@article { author = {ahmadzadeh, farid and Talebi, Marzieh and Salahshoor, Ali Asghar and shavakandi, seyede mahdiye}, title = {Study, typology and classification of carving decorations in the Atiq Mosque of Isfahan With emphasis on the works of Safavid and Qajar periods.}, journal = {Negareh Journal}, volume = {14}, number = {49}, pages = {4-17}, year = {2019}, publisher = {Shahed University}, issn = {2676-7244}, eissn = {2676-7244}, doi = {10.22070/negareh.2019.955}, abstract = {The use of carving technique is one of the most commonly used architectural decorations in the Islamic buildings that the large number of samples being displayed in the mosques of Isfahan. Examining, studying and comparing each of them can be comprised the recognition of their cultural identity. The main purpose of the present study is to identify, classify and analyze the carving decorations based on the type of motifs in the building of the Atiqh Mosque in Isfahan and seek to answer the following questions: 1- Carving decorations of the Atiqh mosque in Isfahan in terms of motifs and themes, what features and samples are included?  2. What the differences and similarities are there in terms of motifs between building’s carving decorations in the Safavid and Qajar periods? This research has been done by descriptive-analytical method based on field studies and library studies and qualitative analysis. The findings of the research show that the carving decorations of the Atiq mosque in terms of technique have three types of bossy, high reliefs (Barheshte)  and negative engraving, and from the function point of view are divided into the inscriptions, trough, mihrab, flowerpot decorations, columns and semi-columns, stone windows and conical decorations. Accordingly, the different motifs of the mosque carvings in order of frequency are categorized in a variety of geometric shapes (frameworks, flowerpots decorations, moqarnas, decorative screws, knots and other geometric patterns), calligraphy (Nastaliq, Sols and Kofi), and Herbal designs (abstract). These motifs do not have a specific date in many cases, but the dated examples belong to the Safavid and Qajar periods.  In the study of the Characteristics of the Atiq Mosque in Isfahan, the works of carving belonging to the two Safavid and Qajar periods were studied and identified. What is clear is that realism far from the deep mystical and philosophical themes of Iranian art is obseved in the carvings of the Qajar period. These examples have been formed the visual and spatial features of the art of the Qajar period, and in the carvings of the Atiq mosque, these are formed massive, compact, and unreasonable, At the same time, the carvings of the mosque reflect the fact that during the Qajar period, We can see the creativity and variety of artistic decorations in the different spaces of the mosque, but on the other hand, when we see decorations of  carvings and their functions from other aspects such as decorations, sizes, proportions, and shapes, the decorations of carving in the Qajar period have a lower status compared to its past periods, and especially the Safavid period. The shapes do not have the firmness and stability. The proportions are at a lower level than the balanced and harmonic proportions in the previous periods. The motifs of Carvings are in size and extent in limited examples compared to the Safavid period. The special features of Qajar carvings art compared to the Safavid period in the Atiq mosque include: Detailed and busy of motifs and elements in a frame, simplifying the carved lines and their execution without paying attention to the features of decorative arrays and the lack of attention to the form.  In the Architectural decorations, especially carving art, has not been yet given a clear typology and classification in the architecture of the Islamic period, and most typology of researchers have been based on a technique and in a particular building. Therefore, the decorations carving of the mosque of Atiq has been studied and typified by two criteria and principles. The main criterion of classification is based on the decorative stoneworks. The studied inscriptions in this research are often Safavid and Qajar samples are few. The Qajar inscriptions have been inscribed on yellow marble or brown color by Nastaliq script and Persian language, However, in Safavid specimens, mostly gray and black colors are used. The texts of these inscriptions are written with Nastaliq and Sols scripts and in Persian and Arabic languages. Throughs are also from the Safavid and Qajar era in which they are carved into painted or simple. Stone Mihrabs are often carved on yellow marble that date of the Safavid period is seen on the stone itself or other related decorations and there is no stone Mihrabs from the Qajar period from this mosque. Flowerpot decorations in this building have been used in the forms bossy decorations, complementary motifs and high reliefs (Barheshte) in the plinths which have no date and history. But about semi- column which are used extensively, many painted samples are seen in various geometric, plant and inscription motifs. Stone windows often made of marble that thay are with Arabesque motifs are worked in the form of compartmented. And most probably all of them have remained since the Safavid period. Therefore, it can be said that the mosque is unique in terms of carvings.}, keywords = {Carving decorations,Atiq Mosque,Isfahan,Architecture}, title_fa = {گونه‌شناسی و تحلیل تزیینات حجاری مسجد جامع عتیق اصفهان با تأکید بر آثار دوره صفویه و قاجار}, abstract_fa = {استفاده از تکنیک حجاری یکی از شیوه‌های متداول تزیینات معماری در بناهای دوره اسلامی است که نمونه‌های پرشماری از آن‌ها در مساجد شهر اصفهان مشاهده می‌شودکه بررسی، مطالعه و مقایسه هر یک ازآن‌ها می‌تواند بازشناسی هویت فرهنگیشان را در پی داشته باشد. هدف اصلی پژوهش حاضر، شناسایی، طبقه‌بندی و تحلیل تزیینات حجاری بر اساس نوع نقوش در بنای مسجد عتیق اصفهان است و در پی پاسخگویی به سوالات زیر است: 1- تزیینات حجاری مسجد عتیق اصفهان به لحاظ نقوش و مضامین شامل چه مواردی است و چه ویژگی‌هایی دارند؟ 2- چه تفاوت‌ها و شباهت‌هایی به لحاظ نقوش بین تزیینات حجاری بنا در دوره صفویه و قاجار وجود دارد؟ این پژوهش با روش توصیفی – تحلیلی بر مبنای بررسی‌های میدانی و مطالعات کتابخانه‌ی و تجزیه و تحلیل کیفی انجام گرفته است. یافته‌های تحقیق نشان می‌دهد تزیینات حجاری مسجد عتیق از نظر تکنیک، به سه گونه برهشته، برجسته و حکاکی منفی و از نظر کارکرد به کتیبه، سنگاب، محراب، تزیینات گلدانی، ستون و نیم ستون ها، پنجره‌‌های سنگی و کله‌قندی‌ها تقسیم می‌شود. بر این اساس، نقوش متنوعی که در حجاری‌ها به چشم می‌خورد به ترتیب فراوانی در گونه‌های هندسی (قابندی‌ها، گلدانی‌ها، مقرنس، پیچ تزیینی، گره و دیگر نقوش هندسی) ، خط نگاری (نستعلیق، ثلث و کوفی) و نقوش گیاهی (انتزاعی) دسته‌‌بندی می‌شود. غنای تزیینات حجاری بنای مسجد عتیق در دوره صفوی و قاجار دارای اشتراکاتی بوده است، اما کاربرد خط ثلث و نقوش گیاهیِ انتزاعی در حجاری دوره صفوی بیشتر و در مقابل خط نستعلیق و تلفیق نقوش گیاهی انتزاعی و طبیعتگرا در تزینات حجاری بنا در دوره قاجار بیشتر دیده می‌شود. این نقوش در موارد بسیاری تاریخ مشخصی را به همراه ندارد، اما موارد رقم‌دار به دوره صفویه و قاجار تعلق دارد.پراکندگی زمانی این آثار به گونه‌‌ای است که نمونه‌ تاریخ داری از قبل و یا بین این دو دوره مشاهده نمی‌شود.}, keywords_fa = {تزیینات حجاری,مسجد عتیق,اصفهان,معماری اسلامی}, url = {https://negareh.shahed.ac.ir/article_955.html}, eprint = {https://negareh.shahed.ac.ir/article_955_fe19046ac8f993030b44ea29d5013310.pdf} } @article { author = {Akhavani, Saied and Mahmoudi, Fattaneh}, title = {Analyzing the visual themes of Falnama paintings in Safavid era based on the use in prediction (Case study: Persian version of the Topkapi Saray museum Falnama)}, journal = {Negareh Journal}, volume = {14}, number = {49}, pages = {18-37}, year = {2019}, publisher = {Shahed University}, issn = {2676-7244}, eissn = {2676-7244}, doi = {10.22070/negareh.2019.956}, abstract = {Falnama of the Safavid era, includes multiple images with a variety of themes and the main purpose of this study which focuses on the prediction and concludes with a depiction of the fortune telling. Indeed, this research seeks to identify the diversity of the themes in Falnama paintings in Safavid era. The Topkapi Saray museum Falnama, with its fifty-nine paintings, the bound Persian Falnama (TSM H.1702), now housed in the Topkapi Palace Library, is the most extensively illustrated copy. Attributable to the last quarter of the sixteenth century, the manuscript's written and painted folios have been carefully integrated into a unified ensemble. The volume must have entered the Ottoman royal collection sometime belore the reign of Ahmed ii (reigned 1703-30), whose seal appears on the flyleaf and offers a terminus ante quem for its acquisition. Its maroon binding dates from the reign of Sultan Abdulhamid II (1876-1909), at which time some of the folios may have been re-margine. Similar to other Falnamas, the manuscript has an image on the right (verso) and a related text folio on the left (recto), but it is also the only monumental copy to Integrate text and Image on the same page. Each illustration is framed by a pair of couplets in Nasta'liq script that introduces the subject and the general nature of the prognostication. In addition, Koranic verses (aya), copied in gold, blue, or red Muhaqqaq script, appear at the top of each illustrated folio. In many instances, the verses refer directly to the subject of the image; in others, only fragments are used and the connection between the illustration and the sacred text is more opaque. Such a highly unorthodox scheme simultaneously underscores the source of the images and lends them indisputable authority. No other illustrated religious, historical, or literary manuscript attempts to relate its paintings so explicitly to the Koran, which further adds to the exceptional nature of this particular volume. To this end, the question raised here is over the relationship among the concepts behind Falnamas’ paintings with prediction and fortune telling. Being qualitative in nature, the present study adopts a descriptive approach to content analysis with the findings demonstrating that the popularity paintings in Topkapi Saray museum Falnama, in three major religious, literary and astronomical sections, the religious themes have the highest number of paintings of this manuscript. The themes of this version of the Falnama have been used through the narratives to determine good and bad affairs and the predictability of prediction. Also tried by imposing the concept of resorting to the religious themes of the images give legitimacy to prophesy against the Religious prohibition. }, keywords = {Painting,Falanama,Visual themes,Prediction,Safavid era}, title_fa = {تحلیل مضامین بصری فالنامه‌های مصور عصر صفوی بر مبنای کاربرد در امر پیش‌گویی (مطالعۀ موردی: نگاره‌های نسخۀ فالنامۀ فارسی موزه توپقاپی سرای)}, abstract_fa = {فالنامه‌های مصور عصر صفوی دارای نگاره‌های متعدد با مضامین گوناگونی هستند که این نگاره‌ها در جهت هدف اصلی این نسخه‌ها در امر پیش‌گویی و فال‌گیری به تصویر درآمده‌اند. در این مقاله با هدف مطالعه و بررسی تنوع مضامین در نگاره‌های فالنامه‌های مصور دورۀ صفویه، نگاره‌های نسخۀ فالنامۀ فارسی موزه توپقاپی سرای مورد تحلیل و خوانش قرار گرفته است تا پاسخی به این مسئله داده شود که در سنت فالنامه‌نگاری عصر صفوی چه مضامینی تصویر شده؟ و این تصاویر چگونه در ساحت پیش‌گویی و فال‌گیری مورد استفاده قرار گرفته‌اند؟. این پژوهش با روش توصیفی - تحلیلی و گردآوری اطلاعات به شیوۀ کتابخانه‌ای صورت گرفته است. نتایج به‌دست آمده از این تحقیق نشان می‌دهد که مضامین نگاره‌های نسخۀ فالنامۀ فارسی موزه توپقاپی سرای در سه دستۀ اصلی دینی، ادبی و تنجیم به تصویر درآمده و مضامین دینی بیشترین تعداد نگاره‌های این نسخه را به خود اختصاص داده است. مضامین نگاره‌های این نسخۀ فالنامه از طریق کارکرد تمثیلی روایت تصاویر در جهت تعیین سعد و نحس امور و باورپذیری پیش‌گویی مورد استفاده قرار گرفته است. همچنین در این نسخه تلاش شده است تا با القای مفهوم توسل و استخاره از طریق مضامین دینی نگاره‌ها به امر پیش‌گویی و فال‌گیری در برابر ممنوعیت نهادهای دینی، مشروعیت داده شود.}, keywords_fa = {نگارگری,فالنامه,مضامین بصری,پیش‌گویی,دورۀ صفویه}, url = {https://negareh.shahed.ac.ir/article_956.html}, eprint = {https://negareh.shahed.ac.ir/article_956_1f5297f7aa2f4dbb543455a78a3c394b.pdf} } @article { author = {Khosravi Bizhaem, Farhad}, title = {Identifying and Introducing of Nastaliq Inscriptions Calligraphers in Safavids Monuments of Iran}, journal = {Negareh Journal}, volume = {14}, number = {49}, pages = {39-53}, year = {2019}, publisher = {Shahed University}, issn = {2676-7244}, eissn = {2676-7244}, doi = {10.22070/negareh.2019.957}, abstract = {Today, it has been accepted that the learning of calligraphy has been an integral part of the cultural taste and interest of the Safavid community. Some calligraphers of this period, in addition to their letter writing and manuscripts, have also been involved in the writing inscriptions. On the other hand, the Safavid calligraphy community accepted the use of Nastaliq to write verses and poems. What is clearly visible in this is the emergence and presence of inscription's calligraphers along with other Safavid artists. Since many of the calligraphers identified in this study have not been prolific in writing, it can be concluded that they are often engaged in writing inscriptions. This fact reflects the importance of such works in the present research period. In other words, the artistic and cultural context of the Safavid era was such that a new branch of artistic activity emerged independently in the style of Nastalıq inscription in the decoration related to the architecture of this period. The prevalence of Nastaliq inscriptions in Safavid architecture is one of the significant innovations in this era. The inscriptions, in addition to the aesthetic aspects, contain valuable information such as the names of people who are influential in the building of monuments and inscriptions. From this perspective, inscriptions can be considered valid documents in identifying a part of Iranian art history. One of the most researched aspects in this field is the introduction of calligraphers of these inscriptions, which have been studied less in history of calligraphy or have not been considered at all. The general question of the research is as follows: which Safavid calligraphers have been active in the field of Nastaliq inscription and how many works left there? According to that, a fundamental research based on library and field studies was carried out in more than 150 Safavid buildings containing at least 227 Nastaliq inscriptions. The results show that there are 81 signed inscriptions which at least 44 calligraphers have been sign them. According to this research, Safavid Nastaliq inscription started with Sultan Ali Mashhadi in early 10th century A.H. and finished with calligraphers such as Mohammad Saleh Isfahani and Ali Naqi Emami in first quarter of 12th century A.H. They can devided in 3 groups. The first one, included the famous calligraphers such as Mir Emad, Ali Reza Abbasi and Mohammad Saleh Isfahani that there are detailed biography of them in available sources. Another group of these calligraphers are the artists that there are little information about their life and works, such as: Abolfotouh Golestane, Sahifi Johari, Abutorab Isfahani, Ali Khan Beik, Abolmaali Naqib, Shafi bin Abdoljabbar, Noura, Dargahqoli Sharif and Velayatollah Golpayegani. The third group of calligraphers of the inscriptions are the artists who, unfortunately, have not yet found any other work in the manuscripts or collections other than the end of these inscriptions, such as Mohammad Khan, Beman Ali, Abdolvahhab, Nezamoddin Hafez, Adib Majlesi, Abdullah, Mohammad Momen, Mohammad Moqim Mousavi, Khalilollah and Abu Saeed Emami. The most numerous works are belonging to Mohammad Saleh Isfahani, Mohammad Reza Emami, Ali Naqi Emami, Sultan Ali Mashhadi, Mir Masoum Bakri, Ali Reza Abbasi and Hassan Shamlou. In addition to the above, it can be noticed that there is no trace of the inscriptions of Molana Adham, Mir Ali Herawi, Malek Deylami, Mohammad Hussein Tabrizi and Mohammad Shafi Herawi, except for the very brief description and explanation in the sources mentioned. Therefore, it can be studied in future investigations. Also, the form analysis and different styles of these works are also research capabilities that can be done by other interested individuals.}, keywords = {Nastaliq Inscriptions,Safavid Architecture Decorations,Safavid Calligraphers,Calligraphers Indications}, title_fa = {شناسایی و معرفی خوشنویسان کتیبه‌های نستعلیق در بناهای دوره صفوی ایران}, abstract_fa = {رواج کتیبه‌های نستعلیق در تزئینات معماری صفوی، یکی از نوآوری‌های قابل توجه در این دوره به شمار می‌رود. این کتیبه‌ها، علاوه بر جنبه‌های زیبایی‌شناسانه، حاوی اطلاعات ارزشمندی مانند اسامی افراد تأثیرگذار در شکل‌گیری بناها و کتیبه‌ها هستند. از این منظر می‌توان کتیبه‌ها را اسناد معتبری در شناسایی بخشی از تاریخ هنر ایران قلمداد کرد. یکی از وجوه قابل پژوهش در این زمینه، معرفی خوشنویسان این کتیبه‌هاست که در تاریخ خوشنویسی کمتر بدان پرداخته شده یا اصلاً مورد توجه قرار نگرفته است. پرسش‌ کلی پژوهش بدین قرار است: کدام خوشنویسان صفوی در زمینه کتیبه نگاری نستعلیق فعال بوده اند و تعداد آثار به جای مانده از آنان چه مقدار است؟ در این راستا، پژوهش بنیادی پیش رو، بر پایه مطالعات کتابخانه‌ای و میدانی در بیش از 150 بنای صفوی که حاوی حداقل 227 کتیبه نستعلیق بودند، انجام گرفته است. نتایج به‌دست آمده نشان می‌دهد که 81 اثر حاوی رقم خوشنویس بوده و در این میان، 44 خوشنویس، در کتیبه‌ها رقم خود را بر جای گذاشته‌اند که می‌توان آن‌ها را در سه گروه دسته بندی نمود؛ گروه اول خوشنویسان مطرحی چون: میرعماد، علی‌رضا عباسی و محمدصالح اصفهانی هستند که شرح حال نسبتاً مفصلی از آنان در منابع موجود است. گروه دیگری از این خوشنویسان، هنرمندانی هستند که اطلاعات اندکی از احوال و آثار آن‌ها به جای مانده است؛ مانند: ابوالفتوح گلستانه، درگاهقلی شریف و ولایت الله گلپایگانی. سومین گروه از خوشنویسان کتیبه‌ها، کتیبه‌نگارانی هستند که متأسفانه تا کنون غیر از رقم انتهای کتیبه‌ها، نشان دیگری از احوال و آثار آنان در تذکره‌ها یا مجموعه‌ها یافت نشده است؛ مانند محمدخان، بمان علی، خلیل الله و ابوسعید امامی. بیشترین آثار موجود ـ به ترتیب فراوانی ـ متعلق به محمد صالح اصفهانی، محمدرضا امامی، علی نقی امامی و سلطان علی مشهدی است.}, keywords_fa = {کتیبه‌نگاری نستعلیق,تزئینات معماری صفوی,خوشنویسان صفوی,رقم خوشنویسان}, url = {https://negareh.shahed.ac.ir/article_957.html}, eprint = {https://negareh.shahed.ac.ir/article_957_a154d639283b0a718059f711882e26df.pdf} } @article { author = {Rahimi Ariaei, Afrooz and Valibeig, Nima and Mahmoodabadi, Seyyed Asghar}, title = {Morphology of Stamp Brick Bond Ornaments in the Mosques Attributed to Buyid-Ilkhanid Dynasties in Isfahan Province}, journal = {Negareh Journal}, volume = {14}, number = {49}, pages = {55-69}, year = {2019}, publisher = {Shahed University}, issn = {2676-7244}, eissn = {2676-7244}, doi = {10.22070/negareh.2019.958}, abstract = {The two styles of Razi and Azari are effective styles in the Iranian architecture. The Razi style, originated from Rey, began in the Ziyarid dynasty and continued to exist in Buyid, Seljuks, Atabeks and Khwarezmid dynasties. Some architectural characteristic features of this style include the prevalence of domed mosques and the transformation of columned mosques into mosques with porches. In this style, there was an increase in the use of stucco and brick ornament, and images of different types were created. The Azari style was formed in Azerbaijan by the Ilkhanid dynasty. Some believe that, in terms of technique and variety of shapes, the summit of stucco ornaments in the Iranian architecture is related to this period. In general, ornaments in the Ilkhanid period are the succession of those in the Seljuks, yet they are more delicate and intricate. In this style, height is in focus. One of the common characteristics of the ornaments in these two styles is the use of decorations over joints in brick bonds. In the previous studies, ‘shape’ has not been a criterion in the typology of this kind of architectural ornaments; however, the present study has considered it. Regarding the significance of this topic and the shortage of resources, this study aims to present a comprehensive classification of decorations over joints in brick bonds from the perspective of ‘shape’. Therefore, it seeks to answer the following questions: (1) What are the various types of decorations of brick bonds (according to their positioning between the bricks, the shape of the frame and patterns, and their way of distribution) in mosques located in Isfahan belonging to the Razi and Azari styles? (2) What are the similarities and differences between the Razi and Azari styles considering the classification of bonding decorations? (3) How has been the shape transformation of stamps from the Razi style to the Azari style? Since many typical examples of these styles have been built in Isfahan, the samples were chosen from this region. The study used a qualitative research method and was applied in terms of purpose. It was conducted inductively according to the combined strategy. The data was collected using library as well as field resources. The analyses showed that as to their arrangement and positioning between joints, brick-bonding decorations fall into three major categories of horizontal, vertical and diagonal. They are of seven types based on the shape of the main frame (square, rectangle, circle, crossed, toranj, convex and concave polygon). Regarding shape, these decorations are of three major types (fractal geometry, rotating and combined) and has some sub-types of geometric, plant and linear patterns and chain-like strips. Moreover, as to their distribution, five types were identified: complete, half, quarter, recurring and combined. In many of the samples of the Azari style, stamps have created fractal geometry patterns alongside each other, such as floral or inscription. After the simple type of arrangement, the dominant patterns in bond arrangements, especially in the Azari style, are the concealed and stretcher floral bonds. In the Razi style, a single pattern is mostly used on one level while in the Azari style, stamps are varied in terms of size and the type of pattern. In the majority of samples, the highly employed frames were quadrilateral (square and rectangle) and convex polygon stamp frames, respectively. In the Razi style, patterns have usually less depth and simple fractal geometry patterns. However, in the Azari style, patterns are more prominent and complex. Thuluth inscriptions in stamps are used only in the Azari style. Only one sample from eslimi patterns (floral rotating geometry) in the Razi style was identified whose evolution can be found in the Azari style. Many of the stamp decorations in the Azari style were in written form. A combination of curve lines and complex decorations in the background, moreover, has created a kind of thuluth inscriptions known as mosalsal or Ilkhanid inscriptions. Besides, in an attempt to save time and create more delicacy in the Azari style, a kind of fake stamp and brick pattern has been made on a layer of plaster. In this method, a thin layer of plaster has been spread over brick parapet on which brickwork and stamp pattern have been simulated in a fake way. In the background of some of the stamps with inscriptions in the Azari style, dragon-like patterns have been used. From among the samples that were examined, Jame mosques of Isfahan and Ashtarjan have the most comprehensive samples in terms of variety in stamp decorations. The present study is first to present a comprehensive typology of stamp decorations by taking ‘shape’ into consideration. Unlike the previous studies in which time period were mainly emphasized, this study focused on architectural methods and attempted to identify the similarities and differences between the two styles of Razi and Azari.}, keywords = {stamping ornament,mosques of Isfahan,Buyid-Ilkhanate architecture,Razi style,Azari style}, title_fa = {گونه‌شناسی شکلی آذین‌های بند‌کشی مهری در مساجد منتسب به دوره آل‌بویه تا ایلخانیان در استان اصفهان}, abstract_fa = {یکی از ویژگی‌های رایج در تزئینات شیوه رازی و آذری (بناهای منتسب به دوره آل‌بویه تا ایلخانیان)، استفاده از آذین‌هایی در فاصله بین بندکشی آجرکاری است. گونه‌شناسی این قسم از تزئینات معماری با معیار شکلی در کمتر پژوهشی به کار بسته‌شده‌است. لذا هدف اصلی این نوشتار، با درنظر‌گرفتن اهمیت موضوع و فقدان منابع کافی، ارائه گونه‌شناسی جامع و بررسی دگرگونی آذین‌های مهری بندکشی در مساجد شیوه رازی و آذری استان اصفهان، از دیدگاه شکلی است. از آنجا که بسیاری از نمونه‌های شاخص منتسب به این شیوه‌ها در اصفهان بنا شده‌اند، نمونه‌ها از این محدوده گزینش شده‌اند. از‌این‌روی پژوهش پیش‌رو به دنبال پاسخ‌گویی به این سوالات است:”1- گونه‌های مختلف آذین‌های بندکشی مهری (بر‌اساس نحوه ساماندهی در فواصل آجرها، شکل قاب، شکل نقوش و شیوه گسترش) در مساجد شیوه رازی و آذری اصفهان چیست؟ 2- با طبقه‌بندی تزئینات بندکشی در شیوه رازی و آذری چه شباهت‌ها و تفاوت‌هایی آشکار می‌شوند؟ 3‌-‌دگرگونی شکلی مهرها از شیوه رازی به آذری چگونه بوده‌است؟”. روش تحقیق به‌صورت کیفی، از نظر هدف کاربردی، براساس استراتژی ترکیبی و به شیوه استقرایی تدوین گشته است. داده‌ها با استفاده از منابع کتابخانه‌ای و میدانی به‌دست ‌آمده‌است. تحلیل‌ها آشکار ساخت تزئینات بندکشی از نظر نحوه قرارگیری در میان بندها و شکل نقش‌ها دارای دو گونه کلی و براساس شکل قاب اصلی، دارای هفت گونه هستند. مهرها در اکثر موارد شیوه رازی با نقوش هندسی شکسته و در شیوه آذری با نقوش هندسی گردان و با جزییات بیشتر بنا شده‌اند. کتیبه‌نگاری بر مهرها معمولاً به خط کوفی بنایی و گاهی به خط ثلث است. در شیوه آذری تنوع چینش آجرکاری بیشتر گشته و نقوش مهرها در برخی موارد به‌صورت بافته شده، کار شده‌است؛ در اواخر آن نیز گونه جدیدی از مهرها با خط ثلث و زمینه اسلیمی پدید آمده‌است.}, keywords_fa = {آذین مهری,بندکشی آجر,مساجد اصفهان,معماری آل‌بویه تا ایلخانیان,شیوه رازی,شیوه آذری}, url = {https://negareh.shahed.ac.ir/article_958.html}, eprint = {https://negareh.shahed.ac.ir/article_958_8ff7d3074da84853628e6c3b2a526ddf.pdf} } @article { author = {Keshavarz, Hesam and Fahimifar, Asghar and Pourmand, HasanAli}, title = {Mughal Marine Miniatures, The missing Link of The Portuguese Carpets}, journal = {Negareh Journal}, volume = {14}, number = {49}, pages = {71-87}, year = {2019}, publisher = {Shahed University}, issn = {2676-7244}, eissn = {2676-7244}, doi = {10.22070/negareh.2019.959}, abstract = {Today, about the thirteen so-called Portuguese carpets have been recognized at the museums and arts collections around the world. Their strange name must be due to a marine scene at the corners of the carpets’ field which represents European people and ships, a drowned man, some sea creatures and also a furious sea monster. Although, the main features of these carpets are clearly oriental, whether in view of motifs or about technique of weaving, the title of Portuguese remained for them to this day. Surprisingly, despite the title, from the early 20th century an idea on the carpets about having an oriental origin has been totally accepted. As Persia and India were favorites for experts and researchers to attribute the origin of the Portuguese carpets to them, there was never a good and firm agreement on one of them, mainly because no one was enthusiastic for referring to historical documents, nor to get help from history. The popular theory around the meaning of the marine scene and its hidden story was initially unveiled by German orientalist Friedrich Sarre in 1931, who attributed the scene to the Jonah story. Another notable theory have been suggested by American-German historian Richard Ettinghausen that in the early 1960s considered the drowned man of the carpets as a Persian merman. Neither the Jonah story nor European mermen could be the miraculous key to solve the sophisticated problem, because the way of representing through the marine scene has not any common factors with them. Visualization of Jonah in the European arts has been defined in a way as he is swallowed halfway by a large fish. In the Jonah story there are no yelling or gestures from him for surviving. Actually, it was his own choice to be cast in the sea. The carpets’ drowned man obviously gestures for crew to inform them of his drowning. He wants to survive. He wants to live. It is notable that European mermen have not any portrayal in Persia. Perhaps what Ettinghausen had in his mind was Anahita, the Persian goddess of the waters. In this case, Anahita always has a feminine incarnation and she has never been illustrated in the form of a drowned man.     There are many similarities between the marine scene and the Mughal marine miniatures, especially those which are attributed to a great and skillful painter of Mughal courts called Miskina. First time in 1930s it was Hermann Trenkwald who noted the Mughal marine miniatures as a source for the Portuguese carpets. He didn’t extend the subject. In 1972, Charles Grant Ellis presented a Mughal miniature with the scene of death of Bahadur Shah, Sultan of Gujarat, as the fountain-head for the carpets’ marine scene and suggested that the carpet weavers in Gujarat wove the Portuguese carpets in memory of their killed sultan. That miniature is a deadly naval warfare scene, while the marine scene of carpets is not. On the other hand, why the tragic death scene of a great sultan would be woven by his people? If they wanted to commemorate his memory, wasn’t it more desirable to show him on the throne as we could see in oriental cultures? There are many Persian carpets representing the portraits of kings in this way.       This paper enjoyed a comparative study with a historical perspective to compare these miniatures and carpets with the aim of illuminating the origin of the Portuguese carpets. The results show that the motifs such as a man climbing ship mast, rectangular sails, the gharial (Gavialis gangeticus), Europeans who react exaggeratedly to sea misfortunes and a drowned man, could be abundantly find in Mughal marine miniatures and the Portuguese carpets. A fact could be realized that there is no hidden story for the marine scene, mainly because these motifs are everywhere in the marine miniatures without having any connection with the story of painting. So, it is understandable that what was important for the painters was just representing Europeans and their ships on the sea. The Portuguese carpets had been designed by Mughal main painters for the court of Akbar the Great. It is most likely that Miskina was the main designer of these carpets. After him, we should suggest two other painters, Kissu and his pupil Deherras. The carpets were woven by the weavers of Akbar’s court in Punjab, and also in the other main cities of Mughal at that time, including Agra and Fatehpur Sikri and Lahore. Based on the historical documents, the main purpose for doing such a weird oriental carpets in India could be for trading purposes at the end.}, keywords = {carpet,Miniature,Portugal,Mughal,India,Iran}, title_fa = {مینیاتورهای دریایی مغولان هند، حلقۀ مفقودۀ فرش‌های پرتغالی}, abstract_fa = {سیزده فرش و فرشپارۀ شرقی از سده‌های شانزدهم و هفدهم که در تاریخ هنر به فرش‌های پرتغالی شناخته می‌شوند، از منظر طرح و نقش جالب توجه و چشمگیرند، چه یک صحنۀ دریایی شامل کشتی‌ها و اشخاص اروپایی به‌علاوۀ مردی مغروق و هیولایی سر از آب به در کرده را در بخش لچک‌ها جلوه‌گر می‌سازند. مطالعات فرش‌شناسی با تردید گاه این فرش‌ها را به ایران و گاه هند نسبت می‌دهند. در این جستار فرش‌های پرتغالی در پیوند با مینیاتورهای دریایی دربار مغولان هند به کارزار تحقیق و تفحص روانه شده‌اند. چشم‌انداز و هدف پژوهش حل معمای پیچیدۀ کشف هویت فرش‌هاست، چنان‌که سؤال اصلی پیرامون مکان و زمان بافت آن‌ها مطرح شده است. در اینجا روش تحقیق تطبیقی با نگرش تاریخی به کار بسته شده است و اطلاعات حاصل از طریق مطالعۀ کتابخانه‌ای به دست آمده است. ماحصل پژوهش حاکی از آن است که نخستین فرش‌های پرتغالی، که از طرح و نقش ظریف‌تر و صحنۀ دریایی کامل‌تر برخوردارند، در دربار امپراطور اکبرشاه مغول در پنجاب طی دهۀ پایانی سدۀ شانزدهم در لوای یک جریان قوی توجه به نقوش اروپایی که از چند دهه پیش آغاز شده بود، بافته شدند. فرش‌های ساده‌تر در طی چند دهه بعد، خارج از دربار و در مناطق بافندگی پررونق مغولان مانند آگرا، فتحپور سیکری و لاهور به قصد تجارت و عرضه به بازار اروپایی بافته شدند. در طراحی فرش‌های پرتغالی، لااقل نقش سه هنرمند دربار مغول، نقاشان مشکین و کیسو و دهرراس بازشناسی می‌شود که به نحو بارزی نقش مشکین پررنگ‌تر و مشخص‌تر از دیگران است.}, keywords_fa = {فرش,مینیاتور,پرتغال,مغول,هند,ایران}, url = {https://negareh.shahed.ac.ir/article_959.html}, eprint = {https://negareh.shahed.ac.ir/article_959_b6921db81bb0635f0a24a461b82d5523.pdf} } @article { author = {Rezazadeh, Taher}, title = {A Study on Historical Developments of Inlaying Technology in Islamic Metalwork from Iran}, journal = {Negareh Journal}, volume = {14}, number = {49}, pages = {88-99}, year = {2019}, publisher = {Shahed University}, issn = {2676-7244}, eissn = {2676-7244}, doi = {10.22070/negareh.2019.960}, abstract = {Hammering colorful metals especially copper, silver and gold in the prepared surface of bronzes or brasses, which is known as inlaying was one of the most popular techniques of decorating Islamic metalwork from Iran and elsewhere in the world of Islam. Persian metalworkers have used this technique of decoration to make utterly functional vessels of base metals precious and luxurious products as silver and gold wares were. Furthermore, during middle Islamic period vast and unprecedented application of Inlaying bronzes and brasses with colorful metals, not only substituted a multicolor surface for a dull one, facilitated application of various patterns and more themes which absorbed the skills of some of the best artists of the period. Unprecedented use of figurative scenes is one of the most important decorative features in metalwork of this period; iconography of these figures sometimes is compared with those of manuscript illustration in the thirteenth century and later. A preliminary version of this technology of decorating base metals has been almost suddenly applied and pervaded in metalwork of northeast of Iran at the early twelfth century. Then, towards the middle of the century, there has been introduced much more developed and complicated methods of inlaying. By beginning of Mongol attack on Iran at the end of second decade of thirteenth century, already all inlaying techniques has been reached to their uttermost maturity and flourished unprecedently. After Mongol invade, too, Islamic metalworkers from western Iran and northern Mesopotamia, while preserving and maintaining their east Iranian precursors’ heritage, have indicated greatest technical and visual capacities of inlaying methods by producing exquisite, inlaid brasses. Nevertheless, sometime at the end of Ilkhanid period, production of inlaid metalworks ceased to thrive and lost its previous position and prosperity. Finally, however the technology has never been completely abolished, during later periods of Islamic metalwork its use has been limited considerably. While introducing and technically defining inlaying methods of decoration in Iano-Islamic metalwork, this essay aims to depict a more detailed and precise picture of historical developments of this technology. Besides it tends to examine and analyze factors that has brought about those changes in the history of inlaying metalworks. In order to do this, here, having gathered necessary information and data by desk study methods, I have applied descriptive and analytical method of research to pursue and meet the goals of this investigation. At first, in order to gain a better understanding of what inlaying is, I have discussed nature of the technology of inlaying in Islamic metalwork and given an explanation of every methods of applying it. Here, I have tried, through a terminological discussion, to give a clear definition of main vocabulary and processes concerning this decoration technology. In the second part of this study, which is its main part too, I have discussed, through a historical narration, the appearance, formation and prevalence of inlaying technique in Islamic metalwork of Iran and indicated the most important developments and changes which has occurred during the history and life of the technology. In this part of essay, in addition to recognizing these changes and developments, I have tried somehow to investigate more into grounds and causes behind them. Finally, I have concluded that in development an also in flourishing of the industry of inlaid metalwork of Islamic period in Iran there has been various factors of influence, most important of which is aesthetic requirements and an increase in figural decoration on metalworks of the period. On the other hand, the almost sudden flourishing of book painting in Ilkhanid period and gradual decrease in demands for brasses and bonzes has made this popular industry decline during later periods.}, keywords = {Metalwork,Khorasan,Mosul,Inlaying technology,Inlaid brasses,Islamic Period}, title_fa = {مطالعۀ سیر تحولات فناوری ”ترصیع“ در دوره‌های میانی و متأخرِ تاریخ فلزکاری ایرانی‌اسلامی}, abstract_fa = {فن ”ترصیع“ یکی از محبوب‌ترین و پرکاربردترین فنون تزیینی فلزکاری ایرانی‌اسلامی در سده‌های میانی و متأخر آن است. کاربرد این فن، همراه با اسامی و اصطلاحات مربوط به آن، طی دوره‌های مختلف تاریخ این هنر دست‌خوش تغییر و تحولات متعددی شده است. هدف این مقاله، ضمن معرفی و تعریف تخصصی فن ترصیع در فلزکاری ایرانی اسلامی، ترسیم تصویری واضح‌تر و مشخص‌تر از تحولات تاریخی این فن در سده‌های میانی و متأخر دورۀ اسلامی است. درکنار این، نوشتار کنونی قصد دارد عوامل تأثیرگذار در شکل‌گیری و بروز این تحولات را نیز بررسی و تحلیل کند. بدین‌ترتیب، سؤالات پژوهش کنونی عبارت‌اند از: در فلزکاریِ سده‌های میانی و متأخر ایرانی‌اسلامی، فناوری ترصیع چه تحولاتی را پشت سر گذاشته است؟  چه عواملی در بروز این تحولات نقش داشته است؟ به‌منظور یافتن پاسخی برای این سؤالات، در اینجا، پس از گردآوری مطالب و داده‌های مورد نیاز به‌روش کتابخانه‌ای، از روش توصیفی‌تحلیلی برای رسیدن به اهداف تحقیق استفاده شده است. نتایج این بررسی نشان می‌دهد که فن ترصیع طی یک قرن، از اوایل سدۀ ششم تا اوایل سدۀ هفتم هجری، از سادگی و خامی به پیچیدگی و ظرافت قابل ملاحظه‌ای رسیده است. اما بعد از گذشت حدود یک سده، و در میانه‌های سدۀ هشتم هجری، کاربرد این فن دوباره به سادگی گرایش پیدا کرده است. عوامل گوناگونی در ظهور و بروز این فن دخیل بوده‌اند. به‌نظر می‌رسد تقاضای اقشار توانگر جامعه مبنی‌بر استفاده از فلزات قیمتی، ولو به اندازۀ کم، در بدنۀ آثار نه‌چندان قیمتی در به‌کارگیری نوع ساده و اولیۀ این فن نقش مؤثری ایفا کرده باشد. اما در شکوفایی گونۀ پیچیده و ظریف این فن راه‌یابی نقوش انسانی و حیوانی در تزیینات بدنۀ آثار فلزی عاملی اساسی به‌شمار می‌رود. همچنین، شکوفایی کتاب‌آرایی در دورۀ ایلخانی از یک طرف و کاهش کاربرد برنجینه‌ها و مفرغینه‌ها، از طرف دیگر، موجب گرایش هرچه بیشتر به سادگی در کاربرد این فن پرطرفدار در سده‌های بعدی شده است.}, keywords_fa = {فلزکاری,خراسان,موصل,فناوری ترصیع,برنجینههای مرصع,دورۀ اسلامی}, url = {https://negareh.shahed.ac.ir/article_960.html}, eprint = {https://negareh.shahed.ac.ir/article_960_33a4557fb6b9dca9d3576de25285733d.pdf} } @article { author = {Shahkolahi, Fatemeh}, title = {Comparative Study of Orthography in Mir Ali ibn Hasan Tabrizi with Mir Ali ibn Elyas Tabrizi Base on the Nizami’s Khusraw u Shirin (Freer Gallery, 3134) and Khwaju Kermani’s “Three Mathnavies” (British Library, 18113)}, journal = {Negareh Journal}, volume = {14}, number = {49}, pages = {100-113}, year = {2019}, publisher = {Shahed University}, issn = {2676-7244}, eissn = {2676-7244}, doi = {10.22070/negareh.2019.961}, abstract = {Mir Ali ibn Hasan Tabrizi, known as the "Qudwat al-Kuttab Moala" (the pioneer of superior calligraphers) and Mir Ali ibn Elyas Tabrizi, were two famous calligraphers of the Jalayerid era in Baghdad. The only credible signed work of Mir Ali ibn Hasan Tabrizi was a Nizami’s Khusraw u Shirin manuscript (Freer Gallery, 3134) and the most well-known work of Mir Ali ibn Elyas Tabrizi was illustrated version of Khwaju Kermani ’s “Three Mathnavies” namely Homay o Homayun, The Kamal-Namah and the Raudat ul-Anwar, (British Library, 18113). In the treatise of the calligraphy, the name of Mir Ali ibn hasan Tabrizi has been mentioned as the first person to infer the calligraphy of Nastaliq from the Naskh and Taliq calligraphy, and established a distinct rule for this writing style. Although there is a lot of discussion about the creativity or clarity of Mir Ali ibn Hasan Tabrizi, all the scholars have emphasized the great power and its influence on the principles of the Nastaliq calligraphy. There is not much information from Mir Ali ibn Elyas Tabrizi, except Ghazi Ahmad Mir Monshi Qomi (Historian of the court of Shah Abbas Safavid) in Golestan Honar referred to the existence two Mir Ali calligraphers in Nastaliq in the 9th century A. H. / 15 A. D. that one of them was Mir Ali, the son of the Elyas. It is likely that these fellow-citizen, contemporary and homonymous calligraphers whom differenced in the way of writing and orthography, were only different in the name of father. Therefore, these two manuscripts have been studied and compared in this study. The purpose of this study is to identify the writing style of each of these two calligraphers based on the Nizami ’s Khusraw u Shirin manuscript (Freer Gallery, 3134) and the version of Khwaju Kermani ’s “Three Mathnavies” (British Library, 18113). It also tried to answer this question: what are the differences between the Mir Ali ibn Hasan Tabrizi and Mir Ali ibn Elyas Tabrizi’s styles? In terms of objective, this is a basic research, but regarding its nature and method, it is a descriptive-analytical one with a comparative approach. The data collection methods were a library (written documents) and field (direct observation). ln the field method, each Persian alphabet was sampled from the Khusraw u Shirin and Three Mathnavies version, then they have been linearly drawn for analyzing the shape of the letters and comparing them with each other. This research showed that these two calligraphers were different in the style of writing include, the four categories of elongations, circles, singles and dots. Mir Ali ibn Hasan Tabrizi ’s orthography followed certain and relative stable rules, but the letters were very diverse in the Mir Ali ibn Elias ’s work. The shape of (ب) with 8 points length and 2 points height can be considered as the base pattern in writing elongation letters in the Nizami ’s Khusraw u Shirin versions. So, the second movement in the letters (ک), (ف), and (ی) elongation have been written like this pattern. The long elongation was the indicator feature in the Three Mathnavies, which frequently varies between 7 to 11 points. Also, the end of the elongation was much lower than its beginning in compared with Khusraw u Shirin version. Therefore, elongations and lopsided were often unbalanced in this version. The second movement in the letters of the round letters (س), (ص) and (ل) are the same as the letter (ن), because all circle letters in Khusraw u Shirin version have been written according with (ن) with 3 dots opening and 1.5 dots height. Tendency and deviation of the roundabout to the left, which was more than Khusraw u Shirin versions was their common, although the circle letters have been appeared with different characteristics in the Three Mathnavies version. Although the nature of the single letters in Persian font cannot be considered a standard for writing these letters but, the number of round letters (ی) in the Three Mathnavies version was more than the Khusraw u Shirin version. All the single letters in the Khusraw u Shirin have been started from 2 points above the background line generally. The height of (د), (ذ), (ر), (ز), (و), (ه) and the first movement of the letters (ط) and (م) were equaling to each other. This amount for single letters in the Three Mathnavies was equal to 1.5 points. The method of writing dots was completely different in these two versions. In the Khusraw u Shirin version the punctuation angle was 60 degrees and the horizontal diameter of the dots relative to the background line have been tended 15 degrees to the left, but in the Three Mathnavies version, the punctuation angle was 45 degrees and the axis of the points was parallel to the background line. }, keywords = {Calligraphy,Nastaliq,Mir Ali ibn Hasan Tabrizi,Nizami’s Khusraw u Shirin,Mir Ali ibn Elyas Tabrizi}, title_fa = {بررسی تطبیقی رسم‌الخط میرعلی بن حسن تبریزی با میرعلی بن الیاس تبریزی بر اساس نسخه خسرو و شیرین نظامی (3134، گالری فریر) و سه مثنوی خواجوی کرمانی (18113، کتابخانه بریتانیا)}, abstract_fa = {میرعلی بن حسن تبریزی ملقب به «قدوه الکتاب معلی» و میرعلی بن الیاس تبریزی دو نستعلیق‌نویس معروف عصر جلایری در بغداد هستند. تنها اثر اصیل و رقم‌دار میرعلی بن حسن نسخه خسرو و شیرین نظامی محفوظ در گالری فریر (3134) است و شناخته شده‌ترین اثر میرعلی بن الیاس نسخه مصور سه مثنوی خواجوی کرمانی در کتابخانه بریتانیا (18113) است. احتمال می‌رود این دو خوشنویس همشهری، هم دوره و همنام که فقط در نام پدر اختلاف دارند، در شیوه کتابت و رسم‌الخط نیز متمایز باشند. از این‌رو در این پژوهش این دو نسخه خطی مورد مطالعه و مقایسه قرار گرفته است. هدف این پژوهش شناسایی شیوه نگارش هر یک از این دو خوشنویس براساس نسخه خسرو و شیرین نظامی و سه مثنوی خواجو و در پی پاسخ به این پرسش است که چه تفاوت‌هایی میان رسم‌الخط این دو کاتب نستعلیق‌نویس وجود دارد؟ این پژوهش به ‌لحاظ هدف در زمره پژوهش‌های بنیادین است و براساس ماهیت و روش، توصیفی- تحلیلی با رویکرد تطبیقی است. روش گردآوری اطلاعات کتابخانه‌ای و میدانی است. این پژوهش نشان می‌دهد که این دو خوشنویس در شیوه نگارشِ چهار دسته از حروف کشیدگی‌ها، دوایر، مفردات و نقطه‌ها با یکدیگر تفاوت دارند و رسم‌الخط میرعلی بن حسن از قاعده نسبتاً مشخص‌تری تبعیت می‌کند. شکل (ب) کشیده در حروف کشیده و (ن) در حروف گرد به‌عنوان الگوی پایه تکرار شده است. ارتفاع اکثر مفردات یکسان و برابر 5/1 نقطه است. زاویه نقطه‌گذاری 60 درجه است و نسبت به کرسی 15 درجه به‌سمت چپ تمایل دارد. در نگارش میرعلی بن الیاس حروف دارای تنوع بیشتری هستند و کشیدگی‌ها به نسبت بلندتر است. انحراف زیاد قسمت گردی دوایر به سمت مخالف، ارتفاع 2نقطه‌ای مفردات و زاویه نقطه‌گذاری 45 درجه به‌گونه‌ای که محور نقطه‌ها با کرسی موازی باشد، از دیگر مشخصات رسم‌الخط این خوشنویس است.}, keywords_fa = {خوشنویسی,نستعلیق,میرعلی بن حسن تبریزی,خسرو و شیرین نظامی,میرعلی بن الیاس تبریزی}, url = {https://negareh.shahed.ac.ir/article_961.html}, eprint = {https://negareh.shahed.ac.ir/article_961_ffb3231cfee5283a7bc26c301034fe7c.pdf} } @article { author = {amini, shahnaz and Javani, Asghar and moghanipour, majid reza}, title = {Identification of British figurines in miniatures by Isfahan school}, journal = {Negareh Journal}, volume = {14}, number = {49}, pages = {115-127}, year = {2019}, publisher = {Shahed University}, issn = {2676-7244}, eissn = {2676-7244}, doi = {10.22070/negareh.2019.962}, abstract = {In the era of Shah Abbas I of Persia, open door policy extended communication with neighboring and non-neighboring countries, then various figurines and personalitiesfrom most participators and communicatorssuch as slaves, crews, ambassadors, businessmen, travelers, doctors and artists were appeared in miniatures. Miniaturistwere obligated to record directly and indirectly thesecommunication in their miniaturesand present the class of society through their works. Especially, miniature by Isfahan school which received a great influence of political, military and commercial events in this period, introduced a number of non-Iranian figurines. Here, particular attention was paid to British who established extensive relationships with Iran from Shah Abbas I era. Painting as a visual media documents events and relationships, hence the review of miniatures emerge the spread of communication in cultural, social and economic directionswithin the Safavid period. There have been many discussions and studies on the miniatures of the Safavid era, and in some cases, the influence of non-Iranians’ painting, especially European style, have been investigated. However, non-Iranian figurines in miniature of Isfahan school have not been distinctly discussed. Although non-Iranians have been mentioned in historical books of Safavid period, identification and study of their figurines in miniatures are highly required. This study aims to identify examples of British figurines and portrays in the miniature of Isfahan school and unveils effective factors based on components of face and clothing; accordingly, the main questions of the research are as follows: 1. How were British costumes introduced into the miniature of Isfahan school? 2. What are the facial features of British here? In this study, the investigation strategy is descriptive-analytic and data analysis is qualitative (description and interpretation), the data base and information required are collected in the form of text readings, considering the written social history, the Safavid social and political period is discussed. Here, miniatures of Isfahan school are selected, and by collecting cardimages, icons and portrays are classified according to qualitative criteria such as style, species and morphology (face, gesture, attire). This paper examines first the political, military, and commercial relationships initiated at the time of Shah Abbas I till the end of Safavid era, then individually, samples of Iranian and British figurines are examined in terms of their faces and clothing in miniatures of different schools. Finally, six miniatures of Isfahan School which have been influenced by British characters and paintings, are analyzed. Shah Abbas I and his successors welcomed British entrants to Iran. Subsequently, the British style and characteristics were gradually emerged in the miniatures of Isfahan school and influenced clearly works of some artists, then a series of human figurines went beyond the principles of their schools and included non-Iranians features which led to the emergence of specific samples. In this period, British came to Iran more than any other European nations, and helped Safavid dynasty in military affairs, such as training the army by Robert and Anthony Shirley and expelling the Portuguese invaders from Qeshm Island. After Shah Abbas I and during his successors, relations with the Europeans were continuedand influenced greatly Iranian painting. The observations show that works (including European with dogs from Reza Abbasi, Khosrow and Shirin meeting from Mohammad Qasim and ...) which are examined in the use of attires such as: clothes, boots and hats, have been highly affected fromstylesoffirst Elizabeth to James II era. Same asattires, facial expressionsalsoexperienced changes. The face skinis depictedlighter than Iranian portrays, closer to palefacesin paintings of English artists. This white face was covered with short, reddened hair, which, according to the images and sources available to the Englishman, always shave their beard and mustache, adding the white face. The face of British in most of portrayshas narrower eyes stretched more than ofIraniandepicted in miniatures. However, in the miniatures of Isfahan School, Britishstyle influenced facial expressions less than clothing, where examples of Iranian portrayesare still dominated. Finally, the emerge of these figurines in the miniatures of Isfahan school, the interest of artists of this period in the clothing style and modesand theirtendency to European paintings which pushed around the characteristic of Isfahan school, made European styleto take the chair from Isfahan school.}, keywords = {Iranian figurine,British figurine,Miniature,Isfahan school}, title_fa = {شناسایی نمونه پیکره‏‌های انگلیسی در نگارگری مکتب اصفهان}, abstract_fa = {تأثیرپذیری نگارگری مکتب اصفهان از وقایع و تحولات سیاسی، نظامی و تجاری دوره صفویه باعث پدیدارشدن نمونه پیکره‏های غیرایرانی در نگارگری مکتب اصفهان شد. این پژوهش به هدف شناسایی نمونه پیکره‏های انگلیسی و عوامل تأثیرگذار بر نگارگری مکتب اصفهان بر اساس مؤلفه‏های چهره و پوشاک انجام گرفته است. بر این اساس سؤال‌های اصلی تحقیق به این گونه است که: 1.چگونه پوشش‏های انگلیسی وارد نگارگری مکتب اصفهان شده است؟ 2.مشخصه‏های چهره انگلیسی در نگارگری مکتب اصفهان کدامند؟ روش تحقیق مقاله توصیفی-تحلیلی و تحلیل داده‏ها به صورت کیفی(شرح و تفسیر) است. همچنین فنون جمع‏آوری اطلاعات به صورت متن‌خوانی آمده است.  نتایج به‌دست آمده نشان می‏دهد که در آثار مورد بررسی (از جمله اروپایی با سگ از رضا عباسی، دیدار خسرو و شیرین از محمد قاسم و...) پوشاکی مانند لباس، چکمه و کلاه تأثیرات بیشتری از پوشش‏های دوره الیزلبت اول تا جیمز دوم انگلیس پذیرفته است. این در حالی است که چهره‏پردازی‏ها بیشتر به نمونه چهره‏های ایرانی وفادار بوده است.}, keywords_fa = {پیکره ایرانی,پیکره انگلیسی,نگارگری,مکتب اصفهان}, url = {https://negareh.shahed.ac.ir/article_962.html}, eprint = {https://negareh.shahed.ac.ir/article_962_fb9418c1190c3d66264edcd2f740689e.pdf} }