@article { author = {sheikhi, alireza and Ghasemi Baghchehagh, Arezou}, title = {Historical and comparative measurements of the technical features and function of the five doors available in sheikh tomb in Torbate jam city}, journal = {Negareh Journal}, volume = {14}, number = {50}, pages = {4-17}, year = {2019}, publisher = {Shahed University}, issn = {2676-7244}, eissn = {2676-7244}, doi = {10.22070/negareh.2019.3353.1917}, abstract = {The Sheikh-e Jam tomb in Torbat-e Jam city is a museum that holds in itself works from the Seljuk era to the Qajar era. This architectural tomb has many decorations such as brickwork, tile, stone carving, plastering, plaster painting and etc. Part of the Sheikh-e Jami tomb are wooden doors, which can be mentioned in particular with the doors installed inside and outside of the tomb, as well as one wooden door is in the cellar. There is no scientific reference to the date or time of construction of these doors. The purpose of this article is to study the technical and artistic specifications of the above mentioned doors and to determine the date of construction of the doors (five doors). This theme was investigated by matching the design and motif, composition and structure of the door inscriptions with Works of historical index from the 8th and 9th century AH in the field of tile and woodwork. So the questions are, what is the decoration of the wooden doors and the Door of cellar in the Sheikh-e Jam tomb? and When do these doors were made(Which historical period)? The research method is descriptive-analytical and historical. The domains studied are described in the first step in terms of inscriptions, motives, and execution techniques. In the second step due to proper analysis, vector designs were done and in the final step for dating were compared with the works of Timurid index in Khurasan. According to the authors' studies, these works are supposed to have been made in the Timurid period. The method of gathering information is based on library studies and especially field studies, interviews and photography of works. The results show that decorations of the doors consist of two parts: inscriptions and simplified plant motifs. The inscriptions on the two doors of dome and cellar have the name of God (al-Molk): decorative Kufic script. The decorative motifs include the arabesque design, the arabesque frames and the Plant motifs (Khatyi) carved  on all parts of the doors. The motifs are; the flowers and the buds and the leaves. The motifs of the door were compared with the works of the Timurid Index to find out the  making history of the doors. Timurid index works selected and studied include the wooden mosque of Azqad of Torqaba On the outskirts of Mashhad, the south porch of the Goharshad Mosque of Mashhad, the wooden grave box preserved in the Shandiz Virani museum On the outskirts of Mashhad, the wooden doors of Mosalla preserved in Museum of Khurasan-e Bozorg, wooden door and tile works of Abu Bakr Tayyebi Monastery in Taybad  city and Qiasieh School of Khawaf city. The structure and the style of inscriptions of these doors, the structure and composition of plant motifs and arabesque decorations and the style of embossing were compared with the Khurasan index in terms of technique, type of construction, design, design features and structure. In  the article this issue was compared in a comparative table. Comparative studies of the technical and artistic principles of the above-mentioned works and the wooden doors of Sheikh Jami's tomb in Torbat-e Jam showed that these works can be attributed to the first Timurid period (first half of the 9th century AH).}, keywords = {Sheikh Jam tomb,woodwork,door,date and ornament}, title_fa = {سنجش تاریخی و تطبیقی ویژگی‌های فنی و نقش‌پردازی پنج در موجود در مجموعهٔ شیخ جام شهرستان تربت جام}, abstract_fa = { مجموعه شیخ جام در شهرستان تربت جام موزه‌ای ست که از دوران سلجوقی تا قاجار آثاری به یادگار دارد. بخشی از آن درهای چوبی مجموعه به‌طور اخص درهای گنبدخانه و یکی در آب‌انبار محفوظ است. هدف مقاله بررسی فنی و هنری درهای مذکور و تعیین تاریخ ساخت درها (پنج دَر) با توجه به نقش و تکنیک منبت‌کاری دَرهاست. بنابراین، سؤال این است که تزیینات دَرهای داخلی گنبدخانه و دَرِ موجود در انبار مجموعه شیخ جام چیست و متعلق به کدام دوره تاریخی است؟ روش تحقیق توصیفی – تحلیلی و تاریخی است. دَرها پس از توصیف از نظر کتیبه، نقش و تکنیک اجرا مطالعه شده و جهت تاریخ‌یابی تطبیق و مقایسه می‌شوند. شیوه جمع آوری اطلاعات بر اساس مطالعات کتابخانه ای و پژوهش‌های میدانی، مصاحبه وعکس می‌باشد. تزئینات دَرها شامل کتیبه‌های روی دو دَر گنبدخانه و دَرِ آب‌انبار،نام پروردگار (الملک) به خط کوفی تزئینی و نقوشی با گردش‌های اسلیمی‌ها و قاب اسلیمی و تک اسلیمی‌ها که یک قاب را تشکیل می‌دهد و ختایی‌های که شامل گل‌ها وغنچه‌ها و برگ‌ها روی تمامی دَرها چشم نوازی می‌کند. تطبیق نقوش این پنج دَر با آثار شاخص تیموری، شیوه منبت جَست نقوش و کتیبه نشان از آن دارد که این آثار را می‌توان متعلق به دوره اول تیموری (نیمه اول قرن 9 هجری قمری) دانست.}, keywords_fa = {مجموعه شیخ جام,آثار چوبی,دَر,تاریخ و آرایه}, url = {https://negareh.shahed.ac.ir/article_995.html}, eprint = {https://negareh.shahed.ac.ir/article_995_697335285ec467c3704957b30abbd950.pdf} } @article { author = {Sadegpour firuzabad, Abolfazl and mirazizi, Seyyed Mahmood}, title = {Analytic Study of the Impact of Themes and Motifs of Sassanid Metalwork on Buyid Metalwork}, journal = {Negareh Journal}, volume = {14}, number = {50}, pages = {18-37}, year = {2019}, publisher = {Shahed University}, issn = {2676-7244}, eissn = {2676-7244}, doi = {10.22070/negareh.2019.4185.2128}, abstract = {The changes that have emerged after the Sassanid defeat by the Muslim Arabs and the religious changes that have emerged in Iran have had a dramatic effect on the arts, industries and techniques of the early Islamic centuries. One of these arts is metal art, which is more evident in various Islamic periods, especially in the Buyid period. The study of the evolution of Iran's art of metalworking during the Islamic period, and especially the period of the Buyids, illustrates the fact that the growth, development and early development of metal art has taken place along the ancient traditions of this land, especially the traditions of the Sassanid period. But combining the ancient traditions with the Islamic worldview has also created a strong spiritual relationship between the artist and the artwork on one hand and a deep and eternal bond between appearance and meaning on the other hand. It should be acknowledged that without the works of pre-Islamic metal art, it is impossible to understand the effect of the Sassanid decorative style on the early Islamic art of Iran. The continuation of the method of decoration of the Sassanid period in the first century of Islamic rule, especially in silverware, is quite evident, to the extent that some of the remaining examples are mistakenly attributed to the Sassanid period, and only the inscriptions on them make them distinct. Thus, there are a number of medals or coins and dishes with symbolic, court, hunting scenes, and some visual subjects that belong to Sassanid art, and on some of them the name of their owner is written in the Pahlavi letters. The purpose of this study was to investigate the fact that a large part of the principles and techniques of the Buyid period are derived from the Sassanid-era metalwork, and the artists of this period, using their culture, refer to the Sassanid kings. The most important questions that the present research seeks to answer are as follows: what are the common visual features of Sassanid and Buyid metalwork? What are the most important transmissions from Sassanid metalwork to Buyid examples? And what are the main reasons for the transfer of themes and patterns from Sassanid metal containers to the Buyid works? This research uses a descriptive-analytical and comparative method to compare the metalworks of the Sassanid and Buyid periods. The information is collected using library sources and examples of museum works with an attempt to provide a comparative presentation. Some of the examples of metalwork show the expression and reflection of common motifs and themes, the style and method of art of Sassanid art in the Buyid works. Subsequently, the reasons for the continuity and influence of the Sassanid art have been analyzed. As a result, it became clear that the paintings that have been part of Iranian symbols and used to be drawn as Sassanid motifs, are the main patterns and themes in Buyid metalwork. The most important common visual features in Sassanid and Buyid metalwork include symmetry and contrast, proportionality, enclosed framed designs, formal features, repetitions, and abstract patterns. The most commonly used animal designs are lion, eagle, peacock, goat and cock; vegetable motifs include Aggressive Leaves, Tree, Slavic and Abrasive motifs, and symbolic motifs are the Tree of Life and the role of Gilgamesh which are depicted on the Sassanid and Buyid metalwork. Animals in these two periods are often enclosed within circular frames, and the empty spaces around them are filled with plant designs and abstractions. Common themes include topics such as litigation, court, war, hunting and symbolism. In response to the questions posed in this study on the role of Sassanid metalwork on the Buyid examples and the important reasons for the transfer of these motifs, it can be said that using the descriptive-comparative method and with reference to visual and library sources, the influence of Sassanid motifs on Buyid metalwork has been investigated and according to the images presented in this research and the presence of feminine and decorative motifs together, it was discovered that the artistic elements used in the Sassanid metalwork can be clearly identified in the Buyid metalwork alongside further common features in the metalwork of these two periods.  }, keywords = {Sassanid,Buyids,Metalworking,Patterns,Themes}, title_fa = {بررسی تحلیلی تأثیر مضامین و نقش مایه‌های فلزکاری ساسانی بر فلزکاری آل بویه}, abstract_fa = {تحولات به‌وجودآمده بعد از فتح ساسانیان توسط اعراب مسلمان و دگرگونی‌های مذهبی پدیدار گشته در ایران بر هنرها، صنایع و فنون سده‌های اولیه اسلامی تأثیراتی چشمگیر بر جای گذاشت. از جمله این هنرها، هنر فلزکاری است که در دوره‌های مختلف اسلامی و بخصوص دوره آل‌بویه آشکارتر است. مهمترین پرسش‌های پژوهش حاضر این است که شاخصه‌های بصری مشترک در فلزکاری ساسانی و آل بویه چیست؟ مهم‌ترین مضامین انتقال‌یافته از فلزکاری ساسانی به آل‌بویه کدامند؟ و اصلی‌ترین دلایل در انتقال مضامین و نقوش ظروف فلزکاری ساسانی به آل‌بویه چیست؟ این پژوهش با استفاده از روش توصیفی- تحلیلی و تطبیقی به مقایسه آثار فلزی در دوره ساسانی و آل‌بویه پرداخته است و جمع‌آوری اطلاعات و منابع به صورت کتابخانه‌ای و نمونه‌های آثار موزه‌ای موجود است و سعی شده است تا با ارائه تطبیقی تصاویر برخی از آثار فلزکاری به تجلی و بازتاب نقوش و مضامین مشترک، سبک و روش هنر فلزکاری ساسانی در آل‌بویه نشان داده شود و در ادامه نیز دلایل این تداوم و نفوذ زمینه‌های تأثیرپذیری آن از هنر ساسانی مورد تحلیل قرار گرفته است. در جمع بندی مقاله فوق مشخص شد که در آثار فلزی دوره آل‌بویه و نقوشی که جزء نمادهای ایرانی هستند و پیش از این به عنوان نقوش ساسانی به کار می‌رفته‌اند، نقوش و موضوعات اصلی در فلزکاری آل بویه به شمار می‌روند. مهمترین شاخصه‌های بصری مشترک در فلزکاری ساسانی و آل بویه شامل تقارن و تقابل (وجود قرینگی)، رعایت تناسب، نقوش محصور در قاب، ویژگی‌های فرمی، تکرار و نقوش انتزاعی است. همچنین از پرکاربردترین نقوش می‌توان به نقوش حیوانی (عقاب، طاووس، خروس، بز، اسب) و موضوعاتی چون جنگ و شکار، سمبلیک (نمادین)، بزمی و درباری اشاره نمود.}, keywords_fa = {ساسانی,آل بویه,فلزکاری,نقوش,مضامین}, url = {https://negareh.shahed.ac.ir/article_879.html}, eprint = {https://negareh.shahed.ac.ir/article_879_9ae9e097b0536b43dcab98644b897d38.pdf} } @article { author = {salehikia, maryam and shateri, Mitra}, title = {Manifestation of Timurid Architectural Decorations in Paintings of the Baysonghori Shahnameh}, journal = {Negareh Journal}, volume = {14}, number = {50}, pages = {38-57}, year = {2019}, publisher = {Shahed University}, issn = {2676-7244}, eissn = {2676-7244}, doi = {10.22070/negareh.2019.997}, abstract = {The skillful drawing of architectural spaces and displaying details of building decorations are among the most distinguished features of Iranian painting, especially in the late Islamic periods. The painting of Iran during the Timurid period has progressed and flourished through the full support of the art lover kings and princes and their efforts to serve the most prominent and most capable artists and the establishment of royal libraries in the courts. In this convenient space and the rich cultural and artistic environment, valuable artworks were created. Baysonghori shahnameh, one of the most valuable illustrated manuscripts of the Timurid period is made in 833 AH with the Timurid prince’s support, Baysonghor Mirza, and it has 22 images. The skillful drawing of the structure of the buildings and the accuracy of their decorations, especially the tilework, are striking in the paintings of Baysonghori shahnameh, and represent the prominence of it. In 6 images, buildings, castles and palaces, and the vast surfaces of them are decorated with azure tiling which brings the visage of great and luxurious buildings of the Timurids to the mind. In addition to tilework, mural painting, glazed pottery, lithograph and brickwork are also used to decorate the buildings in the paintings. In this research, decorations of depicted buildings in these paintings are studied following their comparisons with decorations of Timurid buildings. The main aims of this research are comparing decorations of the depicted buildings in Baysonghori Shahnameh paintings with buildings of eastern territory of the Timurids since the begining of the formation of this dynasty in 771 AH until the year of production of this manuscript as well as the survey of the importance of these paintings in architectural and decorations studies of Timurid buildings. The research tries to answer the following questions that decorations of depicted buildings in the paintings of this manuscript have been inspired by which of the Timurid buildings? And how do these pictorial reviews contribute to a deeper understanding of the Timurid architecture? The method of reserch was descriptive_comparative and analytic, and the information was collected by library method. According to the studies carried out, in response to the first question of the research, it can be said that most of the decorations of the Baysonghri shahnameh paintings are compatible with the buildings of the eastern Timurid territories and Transoxania. In case of many of these decorations, examples in their contemporaneous buildings in the eastern part of Iran can be found. Since this manuscript is made in the royal library of Baysonghor Mirza, the greatest supporter of the Timurid art, in the artistic center of that era, Herat city, and made by the most prominent artists, the images of this manuscript are more important than the other illustrations of this period in terms of reviewing the architecture and decorations of the Timurid buildings. The artists who created this manuscript were summoned from different areas of the Timurid territory to Herat, and considering the establishment of the royal library in the garden of the Timurid art-patron prince, they most of all saw the royal monuments of this city and hence, it is obvious that they were inspired by the structure and decorations of the monuments and the ceremonial buildings around them in their drawings. The inscriptions written in two pictures of “Zal and Roodabeh's visit” and “Golnar and Ardeshir's visit” read that the building was built by Baysonghor Mirza’s command and this claim is confirmed. Therefore, despite the fact that during this period many manuscripts were made at other painting centers, especially in Shiraz, the images of this manuscript, which most researchers and experts believe to be the most significant of the Timurid paintings due to their production in Herat city, are more important than the images of other manuscripts in terms of examining the architecture and decorations of the royal monuments of the eastern Timurid territories. To answer the second question of the research, it must be said that based on the mention of the name of Baysonghor Mirza in the thuluth inscriptions of the building, these two paintings show that the painters took inspiration from the structure and decorations of the royal monuments of the Timurid Prince. By reviewing and studying the drawings of this manuscript, one can find out about the structure and decorations of the ceremonial and royal monuments of Prince Baysonghor Mirza, which have been destroyed over time and now no trace of them is left. In fact, the results of the research reveal that the illustrations of this valuable manuscript, in addition to the artistic value, are worthy of consideration as the illustrated document that depicts the architecture of the Timurid period, and especially the monuments of Herat during the reign of Baysonghor Mirza, and the study of these images by the researchers may eliminate the impasse that has been caused due to the lack of sufficient evidence. }, keywords = {Paintings of Baysonghori Shahnameh,Eastern territory of Timurids,Architectural Decorations,Tilework}, title_fa = {نمود تزیینات معماری تیموری در نگاره‌های شاهنامه بایسنغری}, abstract_fa = {شاهنامه بایسنغری، یکی از ارزنده‌ترین نسخ مصور دوره تیموری، در سال 833ق با پشتیبانی شاهزاده تیموری، بایسنغر میرزا ساخته شده است و 22 نگاره دارد. در شش نگاره، بناهایی با کارکرد کاخ و قلعه ترسیم و سطوح گسترده‌ای از آن‌ها با کاشیکاری لاجوردی رنگ تزیین شده‌ است و سیمای بناهای معظم و مجلل تیموری را به خاطر می‌آورند. اهداف اصلی پژوهش حاضر، تطبیق تزیینات ابنیه مصور در نگاره‌های شاهنامه بایسنغری با بناهای قلمرو شرقی تیموریان در محدوده‌ زمانی آغاز تشکیل این سلسله در سال 771ق تا سال ساخت این نسخه و بررسی اهمیت این نگاره‌ها در مطالعات معماری و تزیینات بناهای تیموری است. پژوهش می‌کوشد به این پرسش‌ها پاسخ دهد که تزیینات بناهای مصور در نگاره‌های این نسخه از تزیینات کدام یک از بناهای تیموری الهام گرفته شده است؟ و بررسی این نگاره‌ها، در شناخت عمیق معماری تیموری چه کمکی می‌کند؟ روش تحقیق، توصیفی _ تطبیقی و تحلیلی است و اطلاعات به شیوه کتابخانه‌ای گردآوری شده است. نتایج پژوهش نشان می‌دهد که اغلب تزیینات معماری این نگاره‌ها به‌ویژه کاشیکاری، با بناهای قلمرو شرقی تیموریان مطابقت دارند و بررسی این نگاره‌ها می‌تواند در بازسازی ویژگی‌های معماری و تزییناتی بناهای بایسنغر که در گذر زمان نابود شده‌اند، کمک شایانی نماید.}, keywords_fa = {نگاره‌های شاهنامه بایسنغری,قلمرو شرقی تیموریان,تزیینات معماری,کاشیکاری}, url = {https://negareh.shahed.ac.ir/article_997.html}, eprint = {https://negareh.shahed.ac.ir/article_997_162b2b80f3bf2a34485ca55b9d76f6fd.pdf} } @article { author = {Azizi, Elnaz and Shrifzadeh, Mohammad Reza and koopal, Ataollah}, title = {An Investigation of Zanjan's Filigree Designs and Their Comparison to the Motifs of Islamic Decorative Arts and the Fractal Geometric Model}, journal = {Negareh Journal}, volume = {14}, number = {50}, pages = {58-75}, year = {2019}, publisher = {Shahed University}, issn = {2676-7244}, eissn = {2676-7244}, doi = {10.22070/negareh.2019.3750.2005}, abstract = {  One of the most popular arts in Zanjan is filigree which is a branch of the art of metalworking and is mainly made of high-grade silver metal. In filigree, silver bullions are made with a rolling machine in the shape of quadrilateral narrow wires with which small designs are made by putting them together and soldering them. The purpose of this essay is to introduce filigree and to identify the common designs and motifs in the filigree of Zanjan as well as the effectiveness level of the filigree patterns from pre-Islamic and Islamic eras, and the similarity of filigree patterns with Islamic-art motifs based on the geometric theory of fractals. The present article seeks to answer these questions: 1) What are the origins of some Zigzag filigree designs? 2) What types of motifs are common and used in Zanjan filigree and Islamic decorative art? 3) Are filigree designs compatible with Islamic art designs based on Fractal theory? The research method of this study is analytical-descriptive and the method of data collection is library research. The results indicate that the origins of some filigree patterns are from ancient Iranian patterns, some patterns are taken from the invaders to the eastern borders of Iran as well as the geometric vegetative and simplified (stylized) patterns of the Islamic period. These patterns with other filigree elements form a complete semantic system. The findings also showed that there is a balance in natural fractal patterns. Patterns of Islamic art and filigree, despite repetitions, irregularities, endlessness, incompatibility, etc., follow a particular order in general and they are balanced (unity despite plurality). Filigree designs have used the elements of Islamic decorative art and fractals from nature. In other words, all three are of natural origin. Zanjan filigree works are part of the fine Iranian metalwork art which production has undergone changes in recent years. The existing works in the art of filigree are largely different from the old filigrees. Despite their apparent differences, the researchers categorize these works into a single collection. Although metalwork art has been referred to in many Iranian art history books, less attention has been paid to filigree. On the other hand, many of them have been lost due to the possibility to melt the filigree works, and few are available in some museums or owned by collectors, which are not easy to access. One of the most important ways to realize the history of filigree works is to recognize the forms and motifs common to the filigree and find the origin of the motifs and their transformation over time. Iran has long hosted many civilizations from the past. The filigree works have been obtained from two periods of before and after Islam. These artifacts range from very basically decorated works to sophisticated ones. They have common features in the style of decoration and building method; features like the use of tap and dies of wires and delicate soldering as well as the use of abstract forms that are in fact the foundations of today’s filigree art. What was considered the goldsmithing work in the pre-Islamic era, slowly moved towards independence after the advent of Islam and during the reign of early Muslim rulers until it became of great importance in the Samanid era, that is a pinnacle of developments, and in the Seljuk era, that is the determinant of the policy of this art; then, during the Safavid era an art was finally formed, called filigree. Moreover, today’s filigree art had been invented in the Afsharid and Zand periods when some of the motifs invented in the late Safavid era came into being and later emerged in various forms in the Qajar period as well. Zanjan was established as the center and the largest production location of filigrees in the Qajar era. Now, the objectives of this study are: 1- Introducing filigree, recognizing motifs and common themes in Zanjan filigree 2- The rate of impact of Islamic decorative art motifs on filigree motifs. 3- The degree of similarity of filigree motifs to the Islamic art themes based on fractal geometric theory. The questions answered in this study are: 1- What are the origins of some of Zanjan filigree motifs? 2- What kinds of themes are common in Zanjan filigree and Islamic decorative art? 3- Are the filigree motifs comparable with Islamic art motifs based on fractal theory?}, keywords = {Filigree,decorative motifs,Islamic Art,Zanjan,Fractal}, title_fa = {بررسی نقوش ملیله‌کاری زنجان و تطبیق آن با نقشمایه‌های هنر تزئینی اسلامی و مدل هندسی فراکتال}, abstract_fa = {یکی از هنرهای رایج در شهر زنجان ملیله‌کاری بوده که شاخه‌ای از هنر فلزکاری است و در ساخت آن اکثراً از فلز نقره با عیار بالا استفاده می‫شود. در ملیله‌کاری شمش‫های نقره را با دستگاه نورد به شکل مفتول‫های چهارپهلوی باریک در‫آورده و نقش‫های کوچک را با آن می‫سازند، سپس آنها را کنار هم قرار داده و لحیم می‫کنند. هدف از این جستار پس از معرفی ملیله‌کاری، شناساندن نقوش و رایج در ملیله‌کاری زنجان، میزان تأثیرپذیری نقوش ملیله‌کاری از نقوش قبل از اسلام و دوره اسلامی و میزان مشابهت نقوش ملیله‌کاری با نقشمایه‌های هنر اسلامی بر اساس نظریه هندسی فراکتال‌هاست. مقاله حاضر در پی پاسخگویی به این پرسش هاست که 1- ریشه‌های برخی نقوش ملیله‌کاری زنجان کدامند؟ 2- چه نوع نقشمایه‌هایی در ملیله‌کاری زنجان و هنر تزئینی اسلامی مشترک و کاربرد دارند؟ 3- آیا نقوش ملیله‌کاری با نقوش هنر اسلامی بر اساس نظریه فراکتال‌ قابل تطبیق هستند؟ روش تحقیق این پژوهش تحلیلی- توصیفی و شیوه گردآوری اطلاعات کتابخانه‌ای است. نتایج نشان می‌دهد ریشه‌های برخی نقوش ملیله‌کاری از نقوش ایران باستان، برخی نقوش از مهاجمان شرقی ایران و نقوش هندسی گیاهی و ساده‌شده (استلیزه) دوره اسلامی است. این نقوش با سایر عناصر ملیله یک نظام معنایی کاملی را شکل می‌دهند. همچنین یافته‌ها نشان داد که در نقوش فراکتالی طبیعت تعادل وجود دارد. نقوش هنر اسلامی و ملیله‌کاری علیرغم تکرار، بی نظمی، بی‌انتهایی، ناهمواری و غیره در کل از نظمی خاص پیروی می‌کنند و دارای تعادل‌اند (کثرت در عین وحدت). نقوش ملیله‌کاری، نقشمایه‌های هنر تزئینی اسلامی و فراکتال‌ها از طبیعت بهره گرفته‌اند به عبارت دیگر هر سه منشأ طبیعی دارند.}, keywords_fa = {ملیله کاری,نقوش تزئینی,هنر اسلامی,زنجان,فراکتال}, url = {https://negareh.shahed.ac.ir/article_993.html}, eprint = {https://negareh.shahed.ac.ir/article_993_10341ec49238068b20c1622282fee2ae.pdf} } @article { author = {ghazizadeh, khashayar and Haseli, Parviz}, title = {Artistic Expression in Persian Paintings of the Leili and Majnoon Story in Shah Tahmasp's Quintet Manuscript}, journal = {Negareh Journal}, volume = {14}, number = {50}, pages = {76-89}, year = {2019}, publisher = {Shahed University}, issn = {2676-7244}, eissn = {2676-7244}, doi = {10.22070/negareh.2019.998}, abstract = {Due to the combination of mystical and ethical teachings, with tales and artistic stories, Iranian literature has been the source of inspiration for Iranian painters during different periods. The development of painting in the field of literature has given fruitful results in the form of illustrated versions, which even today no equal can be found for them. A major contribution to the creation of beautiful and imaginative Persian painting has been influenced by the wise lyrics of the great poets such as Ferdowsi, Saadi and Nizami. Nizami is one of the poets who should be considered as one of the pioneers of Persian literature and of the indisputable masters of this language. Although storytelling in Farsi was not initiated by Nizami, but the only poet, who by the end of the sixth century had managed to develop an allegorical poem to the point of evolution, is Nizami. Among the literary works, Nizami’s quintet has got a special reception among the painters because of the selection of beautiful stories, pictorial and believable accounts with accurate scenes and image descriptions. Each of the treasures of quintet has been illustrated many times by the painters, and this has continued as a long tradition, and today it has remained in the form of precious treasures. One of the most beautiful examples of Nizami’s quintet in the time of the Safavid Shah Tahmasb, which has been illustrated in Tabriz by the famous artists of that era and is known as Khamseh Tahmasbi, is now kept at the Library of the British Museum in London. Today only 14 paintings of the works of the Tabriz school in this manuscript have remained, but this small number well reflects the refined features of the Tabriz school during the Safavid period.   In Leili and Majnoon, the third episode of this edition, there are two epitaphs related to Aqa Mirak and Mir seyyed Ali who are among the most celebrated masters of the Safavid era, which form the subject of this paper. In these two works titled "Majnoon in desert" and "Bringing up Majnoon to the Leili’s Tent", in addition to describing Nizami’s stories in the language of the image, the influence of the artist's viewpoint on the image of each story is also evident. In this article, firstly, we briefly discuss the Leili and Majnoon story in quintet of Nizami, then explain the characteristics of the two abovementioned images and the effect of the literary text on the creation of images as well as the visual characteristics of each image and the relationship between form and space in the works. At first, a brief description of the story of each image is presented, and then the description of the space of each work is offered by referring to written sources and images, and finally, the visual structure of the images and the features of each work are mentioned. The main issue in this research is the recognition of the quality of artistic expression in these two works and the paper seeks to answer the questions posed below: What signs and symbols were used by the painters to express the theme of the illustrated story in order to create an ideal artistic expression? How the compositions, visual elements and forces and the relationship between visual elements of each image could serve to create artistic expression? There are numerous references to the internal and external sources of literature in the case of the features of the Safavid Tabriz school and the images of Khamseh Tahmasbi; among which “Persian Painting” written by Basil Gray, “Iran Painting from Late to Today” by Rouein Pakbaz, the two volumes of the book of “Islamic Painting” as well as “Tabriz, Qazvin and Mashhad Schools” both of which are written by Yaqoub Adjand, also Eleanor Sims' book “Peerless Images” can be cited. Also about these two paintings and their artists some contents have been written in books such as the book of “Twelve Faces” and the writing of Sheila,R Canby, some of which have been used in this paper, but the objective of this paper has been to focus on how to articulate artistic expressions using the visual factors and symbols in these two pictures, which has not been addressed so far. The research method in this paper is descriptive and analytical, and data was collected via library sources. The information analysis method is qualitative. The results show that the artists by noticing the concepts and meanings of each story have tried to make visual connections in forms, spaces and compositions by using of visual symbols and have expanded the borders of meanings in their images with more artistic expressions.}, keywords = {Quintet of Nizami,Quintet of Tahmasp,Leili and Majnoon,Aqa Mirak,Mir Seyyed Ali,Persian painting}, title_fa = {بیان هنری در نگاره‌های داستان لیلی و مجنون در خمسه تهماسبی}, abstract_fa = {هنر نگارگری اسلامی ایران همواره در پیوند ناگسستنی با ادبیات غنی و آکنده از تعبیرات عرفانی و حکیمانه قرار داشته است و نگارگران نیز، تلاش نموده‌اند تا این معانی را به زبان تصویر متجلی سازند. یکی از مهم ترین منابع مصور‌سازی برای نگارگران ایرانی در طول دوره‌های مختلف، خمسه نظامی است. خمسه تهماسبی، از نسخه‌های مصور خمسه متعلق به مکتب تبریز عهد صفوی و دوران شاه تهماسب است که در آن آثار ارزشمندی به قلم هنرمندان بزرگ آن زمان تصویر شده است. دو نگاره از سومین منظومه نظامی، لیلی و مجنون، در این نسخه منسوب به آقا میرک و میر سیدعلی، دو تن از نامدار ترین نگارگران ایرانی است. بررسی ویژگی‌های هنری این دو نگاره با عناوین «مجنون در بیابان» و « آوردن مجنون بر در خیمه لیلی» و توجه به ارتباط بین ویژگی‌های بصری با متن داستانی آنها موضوع این مقاله است که، به روش توصیفی و تحلیلی انجام گرفته است. نتایج حاصل از تحقیق حاکی از این امر است که هنرمندان در عین توجه به مضامین داستان، با استفاده از نمادهای بصری و ایجاد ارتباطات گوناگون در فضاسازی و ترکیب‌بندی، به ترجمان تصویری متن، با بیانی هنرمندانه وگسترده‌تر پرداخته‌اند.}, keywords_fa = {خمسه نظامی,خمسه تهماسبی,لیلی و مجنون,آقا میرک,میرسیدعلی,نگارگری}, url = {https://negareh.shahed.ac.ir/article_998.html}, eprint = {https://negareh.shahed.ac.ir/article_998_b7cb1e23a96159ad6e07e1b5b8e6f8c7.pdf} } @article { author = {Galehdaran, Leila and Pourzarrin, Reza}, title = {The Role of the Minstrel and the Quote of the Painter: Interaction of Performative Elements, Visual Elements and the Creation of Multi-field Space in the Field Pardeh-Khani}, journal = {Negareh Journal}, volume = {14}, number = {50}, pages = {90-107}, year = {2019}, publisher = {Shahed University}, issn = {2676-7244}, eissn = {2676-7244}, doi = {10.22070/negareh.2019.3585.1968}, abstract = {  In pre-Islamic Iran, narration (Naqqali) was considered as one of the varieties of storytelling, sometime accompanied by music. After Islam's dominance in Iran, narration was one of the few artistic and performative genres that were left out of religious restrictions, and as the only performance form for which ban there was no reason, it managed to combine all playing methods of its time. Picture narration is in the category of traditional plays and is a combination of various arts such as play, poetry-literature, music, singing and painting. This art was performed in two ways: a closed courtyard (coffee house, in banquet narration: mansions); the method by which the screen was hanged or installed on the wall, and open air (squares, passages, fields, etc.) in which scroll screen opened up to the audience slowly, or the second screen of the so-called covering was removed from the preinstalled screen. The images presented in most of these works are imaginary and poetic spatial visualization. This state gives mysterious expression to the natural elements of an image. Although the natural elements in these images are not always symbolic, the depth of these works cannot be realized without familiarizing with literary setting, as well as paying attention to the ancient traditions of the image in Iranian painting. Given the performance’s function, these images have their own effects, not a narrative-related component that has the task of facilitating the comprehension of the text for the audience, but the narration’s subject has been a means for the artist to speak with the linguistic image to the audience. The painter always tries to reveal objects in accordance with his sense of imagination and draws loyal to the original style of dimension processing in Iranian art. In most of these images, the perspective has been created in accordance with the importance and dignity of the individuals; in such a way that the painter, regardless of the temporal and spatial dimension may create events. In the field picture narration, the visual environment and the physical environment are consistent; picture narrator chooses the physical environment according to the environment, hence the two spaces become indivisible. The picture narrator, by masking some of the imprinted forms on the screen, and by placing himself as one of the visual forms against the central narrative forms, changes the proportion of the visual elements of the screen according to his narration. Thus, the spectator's viewing angles, escaping point and horizon line are challenged, and the visual quality of the spectator interacts with the infinite moving objects in the constant screen. Picture narrator combines the role of the profile on the screen with the actual image of the environment in an improvised manner. In this way of narration, the screen is no longer merely the screen of the original painting, but a visionary screen in which perspective, that screen, narrator and spectator are included. This paper examines the action and interaction of the visual and performative elements of field picture narrating, which covers all visual and performative elements, the environment, and in particular, the audience as a perspective, and creates an integrated universe in the making of a world. This space separates the environmental elements from their everyday function and interacts with the visual elements of the screen as well as the performative elements. The creation of this multidimensional space is not merely based on a naturalistic illusion about the actual distances between the represented elements, but it also depends on the dimension, the role (image), the scale of the narration and the performance’s dimension in the environment, and a large number of linkages which place the spectator as the other dimension in it. In this way, this method brings brilliant results and has created a unique way of performing the picture narrating. This article seeks to answer the following questions: what relationship exists between the narrator and the audience with the painting’s screen? how is the screen's relationship with the environment and how can the pre-painted screen be different in each performance? Therefore, using the descriptive-analytical method and with library sources and documentary information gathering techniques, we will study the samples. The result of the research shows that the narrator, with skill in improvisation, identifies the role of the profile on the screen with the actual image in the environment. This is not a mere scroll of the original painting, but his screen is a perspective that includes the screen, the narrator and the spectator.}, keywords = {Pardeh-Khani (Picture narration),Play,Stage,narration,Coffee House Painting,Multi-field Space}, title_fa = {نقش نقال و نقل نقاش: کنش و هم کنش عناصر اجرایی، تصویری و ساخت فضای چندساحتی در پرده‌خوانی میدانی}, abstract_fa = { پرده‌خوانی یکی از گونه‌های نمایش انفرادی ایرانی و یکی از نمونه‌های بسیار قدیمی آن در جهان است. پرده‌خوانی در رده نمایش‌های سنتی قرار می‌گیرد و تلفیقی از هنرهای مختلفی چون نمایش، شعر/ ادبیات، موسیقی/ آواز و نقاشی است. از لحاظ اجرایی، پرده‌خوانی به دو شیوه قهوه‌خانه‌ای و میدانی، و از لحاظ مضمونی به پرده‌خوانی مذهبی یا شمایل‌گردانی و غیر مذهبی که خود شامل حماسی ـ رزمی و بزمی است تقسیم می‌شود. در پرده‌خوانی میدانی، محیط نمایشی و محیط فیزیکی برهم منطبق‌اند و پیوند گسترده چندوجهی با یکدیگر می‌یابند. هدف از این پژوهش مطالعه و بررسی کنش و هم‌کنش عناصر بصری و اجرایی در پرده‌خوانی میدانی است که در آن محیط، و به‌ویژه تماشاگر را به مثابه چشم‌انداز در تعامل با عناصر بصری پرده و عناصر اجرایی قرار می‌دهد و در پی پاسخ دادن به این سوال است که نقال و تماشاگر چه رابطه‌ای با پرده نقاشی دارند، رابطه پرده با محیط چگونه است و چگونه و با چه تمهیداتی پرده از پیش نقاشی‌شده می‌تواند علاوه بر اینکه در هر اجرا پرده‌ای متفاوت باشد بلکه مبدل به چشم‌اندازی شود که پرده، نقال و تماشاگر را در خود بگنجاند. از این رو با بهره جستن از روش توصیفی ـ تحلیلی و با فنون جمع آوری اطلاعات کتابخانه‌ای و اسنادی به مطالعه نمونه‌های مورد نظر در راستای اهداف تحقیق پرداخته می‌شود.}, keywords_fa = {پرده‌خوانی,نمایش,صحنه نمایش,روایت,نقاشی قهوه‌خانه‌ای,فضای چندساحتی}, url = {https://negareh.shahed.ac.ir/article_994.html}, eprint = {https://negareh.shahed.ac.ir/article_994_ab3b70c618475dfdbd53bf9866cd5388.pdf} } @article { author = {mohajeri, mahdis and Fahimifar, Asghar}, title = {The Semiotic Analysis of Mysticism in the "Alexander and the Hermit" by Kamal al-din Bihzad based on Charles Pierce's Viewpoint}, journal = {Negareh Journal}, volume = {14}, number = {50}, pages = {90-107}, year = {2019}, publisher = {Shahed University}, issn = {2676-7244}, eissn = {2676-7244}, doi = {10.22070/negareh.2019.3249.1895}, abstract = {  Kamal al-din Bihzad is one of the most important Iranian painters. He has learnt painting from Mirak-e- Naghash. When he was young he was supported by Mīr Alisher Navaiy and Sultan Husayn Mirza Bayqara. Later Jami joined them and they all became part of Nakhshbandi doctrine. Nakhshbandi follows the traditional Islamic approach and keeps the rules of the Sharia away from the heresy of the foundation of this tradition. Bihzad usually depicts religious themes as well as old stories. The Islamic mysticism is also a theme that Bihzad was interested in. Islamic mysticism has an undeniable impact on Iranian Painting. Artists have been exposed to the idea of mysticism through mystical literature. The mystics have spoken of their internal experiences in the language of signs and symbols. This language is transformed and distributed to the arts and specifically to Iranian painting. Interpretation of his master work «Alexander and the Hermit» can illustrate how Bihzad transferred the literary language in visual one. This painting is adapted from Eskandar-nama by Nizami Ganjavi; an adventure tale about Eskandar, known generically as the Alexander romance. Eskandar-nāma exists in many versions in Persian, popular and courtly, and in prose and poetry. The most important question in this study is how mystical themes turn into visual language in this specific artwork. Bihzad, following earlier works, tried to use signs and symbols. The aim of the study is to identify and introduce all signs in «Alexander and the Hermit» in order to interpret it. Semiotics is suggested to discover this process. The process of carrying meaning depends on the use of signs. In an artwork there are many layers of meanings, and semiotics is known for detection of hidden relations in a structure which conveys a concept. Semiotics is the examination of the sign. This knowledge is the result of the linguistic and rational research undertaken independently by Ferdinand de Saussure in Switzerland and Charles Sanders Pierce in the United States at the end of the nineteenth and the beginning of the twentieth century. In comparison with Saussure's semiotics, Pierce's semantics, as one of the most complex semiotic theories, is more compatible with the history of art. The topics on which he wrote have an immense range, from mathematics and the physical sciences at one extreme, to economics, psychology, and other social sciences at the other extreme. Anything is a sign, not absolutely as itself, but instead in some relation or other. Peirce came to classify signs as Symbolic, Indexical and Iconic signs. A Symbol has no resemblance between the signifier and the signified. The connection between them must be culturally learned. An Indexical sign shows evidence of what’s being represented. A good example is using an image of smoke to indicate fire. An Iconic sign has a physical resemblance to the signified, the thing being represented. A photograph is a good example as it certainly resembles whatever it depicts. In this survey, some essential concepts are introduced. These concepts are theoretical points to give a deep perspective toward the subject, and next, the artwork is analyzed to specify the signs and symbols considering Bihzads' approaches to mysticism. The mystical experience is a changed state of consciousness that it seems impossible to convey to others through the language; this transmission is represented in the language of the image and in the framework of the sign and symbol of Bihzad. Considering the familiarity of Bihzad with the teachings of mysticism and Sufism and the association with Abdul Rahman Jami, Mīr Alisher Navaiy and Sultan Husayn Mirza Bayqara, the references to the strains of Sufism in his works have been identified. The artist narrates his image with elements that each may provide a space for interpretation. These strains include colors, styles, worldviews, similarities, differentials, mystical and religious symbols, special artist styles, etc. which indicate existence of a hidden world for painter. This research is based on descriptive and analytical method using library sources. The sample of this study is «Alexander and the Hermit». The analysis of this image regarding Bihzad’s mystical approach has been done by Pierce’s semiosis. His sign classification is used as a method for analyzing the painting; after specifying all the elements and features of which, the authors have classified them into three groups of Symbolic, Indexical and Iconic signs. In order to achieve this, authors illustrated a linear design personally, without using common software. It was first transferred to parchment and after photographing, it was transferred onto the blank sheet of paper. The outcomes of this study suggest that since the mysticism is based on intuition and taste, transmitting these hidden truths requires a peculiar language. Bihzad's Mystical aesthetics turns into his visual aesthetics by symbol and sign.}, keywords = {semiotics,Mysticism,Iranian Painting,Alexandre and the Hermit,Kamal al-din Bihzad,Charles Sanders Peirce}, title_fa = {تحلیل نشانه‌شناختی عرفان در نگاره‌ «اسکندر و زاهد» اثر کمال‌الدین بهزاد بر اساس دیدگاه چارلز پیرس}, abstract_fa = {کمال‌الدین بهزاد یکی از مهم‌ترین نگارگران ایرانی است. بهزاد در آثارش آموزه‌های دینی و همچنین داستان‌های کهن را به تصویر کشیده است. عرفان اسلامی نیز یکی از درون‌مایه‌های موردتوجه بهزاد است. نگاره‌‌ «اسکندر و زاهد» که در این پژوهش موردبررسی قرارگرفته است، از اسکندرنامه یا شرف‌نامه حکیم نظامی گنجوی اقتباس شده است. مهم‌ترین پرسش این پژوهش چگونگی انتقال درون‌مایه‌‌ عرفانی به زبان تصویری بهزاد است. بهزاد در این نگاره نیز، همچون بسیاری از آثارش، تلاش کرده از نماد و نشانه‌های متعدد برای بیان مفاهیم موردنظرش بهره بگیرد. هدف از این نوشتار شناسایی و معرفی نمادها و نشانه‌های به‌کاررفته در این اثر به‌منظور تفسیر آن است. برای آشکار ساختن روابط ساختاری پنهان و نهفته‌‌ اثر از روش نشانه‌شناسی بهره گرفته شده است. چارلز سندرس پیرس یکی از مهم‌ترین طبقه‌بندی‌های نشانه‌شناسی را ارائه کرده است. پیرس نشانه‌ها را به سه دسته نمادین، نمایه‌ای و شمایلی تقسیم و برای هرکدام تعریف ویژه‌ای ارائه کرده است. با توجه به جایگاه نماد و نشانه‌ها در آثار بهزاد، به نظر می‌رسد، آثار او به‌ویژه نگاره‌‌ «اسکندر و زاهد» را می‌توان بر اساس طبقه‌بندی پیرس، موردمطالعه قرار داد. این پژوهش از روش تحلیلی- توصیفی و در بخش گردآوری اطلاعات از روش کتابخانه‌ای بهره برده است. نتیجه‌‌ پژوهش نشان می‌دهد ازآنجایی‌که عرفان بر وجه شهودی، ذوقی و اشراقی بنا شده است، انتقال این‌گونه مفاهیم در نمونه‌‌ تصویری سازوکار ویژه‌ای پیدا می‌کند. زیبایی‌شناسی عرفانی بهزاد در قالب نماد و نشانه به زیبایی‌شناسی بصری در اثر او تبدیل می‌شود.}, keywords_fa = {نشانه‌شناسی,عرفان,نگارگری,اسکندر و زاهد,کمال‌الدین بهزاد,چارلز سندرس پیرس}, url = {https://negareh.shahed.ac.ir/article_996.html}, eprint = {https://negareh.shahed.ac.ir/article_996_f73a74e59ea2698ed29d1017ef3d5060.pdf} } @article { author = {najafvand drikvandi, mohabat and vasigh, behzad}, title = {A Comparative Study of the Holy Defense’s Signs and Symbols in Architecture and Visual Arts}, journal = {Negareh Journal}, volume = {14}, number = {50}, pages = {124-149}, year = {2019}, publisher = {Shahed University}, issn = {2676-7244}, eissn = {2676-7244}, doi = {10.22070/negareh.2019.3561.1963}, abstract = {Illustration and architecture are two important expressing media of the Islamic Revolution of Iran and the Holy Defense. The Iran-Iraq war, known as the “Imposed War” and the “Holy Defense”, began in September 1980 when Iraq invaded Iran simultaneously by air and land and lasted until August 1988. The Islamic Republic stressed its moral superiority by couching its military engagements (both defensive and offensive) as a sacred, collective effort to protect the Iranian homeland and ensure its survival. In the meantime, the illustration was initially used as a medium of revolution; however, the architecture was made after the end of the war as museum and memorial or monument. It is believed that these two arts have also benefited from common elements in terms of the content of expression tools. The purpose of this research is to answer the following questions: how can one obtain the common expression ways and literature in arts which are influenced by the Islamic Revolution and Sacred Defense culture? What are the common elements and interconnected linguistic grammar between the arts related to the concept of the Sacred Defense? Here, the meaning of Islamic culture suggests the Holy Defense culture. The research is a comparative study and the research method is analytical-interpretive. For content analysis, the method of morphology and Erwin Panofsky’s iconography method have been used. Erwin Panofsky was a specialist in Renaissance art, but in keeping with the humanist tradition of the period, the term ‘Renaissance’ must be applied to his work in its broadest sense. In Studies in Iconology he set up a system of three distinct levels. The first level, termed pre-iconographical, consists of primary or natural subject matter. Although identification on this level can generally be achieved through practical experience, accurate assessment of some kinds of representations, realistic versus unrealistic for instance, depends on an awareness of the conditions and principles related to a specific historical style. The second level, iconography in its usual sense, consists of secondary or conventional subject matter, and is achieved by connecting artistic motifs with themes or concepts. The third level is identified as Iconography in a deeper sense, or iconology. It consists of intrinsic meaning or content and is intent upon building an understanding of the relationship between one work and the larger context in which it was created. Hence, after examining 26 examples in visual arts and 15 examples of Holy Defense memorials and museums, it is attempted to analyze the content and expression of these two arts. To examine the forms of Sacred Defense illustration, the main and secondary themes and ways of expressing each of the works are analyzed, following which they were compared to the architectural forms. In architectural research, concepts include elements used in the form of shells and walls, sign elements, the type and quality of functional spaces, the velocity paths and their quality, historical references and types of decorations, the way of interaction between artifacts and natural environment. The performed studies show that the way of expression in the Sacred Defense illustrations is devoted to the symbolic style.70 percent of the works are done symbolically and 30 percent in a realistic style. After comparing the elements of illustration and architecture, the results show that despite the lack of overlap between the symbols in the two arts of architecture and illustration, these arts are aligned with symbolism. Illustrations and architectures have many common interests in the Sacred Defense such as human, animal, vegetative, linear, and geometric, architectural and artistic elements, which emphasize the remembrance of symbols in the collective memory of people. These elements are (human element (statue and image of warriors and the Mother), Animal element (White Bird) Vegetative decorations (tulip, palm tree and cypress), Linear and geometric elements (candlestick, eight and eight octagonal stars, Slavic motifs and inscriptions), Architectural elements (dome and reconstruction of some spaces such as mosques, trenches, schools and ruined walls) Ammunitions (tank, boot, hat, plaque, stern and flag). The huge number of people killed or injured in the fight against Saddam Hussein's troops is the foundation on which Iranian identity and the country′s historical self-image rests. Honoring martyrs has been an integral part of the Shia Islam. Iran’s war memorials in the landscape partially reflect the nation’s political history. Commemoration through Iran-Iraq war memorials mirrors not only what Iranian society wants to remember, but also what it wishes to forget. In Iran today, societal expectations structure the appropriateness of Sacred Defense memorials. People feel more than an obligation to have Sacred War memorials; war memorials may even be a necessity. The brutal fact that husbands, sons, friends and neighbors fought, suffered and often were killed, brings forth genuine feelings of remorse and a need to somehow remember them.    }, keywords = {Holy Defense,Comparative Study,Visual Arts,Architecture,Sign and Symbol}, title_fa = {تطبیق نماد و نشانه‌های دفاع مقدس در هنرهای تجسمی و معماری دفاع مقدس}, abstract_fa = {  هنرهای تجسمی و معماری دو ابزار بیانی مهم انقلاب‌اسلامی و دفاع‌مقدس‌اند. هنرهای تجسمی از ابتدا به عنوان رسانه انقلاب استفاده شدند. بااین‌حال معماری عمدتاً پس از پایان دفاع‌مقدس به شکل موزه و یادمان پدید آمد. گمان می‌رود که این دو هنر با توجه به ریشه‌های محتوایی مشترک از عناصر بیانی مشترک نیز بهره ببرند. این تحقیق می‌کوشد با بررسی عناصر تصویری دو حوزه معماری و هنرهای تجسمی به این پرسش پاسخ دهد که چگونه می‌توان ادبیات و نحوه بیانی مشترک بین هنرهای متاثر از فرهنگ انقلاب و دفاع مقدس به دست آورد، و عناصر مشترک و دستور زبان همپیوند بین هنرهای وابسته به مفهوم دفاع‌مقدس کدام است. نوع تحقیق، مطالعه تطبیقی بین‌رشته‌ای و روش پژوهش تحلیلی-تفسیری است. برای تحلیل محتوایی از روش شکل‌شناسی و شمایل‌نگاشتی اروین پانوفسکی استفاده شده است. از این‌رو پس از بررسی 26 نمونه از هنرهای تجسمی و 15 نمونه از یادمان‌ها و موزه‌های دفاع‌مقدس، تلاش می‌شود تا رابطه محتوایی و بیانی این دو هنر تحلیل گردد. برای بررسی عناصر به‌کاررفته در هنرهای تجسمی مربوط به دفاع‌مقدس، توصیف پیشاشمایل‌نگارانه، تحلیل شمایل‌نگارانه و تفسیر شمایل‌شناسانه هر یک از آثار با توجه به نظریه پانوفسکی تحلیل و ضمن بررسی عناصر به‌کاررفته در معماری دفاع‌مقدس، مورد مقایسه قرار می‌گیرند. پس از مقایسه عناصر هنرهای تجسمی و معماری، نتایج نشان می‌دهد که علی‌رغم عدم وجود همپوشانی بین نمادها در این دو حوزه، دارای همسویی در نمادپردازی نیز هستند. به عبارتی‌، هنرهای تجسمی و معماری دارای اشتراکات زیادی در حوزه دفاع‌مقدس نظیر عناصر انسانی، حیوانی، گیاهی، خطی-هندسی، معماری و بیجان می‌باشند که به جنبه یادآوری و بیادسپاری نمادها در حافظه جمعی مردم تأکید دارد.}, keywords_fa = {دفاع‌مقدس,مطالعه تطبیقی,هنرهای تجسمی,معماری,نماد و نشانه}, url = {https://negareh.shahed.ac.ir/article_992.html}, eprint = {https://negareh.shahed.ac.ir/article_992_1b5627d9c4eff4f9fc89cba0eaa590d0.pdf} }