveals that Iranian Minbars reached their zenith in terms of construction and ornamentation during the Seljuk and Timurid periods. Notably, during the Seljuk era, various components of the Minbar, such as the multi-sectional body, railing, base, and crown, were most prevalent. This could be attributed to the influence of financial patrons and the artisans’ prior works, none of which survive today. However, the Timurid period is identified as the pinnacle of wooden Minbar craftsmanship in Iran, particularly in terms of embellishment. This assertion is supported by the prevalence of features such as numerous steps, light apertures, botanical patterns, and entryways.

Qajar art has undergone fundamental changes in its important historical intersection, including the entry of industry and extensive communication with European societies. The art of tiling has also carried a part of traditions and methods, and at the same time, it has undergone major changes. The arrival of Europeans and orientalists and contact with Iranian society has added to the scope of these changes or given direction to them. The upcoming research aims to study the art of Qajar and especially the tradition of tile painting of the Qajar era based on a critical approach to the discourse of oriental studies and has addressed the following questions. How has Qajar period tile painting led to the reproduction of the discourse of Orientalism And basically, what is the relation of the tiles displayed in the museums and collections of the Westerners to the components of the Orientalist discourse The research is fundamental and descriptive-analytical. The critical discourse analysis method of "Norman Fairclough" is the basis of the research, and the critical approach to the discourse of Orientalism and the theories of "Edward Said" has formed the theoretical framework of the research. The results of the research show that an important part of the Qajar period tile painting, especially the works that were made to order, is related to the main components of orientalism, i.e. "asynchronization and imaginary east", "westernization" and "foreignization" to the representation. The discourse of oriental studies has been discussed. In this way, as an object of study in western museums, it has been significant for orientalists to display aspects that define Iranian art and society

This research examines the aesthetic and formal transformations of the Nasta'liq script, particularly in the treatise *Sirat al-Khatt* by Sultan Ali Mashhadi, using Gérard Genette's method of hypertextuality. Nasta'liq, as one of the most important Islamic scripts, is a delicate and fluid combination of the Naskh and Ta'liq scripts, and its evolution has been influenced by various factors, which are analyzed in this study as influential pre-texts.Genette's hypertextuality method, one of the five branches of transtextuality, explores the relationship of derivation between texts and the pre-texts that shape a given text. In this research, religious pre-texts, Sufi tendencies, the role of artistic patrons, and the cultural circle of Herat are analyzed as factors contributing to the formation of the hypertext *Sirat al-Khatt*.The findings of this study reveal that the hypertext *Sirat al-Khatt* has been influenced by religious, social, and cultural pre-texts. Specifically, Shiism and Sufi tendencies have manifested in a stabilized form within this text. Additionally, elements such as seclusion and solitude, the importance of learning from a master, and the emphasis on practice and repetition—principles rooted in Sufism—are clearly evident in this hypertext. Furthermore, artistic techniques and methods prevalent in the workshops of Herat, such as pen trimming, paper selection, burnishing, and sizing, have also influenced the text in a trans-textual manner.The significance of this research lies in its examination of an authentic Persian calligraphic work within the framework of the cultural-artistic society of Herat during the Timurid era. It demonstrates that *Sirat al-Khatt* is not merely an isolated artistic work but rather the product of complex interactions among religious, social, and cultural pre-texts.

Decorative motifs always constitute an important and main part of works of art. These motifs contain concepts such as beliefs and ideas, desires and wishes, customs, traditions and different cultures. The motifs used in pottery have principles, rules and order that indicate the importance and position of the geometric system and compositional structure in works of art. The historical city of Jurjan, with its long history, was one of the important centers of pottery in the Seljuk period, and the value of its pottery works is such that it is placed alongside other important centers of pottery of that period. The aim of this research is to identify the compositional structure of motifs on the pottery of the city of Jurjan in the Seljuk period and seeks to answer the following question: What is the compositional structure used in the motifs of the pottery of Jurjan in the Seljuk period This research, using a descriptive-analytical method, describes and analyzes the motifs of some pottery of the city of Jurjan in the Seljuk period. The present research is of the type of fundamental and qualitative research and the data collection method is also library. According to the findings of the research, the artists of Jorjan in this period were familiar with various compositions and used proportions in creating their works in various functional containers, including plates and bowls. The motifs used in Jorjan pottery are based on four-, six- and eight-piece compositions, asymmetrical, inverted, diffused and concentrated. Issues such as symmetry, unity and dispersion, visual movement, density of motifs and balance of surfaces have been examined.