@article { author = {sheikhi, alireza and shahrami, fatemeh}, title = {Study and Interaction of the Inscriptions and Birds in the Porch of Allahverdikhan in the Collection of Imam Reza Shrine}, journal = {Negareh Journal}, volume = {15}, number = {55}, pages = {5-19}, year = {2020}, publisher = {Shahed University}, issn = {2676-7244}, eissn = {2676-7244}, doi = {10.22070/negareh.2020.3022}, abstract = {The construction of tombs and monuments has been common in many historical periods. The monuments were either built on Allahverdikhan’s own orders or built after his death, at the behest of his friends and relatives. Dome of Allahverdikhan is one of the beautiful monuments built in Imam Reza's holy shrine. In his lifetime, he ordered the construction of the dome. These works are at the height of beauty and innovation. Artists and architects have created a new work in architecture by building it. They showcase their art and creativity both in appearance and in secret. Appearance: Beautiful motifs and in secret: Meaning of motifs. Safavid artists have used symbols in their works. The meaning of the symbols and signs has been lost over time. It is possible to study the meanings and concepts of the designs used in Imam Reza's shrine according to their specific historical concepts and symbols. Studying and analyzing these themes can reveal the purpose of the artists in designing these motifs. It can also illustrate their meaning in the Safavid period. The Allahverdikhan dome is an octagonal building, northeast of the shrine of Imam Reza. This building is built on two floors. On the first floor there are eight porches that are decorated. These decorations include inscriptions, animal and plant motifs, and especially birds In this research, the equilibrium and relationship between the inscriptions of Dome of Allahverdikhan and bird motifs are investigated. The purpose of this article is to re-read the relationship between the inscriptions and the birds that have influenced the decoration of the first floor. These decorations are all tiled. So the questions are as follows: what are the subject of inscriptions and the symbolic meaning of depicted birds? And what is the relationship between the subject of inscriptions and the role of birds? The research method is descriptive and analytical, and information is based on library documents and case study. The findings show that the inscription and the bird's role were purposely chosen according to the foundations of Shiite thought and the ideology of the Safavid government. The establishment of the Safavid government in all parts of Iran emphasized Shiite art. Colorful birds in the dome of Allaverdikhan present a picture of paradise. Pheasant, parrot, peacock, Simorgh and duck provide spiritual space among the plant elements. The contents of the inscriptions are dedicated to the date of the birth of the infallible Imams, the testimony and virtue of the pilgrimage of the verse of Tathirah in Quran, greetings to the Ahlul-Bayt and historical explanations, sponsors and artists of the dome building. Birds depict symbolic numbers, mystical symbols and colors with concepts such as paradise, the perfect human being. In this study, the symbolic meanings of birds such as Simorgh, pheasant, duck, peacock and parrot are listed. The entrance porch inscription states that this place is part of heaven. It should be noted, however, that the image of birds flying or sitting on the branches, brings paradise to mind. Since this place was the main entrance to the holy shrine up to the Qajar period, in one of the inscriptions the Imam Reza pilgrimage was regarded as equal to the Hajj. The number of forty white pheasants refers to the Ihram dress of the Muslims and the number of forty is a complete number. The inscriptions are written in Thuluth and Nastaliq. The content of the inscriptions refers to Imam Reza's birth, martyrdom and virtue of pilgrimage to his shrine, the verse of Tathirah, greetings to the Ahlul-Bayt and a description of the building. Symbols, numbers and colors are in harmony with the inscriptions such as paradise, perfect human reason, the name of the infallible Imams and Mahdi. The weightlessness of the depicted birds in the porches, their sitting on branches and their singing along with the subject of the inscriptions, provide the audience with a harmonious accord and suggest the aim of the artists. The final goal has been to recreate a paradise-like atmosphere for the audience and the pilgrims at the threshold of this holy shrine in an effort to partly convey the spirituality and unworldliness of this place.}, keywords = {Razavi Shrine,Safavid,Porch of Allahverdikhan,Motif of Bird,Inscription}, title_fa = {مطالعه وتعامل کتیبه‌ها و مرغان نقش بسته بررواق الله‌وردیخان در مجموعه حرم امام رضا(ع)}, abstract_fa = {هنرمندان دوره صفوی از نمادها و نشانه‌ها در آثار خود استفاده کرده‌اند که با گذشت زمان بر معانی این نمادها غباری نشسته است. در این پژوهش نقوش و کتیبه‌های رواق الله وردی‌خان و تعامل این دو عنصر با یکدیگر در حرم مطهّر رضوی مورد بررسی قرار گرفته است. هدف مقاله بازخوانی و رابطه کتیبه‌ها و مرغانی است که در لابلای نقوش اسلیمی و ختایی کاشی‌کاری این رواق به کار رفته اند. لذا سوال‌ها این است 1. مضامین کتیبه‌های به کار رفته در این رواق چیست؟ 2. مرغان نقش‌شده، نماد چه موضوعی هستند و3. آیا بین این دو عنصر رابطه‌ای وجود دارد؟ روش تحقیق توصیفی- تحلیلی است و اطلاعات بر مبنای اسناد کتابخانه‌ای و میدانی استوار است. یافته‌ها نشان می‌دهد بانی بنا  با هدف گسترش و ترویج فرهنگ شیعی، کتیبه و نقش پرنده را هدفمند انتخاب و با نقوش و رنگارنگ مرغان، تصویری از بهشت ارایه نموده است.. قرقاول، طوطی، طاوس، سیمرغ و مرغابی نمادی از پرواز، فضایی روحانی و معنوی در بین عناصر گیاهی خاطرنشان ساخته‌اند. مضامین کتیبه‌ها با خط ثلث و نستعلیق به تاریخ ولادت، شهادت و فضیلت زیارت امام رضا(ع)، آیه تطهیر، سلام بر اهل بیت و توصیف بنا اختصاص یافته است. مرغان از نظر نمادین، تعداد و رنگ با مفاهیمی چون بهشت، عقل انسان کامل، نام امامان معصوم وحضرت مهدی(عج) با کتیبه‌ها هماهنگ و در تعامل هستند.  }, keywords_fa = {حرم رضوی,صفوی,رواق الله وردیخان,نقش مرغ,کتیبه}, url = {https://negareh.shahed.ac.ir/article_3022.html}, eprint = {https://negareh.shahed.ac.ir/article_3022_ae8b213932f4828f100a060f52d4bffd.pdf} } @article { author = {Nasehi, Abuzar and heydari, amene}, title = {Comparative Comparison of Scientific Imaging of Astan Quds Razavi's Extrusion Edition with Objective Images of Medicinal Plants}, journal = {Negareh Journal}, volume = {15}, number = {55}, pages = {21-33}, year = {2020}, publisher = {Shahed University}, issn = {2676-7244}, eissn = {2676-7244}, doi = {10.22070/negareh.2020.3031}, abstract = {During the period of the Abbasid caliphs, the Islamic world became a center of knowledge, research and intellectualism and the city of Baghdad reached its peak of prosperity. In addition to inviting scholars to Baghdad, manuscripts were collected and translated from Syriac, Greek and Pahlavi to Arabic. These actions led to the migration of scientists from around the world to Baghdad and the boom in education and research which is also known as the translation movement. What is visible in the early Islamic centuries is the growth of scientific imagery, which can be attributed to Muslims' interest in scientific literature. In "Scientific Imaging", the artist, while partially referring to the scientific text, also has a look at the formal appeal of the book to encourage the enthusiasm of the reader to study. Nowadays, with the expression "illustration" all audiences pay attention to the visualization of the pages of the book, because with the development of bibliography over the past millennium, the art of visualization has become more relevant to the context of books. Illustrations of handmade paper books largely reflect the fact that illustrators have tried to exploit this technique, while narrating various events of their day and expressing religious beliefs, historical events, as well as illuminating some theoretical and practical sciences and literary texts. Dioscorides, a Greek physician, pharmacist, and botanist who lived in the first century, arranged all his personal experiences on the medical properties of flowers and herbs in different areas. The illustrations of his Book of Materia Medica that became known as "al-Hashish", have been traceable to Europe since the sixth century. The first translation from the book was made by Hainan bin Isaac from Syriac in 250 AH. Hainan bin Isaac entrusted the translation into Arabic to one of his students, Asfat bin Basil. However, Stefan ibn Basil translated it directly from Greek into Arabic, and revised and corrected the translation as Hennan ibn Isaac realized his mistakes. Stefan was one of the first and most accomplished translators of Greek medical texts into Arabic in the third century AH/ 9th century AD. He replaced the Greek medicinal names that he knew with their Arabic equivalents, but brought the unknown names in the original Arabic text. One of the aims of this definitive research is to investigate the branch of imaging known as scientific imaging. The aim is to study and compare the images of herbal remedies (expensive preserved versions of Astan Quds treasures) with the actual images of these plants. Most of these names were translated and interpreted into Arabic a century later in Andalusia by a monk named Nicolas, who was sent by the Byzantine emperor to the court of Abdul Rahman Nasser and was knowledgeable in both Greek and Latin. The so-called stylized translation is undoubtedly the most important translation of the book of Dioscorides into Arabic. Another important translation, namely the source translation of the manuscript of al-Hashayash al-Mashhad (Astan Quds), was done by Mehran ibn Mansur ibn Mehran, who knew both Syriac and Arabic languages ​​well, and used the Syriac translation of the book done by Hinnah ibn Ishaq, and translated it into Diyarbekir during the reign of King Najmuddin around 550 AH. The general title of the “Abbasid School”, that continued for five centuries, is bestowed upon various ways of illustrating books in the cities of Baghdad, Mosul, Kufa and Wasit; most of which were influenced by Sasanian and Byzantine art. It is characteristic of the paintings of this period that the outlines and shapes of animals and larger individuals were drawn, and the organs delineated in a simple manner with little or no depiction of background. The colors are few, but coordinate, very precise and subtle. The faces belong to the Sami (Arab) race, but they also have a significant influence on Byzantine and Eastern Roman artists.  The main questions of the study are: 1- To what extent are the images depicted in the transcript of Astan Quds Razavi's version close to the objective reality? 2- What is the relationship between text (visual description of plant) and visualization in the transcript? This descriptive-analytical study is based on library research and references to objective images of medicinal plants. The authors have achieved research results through a comparative study of the manuscripts along with the historical description and analysis of the images. The research shows that the illustrator of the Astana Quds Razavi’s version of the extravaganza depicts unfamiliar plants, imitating the nature of plants, or imitating the work of ancestors, without modeling on nature.}, keywords = {Extrusion Manuscript,Astan Quds Razavi,Dioscorides,Scientific Imaging,Medicinal plants}, title_fa = {مقایسه تصویرسازی علمی نسخه الحشایش آستان قدس رضوی با تصاویر عینی گیاهان دارویی}, abstract_fa = {در طول دوران خلفای عباسی، جهان اسلام تبدیل به قطب دانش، پژوهش و روشنفکری گردید و شهر بغداد در دوران خلفای عباسی، به اوج پیشرفت و شکوفایی خود رسید. در این دوره دعوت دانشمندان و محقیقین به بغداد، گردآوری و برگرداندن کتابهای خطی از زبان سریانی، یونانی و پهلوی به عربی صورت گرفت. آنچه در قرون اولیه اسلامی قابل مشاهده است رشد تصویرسازی علمی در مناطق اسلامیست که دلیل آن را می توان با علاقه مسلمانان به متون علمی مرتبط دانست. مسلمانان صدر اسلام از طریق ترجمه متون علمی تمدن‌های مغلوب و همسایه به منبعی عظیم از متون علمی دست یافتند که این متون نیازمند تصاویری بود تا مخاطب تشنه علم را سیراب کند. در " تصویرسازی علمی"،آنچنان که از عنوانش برمی‌آید؛ مطالب نا آشنا و پیچیده علمی، از طریق تصاویر برای مخاطب قابل فهم می‌گردد. هنرمند در این نوع از تصویرسازی ضمن اشراف نسبی بر متن علمی نیم نگاهی نیز بر جذابیت صوری کتاب داشته تا اشتیاق مخاطب را برای مطالعه افزون کند؛ هر چند شاخصه اصلی در این نوع از تصویرسازی، میزان ارادت تصویرساز به متن علمی است. هدف مقاله، بررسی، مطالعه و مقایسه تصاویر گیاهان دارویی نسخه الحشایش (نسخۀ محفوظ درگنجینه آستان قدس) با تصاویر واقعی این گیاهان است. سوال‌های اصلی تحقیق عبارتند از: 1- تصاویر ترسیم‌شده در نسخه الحشایش آستان قدس رضوی چقدر با واقعیت عینی تطابق دارد؟ 2- رابطه متن (توصیف تصویری گیاه) و تصویرسازی در نسخه الحشایش چگونه است؟ این پژوهش با روش توصیفی- تحلیلی بر مبنای مطالعات کتابخانه‌ای و روجوع به تصاویر عینی گیاهان دارویی صورت گرفته است. نگارنده گان از طریق مطالعه تطبیقی نسخه‌ها در کنار توصیف و تحلیل تاریخی تصاویر به نتایج تحقیق دست یافته‌اند. پژوهش نشان می‌دهد: که تصویرگر نسخۀ الحشایش آستان قدس رضوی در تصویرسازی گیاهان ناآشنا، بدون آنکه از روی طبیعت الگو برداری کند، به کمک تخیل خود از روی اوصاف گیاهان و یا به تقلید از کار پیشینیان اقدام به تصویرسازی کرده است. هدف اصلی تصویرساز، زیباسازی و آرایش ترجمه‌ها و متون خشک و گاهی نامفهوم بوده تا نشان دادن تصویر واقعی گیاهان.}, keywords_fa = {نسخه خطی الحشایش,آستان قدس رضوی,دیوسکوریدس,تصویرسازی علمی,گیاهان دارویی}, url = {https://negareh.shahed.ac.ir/article_3031.html}, eprint = {https://negareh.shahed.ac.ir/article_3031_e15a6906f989c732d426c3c75867da34.pdf} } @article { author = {Zabihi, Maryam and Salim-Zadeh, Mohammad-Jafar and Farrokhfar, Farzaneh}, title = {A Comparative Study on Characterization of Imaginary-Synthetic Beings in The Miniatures of the Wonders of Creation, by Zakariya al-Qazwini, Schools of Painting in the Ilkhanid and Mughal Eras}, journal = {Negareh Journal}, volume = {15}, number = {55}, pages = {35-47}, year = {2020}, publisher = {Shahed University}, issn = {2676-7244}, eissn = {2676-7244}, doi = {10.22070/negareh.2020.3020}, abstract = {Ajaib al-makhluqat wa-gharaib al-mawjudat (The Wonders of Creation, or literally “the Marvels of Created Things and the Miraculous Aspects of Existing Things”) by Zakariya ibn Muhammad al-Qazwini (circa 1203−83) is among the best known texts of the Islamic world. It is often referred to as “The Cosmography”. The work begins with an introduction, and is followed by two sections; the first on supra-terrestrial, and the second on terrestrial creatures. Al-Qazwini concludes his work with a section on monsters and angels. The genre of Ajaib al-makhluqat (The Wonders of Creation), of which al-Qazwini’s work is the most famous example, includes texts in Arabic and Persian that describe the marvels of the heavens and the earth. Knowing the styles of character design in the art of miniature, and study of its conception and evolution can be an inspiration for contemporary artists and open up new perspectives for them. In this way, the images of the amazing version of the Wonders of Creation by Zakariya al-Qazwini are a suitable case to study the character design in the central Asian imagery tradition. The selection of two distinctive versions from two different eras of the Ilkhanid miniature in Iran (Ilkhanid version from Munich Library-No.464) and the Mughal School in India (Mughal version from the library of Astan Quds Razavi-Mashhad-No.47893), from the beginning of authorship and painting of this version to the end of the dynamic miniature schools of the central Asia, can demonstrate the evolution of this style of portraiture. The purpose of this research is to know the fixed and variable factors in designing the fantasy-fictional characters from the 13th to the 17th century AD, with a focus on two indexes and with a form-based attitude. This research is looking for answers to the following questions: What are the representational characterizations of imaginary-synthetic beings in the early version of The Wonders of Creation of Qazwini in the Ilkhanid School, and the version in the Mughal School? What are their communalities and differences? The method of the study is analytic-comparative and the method of collecting information is library research. Statistical population of this study, in the first step and for analysis of general characteristics, is all of the pictures of imaginary-synthetic beings in the two versions, and in the last step and for the sake of analysis of professional characteristics, consists of five miniatures which are shared and equal in both versions. The general results of the study show that the percentage of realistic images is higher in comparison with the fantastic ones in both versions. Among the images of the fantastic creatures in both versions, the special creatures of the sea possess a higher percentage, while the lowest percentage of the fantastic images in the Ilkhanid version is dedicated to constellations, and the lowest percentage of the fantastic images in the Mughal version to the special creatures of the land, angels and stars. Also, the commonality of characterization of imaginary-synthetic beings in the early version of The Wonders of Creation of Qazwini in Ilkhanid School, and in its counterpart in Mughal School, is derived from the style of Persian miniature and its explicit way in application of colors. The Mughal version of the above-mentioned manuscript is painted with more saturated colors in comparison with the Ilkhanid version, which bestows more energy and dynamism to its characters. The texture in the miniatures of the Mughal version is much more obvious and apparent as well, which lead to richness and high pictorial value in the miniatures of this version. The images in both versions have been well imbued with a type of extra-terrestrial and inorganic exaggeration and hybridization and manifest a mixture of heterogeneous elements. It is also noteworthy to add that the lines, compositions as well as low saturated colors are taken from the Chinese art, while the omission of the characteristic empty background in the Chinese painting has added an idealistic effect to the miniatures. In the Mughal-era version of The Wonders of Creation, the imaginary-synthetic figures suggest the inclination of artists to depiction of unrealistic themes and imagination. In the majority of the Mughal images, the tendency to use intense colors, attention to chiaroscuro and perspective are apparent, thus the colors are mature and dark, and the figures seem more corporeal. Finally, qualities such as the application of color and line, use of surrounding frame, realism or foreshortening are the obvious differences of these versions, which also emphasize the quality of portraiture in the Ilkhanid version in comparison with the Mughal one.}, keywords = {Ilkhanid Painting School,Mughal Painting School,The Wonders of Creation,Characterization,Imaginary-synthetic Beings}, title_fa = {تحلیل تطبیقی شخصیت‌پردازی موجودات تخیلی-تلفیقی در نگاره‌های نسخ عجایب‌المخلوقات قزوینی مکتب ایلخانی و مکتب گورکانی*}, abstract_fa = {شناخت شیوه‌های طراحی شخصیت در هنر نگارگری و مطالعه سیر تکوین و تحول آن می‌تواند برای طراحان امروز الهام‌بخش باشد و دریچه‌های جدیدی به‌ روی آن‌ها بگشاید. در این راستا، تصویرسازی‌های نسخه عجایب‌المخلوقات به ‌لحاظ اینکه با محوریت موجودات تخیلی-تلفیقی صورت گرفته‌، مورد مناسبی برای مطالعه طراحی شخصیت فراواقع در سنت تصویری آسیای‌میانه است. انتخاب دو نسخه شاخص از دو دوره ممتاز مکتب نگارگری ایلخانی در ایران (نسخه کتابخانه مونیخ-شماره 464) و مکتب گورکانی در شبه‌قاره (نسخه کتابخانه آستان‌قدس رضوی- شماره‌ 47893)، از بدو نگارش و مصورسازی این نسخه تا پایان دوره حیات پویای مکاتب نگارگری آسیای‌میانه، می‌تواند تشابه و تفارق ویژگی‌های تصویرگری این‌گونه از طراحی شخصیت را تبیین نماید. هدف از این پژوهش، شناخت و تبیین عوامل ثابت و متغیر در طراحی شخصیت‌های تخیلی-تلفیقی از بدو مصورسازی این نسخه در قرن هفتم هجری تا مکتب گورکانی قرن یازدهم هجری، با تمرکز بر دو نسخه شاخص و با رویکرد فرم‌گراست. این تحقیق در پی پاسخ به این پرسش‌هاست: شخصیت‌پردازی‌ موجودات تخیلی-تلفیقی در نگاره‌های نسخه آغازین عجایب‌المخلوقات قزوینی مکتب ایلخانی و همتای آن در مکتب گورکانی، دارای چه ویژگی‌های تجسمی است؟ و وجوه اشتراک و افتراق آنها در چیست؟ روش تحقیق، تحلیلی-تطبیقی و شیوه گردآوری اطلاعات کتاب‌خانه‌ای-اسنادی است. روش تجزیه و تحلیل آثار بر مبنای مطالعات کیفی (سنجش چگونگی کاربست عناصر بصری) و از حیث هدف، بنیادین است. جامعه بررسی این پژوهش را در گام نخست و به منظور تحلیل ویژگی‌های عمومی، تمامی تصاویر موجودات تخیلی-تلفیقی دو نسخه، و در گام نهایی و با هدف تحلیل ویژگی‌های تخصصی، تعداد 5 تصویر که در هر دو نسخه مشترک و هم‌طراز هستند، تشکیل می‌دهند. نتایج کلی پژوهش بر این امر اذعان دارند که وجه اشتراک شخصیت‌پردازی موجودات تخیلی-تلفیقی در نسخه آغازین عجایب ‌المخلوقات قزوینی در مکتب ایلخانی و همتای آن در مکتب گورکانی، برگرفته ‌از سبک قالب نگارگری ایرانی و تفاوت چشم‌گیر آن‌ها، در نوع کاربست رنگ است.}, keywords_fa = {مکتب ایلخانی,مکتب گورکانی,عجایب‌المخلوقات,شخصیت‌پردازی,موجودات تخیلی-تلفیقی}, url = {https://negareh.shahed.ac.ir/article_3020.html}, eprint = {https://negareh.shahed.ac.ir/article_3020_f5d09e24eac7df7424aef0d9f9c954e3.pdf} } @article { author = {Latifkar, Azade and Hatam, Gholam Ali and Maziar, Amir}, title = {The Transformation of Throne Image in Ilkhanid Illustrated Manuscripts until 1430s}, journal = {Negareh Journal}, volume = {15}, number = {55}, pages = {49-65}, year = {2020}, publisher = {Shahed University}, issn = {2676-7244}, eissn = {2676-7244}, doi = {10.22070/negareh.2020.3029}, abstract = {This Paper deals with identification and exploration of factors that influenced the throne imagery in the Ilkhanid Illustrated manuscripts in the 14th century. Throne is the central element in the enthronement scenes, as one of the more frequent themes in Persian art. From the very beginning of the Islamic art, thrones appeared in royal scenes illustrated in Umayyad palaces and continued in royal iconography. During the Ilkhanid period the throne image as well as the enthronement scenes appeared frequently in illustrated books as the main media for royal iconography in that era. The Ilkhanid throne was first investigated in the sixth volume of Survey in Persian Art (in Persian Translation). The authors explored various thrones of that era, the ornaments and their main members such as backseat, cushions and stool according to the visual sources, especially the book paintings. They also pointed to the Chinese influences on these thrones.  The diversity of thrones in the Arabic Manuscript of Jami’ al-Tawarikh was first examined in David Donavan’s detailed article which mainly dealt with the roots of the various throne forms in this codex. In his study, Donavan identified three types of thrones according to their basis. He also believed that although Chinese elements are visible in thrones’ structure and ornaments, basic form of the Persian throne’s image is still continued; the notion which is emphasized by Yoka Kadoi in 2009. The current study explores the Ilkhanid throne’s image during three phases of Ilkhanid illustration development with regard to the medium of illustrated book. Three main questions of this research are as follows: what are the main throne types in Ilkhanid painting? What factors have influenced the throne structure and ornaments? And how the illustrated book, as a medium, influenced the throne image in that era?   The study is based on analyzing  85 images selected from seven illustrated manuscripts that belong to three stages of development of Ilkhanid painting; 36 images from Small Shahnama (three manuscripts attributed to 1400 AD, dispersed in various collections), 10 images from Balami’s Tarikhnama (a historical manuscript attributed to 1400 AD, preserved in free and Sackler Gallery),  22 images from Jami’ al-Tawarikh (another historical manuscript attributed to 1410s AD, Preserved in Edinburg library and Khalili Collection), 7 folios from Diez Album attributed to an Illustrated manuscript of Tarikh-i Mobarak-i Gazani which is dated c. 1420s, (preserved in Staatsbibliothek zu Berlin)  and 10 images from the great Ilkhanid Shahnama (attributed to 1430s, dispersed in various collections). The throne image transformation is studied in terms of the throne’s structure, ornaments and the pictorial compositions. The result shows that the Ilkhanid workshops inherited the concepts and visual elements from the pre-Mongol era and combined them with far Eastern elements in throne iconography. This could be traced in the variety of forms and ornamentations in throne images. At the beginning of the era (last decade of the 13th century and early years of the 14th century) the throne image was represented similar to the pre-Mongol throne image in terms of structure. By establishing the Tabriz workshops, the Chinese influences gradually appeared in throne image, especially in books illustrated in Tabriz. Beyond general form and ornamentation, the Ilkhanid painters applied perspective in illustrating throne based on Chinese model. In addition to this limited use of perspective, the painters tended to decorate thrones with various types of vegetal and geometric ornamentations as visual devices for showing the thrones’ luxurious aspect. Their tendency to illustrate the reality also reflects in emitting the traditional symbolism in form of animals or transforming them into decorative objects. Consequently, the Mongol invasion could be considered as a turning point in throne iconography. Several factors were involved in the throne image evolution; first of all the pre-Mongol tradition which could be traced on ceramic and metalwork as well as book illustrations, secondly, the Chinese model, thirdly, ornamental details borrowed from Chinese art which were transferred to Ilkhanid workshops by merchants and fourthly, the consideration of image as a visual narrative of text which is reflected in throne image as a realistic representation. This is expressed by applying perspective, excessive use of ornaments and avoiding the traditional and symbolic models in enthronement scenes.}, keywords = {Ilkhanids,Illustrated Manuscripts,Throne}, title_fa = {سیر تحول بازنمایی تصویر تخت در دستنویس‌های مصور ایلخانی تا ۷۳۶ هجری}, abstract_fa = {در عصر ایلخانی که سرآغاز شکوفایی کتاب آرایی ایرانی‌ است، نقاشان با به‌کار بستن آمیزه‌ای از عناصر غربی و شرقی زبان بصری جدیدی در بازنمایی مضامین سنتی هنر ایرانی ابداع کردند. تخت به عنوان هسته‌ی مرکزی مجالس بر تخت نشستنْ یکی از عناصری است که می‌توان این دگردیسی را در نحوه‌ی بازنمایی آن‌ دنبال کرد. هدف این مقاله شناسایی و بررسی عوامل مختلفی است که در شیوه‌ی بازنمایی تخت در مراحل مختلف شکل‌گیری، گسترش و شکوفایی نقاشی دوره‌ی ایلخانی مؤثر بوده‌اند. در این راستا این پرسش‌ها به بحث گذاشته می‌شوند؛ انواع  تخت در دوره‌ی ایلخانی کدام‌اند؟ عوامل مؤثر بر بازنمایی تخت و تزئینات آن چه هستند؟ کتاب مصور، به عنوان بستری که مضمون بر تخت نشستن در آن خلق می‌شود، در بازنمایی تخت چه تأثیری داشته است؟ در این پژوهش که بر اساس داده‌های گردآوری شده از مطالعات کتابخانه‌ای و به روش توصیفی-تحلیلی انجام شده است ۸۵ نمونه تخت از تصاویر ۷ دستنویس ایلخانی در سه سطح، انواع تخت، تزئینات آن‌ها و نحوه‌ی بازنمایی آن در ترکیب‌بندی کلی هر تصویر، مورد بررسی قرار گرفته‌اند. نتایج حاصل از این بررسی نشان می‌دهد که عصر ایلخانی را می‌توان به مثابه نقطه‌ی عطفی در بازنمایی تخت در نظر گرفت که طی آن عوامل متعددی در بازنمای تخت‌ها دخیل بوده‌اند، نخست سنت‌های پیشامغولی در بین‌النهرین که در تصاویر نقش شده در کتاب‌ها و اشیاء سفالی و فلزی به کار می‌رفته است، دوم تصاویر تخت‌های چینی، سوم جزئیات تزئینی برگرفته از هنر شرق دور به ویژه چین که از طریق تجارت اشیاء به دربار ایلخانان راه یافتند و چهارم تمرکز بر تصویر به عنوان روایتی بصری از متن که  نمود آن در بازنمایی تخت را می‌توان تحت عنوان شکلی از واقع‌نمایی شناسایی کرد که به وسیله‌ی کاربرد پرسپکتیو، نمایش افراطی تزئینات و فاصله‌ گرفتن از الگوی ایستای سنتی در نمایش شاه و تخت بیان شده است.  }, keywords_fa = {ایلخانان,دستنویس‌های مصور,تخت}, url = {https://negareh.shahed.ac.ir/article_3029.html}, eprint = {https://negareh.shahed.ac.ir/article_3029_8849776fd9c0abb85d217d6b5cb576be.pdf} } @article { author = {rajabi, zeinab and Ahmadpanah, Syyed Abutorab}, title = {The Explanation of the Frame in Traditional Persian Paintings and Its Innovation in the Artworks of Mahmoud Farshchian}, journal = {Negareh Journal}, volume = {15}, number = {55}, pages = {67-85}, year = {2020}, publisher = {Shahed University}, issn = {2676-7244}, eissn = {2676-7244}, doi = {10.22070/negareh.2020.3021}, abstract = {“Frame” or Cadre is essentially one of the most important constituent elements of an artwork, and the artists have long paid attention to it in the visual arts of Iran; especially in post-Islamic arts. One of the most important topics in the visual arts is frame and its relation with the artwork or text, without which its components and elements will not be clearly defined. The frame can be the page and the area of the panel, the embedded illustrated image, the interior spaces, or in other words the specific areas within the image of an artwork. The frame actually creates the boundaries, and the various elements of the artwork are defined relative to the frame within the composition. Unless the frame defines the scope of the work, the elements that are embedded in it remain undefined relative to each other and also to the outside of the margin. The frame has an independent identity and has particular importance in Persian artworks in comparison with the arts of other countries. The evolution of frame can be analyzed throughout the history of book-making and painting until contemporary times. The frame is remarkable in its various forms and functions in the painting. The relationship                                    between the shape of the frame and the theme of artwork, as well as the relationship between the text and the border, indicate the different capabilities and functions of the frame. Therefore frame and its relation to artwork are one of the most important issues in visual arts. In contemporary Persian painting, despite the independence of the artwork from the manuscripts, frame is still used in works and maintains its expressive and important role in visual art. Among contemporary artists, Mahmoud Farshchian has used the various forms of frame in different ways. It should be noted that Farshchian created a special style that while paying attention to the traditional authenticity of Persian painting, created a new language in Persian art.  This article, that has been conducted using a descriptive-analytical method, tries to answer the following two questions: what are the characteristics of frame in traditional Persian painting? And what are the uses of the frame in the works of Farshchian and his innovations in this field? The purpose of the research is to identify and explain the position of frame in the works of traditional Persian painting and its continuation and innovation in the works of Farshchian. In this article, beside the fifteen specimens of the traditional Persian painting that have been chosen in order to explain the variety of frames and their characteristics, about thirty specimens from accessible artworks of all Mahmoud Farshchian’s printed works were selected and analyzed as statistical population, which represent the variety of frames and their different characteristics both in terms of traditional frame functions and their innovations. In conclusion, it has been recognized that frames appear in traditional Persian paintings, generally in the form of rectangular, vertical square or horizontal rectangles, circles, and polygons. Frames may be "closed" and "open" in association with the image. These two types of frames can also be "simple" or "ambulant". Also in reviewing Farshchian's numerous works, it is revealed that he has used both traditional and innovative methods in his works. On the one hand, with regard to the traditional way, he has used traditional open and broken frames, and on the other hand, has used the frame in an innovative way  This article identifies four types of innovative ways that include: 1- The general shape of the frame display: This means using shapes such as rectangular frames with paper plates, oval, altar, Roman and composite frame formats. 2- The way of drawing frame: His works were examined in terms of two aspects: “frame layout" and "the way of creating frame through color separation" in order to distinguish inner and outer space for induction of the frame. 3- Making the frame ambulant: frames that are curved, torn, burned, clouded, or tailored in relation with the content and type of the frame are his innovations in the field. 4- Non- frame works: rarely used in traditional painting and after Hossein Behzad, however there is a great deal of this kind of frame in his works. Also regarding the relationship between the frame and the theme of the painting in Farshchian's works, it should be noted that the frame is an excuse to complete the image and is often in relation with the artist's intended theme. Another function of the frame in his works relates to the role of the frame in creating the border and communicating the border with the text. In his work, the marginal elements contribute to the text as well as the main theme of the work, directly or indirectly through the representation of different worlds and times, and also the presentation of the content within the margin.}, keywords = {Frame,Persian painting,Farshchian,Iran,Contemporary}, title_fa = {تبیین جایگاه قاب در آثار نگارگری ایران و بررسی نوآورانه آن در آثار محمود فرشچیان}, abstract_fa = {یکی از مهمترین مباحث در هنرهای تجسمی قاب و رابطه آن با اثر هنری است که بدون در نظر گرفتن آن، اجزا و عناصر داخل آن، تعریف مشخص و قابل درکی نخواهند داشت. قاب در آثار نگارگری قدیم ایران دارای هویت مستقل و کارکردهای گوناگون بوده و در دوره‌های مختلف تحولاتی داشته است. در میان هنرمندان نگارگر معاصر نیز محمود فرشچیان از قاب و کارکردهای متنوع آن غافل نبوده و از آن به شیوه‌های گوناگونی بهره برده است. هدف از تحقیق پیش‌رو شناسایی و تبیین جایگاه قاب در آثار نگارگری قدیم ایران و تداوم سنت و نوآوری آن در آثار فرشچیان در این زمینه است. مقاله در پی پاسخ به این دو پرسش است که: قاب در آثار نگارگری قدیم ایران چه ویژگی و کاربردی داشته است؟ و کاربرد قاب در آثار فرشچیان و نوآوری‌های وی در این زمینه چگونه است؟ این مقاله به شیوه توصیفی_تحلیل انجام شده است. روش گردآوری اطلاعات کتابخانه ای_اسنادی و با ابزار کتاب، فیش، رایانه و تصویر صورت گرفته است. در نهایت مقاله به این نتایج دست یافته که قاب در آثار نگارگری قدیم، در اشکال متنوع هندسی و انواع گوناگونی همچون قابهای بسته و باز و یا ساده و متحرک انجام شده و کارکردهایی همچون ارتباط با مضمون نگاره و نیز برقراری پیوند میان متن و حاشیه داشته است. همچنین در سیر تحول قاب در نگارگری معاصر که در این مقاله بصورت موردی آثار فرشچیان بررسی شد، معلوم گردید که وی قاب را به دو شیوه سنتی و نوآورانه استفاده نموده است. از جمله نوآوری‌های ایشان می‌توان به شکل کلی نمایش قاب، نحوه کشیدن قاب، شکل تحرک قاب و در ابداع آثاری بدون قاب اشاره نمود. قاب در آثار وی در ارتباط با مضمون نگاره متحول گشته و به شیوه‌های گوناگون در پیوند با حاشیه نگاره قرار دارد.}, keywords_fa = {قاب,نگارگری,فرشچیان,ایران,معاصر}, url = {https://negareh.shahed.ac.ir/article_3021.html}, eprint = {https://negareh.shahed.ac.ir/article_3021_9d37b5a357b1917a2164c4e53d616ef8.pdf} } @article { author = {Asadpour, Ali}, title = {Recognizing the Design & Layout of the Lost Tileworks of the Eastern Wall of Shiraz’s Karim-khan Citadel (Arg)}, journal = {Negareh Journal}, volume = {15}, number = {55}, pages = {87-99}, year = {2020}, publisher = {Shahed University}, issn = {2676-7244}, eissn = {2676-7244}, doi = {10.22070/negareh.2020.3019}, abstract = {Zandieh is a short period in Iranian history (1751-1794 AD) which influence on Qajar art (1794-1925 AD) has always been discussed. The period of Karim-Khan Zand (1751-1779 A.D) is considered as one of the three stages of the evolution and development of Iranian art after the fall of the Safavids, which is a combination of a kind of "realism" and "ancientism," but both in the folk tradition, with the suspension fluctuated between the return to royal traditions and the pursuit of European arts. However, Zandieh-era tileworks have not been sufficiently investigated. Tileworks in Zand dynasty are limited, and at the same time, the Arg or Citadel of the Karim-Khan Zand is also considered to be most widely made of bricks, which has few tileworks. Much of the research in this area has focused on brick ornamentation and paintings. Therefore, case studies in identifying each part of the original Zandieh-era tilework can be useful in seeking a comprehensive understanding of Zand art. The current research could be evaluated in this context. Except for a number of mosaics and arabesque motifs in tileworks, there were three lost tileworks located at the entrance to the Arg in the courtyard at the Eastern side, which have been lost for decades and for some unknown reasons. The middle tilework is larger and its shape is a square with an approximate size of 2.70 m. The two northern and southern tileworks have similar proportions and an approximate size of 1.70 at 2.70 m. The geometric analysis of the components of these three tiles reflects the pivotal geometry of the motifs. Each of these three constituents has only a relative axial symmetry and is, at the same time, in perfect alignment with the central tile of the largest size. The purpose of the current research is to recognize the "scheme" and the "content" of these tileworks, and to study similar examples and their impact on the correct understanding of the geometry and architecture of the citadel. The research method is an interpretive-historical approach that uses analytical and deductive data such as historical photographs, field observations, writings by historians and tourists. In the first step, by studying the artistic features of the Zandieh-era works, the basic principles necessary for understanding the notions of Zand art are underlined, with emphasis on tile paintings. In the second step, after the dating of the tilework, its design has been compared to similar examples and its content has been adapted to the Zand art history. At the end and in the third step, analyzing its composition, its role in the spatial structure of the citadel in a descriptive-analytical approach is discussed. The findings of this study showed that these tileworks are a reflection of the ordinary architecture of the Arg; the representational content of these three tileworks shows the presence of servants with floral dresses, long clothes and small hats that represent Zand's traditional dress and serve with numerous dishes of fruit, cup and pitcher. The natural landscape, in contrast to the steady state of the Arg, represents the dynamic nature and the life of the citadel. Due to reasons such as lack of sufficient land for construction, the complexity of the functions resulting from the creation of a residential space along with the service sectors such as the bath and the spaces of servants and need for security, the Arg developed a simple courtyard house to fit within the shape of an inland city citadel. The aesthetics of the plan are based on the four-Ivan pattern of the Safavid era, and the combination of the two scales of the house and the citadel have led to the removal of the Ivan of the eastern side for a variety of reasons. This fault has been retrieved by the imitation of the Arg architecture (including the two-column Ivan, the upper niche of the two-chambered rooms, the paintings with the flower pattern, etc.), and in particular the representation of the main Ivan (the king's), a two-dimensional image of the Ivan and its components have compensated the architectural defects. The geometric analysis of the constituents of these three tileworks shows the remarkable geometry in the layout of the motifs. Each of the three alone has relative axial symmetry and is in complete symmetry with the large central tile. In addition to their artistic and aesthetic role in creating diversity on the inner eastern wall of the Arg and creating the focal point of the longitudinal axis of the Arg from the Ivan to the entrance, the following could also be pointed out: a) Tileworks as a reflection of the daily servants of the Arg; (b) Tileworks as a two-dimensional mirror against the architectural three-dimensional elements; (c) Tileworks as an ideal world against the real world of Arg; and (d) Tileworks as aesthetic concept of Qajar local governors in the administrative buildings and houses.}, keywords = {Zand dynasty,Citadel,Tileworks,Architecture,Karim-Khan-e-Zand,Shiraz}, title_fa = {بازشناسی طرح و نقش کاشی‌کاری‌های ازدست‌رفتۀ ضلع شرقی ارگ کریم‌خان شیراز}, abstract_fa = {به‌جز شماری معرق و کاشی‌کاری اسلیمی، سه دسته کاشی‌‌کاری برفراز درگاه میانسرای ارگ در ضلع شرقی شامل طاق‌نمای میانی و دو طاق‌نمای شمالی و جنوبی در امتداد محور اصلی ارگ و روبروی ایوان شاه‌نشین قرار داشته که در دهه‌های گذشته و به دلایل نامعلومی از دست ‌رفته است. شناسایی آنها می‌تواند بر درک موجود از معماری ارگ تأثیرگذار بوده و گوشه‌ای از میراث کاشی‌کاری زندیان را نیز آشکار نماید. پژوهش کنونی با هدف بازشناسی این آثار، در پی پاسخ به پرسش‌هایی بدین شرح است: 1- «طرح»، «محتوا» و «نقش» کاشی‌‌کاری‌های یادشده چه موضوعات و مفاهیمی را در بر دارند؟ 2- این کاشی‌‌کاری‌ها چه تأثیراتی بر کیفیت فضایی ارگ و درک موجود از الگوی معماری آن داشته است؟ روش تحقیق، تفسیری- تاریخی است و گردآوری اطلاعات به شیوه کتابخانه‌ای انجام شده است. یافته‌های این پژوهش نشان دادند که کاشی‌های طاقنمای میانی، نشان دهنده ایوانی آجری با فرشی افشان است که به لحاظ هندسی، قرینه‌ای از ایوان اصلی ارگ بوده و شامل یک مقرنس‌ نیم‌کاسه در مرکز به همراه ملازمانی با لباس‌های زندیان در طرفین خود است. در لچکی‌های این طاق‌نما، منظره‌ای طبیعی با درختان، مرغان و حیواناتی نظیر شیر و خرگوش در زمینه‌ای صخره‌ای نقاشی شده که برخلاف نقش ایوان، پویا است. کاشی‌کاری‌های دو طاقنمای شمالی و جنوبی قرینه یکدیگرند و هرکدام شامل سه خدمتکار با دستار و عمامه و ظروفی از نوشیدنی و میوه در دست هستند که در طرحی شبیه به مقرنس‌های داخلی اتاق‌های ارگ ترسیم شده‌اند. افزون بر این، کاشی‌های مورد بررسی را به‌طورکلی می‌توان «به‌مثابۀ بازتاب حضور خدمت‌کاران ارگ»، «آینه‌ای دوبعدی در برابر اندام‌های سه‌بعدی بنا»، بازتانی از «جهان آرمانی در برابر جهان واقعی موجود در ارگ» و در نهایت به مثابۀ «الگوی زیبایی‌شناختی رجال دیوانی- حکومتی روزگار زند و قاجار در بناهای دیوانی و سکونتی» تلقی کرد.  }, keywords_fa = {زندیه,ارگ,کاشی‌کاری,معماری,کریم‌خان زند,شیراز}, url = {https://negareh.shahed.ac.ir/article_3019.html}, eprint = {https://negareh.shahed.ac.ir/article_3019_6605cd73bb5c4cf337d9019abaf35a07.pdf} } @article { author = {Sedghi, Yassin and Razani, Mehdi}, title = {Imagery with Goat Motif on Pottery Artifacts Remaining from the Bronze Age in Southeastern Part of the Iranian Plateau}, journal = {Negareh Journal}, volume = {15}, number = {55}, pages = {101-119}, year = {2020}, publisher = {Shahed University}, issn = {2676-7244}, eissn = {2676-7244}, doi = {10.22070/negareh.2020.3026}, abstract = {The design of the animal motif of goat is one of the unique features of some pottery in the southeast of the Iranian Plateau in the ancient times, especially in the third millennium B.C., which helps to distinguish between the pottery of this area and other archaeological sites in the country. The goat images on prehistoric pottery in the southeast of Iran have been made in various forms, depicting semi-naturalism and abstraction (pectiform), or distinct racial components (long and crescent horns). In the present research, the animal motifs of wild goat on pottery of the archaeological sites of Shahr-i Sokhta (Burnt City), Tepe Sadegh in Sistan, Bampur, Keshik, Spidej and Chegerdak in Baluchistan have been studied. In general, they can be divided into the immobile, semi-animated and animated categories in terms of their imagery. In the present study it has been tried to explain these three categories in the aforementioned sites by introducing new samples of pottery in the southeastern region. The present study is descriptive-analytical, and it has used a variety of library-based descriptive methods as well as field studies (including repairing-related activities and technical studies conducted on pottery wares discovered from the Southeastern Iran) to gather required data. Pottery has been the main source of artistic endeavors and desires for pre-historical people. This can be observed in the production of different forms of pots. The outer surface of pottery wares was like a canvas on which the painters and artists could depict their art and thoughts. Therefore, to better understand pre-historical people’s lifestyle, we can analyze the motifs depicted on pottery wares. An investigation on pottery motifs is considered significant because in a way, some of them are considered as pieces of script or writing, used by the artists to convey their concepts, thoughts, beliefs, and values. Archeological studies have illustrated that goats have been first domesticated in Helali valley, located in Eastern Mediterranean region, while they have been domesticated in Iran’s Ganjdareh by 8000 BC. One of the oldest animated motifs in Iran is the goat motif on Shahr-i Sokhta’s goblet which has been registered as the first Iranian animation in history. The third millennium BC (the Bronze Age) has been coincident with huge changes; this period’s exchange networks have been used to connect the biggest urban areas located in the Eastern and the Western Iran by trade roads. The most significant archeological sites in this region, that played a significant role in trade transactions, include Konar Sandal, Shahdad, Tepe Yahya, Tal-i Eblis, etc. in Kerman Province, and Shahr-i Sokhta, Bampour, Khourab, Damin, Spidej, Chegerdak, and Keshik in Sistan and Balouchistan. This period’s art is turned into a balanced surface for holding holy rituals, while environmental and biological concepts have been used either to decorate handicrafts or to author great textbooks. In Iran’s Southeastern archeological sites, including Shahr-i Sokhta, Keshik, Chegerdak, Bampour and Spidej, etc. intact and broken pottery wares have been discovered in different sizes. These pottery wares included animal motifs such as scorpions, rams, fish, birds, and goats which are easily identified considering this region’s particular ecology. Goat as one of the most prevalent animal motifs on Southeastern pottery wares can be found on different gray, red, and beige pots, either in form of a single animal in spate frames or a row of goats in black or brown, depicted one after another. Two hypotheses are presented for such motifs: 1) the artist has depicted a sequence of goats after each other, or 2) it is only one goat that is moving and jumping. The animation is defined as a fast-consecutive illustration of a two-dimensional work of art or a real-life situation which creates an illusion of movement. It is worth mentioning that ​​the development of the concept of animated motifs and prehistoric artists’ acquaintance with the moving images or, in modern terms, with the animation, are neither random nor specific to the animation depicted on Shahr-i Sokhta goblet. There are many similar animations on Southeastern pottery works from Tepe Sadegh and Keshik cemetery as well. The artists have used different animal motifs such as fish, goat, and birds to create the illusion of movement. Some of the prevalent motifs used on this period’s pottery wares depict goats standing under a tree, mating and feeding the kid, as abstract and stylized motifs in a single-frame and multi-frame format, in accordance with national folklore. Finally, animated motifs existed elsewhere in the Southeastern region, especially in Sistan and Balouchistan as well as Shahr-i Sokhta, and Tepe Sadegh as one of the associated sites to Shahr-i Sokhta. Keshick archeological site, located in Nikshahr, is another instance. Furthermore, semi-animated goat motifs exist on pottery wares taken from sites such as Shahr-i Sokhta and Chegerdak. The static motif of the goat is also observable on all pottery wares from the Southeastern part of Iran including Shahr-i-Sokhta, Keshik, Bampour, Spidej, and Chegerdak.}, keywords = {Painted Pottery,Goat Symbol,Imagery,Ancient Animation,Bronze Age}, title_fa = {تصویرسازی با نقش بز در سفالینه‌های عصر مفرغ جنوب‌شرق فلات ایران}, abstract_fa = {طرح‌اندازی نقشمایه‌ی حیوانی بُز یکی از ویژگی‌های منحصربه‌فرد سفالینه‌های منطقه جنوب‌شرق ایران در هزاره‌ی سوم ق.م است نقوش بز برروی این سفالینه‌ها با اشکال، فرم‌ها و شیوه‌های مختلفی، همچون شبهه طبیعت‌گرا و انتزاعی و یا با عناصر مشخص نژادی اجرا شده است. هدف اصلی این تحقیق شناسایی و تبیین انواع نقشمایه‌های بز موجود بر سطوح سفالینه‌های جنوب‌شرق ایران مبتنی‌بر مساله حرکت و پویانمایی در محوطه‌های باستانی شهرسوخته و تپه صادق سیستان، بمپور، کشیک، اسپیدژ و چگردک در بلوچستان در بازه‌ی زمانی عصر مفرغ است. سوال اصلی تحقیق عبارت است از اینکه؛ حرکت در نقوش بز تصویر شده بر سفالینه‌های جنوب‌شرق ایران در چه قالب‌های حرکتی بیان شده است؟ آیا می‌توان این نقوش را براساس ویژگی‌های حرکتی و پویانمایی آنها تقسیم‌بندی نمود؟ روش تحقیق از نوع توصیفی-تحلیلی بوده و جمع‌آوری اطلاعات با استفاده از روش‌های میدانی و کتابخانه‌ای این پژوهش به‌ثمر رسیده است. نتایج مطالعات انجام شده نشان داد نقش‌مایه‌های بز در سفال جنوب‌شرقی ایران از منظر تصویرسازی در قالب حالت‌های ثابت، نیمه‌متحرک و متحرک قابل تقسیم‌بندی است. نقوش ثابت طرح‌هایی هستند که جانور بدون هیچ‌گونه تحرک و نشانی از حرکت ترسیم شده است که بیشتر تصاویر محوطه‌های فوق در این دسته قرار می‌گیرند. در نقوش حیوانی نیمه‌متحرک، طرح‌هایی از بز درنظر گرفته شده که بدن حیوان حالتی از حرکت و جست‌وخیز دارد. امّا در چند مورد خاص نقوشی با خواص پویانمایی چندمرحله‌ای و مصوّر از حیوان بز ترسیم شده است که معروف‌ترین آن جام سفالین شهرسوخته است. ازهمین‌رو علاوه‌بر تبیین این سه قالب در محوطه‌های فوق‌الذکر به معرفی نمونه‌های جدیدی از سفال‌های منطقه‌ی جنوب‌شرق، پرداخته شده است. شایان ذکر است طرح گسترش اندیشه‌ی نقوش متحرک و آشنایی هنرمندان پیش‌ازتاریخی با متحرک‌سازی تصاویر، طرحی تصادفی و مختص جام سفالین شهرسوخته نبوده و در دیگر نقشمایه‌های آثار سفالین جنوب‌شرق ایران قابل مشاهده است.}, keywords_fa = {سفال منقوش,نماد بز,تصویرسازی,پویانمایی باستان,عصر مفرغ}, url = {https://negareh.shahed.ac.ir/article_3026.html}, eprint = {https://negareh.shahed.ac.ir/article_3026_3e8e40fc2ad968cf4a24109c4c2ff6ae.pdf} } @article { author = {heidari nejad, farzaneh and hosseinabadi, Zahra and avishi, HAMIDREZA}, title = {Study of Visual Characteristics and Analysis of Fish Motif Concepts on Pre-Islamic Pottery in Iran}, journal = {Negareh Journal}, volume = {15}, number = {55}, pages = {121-137}, year = {2020}, publisher = {Shahed University}, issn = {2676-7244}, eissn = {2676-7244}, doi = {10.22070/negareh.2020.3018}, abstract = {The land of Iran is one of the first and most important centers of production of various earthenware items. Painting on pottery has a long history. Pottery wares, as concrete examples, can lead us to the widest possible understanding of the life and civilization of different periods of the Iranian people with the least possible error. Most of the motifs used on pottery have a special meaning. Pottery artists have used different styles and motifs throughout the history of pottery making. Pottery artists have mixed different motifs with aesthetic and harmonic elements such as repetition, symmetry, balance, proportion, concentration, focus, parity, etc., on pre-historic pottery of Iran, and it is important to point out that in addition to the functional aspect of pottery in everyday life, with various geometrical, human, plant, animal, thematic and symbolic motifs they created on pottery, they sought to satisfy their aesthetic needs. The ingenious spirit of Iran has acquired its most complete embodiment in the so-called decorative arts; the arts which secret lies in the beauty of the role and design. These adornments and ornaments are prevalent in all of Iran's artistic creations. Some of the motifs are sacred and ritual, and originate from people's beliefs. These motifs have been naturally or abstractly depicted as ornaments on pottery. One of the motifs that have been used in Iranian artworks for a long time is the fish pattern, which is one of the most enduring themes in Iranian art. Man draws many motifs unconsciously, symbolically, he expresses his wishes and desires in various forms, including forms of beings. Iranian artists manifested the desire for water and the sacredness of the water with the symbol of fish on the pottery; a motif reminiscent of blessing and livelihood. Fish are widely associated with spiritual wisdom, fertility, and regeneration. The motif of the fish is often geometric and abstract in the decoration of Iranian pottery; this imagery conveys a rich cultural background and is rooted in the myths and beliefs of this land. The variety of the specific motifs and names of fish in Iranian culture indicates that this symbolic motif has varied in terms of design and form across diverse ethnicities and understandings. As a matter of fact, despite the unity of design in terms of principles and bases, it is very varied in depiction of details, and it definitely demonstrates its strong appeal and visual expression. The purpose of this study was to investigate the visual characteristics of fish motifs and their themes on pre-Islamic pottery in Iran. The research questions are as follows: 1- What are the visual features of fish motifs on pottery? 2- What are the themes of fish motif on pre-Islamic pottery in Iran? The method of this research is analytical-descriptive. Library sources, reputable sites for articles, forms, and e-books have been used to collect textual information. The statistical population of the research consisted of 9 shapes and 15 linear designs of fish motifs on pottery in the period between 4000 and 1000 BC in Iran. The method of analyzing the shapes is qualitative which have been described visually and thematically, alongside explaining the motifs on the pottery as well as emphasizing the role of the fish. The result is that everything in the system of creation is a symbol that implies the truth that one must seek out and enter into or out of the circle of existence to get it. The embodiment of the symbol can be understood as or derived from nature. The tendency for beauty has always inspired the beautiful human spirit, to the extent that the utensils of everyday use were no exception; the people who lived in the most primitive state depicted what inspired their beautiful nature and spirit as beautiful designs that they used on pottery. Pottery provides the most accessible and the most abundant surface for the motif, as well as visual pleasure, for various prehistoric peoples. The motif of the fish has the potential to transform into different designs and motifs, and has its own cultural and artistic expression among different ethnic groups. Fish have had a significant place in Iranian beliefs and culture. Due to its beautiful, flexible and varied form, the motif of the fish has been of interest, both visually and symbolically, to Iranian pottery artists who have approached nature in order to better understand and further their religious beliefs, to which the ritual of the people and the creators of their time helped. The symbolic motifs of fish refer to life, fertility, and water, which are the secrets of life and their depictions on earthenware objects give them life and spirit. The use of this motif on earthenware is a sign of human life formed of soil, water and mud.}, keywords = {Pre-Islamic Iran,Pottery,Symbol,Fish}, title_fa = {ویژگی‌های بصری و تحلیل مفاهیم نقوش ماهی روی سفال‌های قبل از اسلام در ایران}, abstract_fa = {سرزمین ایران از اولین و مهم‌ترین مراکز تولید ظروف سفالی متنوع است. نقاشی روی سفال قدمتی طولانی دارد. هنرمند سفالگر در طول تاریخ شکل‌گیری سفال از شیوه‌های مختلف نقش‌اندازی و نقوش متفاوت استفاده کرده است. بعضی از نقوش جنبهٔ مقدس و آیینی دارند و از اعتقادات و باورهای مردم سرچشمه گرفته‌اند. این نقوش به صورت طبیعی یا تجریدی زینت‌بخش سفال‌ها شده‌اند. یکی از نقوشی که در آثار هنری ایران از دیرباز تاکنون به کار رفته نقش‌مایه ماهی است که از بن‌مایه‌های بسیار ماندگار در هنر ایران است، هنرمندان ایرانی آرزوی آب و تقدس آب را با نماد ماهی بر سفال نقش بستند، نقشی که یادآور برکت و روزی است. هدف از این پژوهش بررسی ویژگی‌های بصری نقوش ماهی و مضامین این نقش روی سفال‌های قبل از اسلام در ایران است. سوالات تحقیق از این قرار است:۱. ویژگی‌های بصری نقوش ماهی‌ها روی سفال‌ها چیست؟ ۲. نقش ماهی بر سفال‌های قبل از اسلام در ایران دارای چه مضامینی بوده است؟ روش انجام این تحقیق تحلیلی-توصیفی است. جهت گردآوری اطلاعاتِ متن، از منابع کتابخانه‌ای، سایت‌های معتبر جهت تهیه مقالات، شکل‌ها و کتاب‌های الکترونیکی استفاده شده است. روش تجزیه و تحلیل شکل‌ها به صورت کیفی می‌باشد و از لحاظ بصری، مضمونی و مفاهیم به توضیح نقوش روی سفال، با تأکید بر نقش ماهی، پرداخته شده است.نتیجه این‌که، نقش ماهی به علت فرم انعطاف‌پذیر و متنوعی که دارد، هم از لحاظ بصری و هم از لحاظ نمادین و مفهومی مورد توجه هنرمندان سفالگر ایرانی بوده که به صورت انتزاعی و نزدیک به طبیعت نقش‌اندازی شده و استفاده از این نقش بر ظروف سفالی نشانهٔ حیات انسان بوده که از خاک، آب و گِل شکل گرفته است.}, keywords_fa = {ایران قبل از اسلام,سفال,نماد,ماهی}, url = {https://negareh.shahed.ac.ir/article_3018.html}, eprint = {https://negareh.shahed.ac.ir/article_3018_2ea676a93f261a04560181794a63b6a5.pdf} } @article { author = {Kheiran, Mini and danaeinia, Ahmad}, title = {The Evolution of Form and Architectural Decorations on Hexagonal Ceramic Tapurt in the Seljuk Period of Iran and the Ayyubid Period in Syria}, journal = {Negareh Journal}, volume = {15}, number = {55}, pages = {139-151}, year = {2020}, publisher = {Shahed University}, issn = {2676-7244}, eissn = {2676-7244}, doi = {10.22070/negareh.2020.3062}, abstract = {In the study of the evolution of pottery art, the fifth and the sixth centuries are the golden age of this art. The Seljuk era in Iran (Kashan city) and Syria (Raqqa city) in Ayyubid dynasty are two important areas in the production of art works and industries, especially valuable ceramic works in the sixth and the seventh centuries in the middle of the year. The ceramics and pottery art of these two periods reached the highest level of progress; both in terms of structure and variety of motifs. The kings of the Seljuk and Ayyubid dynasties were important patrons of art, artists and craftsmen, and admired them in their courts. The importance of Seljuk period in Islamic art was that it stabilized a more elevated situation in Iran. Ayyubid period was important because it played a transitional role between Seljuk and Mamluk styles and influenced the field of art. One of the unique products of these two eras has been small, low and short ceramic tables (tapurt or tabouret) that were a place for putting vessels such as jugs, tea-cups and flowerpots on them, and were used in decorating architectural patterns and elements. The low ceramic tables of Iran and Syria come from cultural and traditional civilizations. These works are common and similar productions of the Seljuk period in Iran and Ayyubid dynasty in Syria that war, migration (of artists and scientists), trade and geographical situation (for example Raqqa city in Syria was located near the Euphrates river and has been in connection with Mesopotamia) were the reasons of the similar effects between two regions, and they have been linked in terms of historical-artistic context, and their production in none of the other eras was comparable to these two regions. The Raqqa city was just a center out of Iran’s area that produced notable ceramic vessels and tiles with good quality and new techniques. We can see the influences of Iran and Egypt on these ceramic pieces. The Iranian samples have influenced the Syrian samples. The aim of this study is that by comparing and matching, while dealing with the similarities and differences between tables (tapurts or tabouret) of these two important areas, it has examined the evolution and development of these two areas through analyzing the decorations, forms, the way of construction and the influence of these works to understand the quantitative and qualitative knowledge of construction and their decoration. There is a variety of ceramic tables or tapurts, such as triangular (a stand with three holes on them), rectangular (one of the common and important styles of ceramic stands with two holes on them in Syria) and hexagonal forms, but due to the similarity of hexagonal tables in Iran and Syria, we just focused on hexagonal samples in this research. Here in this research we have three questions: 1- what elements are used to decorate the Iranian and Syrian tables? 2- What are the similarities and differences between the forms and decorations of the Iranian and Syrian tables? 3- Which executive techniques were used for creation and decoration of these ceramic tables? This study is qualitative in method and depends on description and analysis in methodology. Data collection has been done using library research and field study. In this regard, with respect to reliable books and websites, fourteen pieces (six samples of Iranian tables and eight samples of Syrian tables) were collected and analyzed in terms of style, decorations, form and evolution of change. For analysis, two samples of Iranian tables have been studied through field research method and a direct visit to museum (pottery and glassware museum of Tehran). Simple to complex decorations (simple and less embellished to complex motifs), glazes (monochrome and simple glazes to complex and valuable glazes like luster), elements of architecture (columns, balustrade, mihrab, muqarnas and arch) and techniques of structures of these works (simple to complex molding, like two-storey tables) show progress in the evolution of tables. This study shows that these tables have general similarities and differences in structure, decoration and glaze. Regarding structure and decoration of tables, the applied molding technique and architectural elements (like mihrab, muqarnas, columns, two-storey structure and others) are bold and important in decoration. According to the architectural elements of each region, structure and decoration of tables have been inspired by them. The use of arcuate elements and others like mihrab, muqarnas, column, grating and inscription have had the most impact on structure and decoration of tables in both regions to the extent that studying these tables and the elements on them can be an analytical subject for analyzing architectural elements in these two regions and for fixing the possible defects in the path of architectural analysis.}, keywords = {Iran,Syria,Tarput Pottery,Seljuk Era,Ayyubid Era,Decorations,Form}, title_fa = {سیر تحول شکل و تزئینات معماری‌گونة میزهای سفالی شش‌ضلعی دورة سلجوقی در ایران و ایوبیان سوریه}, abstract_fa = { ایران دورة سلجوقی و سوریه دورة ایوبی دو منطقة مهم در تولید آثار سفالی فاخر در قرون ششم و هفتم بوده‌اند. یکی از تولیدات منحصربه‌فرد این دو منطقه میز‌های سفالی کوچک و کوتاهی است که محلی برای قرار دادن اشیا بوده‌ و در تزئین آنها از الگوهای معماری بهره‌برداری شده است. این آثار از تولیدات رایج و مشابه دورة سلجوقی ایران و ایوبیان سوریه به شمار‌ آمده که به دلایل مهاجرت، تجارت و جنگ، تحت تأثیر یکدیگر بوده‌اند، به‌گونه‌ای که تولید میز‌ها در هیچ‌یک از دوره‌های تاریخی مشابه این دو منطقه نبوده است. هدف از انجام این تحقیق آن است که با مقایسه و تطبیق میزهای ایران و سوریه، ضمن پرداختن به شباهت‌ها و تفاوت‌های موجود، سیر تحول میزها از طریق تجزیه‌وتحلیل تزئینات، شکل و نحوة ساخت، موردبررسی قرار داده و به تأثیرپذیری این آثار از یکدیگر پرداخته شود تا از این رهیافت بتوان به شناخت کمی و کیفی و میزان اثرگذاری معماری بر ساخت و تزئین آنها دست ‌یافت. سؤال‌های این پژوهش عبارت‌اند از: 1. نقوش به‌کاررفته در تزئینات میز‌های سفالی ایران و سوریه چه هستند؟ 2. شباهت‌ها و تفاوت‌ها بین شکل و تزئینات میز‌های سفالی مناطق ذکرشده کدام‌اند؟ 3. در ساخت شکل و تزئینات میزهای سفالی از چه روش‌هایی استفاده‌شده است؟ پژوهش کیفی است و در حوزۀ روش‌شناسی متکی بر توصیف و تحلیل است. گردآوری اطلاعات به روش کتابخانه‌ای و میدانی صورت گرفته است. در این خصوص، با تکیه‌بر منابع معتبر، چهارده نمونه میز سفالی از موزه‌های داخل و خارج، جمع‌آوری‌شده و موردبررسی قرارگرفته‌اند. جهت تحلیل دو نمونه از میزهای ایران روش میدانی و بازدید مستقیم از موزة‌ سفال و آبگینه تهران انجام‌شده است. تزئینات و ساختار ساده تا پیچیدة این آثار مانند تزئینات ساده و کم نقش قالبی تا تزئینات پرنقش و ریز زرین‌فام، ساختار ساده و یک طبقه‌ای میزها تا ساختار پیچیده‌تر و دوطبقه‌ای آنها و لعاب ساده و تک‌رنگ میزها تا لعاب پیچیده و باارزش زرین‌فام، پیشرفت در تحول ساخت میزها را نشان می‌دهد. یافته‌ها مبین آن است که عناصر معماری حضور چشمگیری در تزئین میزها دارند. این میزها شباهت‌های کلی و تفاوت‌هایی در ساختار، تزئینات و لعاب با یکدیگر داشته و در ساخت و تزئین آنها از شیوۀ کاربردی و مهم قالبی استفاده‌شده است.}, keywords_fa = {ایران,سوریه,میزهای سفالی,دوره سلجوقی,دوره ایوبیان,تزئینات,شکل}, url = {https://negareh.shahed.ac.ir/article_3062.html}, eprint = {https://negareh.shahed.ac.ir/article_3062_11048995a78220a5801f4ed4bc9cbc2b.pdf} }