دانشگاه شاهد فصلنامه نگره 2676-7244 20 74 2025 06 22 A Comparative Study of the Illustration of Moses Confronting Pharaoh's Magicians in the Falnama of Tahmasbi and Quranic Verses تطبیق بینامتنی نگارة «رویارویی حضرت موسی(ع) و ساحران فرعون» در فالنامة تهماسبی و آیات قرآن 5 19 4387 10.22070/negareh.2024.18321.3293 FA فائزه رضایی دانشجوی تاریخ تطبیقی تحلیلی هنر اسلامی، دانشگاه هنر، تهران، ایران. 0009-0004-3959-355X داوود رنجبران دانشیار و عضو هیئت‌علمی دانشگاه هنر، دانشکده علوم نظری و مطالعات عالی هنر، تهران، ایران. 0000-0002-7575-4777 Journal Article 2023 10 12 In terms of problem statement, the study focuses on the story of Prophet Moses (PBUH), Pharaoh, and the fate of the Children of Israel which have a long history as a narrative, serving as one of the most enduring forms of communication for human concepts. In this regard, storytelling has a broader audience and a greater influential power due to its ancient roots. Although the original language of the Quran is a language of religion and spiritual guidance, it utilizes storytelling to convey its message, presenting the life stories of prophets in the form of narratives. The story of the confrontation between Prophet Moses and Pharaoh, as well as the fate of the Children of Israel, is one of the Quranic stories that is repeated in many verses of the Quran and is mentioned in more than thirty chapters of the Quran. Iranian artists, who have consistently drawn inspiration from sublime themes, have not overlooked illustrating Quranic narratives. Quranic stories, encompassing religious, mystical, wisdom-oriented, and literary aspects, have captivated Muslim artists in various eras. One prominent example is the illustrated manuscript of the Falnama of Tahmasbi, incorporating various Islamic themes. Given the unparalleled status of the Quran in Islamic thought, Quranic themes and stories are considered the most significant component of the Falnama. In the Falnama of Tahmasbi, the scene of the encounter between Prophet Moses and the sorcerers of Pharaoh, along with his two main miracles (the luminous hand and the transformation of the staff into a serpent), is depicted. The objective of this research is to assess the alignment of the illustration "Confrontation of Prophet Moses (peace be upon him) and the Sorcerers of Pharaoh" with the Quranic verses to understand the relationship between the two visual and written texts. The addressed questions include: To what extent does the illustration "Confrontation of Prophet Moses (peace be upon him) and the Sorcerers of Pharaoh" in the Falnama of Tahmasbi align with Quranic verses? What sources, other than the Quran, did the illustrator utilize in visualizing this scene? Analyzing this illustration in the Falnama reveals that Quranic verses served as a significant source of inspiration for the artist during this period influenced by religious fervor. However, the illustrator did not solely rely on Quranic verses, but incorporated other pretexts based on the content of the Falnama, such as Qisas al-Anbiya and Ajayeb al-Makhluqat. The descriptive-analytical method had been opted for; with an intertextual approach. Data was collected using library sources and manuscripts. To answer questions, the image was divided into one hundred rectangles, and the areas corresponding to specific Quranic verses were identified. By calculating the shaded areas in the image, it can be concluded that the alignment between the image and Quranic verses exceeds 65%. Therefore, the illustrator used Quranic verses extensively to illustrate this scene. Consequently, the discernible congruity between the image and Quranic verses is evident. The illustration aligns in various aspects, such as the presence of Prophet Moses, the miracle of his staff transforming into a serpent, the miracle of his luminous hand, the presence of Pharaoh, the proximity of Pharaoh's close associates in the court, the presence of sorcerers, the transformation of the sorcerers' staffs into snakes due to magic, and the defeat of the sorcerers by Prophet Moses. Additional sources used in visualizing the illustration "Confrontation of Moses (PBUH) and the Sorcerers of Pharaoh" in the Falnama of Tahmasbi include Qisas al-Anbiya by Nishaburi, Falnama of Tahmasbi itself, Khamsa Nizami, and sources related to magic and exotic sciences produced either simultaneously or before the creation of the Falnama. Justifications for certain aspects, such as depicting the simultaneous occurrence of two events—the transformation of Prophet Moses' staff into a serpent and the luminosity of his hand—in an image from a version of Qisas al-Anbiya are evident. The swallowing of one of the sorcerers, referred to in a text on a neighboring page of the Falnama, can be linked to a prophecy attributed to Prophet Moses, indicating that his staff would transform into a serpent, and he would defeat one of the sorcerers. The riding of Prophet Moses on a serpent, associated with the radiant right hand, which has a visual pretext in a version of Qisas al-Anbiya, is also depicted. Additionally, the riding of sorcerers on serpents and their clothing, as seen in pretexts like Ajayeb al-Makhluqat, Asrar Qasimi, and the book on the properties and benefits of gemstones, can be observed in the Falnama of Tahmasbi. In conclusion, considering the period when the work was created, marked by the intense involvement of Shah Tahmasb in religion and superstitions, the Quran and books on exotic sciences were influential sources for the illustrator in visualizing this scene. The illustration implicitly and explicitly drew from existing pretexts during its creation. داستان حضرت موسی(ع) و فرعون و سرگذشت بنی‌اسرائیل ازجمله روایت‌هایی است که در تمامی ادیان ازجمله اسلام، موردتوجه قرارگرفته و در آن به بخش‌های مختلفی از زندگی حضرت موسی(ع) و معجزات او اشاره‌شده است. در فالنامة تهماسبی نیز نگاره‌ای با همین مضمون تحت عنوان «رویارویی حضرت موسی(ع) با ساحران فرعون» ترسیم‌شده است. هدف اصلی این پژوهش، انطباق نگارة «رویارویی حضرت موسی(ع) و ساحران فرعون» با آیات قرآن برای درک کامل‌تری از روابط بین دو متن تصویری و نوشتاری است. سؤال‌هایی که در این زمینه مطرح‌ می‌شوند عبارت‌اند از: 1. نگارة «رویارویی حضرت موسی (ع) و ساحران فرعون» در فالنامة تهماسبی تا چه میزان با آیات قرآن مطابقت دارد؟ 2. نگارگر در مصورسازی این تصویر از چه منابعی ‌جز قرآن بهره گرفته است؟ روش تحقیق به‌صورت توصیفی–تحلیلی و با رویکرد بینامتنیت انجام‌شده است. بینامتنیت و پیوندهای بینامتنی شامل کاربرد آگاهانة تمام یا بخشی از یک متن در متن دیگر است. یکی از منابع این نگاره، قرآن کریم است. همچنین، جمع‌آوری اطلاعات از طریق منابع کتابخانه‌ای و نسخ خطی انجام‌شده است. بر اساس یافته‌های این پژوهش می‌توان گفت گرچه منبع اصلی نگارگر برای تصویرسازی این نگاره متن قرآن بوده، اما وی از پیش‌متن‌های تصویری دیگری نظیر کتب مختلف علوم غریبه قصص‌الانبیا و غیره نیز بهره گرفته است.

https://negareh.shahed.ac.ir/article_4387_020f324deb9b5b54d9cfe32dec9af9da.pdf

دانشگاه شاهد فصلنامه نگره 2676-7244 20 74 2025 06 22 Analytical Morphology of Div in the Works of Muhammad Siyah Qalam ریخت‌شناسی تحلیلی دیو در آثار محمد سیاه‌ قلم 21 39 4389 10.22070/negareh.2024.18038.3260 FA زهرا علی اوغلی ضیائی دانشجوی کارشناسی ارشد پژوهش هنر، دانشکده هنرهای تجسمی، دانشگاه هنر اسلامی تبریز، ایران. 0009-0007-8260-7664 حمیده حرمتی استادیار زبان و ادبیات فارسی و عضو هیئت‌علمی دانشگاه هنر اسلامی تبریز و دانشکده چندرسانه‌ای، دانشگاه هنر اسلامی تبریز، ایران. 0009-0000-4291-2321 Journal Article 2023 09 14 With regard to the problem statement in this research, it is observed that demons are among the most frequent patterns in Iranian paintings and have been illustrated as evil and malicious creatures for several centuries. According to Zoroastrian myths, before Zoroaster, demons were referred to a group of Aryan gods walking on the earth in human forms; however, after becoming a prophet, Zoroaster expelled them from the earth, and they had to escape to the underground and to continue their lives in secrecy. Meanwhile, demons were called devils and misleaders. In this connection, focus by Muhammad Siyah Qalam on these creatures and their illustration, as characterized by their diverse appearances, warrants further investigation. Muhammad Siyah Qalam was a famous Iranian illustrator back in the 15th century who inspired many other artists due to his specific styles. As stated in this study, he is actually Muhammad bin Mahmoud Shah Khayyam, also known as Ghiyas ul-Din Muhammad, the painter, who was dispatched by the Shahrokh’s court to China on a political mission and was tasked with recording his experiences during the trip. In his works, he has used a mythological creature, i.e. a demon, and depicted it in various states and human conducts, including in labor, conversations, conflicts and music. Various theories have discussed the nature of these paintings and the origin of these demons, with some theories considering demons to be symbols of demonic power and some idolatrous religions. Yet, some other theories have regarded them as shamans with guises and masks imitating demons, as some of them are recognized as narrative rites. From another perspective, these shamans are attributed to some Turkish parts of Central Asia and relevant regional cultures. These demons are also considered to be religious and social concepts used by Ghiyas ul-Din as loan translation from temple images; in the meantime, he has illustrated human images in social concepts to criticize the behavior of his social era using an imagery-oriented approach. In sum, demons illustrated by Siyah Qalam have attracted the attention of researchers and inspired other artists of the century in illustrating the apparent and visual characteristics of these demons. The key point here is the pictorial diversity of these demons, distinguished by their noticeable visual characteristics, which has made these images worthy of greater consideration, as morphological approaches are needed to achieve their visual details. Using morphology in studying works of art helps better understand visual characteristics and interrelationships between different components. The objectives of this study were to study the apparent characteristics of demons depicted by Muhammad Siyah Qalam and to understand their visual characteristics. The study also aimed to respond to the question: “What are the visual characteristics of these demons using a morphological approach?” This qualitative study fell under descriptive-analytical methods. Sampling was purposive and included all 28 demon illustrations by Siyah Qalam collected from the Topkapi Museum of Istanbul, Freer Art Gallery and New York’s Metropolitan Museum. Data were collected from library sources, note-taking and image-reading tools, as well as obtained tables and figures. Data were obtained using the inductive method. According to the authors’ findings, no independent study has ever undertaken the morphological sphere of Siyah Qalam’s demons. Therefore, the key necessity of this study was the provision of new results and the study significance was the provision of novel insights into the paintings of the demons. Generally, it was concluded that the visual characteristics of the Siyah Qalam’s demons fell under six categories of “general appearance characteristics, heads and faces, tails, coverings, ornaments and belongings”. Each category has its own sub-categories and each of the demons was unique compared to others in terms of characteristics of appearance, ornament and belongings, as they bear no resemblance to their counterparts and are independently unique. Siyah Qalam has employed praiseworthy precision in illustrating demons both individually and in combination with others using unique details. In depicting demons’ visual characteristics by employing equal human and animal details of various states, Siyah Qalam has sought to represent a dual half-man and half-human face in accordance with the visual tradition of demons in painting; in limb sections, however, human-like forms dominate. In the head and face sections (ears, eyes, hairs and noses) and tails and horns, animal-like forms dominate. Meanwhile, demons’ tails exhibit more diversity compared to other parts. In representing other human characteristics, the painter has also employed other human elements of “coverings, ornaments, and belongings”, in addition to organs and faces. دیو یکی از نقش‌های پربسامد در نقاشی‌های ایرانی است که طی سده‌های متمادی به‌عنوان موجودی اهریمنی و زیانکار تصویرسازی شده است. در این میان، توجه محمد سیاه‌قلم، هنرمند عجیب‌نگار سدة هشتم مکتب هرات، به این موجودات و تصویرسازی آن‌ها با ویژگی‌های ظاهری متنوع، قابل تأمّل و نیازمند بررسی بیشتر است. هدف این پژوهش، مطالعة خصوصیات ظاهری دیوهای محمد سیاه‌قلم و شناخت ویژگی‌های بصری این دیوان است. سؤال‌ پژوهش هم معطوف به چیستی این ویژگی‌های بصری است. روش پژوهش پیش‌رو، کیفی و از نوع توصیفی-تحلیلی است و شیوة جمع‌آوری اطلاعات، به روش کتابخانه‌ای و با ابزارهایی همچون فیش‌برداری، تصویرخوانی، جداول و آمار انجام‌گرفته است. نمونه‌گیری پژوهش، به‌صورت هدفمند بوده و شامل تمامی نگاره‌های دیو محمد سیاه‌قلم است که از موزه‌های توپقاپی استانبول، گالری هنر فریر و موزة متروپولیتن نیویورک جمع‌آوری شد‌ و درنهایت، داده‌های به‌دست‌آمده، به روش استقرایی تجزیه‌وتحلیل شده‌اند. نتیجه‌گیری کلی از تحلیل ویژگی‌های بصری دیوهای سیاه‌قلم در شش بخش شامل «ویژگی ظاهری کلی، سر و چهره، دُم، پوشش، زیورآلات و متعلقات» اذعان داشت که هر یک از دیوها در قیاس با دیگری به لحاظ ویژگی‌های ظاهری، تزئینی و متعلقات کاملاً منحصربه‌فرد بوده و تشابهی با دیگر همسانان خود ندارد و از هویتی مستقل برخوردار است. او در ترسیم بصری دیوها با اعمال برابر ویژگی‌های انسانی و حیوانی در حالات مختلف، سعی در بازنمود چهرة دوگانة نیمه انسانی و نیمه حیوانی مطابق با سنت بصری دیو در نگارگری دارد؛ اما در بخش اندام، غلبه با وجه انسانگونگی است حال‌آنکه در بخشهای سر و چهره (گوش، چشم، مو، دماغ) و نیز شاخ و دم، حیوانگونگی غالب است. علاوه بر آن، وی در نمایاندن ویژگی‌های انسانی، جز اندام و چهره از عناصر «پوشش، زیورآلات و متعلقات» انسانی نیز بهره گرفته است.

https://negareh.shahed.ac.ir/article_4389_08bc5965fb5ec64bdcad806f5e72986a.pdf

دانشگاه شاهد فصلنامه نگره 2676-7244 20 74 2025 06 22 The Evolution of the Unicorn Motif of the in the Shahnama Illustrations (14th-16th Centuries) تطور نقشمایۀ تک‌شاخ در نگاره‌های شاهنامه (سده‌های هشتم تا دهم هجری) 41 57 4386 10.22070/negareh.2024.18534.3312 FA صفورا فضل‌اللهی دانشجوی دکتری هنرهای اسلامی، دانشکده هنر و معماری، دانشگاه کاشان، شهر کاشان، استان اصفهان . ایران. 0009-0000-1671-7514 محمدرضا غیاثیان دانشیار، دانشکده هنر و معماری، دانشگاه کاشان، شهر کاشان، استان اصفهان، ایران. 0000-0002-1765-3556 Journal Article 2023 12 09 The unicorn has been one of the common animal motifs in Persian arts of the book. Unicorn imagery is not exclusive to Islamic art. Depictions of this mythical creature can be found in various cultures and civilizations across the East and the West. While the western world's familiarity with unicorns is due to descriptions found in the Old Testament, early Christianity, and Celtic and Scandinavian myths, Muslim writers and Iranian painters have a more realistic understanding of the animal. This is because they are aware of the presence of rhinoceroses in tropical regions of Islamic lands such as India. An Iranian painter had a higher chance of seeing a rhinoceros up close than a Western artist. They could have also studied its description in Islamic scientific books. Apart from the texts related to natural science, geography and zoology, descriptions of this animal can be found in the Shahnama, where the heroes like Gushtasp, Iskandar, Isfandiyar and Bahram fight against the Karg or rhinoceros. Karg in Pahlavi is a word borrowed from Sanskrit literature and means unicorn. Although in Shahnama the Karg is classified as a rhinoceros, usually the painters have depicted different horned animals such as wolf, lion, gazelle or the Chinese Qilin. In this article, the authors analyze the description of the Karg in the Shahnama and compare it with other Islamic sources. The article examines the evolution of this animal motif in the illustrations of the Shahnamas from the fourteenth to the sixteenth centuries and aims to change the role of the unicorn from an imaginary animal to a realistic one. Some pictures of unicorns represent a fictional animal, while others are closer to the zoological features of the rhinoceros in the real world. To make the discussion of the evolution of the unicorn motif more engaging and understandable, it may be helpful to add concrete examples or images, as well as to provide a brief introduction or background information on the Shahnama and its significance in Persian literature and art. The main focus of this article is to investigate how the depictions of unicorns or rhinoceroses changed over time in the illustrations of Shahnama books from the Ilkhanid to the Safavid era. The article explores three questions related to the motif of the unicorn in Shahnama illustrations from the 14th to the 17th centuries. Firstly, it investigates the formation of the unicorn motif during this period. Secondly, it examines the connection between the unicorn motif in Shahnama paintings and Qilin or Chinese rhinoceros. Finally, it looks into why the painters of battle scenes with rhinoceros have not accurately depicted the animal, contrary to accurate and zoological descriptions mentioned in Islamic and Persian texts. This research is of a fundamental type and uses a descriptive research approach with an analytical method. The research examines previous studies in the field of Iranian painting history and literature and uses library resources and museum websites to view paintings. This study collects eighteen images from Shahnama that depict diverse and different images of the unicorn, some of which are imaginary, while others have a more realistic understanding of the rhinoceros. For instance, images of the unicorn from around 950 H/1543 AD are closer to the realistic image of the rhinoceros. However, imaginary images of the unicorn are still depicted in these years, which can be attributed to painters imitating available models. The findings indicate that the diversity in the unicorn motif can be attributed to the influence of Chinese pictorial traditions, which make the motif of the unicorn similar to Qilin in some Shahnamas. Additionally, vague and sometimes contradictory descriptions of the rhinoceros in Islamic texts and Persian literature have made it difficult for artists to have a comprehensive and documented understanding of the animal, leading to imaginative depictions. Finally, since prior to the 9th century AH the letters from the Arabic alphabet were commonly used in inscription of the manuscripts, some writers of Shahnama, especially in the older versions, read and wrote the word "Karg" as "Kark", while the very same word was sometimes written as “wolf” in the subsequent manuscripts, contributing to the development of an imaginary idea of the unicorn motif and leading some of the painters to depict and picture the animal as a horned wolf. «تک‌شاخ» یکی از نقشمایه‌های جانوری در هنر اسلامی است که به‌غیراز متون جانورشناسی و جغرافیا، ردپای آن را می‌توان در نگارههای شاهنامه جست‌و‌جو کرد. قهرمانانی مانند گشتاسپ، اسفندیار، اسکندر و بهرام گور‌ در نبرد با موجودی تکشاخ تصویر شدهاند که در برخی نسخه‌ها کرگ و در برخی دیگر گرگ ثبت‌شده است. «کرگ» در زبان پهلوی، واژه‌ای وام ‌گرفته از ادبیات سانسکریت و به معنی تک‌شاخ است. جالب‌توجه است که در نگاره‌های شاهنامه، تصاویر کرگدن متفاوت از مشخصات ظاهری این جانور ترسیم شده‌اند. هم‌زمان با تأثیرات هنر چین در نقاشی ایرانی، نقشمایۀ دیگری نیز در شاهنامه‌های سدههای میانی ظاهر می‌شود که کایلین یا کرگدن چینی نام دارد. هدف از این پژوهش، بررسی و تحلیل نقشمایۀ تک‌شاخ در نگاره‌های موردبررسی است که به شکل حیوانات گوناگون، ازجمله گرگ، شیر، غزال، بز کوهی، کایلین و کرگدن نشان داده‌شده‌اند و گاه ماهیت خیالی به خود گرفته و گاه به شمایل واقعی حیوان یا کرگدن نزدیک‌تر شده‌اند. سه سؤال اصلی این مقاله عبارت است از: 1. تکوین نقشمایۀ تک‌شاخ در نگاره‌های شاهنامه‌های سده‌های هشتم تا دهم هجری چگونه بوده است. 2. چه ارتباطی میان نقشمایۀ تک‌شاخ در نگاره‌های شاهنامه با کایلین یا کرگدن چینی وجود دارد؟ 3. چرا باوجود توصیفات دقیق و جانور شناسانه از کرگدن که در منابع اسلامی یا متون فارسی ذکرشده، نگارگرِ صحنه‌های نبرد با کرگ، به این توصیفات بی‌اعتنا باقی‌مانده است؟ این پژوهش از نوع بنیادی و روش به‌کاررفته در آن، از نوع توصیفی-تحقیقی با رویکرد تحلیلی است. همچنین، ضمن بررسی پژوهش‌های پیشین در حوزۀ تاریخ نگارگری ایران و ادبیات، از منابع کتابخانه‌ای و مشاهدة نگاره‌ها در وب‌گاه‌های موزه‌ها و کتاب‌های مختلف بهره برده است. پس از بررسی هجده نگاره از شاهنامه، تصاویر متنوع و متفاوتی از تک‌شاخ جمع‌آوری شد که در سده‌های هشتم تا دهم هجری تصویر شده‌اند. برخی از این تصاویر ماهیت خیالی دارند و برخی دیگر درک واقع‌گرایانه‌تری نسبت از کرگدن ارائه می‌دهند. به‌عنوان نمونه، تصاویر تک‌شاخ از حدود سال 950 ق به تصویر واقع‌گرای کرگدن نزدیک‌تر می‌شوند، هرچند در همان سال‌ها، تصاویر خیالی از تک‌شاخ همچنان تصویر شده است که می‌توان آن را ناشی از تقلید نگارگران از الگوهای در دسترس تلقی کرد. یکی از دلایل این تنوع، تأثیرپذیری از سنت‌های تصویری چینی است که در برخی شاهنامه‌ها موجب نزدیکی نقشمایة تک‌شاخ با کایلین می‌شود. از سوی دیگر، توصیفات مبهم و گاه متناقض نویسندگان مسلمان در وصف کرگدن، سبب شده است که نگارگر درک جامع و مستندی از این جانور نداشته باشد و به ورطه خیال روی آورد. علاوه بر این‌ها، کتابت و خوانش برخی از کاتبان شاهنامه که کلمه «کرگ» را «گرگ» خوانده و نوشته‌اند عامل دیگری برای تصوری خیالی از نقشمایة تک‌شاخ عنوان‌شده است.

https://negareh.shahed.ac.ir/article_4386_c24a154587cd7721f17ba332e5d805fe.pdf

دانشگاه شاهد فصلنامه نگره 2676-7244 20 74 2025 06 22 Recognizing the Drawing Concept in Persian Painting Based on Safavid Art Texts بازشناخت مفهوم طراحی در نگارگری ایران با تکیه‌بر متون هنری عصر صفوی 59 75 4483 10.22070/negareh.2024.19042.3369 FA رویا رضاپور مقدم دانشجوی دکتری هنرهای اسلامی، دانشکده هنرهای صناعی، دانشگاه هنر اسلامی تبریز، ایران. 0000-0001-5714-9082 شهریار شکرپور استادیار، دانشکده هنرهای صناعی، دانشگاه هنر اسلامی تبریز، ایران. 0000-0002-5675-3365 اکرم محمدی زاده استادیار، دانشکده هنرهای صناعی، دانشگاه هنر اسلامی تبریز، ایران. 0000-0001-9847-3794 محمد خزایی استاد گروه ارتباط تصویری، دانشکده هنر، دانشگاه تربیت مدرس، تهران، ایران. 0000-0001-8829-6253 Journal Article 2024 04 21 The art of drawing in the field of Persian painting includes countless paintings, most of which are left over from the Safavid era. These drawings have been implemented in the form of preliminary drawings, copy drawings, or final drawings that represent mental or objective images. Thinking on these diverse aspects can point to the broadness of concepts related to the art of drawing. But, despite this breadth, a limited aspect of the concept of drawing has always been mentioned and generalized in Persian Painting Studies. However, in this context, it is possible to identify the diverse aspects of this art by referring to the artistic compositions of the Safavid era, such as artistic treatises and prefaces to the Muraqqa. This narrow view ignores the diverse aspects of drawing. Due to having specialized content, these sources can remind countless learned concepts about Iranian art. Attention to the mentioned texts provides knowledge of the art of drawing in terms of having diverse aspects, the richness of concepts and the expansion of the vocabulary. By analyzing the art texts of the Safavid era, researchers can discover the forgotten concepts and knowledge of Iranian art. These texts can reveal lost art forms, rediscover forgotten techniques. The importance of this research can be expressed in cases such as the distinction of drawing studies in the Iranian literature, the recognition as accurately as possible of the art of drawing, the discernment of its diverse forms, the distinguishing of other forms of this art and the reminder of specialized words related to the art and drawing through the return to the text of the arts of the Safavid era. In this regard, the present research aims to recognize the concept of drawing and its other diverse aspects, it benefits from a three-stage study process: 1-Understanding the meaning of the word drawing and searching for synonyms 2- Reviewing the content of text in artistic writings based on drawing-related concepts 3- Searching for examples related to these concepts. In the case of written sources, examples will be referred to those that were written in the Safavid era, and in the case of visual examples, drawings that are most related to the intended concept will be examined; also, the drawings that were implemented in the Safavid era. For this purpose, in the case of drawing, the intensity case sampling will be used. The above study’s route is accompanied by the following questions: 1. To what concepts of the art of drawing in connection with Iranian painting do the art texts of the Safavid era refer? 2. What kind of drawings do these concepts include? The research methodology involves a historical-comparative approach. This method is used to interpret the evidence with the focus on the contexts and is divided into 18 types based on three characteristics of time, unit of study and data type. The present study is a fourth type. The fourth type of this method is in terms of time dimension to the past, the type of data is qualitative and the unit of study is related to a single nation that is in this study, the context of Persian painting in the Safavid era (10-11th century AH), concepts related to drawing and Safavid court painters are considered respectively. Due to the written and visual nature of the sources, information collection is done in a library method through note-taking and image analysis in this process, internet databases have also be used to complete the information. The results state that the drawing’s foundation is based on the line element. This element that unites, leads to a variety of drawings. In other words, each of these drawings, according to the nature and quality of the line element, results in the formation of a variety of drawing art. These different types have benefited from the line element for a distinct purpose from each other. For this reason, they have a different name and term, each of which implies the concept of drawing and its fundamental characteristic. In these single-page drawings, the line element is of two types; non-independent and independent, and, according to this feature, represents mental or objective images. Therefore, the term "drawing" in Safavid art texts refers to the visual representation of forms using lines, often executed in a single color. This concept is closely linked to the terms "Tahrir", "Mosavvade" and "Qalam Siāhi". In Tahrir, often the line element runs without linear value and has subtle lines. In Mosavvade, the presentation of the pre-drawing is desired, and the lines are drawn in accordance with the selected sample. In Qalam Siāhi, the line element with a variety of thicknesses is used. Therefore, it includes various types of drawing, such as draft, practice, iteration, and final, which are associated with the features of pen elegance, visual balance of black and white, and executive skill. هنر طراحی در حوزۀ نگارگری ایران، آثار بیشماری را در برمی‌گیرد که بخش عمدۀ آن‌ها متعلق به عصر صفوی است. اما بهرغم این گستردگی، همواره وجهی محدود از مفهوم طراحی در مطالعات نگارگری مورداشاره و تعمیم قرارگرفته است. این در حالی است که با رجوع به تألیفهای هنری عصر صفوی، نظیر رسالههای هنری و دیباچۀ مرقعها، می‌توان به ابعاد متنوع‌تری از این هنر پی برد. این منابع به دلیل محتوای تخصصی خود، قادرند مفاهیم ازیادرفتۀ بیشماری از هنر ایران را بازنمایی کنند. مداقه در متون مذکور، شناسایی مجدد هنر طراحی را ازنظر دارا بودن وجوه متنوع، غنایِ مفاهیم و بسط واژگان فراهم میآورد. در این راستا، پژوهش حاضر با هدف بازشناخت مفهوم طراحی و دیگر وجوه متنوع آن، ابتدا کلمات و مفاهیم مرتبط با هنر طراحی را با تکیه بر متون موردنظر بررسی کرده و سپس، مصادیق آن‌ها را در نگارههای عصر صفوی جست‌وجو میکند. این مسیر مطالعاتی با طرح این سؤالها همراه است که 1. متون هنری عصر صفوی به چه مفاهیمی از هنر طراحی در پیوند با نگارگری ایران اشاره دارند؟ 2. این مفاهیم چه طیفی از انواع طراحی را در برمی‌گیرند؟ روش تحقیق، تاریخی- تطبیقی و شیوۀ جمع‌آوری اطلاعات به‌صورت کتابخانهای و از طریق فیشبرداری و تصویر خوانی انجام‌شده است. نتایج بررسی نشان داد که واژۀ «طراحی» به نقشآفرینی با عنصر بصری خط اشاره میکند که اغلب بهصورت تکرنگ اجرا میشود. این مفهوم، بهمثابۀ وجهی جوهری از کلماتِ تحریر، مسوده و قلمسیاهی نیز قابل‌درک است. از همین رو، سویههای متنوعی از طراحی را همچون پیشطرح، تمرینی، مثنی و نهایی را شامل میشود که با ویژگیهایی مانند ظرافت قلم، توازن بصری سیاهی و سفیدی و مهارت در اجرا همراه‌ است.

https://negareh.shahed.ac.ir/article_4483_eb24de9fea11b6f7c2b516dca68f5030.pdf

دانشگاه شاهد فصلنامه نگره 2676-7244 20 74 2025 06 22 Symbolic Analysis of Mirzasaleh's Shahnameh Illustrations based on Concepts of "Iranian Nationality, Wisdom, Justice and Chastity" from Peirce's Point of View تحلیل نمادشناسانة نگاره‌های نسخة شاهنامه میرزا صالح با تکیه بر مفاهیم «ملیت ایرانی، خردمندی، عدالت و پاکی» از دیدگاه پیرس 77 91 4355 10.22070/negareh.2023.18270.3287 FA سیده مریم میری استادیار معلم گروه هنر، دانشکده هنر، مفتح، تهران، ایران. 0009-0007-3408-0386 حسین اردلانی دانشیار گروه فلسفه هنر. دانشکده هنر و معماری، واحد همدان. دانشگاه آزاد اسلامی همدان. ایران. Journal Article 2023 09 28 In ancient Iranian culture, in accordance with the social, political and economic conditions, a group of painters has devoted themselves to the Shahnameh writing and illustrating it in order to elevate the rich literature of this land and region. Tender and full of mystery, Iranian paintings will need to be interpreted and deciphered; regarding the problem statement, one of these cases is the Shahnameh known as Mirzasaleh in the library of Golestan Palace, which was unveiled in 1400. The purpose of this basic research is to introduce Mirzasaleh's Shahnameh, to know the pictorial symbols of the concepts of Iranian nationality, wisdom, justice and chastity in the four selected illustrations of Mizrasaleh's Shahnameh. The 1st question is: with what symbols and how are the four main concepts of Iranian nationality, wisdom, justice, and chastity represented in the selected paintings in the manner of the Isfahan school? Also, 2nd: which of the concepts of Iranian nationality, wisdom, justice and chastity are depicted the most in Mirzasaleh’s Shahnameh? The research method is descriptive, analytical, and qualitative, and the method of collecting documentary information is also based on Peirce's symbology approach. The fundamental research methodology leading to the discovery of facts and reality with the aim of expanding knowledge is descriptive-analytical and the information is collected in a documentary way. It is worth mentioning that, despite the availability of a total of 43 images, due to the limitations of the article structure as well as the magazine's writing instructions, only one image was selected for each concept, which, in addition to having a rich visual structure, is maximally related to each of the concepts of research and useful in better understanding the content of tables and analyses. The scope of the statistical population of this research is a total of 43 illustrations of Mirzasaleh's Shahnameh, which were analyzed qualitatively based on related indicators such as the titles and themes of illustrated assemblies, and in some cases quantitative methods were used to show the distribution method, as well as 4 illustrations related to the main purpose of the research. Although this version does not have a writing date, it was written and arranged in the Safavid era, the 11th century, by recognizing the calligrapher Mirzasaleh's style and by examining the style. But, it was re-bound and bound in the year 1329 under the seal of the government library in Qajar Iran. Considering the manifestation of various intellectual foundations, such as worshiping Yazdan, honoring wisdom, scientific excellence, kindness, etc. in the Shahnameh of Javadan Ferdowsi, this work is full of wisdom and lessons. In this research, despite the fact that other axes can be designed, only four of the concepts of this valuable document of Iranian culture and civilization, which have the most thematic and central connections with illustrations, have been examined. Mirzasaleh’s Shahnameh has to paid attention to. Therefore, the concepts of Iranian nationality, wisdom, justice and purity have been selected based on the author's inductive investigation in Ferdowsi's Shahnameh itself and inferences from other researches; the most important of which have been mentioned in the background of the research. It has been identified in a non-probabilistic way and analyzed with Peirce's semiotic approach. The continuous coexistence of Iranian painting with foreign Eastern and Western cultures and traditions in various historical periods, which has led to its implicit and objective influence, doubles the importance and necessity of research. For this reason, it can be acknowledged that due to the importance of knowing the culture of the past, examining the impact of the art of other countries and the lack of substantiated sources, paying attention to unknown cultural-artistic versions such as Mirzasaleh can always be a solution; because Ferdowsi's Shahnameh has been represented in a special period with beauty and delicacy, thoughtful adaptations and new innovations, and its analysis can potentially provide a platform for the analysis and interpretation of obvious and hidden symbols, as well as the reception of secret content. Also, exploring and finding visual symbols in line with Ferdowsi's rich, national and cultural discourse in Mirzasaleh's Shahnameh can help explain as much as possible the hidden concepts in the background of Iranian Islamic civilization. The results of this study indicate that the four concepts mentioned in the form of symbolic characters such as Siavash, mythical creatures of myths such as dragons, symbolic elements such as color and symbolic tools of myths beyond the apparent meaning are illustrated based on the cultural conventions of ancient Iran and have the most semantic connection. It can also be acknowledged that among the review of the total of 43 images of Mirzasaleh's Shahnameh along with the analysis of 4 images in the body of the article, Iranian nationality is the most frequently displayed concept, and the concepts of justice and chastity have the least number of images. در فرهنگ کهن ایرانی، به فراخور اوضاع اجتماعی، سیاسی و اقتصادی، همواره جمعی از هنرمندان نگارگر در راستای اعتلای ادبیات غنی این مرزوبوم، به شاهنامه‌نگاری و مصور کردن آن اهتمام ورزیده‌اند که با توجه به مضمون اسطوره‌ای شاهنامة فردوسی و پیوند ناگسستنی آن با زبان نمادین، درک عالم لطیف و سرشار از رمز و راز نقاشی‌های ایرانی نیازمند تأویل و رمزگشایی است. یکی از نمونه‌های برجسته در این زمینه، نسخه‌ای از شاهنامة بدون تاریخ کتابت، معروف به نسخة میرزا صالح است که در کتابخانه کاخ گلستان نگه‌داری می‌شود و در سال 1400 شمسی رونمایی شد. هدف این پژوهش بنیادی افزون بر معرفی این نسخه، شناخت نمادهای تصویری مفاهیم ملیت ایرانی، خردمندی، عدالت و پاکی در چهار نگارة برگزیده از شاهنامه میرزا صالح است. ازاین‌رو سؤال‌های پژوهش حاضر عبارت‌اند از: 1. چهار مفهوم اصلی ملیت ایرانی، خردمندی، عدالت و پاکی در میان نگاره‌های منتخب با چه نماد‌هایی و چگونه به شیوة مکتب اصفهان بازنمایی شده‌اند؟ 2. کدام‌یک از مفاهیم ملیت ایرانی، خردمندی، عدالت و پاکی بیش از همه در شاهنامه میرزاصالح به تصویر کشیده شده است؟ روش تحقیق این پژوهش، توصیفی ـ تحلیلی، از نوع کیفی است و شیوة گردآوری اطلاعات اسنادی همچنین با رویکرد نمادشناسانة پیرس است. نتایج این مطالعه نشان داد که چهار مفهوم موردنظر از طریق شخصیت‌های نمادین همچون سیاوش، موجودات موهوم اسطوره‌ای همچون اژد‌ها، عناصر نمادین مانند رنگ‌ها و ابزارهای اسطوره‌ای ـ فراتر از معنای ظاهری ـ و در چارچوب قرارداد‌های فرهنگی ایران باستان مصور شده‌اند و بیشترین ارتباط معنایی را ایجاد کرده‌اند. همچنین، با توجه به بررسی 43 نگارة نسخه میرزاصالح و تحلیل دقیق 4 نگاره منتخب، می‌توان نتیجه گرفت که مفهوم «ملیت ایرانی» پرتکرارترین و برجسته‌ترین مضمون به تصویر کشیده شده است، درحالی‌که مفاهیم «عدالت» و «پاکی» کمترین نگاره‌ها را به خود اختصاص داده‌اند.

https://negareh.shahed.ac.ir/article_4355_dc5db4b8c61da2a4d5059f3102e96d20.pdf

دانشگاه شاهد فصلنامه نگره 2676-7244 20 74 2025 06 22 Transmutation of Sign Systems in Tabriz School of Painting in Safavid Era دگردیسی نظام‌های نشانه‌ای در مکتب نگارگری تبریز صفوی 93 109 4600 10.22070/negareh.2024.17701.3221 FA محمدعلی خواجه فرد دانشجوی دکتری پژوهش هنر، دانشکده پژوهش‌های عالی هنر و کارآفرینی، دانشگاه هنر اصفهان، ایران. زینب صابر دانشیار گروه هنر اسلامی، دانشکده صنایع‌دستی، دانشگاه هنر اصفهان، ایران. 0000-0002-4243-0397 زرین تاج واردی استاد تمام گروه زبان و ادبیات فارسی، دانشکده ادبیات و علوم انسانی، دانشگاه شیراز، ایران. Journal Article 2023 09 26 Persian literature and painting have a close relationship with each other from the beginning; scientific texts, Ferdowsi's Shahnameh, Nizami's poems, Saadi’s Bustan, Kalileh and Demeneh and many other instructive, mystical, romantic and epic texts of Persian literature are the main subjects of Persian painting. Tabriz school of painting in Safavid era, as one of the most prominent schools of painting in Iran, is not separated from this trend. Valuable manuscripts were created in Tabriz based on various epic, lyrical and fictional literary texts. In order to interpret and understand paintings in a more appropriate way, it is necessary to know the characteristics and distinctions of Persian painting in every historical period, including the Tabriz school of painting in Safavid era. The permanent link between Persian literature and Persian painting is one of the most important gateways to the problem, which draws attention to the study of Persian painting as a type of Intersemiotic translation or Transmutation. Intersemantic translation or transmutation, which was first proposed by Roman Jakobsen, means an interpretation of verbal signs by means of signs of nonverbal sign systems. Based on this concept and since a large amount of manuscripts that appeared in the history of Persian painting, including the Tabriz school of painting in Safavid era, are based on literary texts, a large percentage of Iranian painting manuscripts can be considered as a type of Intersemiotic translation. The purpose of this research is to study the process of illustrating literary texts in Safavid Tabriz School based on the concept of Intersemiotic translation or Iransmutation. Another goal of this research is to recognize the factors affecting the mentioned process. The questions of this research are: 1. What are the mechanisms of the Transmutation of literary texts into paintings of the Safavid Tabriz school? 2. What are the factors affecting the mentioned process? The method of this research is descriptive-analytical. The research data was collected by studying the documents available in the library. Among the paintings of Tabriz school of painting in Safavid era, nine cases have been selected in an improbable and purposeful way to check the validity of the presented qualitative issues. The data in this research is analyzed based on Roman Jakobsen's classification of different types of translation with a special look at Intersemiotic translation and Farzan Sejoudi's theories in layered semiotics (emergent approach to semiotics). After studying the process of Intersemiotic translation from the perspective of layered semiotics and obtaining the main mechanisms and factors affecting this process, the validity of the qualitative information presented will be evaluated on a set of samples that were purposefully selected from Tabriz school of painting in Safavid era. The results of this research indicate that four general mechanisms are taking place in the Intersemiotic translation of literary texts into the manuscripts of Tabriz school of painting in Safavid era: Repetition, Innovation, Reproduction and Deletion. Also, the influencing factors on the mentioned mechanisms are: First, the story basis of the literary text. The story in a literary text creates a limitation for painters. In the manuscripts without story, the artist, using the threads of the literary text, went above creating an image based on a specific story and created unique manuscripts for the first time in the history of Iranian painting. In the manuscripts that have a specific story, the painters illustrated parts of the story, which is a good platform for illustrating historical issues and royal life. The second factor influencing the Intersemiotic translation process is the artist's creativity and cognitive knowledge. The third factor affecting the mentioned process is the change of media. The transformation of the visual medium of writing into the visual medium of a fixed image is one of the main changes. The last factor influencing the transmutation of sign systems in Tabriz school of painting in Safavid era is intertextual relations. In addition to the relationship between verbal text and visual images presented in the four general mechanisms, other intertextual relationships are also important. Although it is difficult and even impossible to identify all types of intertextual relationships, the relationships between the paintings of the Tabriz school and other schools of painting are the main factor of some of the most important features of this school. The four mechanisms of the Intersemiotic translation process presented in this research and the factors affecting the mentioned process can help researchers in similar studies in the field of visual arts, especially visual works related to literary texts. در مکتب نگارگری تبریز صفوی، همچون مکاتب پیشین، متون مختلف ادبی نظیر شاهنامة فردوسی، خمسه نظامی، جمال و جلال آصفی و دیوان حافظ کتاب‌آرایی شده‌اند. توجه به این متون در فرایند توصیف، تفسیر، داوری و فهم آثار این مکتب، ضروری است. مفهوم دگردیسی یا ترجمه بینا‌نشانه‌ای که به معنای برگردان نشانه‌های کلامی به‌وسیله نشانه‌های نظام‌های نشانه‌ای غیرکلامی است، می‌تواند در مطالعه رابطة متون ادبی و نگاره‌های مکتب تبریز صفوی، راهگشا باشد. هدف این پژوهش شناخت دقیق و روشمند فرایند تبدیل متون ادبی به نگاره‌های مکتب تبریز صفوی مبتنی بر مفهوم دگردیسی و نیز شناسایی عوامل اثرگذار بر این فرایند است. سؤال‌های این پژوهش عبارت‌اند از: 1. فرایند دگردیسی یا ترجمه بینانشانه‌ای از متون ادبی به نگاره‌های مکتب تبریز صفوی چه سازوکارهایی دارد؟ 2. عوامل مؤثر بر این فرایند کدام‌اند؟ روش تحقیق این پژوهش بنیادی – نظری و به شیوة توصیفی – تحلیلی است. داده‌های پژوهش به روش کتابخانه‌ای و از طریق مطالعة اسناد و منابع موجود گردآوری‌شده‌اند. پس از بررسی فرایند ترجمة بینانشانه‌ای از منظر نشانه‌شناسی لایه‌ای و استخراج سازوکارها و عوامل مؤثر، اعتبار یافته‌های کیفی که به‌صورت هدفمند و غیرتصادفی انتخاب‌شده‌اند، به کمک مجموعه‌ای از نمونه‌ نگاره‌های منتخبِ مکتب تبریز صفوی، ارزیابی شد. نتایج این پژوهش نشان داد که در ترجمه بینانشانه‌ای متون ادبی به نگاره‌های مکتب تبریز، چهار فرایند کلی تکرار، بازآفرینی، نوآفرینی و حذف نقش دارند. همچنین، عوامل مؤثر بر این فرایند عبارت‌اند از: داستان‌محور بودن متن ادبی، خلاقیت و دانش‌شناختی هنرمند، تغییرات و محدودیت‌های رسانه و روابط بینامتنی میان متون اثرگذار بر فرایند دگردیسی نظام‌های نشانه‌ای در مکتب نگارگری تبریز صفوی.

https://negareh.shahed.ac.ir/article_4600_2632f3cd6ca62a788a689e782f0a2d1b.pdf

دانشگاه شاهد فصلنامه نگره 2676-7244 20 74 2025 06 22 The Hidden Pronoun in Spells and Its Impact on Contemporary Iranian Graphic Arts based on Jung's Theory ضمیر پنهان در طلسم‌ها و تأثیر آن در هنر گرافیک معاصر ایران مبتنی بر نظریة‌ یونگ 111 135 4392 10.22070/negareh.2024.17700.3238 FA نیلوفر لبیشه دانشجوی کارشناسی ارشد موسسه آموزش عالی نبی اکرم(ص)، شهر تبریز، استان آذربایجان شرقی، تبریز، ایران 0009-0002-1070-6157 علی جواهر عضو هیئت‌علمی دانشکده هنر موسسه آموزش عالی اسوه معاصر، شهر تبریز، استان آذربایجان شرقی، تبریز، ایران 0009000610827003 Journal Article 2023 09 25 With regard to the problem statement, graphic design in the contemporary (postmodern) era is unbridled and pale, and what prevails is the desire for diversity and production, because designers are looking for work and production without considering the theoretical principles or observing the components of a single style. Although designers are often inspired by cognitive and attitudinal stylistic trends at the level of popular culture, they rarely advance their works based on theory. As a result, contemporary graphic design often appears as a consumerist style. The first nuclei of culture were born in this period of human life and a kind of primitive religion of animism - belief in the existence of life in solids - sparked in man, but it was still far from religion. This made people believe in the supernatural. In a way, the reflection of the human brain provided the basis for the birth and growth of supernatural power, magic and spells. In short, a spell is a combination of active heavenly forces with inactive earthly forces at the right time, so that it repels or dissolves them. Perhaps the patterns of magic and spells that exist today have their roots in that period - the Paleolithic Age. With the passage of time and the development of spells, the people of this art used motifs and signs in spells that contained messages and graphic documents in today's language and science. With the passage of time, modern man removed the talisman to some extent from his daily life and used it as a symbol of past memories. Graphics is an endless way and needs new ideas to be sustainable in the modern world. In this essay, the forgotten idea of "the visual field of spells" is discussed. Although this idea is not considered as a superstition in the modern world, we are faced with different challenges and findings when studying and examining different layers of the visual field of spells. This research also aims to investigate and analyze the different layers of spells and has led to an answer to these questions: what is the root of these spell images by examining illegible manuscripts, motifs and images of strange creatures, special objects? Are they influenced by the hidden and psychic mind, or are they the product of the invisible world? Is it possible to use the idea of "visual field of spells" as a new idea in contemporary graphics? The elegance and beauty of these motifs and images lead a person to art, and it is precisely in this mental transfer that these other motifs break away from the identity of occult sciences and enter the valley of art, and it is possible to consider the visual field of spells as a work of art. Therefore, it can also be criticized. On the other hand, to read the meaning and concept hidden in the works and to prove this issue, Jung's hidden pronoun has been used and we believe that by analyzing the existing archetypes and correctly understanding the nature of each one, we can present new ideas and works in graphics. The research method of the upcoming research is based on the objective, and qualitative methods and based on its nature, the analysis is descriptive-analytical, while on the other hand, it has a practical aspect. The studies obtained from the library method and with the theoretical approach of Jung's hidden pronoun have analyzed and reviewed the works.Today, it is possible to provide a clear answer and a complete result regarding the questions raised; that the root of these thoughts and images comes from the hidden mind of man. If we want to provide an artistic understanding, we can say: an artist needs an undiscovered spirit to create a work of art. Surely the creator of the spell patterns drew the spell patterns with thoughts outside of conscious information. The creator of these works at that time was not aware of the existence of an undiscovered spirit in his hidden mind, and he certainly did not know where and how the origin of these images entered his consciousness, but now, by examining the "visual field of spells", we can see the hidden mind, the thoughts outside the open space and their concepts and meanings which were obtained. In this direction and in order to prove the conscious presence of these motifs and charms in contemporary art and graphics, as well as to prove their applicability among the public, it can be analyzed from the semantic and conceptual aspects in the category of visual arts works. We analyze and examine the valuable examples by artists such as Iman Motaghi Rad, Farzad Adibi, Parviz Tanavoli, Reza Abedini, Homa Delurai, etc., artists who are aware of those elements and signs and have used them in their various graphic works such as posters, typography, signs, volume, etc. گرافیک راهی بی‌انتهاست و برای پایداری در دنیای مدرن، نیازمند ایده‌های نوین است. در این جستار، به ایدة فراموش‌شدة «ساحت تجسمی طلسم‌ها» پرداخته‌شده است. هرچند این ایده در دنیای مدرن امروزی، اغلب خرافاتی تلقی می‌شود، اما با مطالعه و بررسی لایه‌های مختلف ساحت تجسمی طلسم‌ها با چالش‌ها و یافته‌های متفاوتی روبه‌رو می‌شویم. این پژوهش با هدف بررسی و تحلیل لایه‌های مختلف طلسم‌ها صورت گرفته و با بررسی نسخه‌‌های دست‌نویس ناخوانا، نقوش و تصاویر موجودات عجیب‌الخلقه و اشیای خاص؛ در پی پاسخ به این سؤال‌هاست که 1. ریشة‌ این تصاویر طلسمی چیست؟ 2. آیا متأثر از ضمیر پنهان و روان نگارنده‌اند، یا محصول جهانی ناپیدا و غیبی‌‌‌اند؟ 3. آیا می‌توان از ایدة «ساحت تجسمی طلسم‌ها» به‌عنوان منبعی نو و الهام‌بخش در گرافیک معاصر بهره برد؟ ظرافت و زیبایی این نقوش و تصاویر، ذهن را به‌سوی هنر سوق می‌دهد و دقیقاً در همین گذار است که آن‌ها دیگر از هویت علوم غیبی خود گسیخته، به وادی هنر گام می‌نهند. ازاین‌رو، می‌توان ساحت تجسمی طلسم‌ها را در زمرة یک اثر هنری نقد و تحلیل کرد. همچنین، برای خوانش معنا و مفهوم نهفته در آثار و اثبات این موضوع، از نظریة ضمیر پنهان یونگ بهره گرفته‌ایم و بر این باوریم که می‌توان با تحلیل کهن‌الگوهای موجود و شناخت صحیح ماهیت هر یک، به ارائه ایده و آثاری نو در گرافیک معاصر پرداخت. روش تحقیق این پژوهش ازنظر هدف کیفی و از منظر ماهیت، توصیفی-تحلیلی است و جنبه‌‌ای کاربردی دارد. داده‌ها از طریق مطالعات کتابخانه‌ای گردآوری‌شده‌ و با رویکرد نظری ضمیر پنهان یونگ، آثار تحلیل و بررسی شده‌اند. نتایج این پژوهش، با توجه به تحلیل‌ها و یافته‌های به‌دست‌آمده، نشان می‌دهد گسترة تجسمی غنی نقوش و کهن‌الگوهای موجود در تصاویر طلسم‌ها و نیز ماهیت معنایی و مفهومی آن‌ها با برداشت صحیح هنرمند در حوزة گرافیک به‌عنوان ایده‌ای نوین در طراحی گرافیک، ازجمله طراحی پوسترها، نشانه‌ها و غیره به‌خوبی استفاده‌شده است.

https://negareh.shahed.ac.ir/article_4392_c491b94a2b731a483d30c5b92b2714e5.pdf

دانشگاه شاهد فصلنامه نگره 2676-7244 20 74 2025 06 22 Analysis of the Components and Concepts of Bakhtin's Carnival in the Image of Dajjal of Tahmasbi Falnama واکاوی مؤلفه‌ها و مضامین کارناوال باختین در نگارة دجال در فالنامة طهماسبی 137 149 4354 10.22070/negareh.2024.18414.3304 FA فرزانه واحددهکردی استادیار گروه هنر، دانشگاه آزاد اسلامی قم، قم، ایران. 0000-0003-4401-9961 زهره خاوری کارشناس ارشد پژوهش هنر، قم، ایران. Journal Article 2023 11 01 Bakhtin believes that human life in the middle centuries were in two ways; one was a completely formal life under a hierarchical system and combined with fear, dogmatism and submission formed in piety, and the other was life in a carnival and social atmosphere. He deals with the carnival as an independent event and expands it in the field of art and literature. Bakhtin's carnival theory provides a new way to investigate and research the dimensions of popular celebrations. To understand the carnival, Bakhtin mentioned the ideas and themes leading to the formation of the carnival structure. Some of the numerous features that he listed for the carnival are its components and some others are hidden in the topic and theme of the carnival. In the carnival, people join the crowd by putting masks on their faces. In fact, the person who wears a mask has put aside the individuality that distinguishes him from the crowd in order to experience his physical and material uniqueness and unity with the crowd. The theme of game also plays an important role in conceptualizing the carnival. The game is one of the side activities of the carnival; there is no hierarchy in popular games. The other point is that in the carnival the lower classes have the opportunity to somehow stand in front of the tough and official culture of the rulers of the church and make fun of it. Another theme that exists in the carnival is the theme of madness. Madness makes a person look at the world through a different perspective, a perspective not limited to solid frameworks of common and conventional ideals and judgments. Similar to the theme of madness, the images of the vagrant idiot and clown help create a carnival atmosphere due to their opposition to conventional social, political, religious and cultural norms. Bakhtin clearly declared that it is impossible to hope that carnival would change the world, but it is possible to change the inner relationship of man with the world. Iranian painting with various subjects and themes is a suitable platform for analyzing Eastern and Western theories. In the meantime, the illustrated horoscopes that were written to determine the fortunes and misfortunes of affairs provide a visual collection of religious subjects and folk traditions, which sometimes have no written roots; One of these folk narratives in Tahmasbi's Falnama is a picture of the people’s celebration and joy at the time of Dajjal’s arrival. Dajjal is a person or a creature who is the enemy of Imam Mahdi (AS). He, who is also known as the Antichrist, is an evil character who, according to Muslims, will pretend to be the Jesus at some point in the future before the Day of Judgment, and people will be deceived and join him. To state the problem, the image of the arrival of Dajjal contains themes and images that can be compared and analyzed with the features of Bakhtin's carnival in many ways. The purpose of this research, which is descriptive-analytical and carried out in a qualitative and theory-based way, is to "study the components and themes of Bakhtin's carnival in the image of Dajjal in Ṭahmāsbi's dispersed Falnama". Answering these questions seems necessary in order to achieve this purpose: What are the components and themes of Bakhtin's carnival in the image of Dajjal, in separate? How can the image of the Dajjal's arrival be analyzed based on Bakhtin's carnival theory? The method of this research is analytical descriptive with a qualitative approach. In order to answer the questions raised, first of all, the recognition and understanding of the carnival and Bakhtin's theory in this case were done through library sources, and the components and themes of Bakhtin's carnival were identified separately. Then, the characteristics of the carnival in the image of Dajjal’s arrival were explained, and finally, the components of Bakhtin's carnival, which are presented as visual elements in the image, and the themes of Bakhtin's carnival, which are hidden in the content of the work, were analyzed. The findings show that in Bakhtin's point of view, carnivals were popular and mostly non-religious festivals or street plays in which the culture of the ordinary people was represented; An insolent and blatantly, free and unrestrained culture that used to joke, play and go crazy in contradiction to the holy rules. The image of Dajjal can be analyzed by inspection of the visual elements according to the carnival components and the content of the themes used in it. The main components of carnival, laughter, games, masks, inversions and grotesque in Bakhtin’s point of view match the elements used in the image of Dajjal. In the image of the Antichrist's arrival, an anti-religious celebration with no presence of religious figures and against the existing laws induces a double atmosphere game in which a kind of madness is perceived. باختین بر این باور است که زندگی انسان‌های قرون‌وسطی به دو صورت جریان داشته است: یکی زندگی رسمی با حفظ نظام سلسلهمراتبی و توأم با ترس، جزم‌اندیشی و سرسپردگی در قالب تقوا و دیگری زندگی کارناوالی در میان توده‌های مردم و فضای جمعی به‌دوراز نظام سلسله مراتبی. او به کارناوال به‌عنوان رویدادی مستقل می‌نگرد و مفهوم امر کارناوالی را در حوزة هنر و ادبیات بسط می‌دهد. نظریة کارناوال باختین افق تازه‌ای در مطالعه و تحلیل ابعاد جشنهای مردمی می‌گشاید. نگارة دجال در فالنامة پراکندة طهماسبی، متعلق به دورة صفوی، جشنی را به تصویر می‌کشد که در آن، مردمانی فریب خورده برای استقبال از دجال در کوچه و بازار گردآمده‌اند. این نگاره واجد ویژگی‌های بصری‌ همچون خنده، بازی، نقاب، دلقک، وارونگی، گروتسک و نیز مضامینی مانند مضامین ضدمذهبی، دیوانگی، مرگ، ابله، نافرمانی و سرکشی و واژگونی نظام سلسله مراتبی است که آن را با نظریة کارناوال باختین قابل تطبیق و تحلیل می‌سازد. این پژوهش باهدف «واکاوی مؤلفه‌ها و مضامین کارناوال باختین در نگارة دجال در فالنامة پراکندة طهماسبی» و با شیوة توصیفی- تحلیلی و رویکرد کیفی، بر اساس مطالعات کتابخانه‌ای و اسنادی انجام‌شده است. سؤالات اصلی پژوهش عبارت‌اند از: 1. وجوه کارناوالگرایی در نگارة دجال کدام‌‌اند؟ 2. چگونه می‌توان نگارة ورود دجال را بر اساس مؤلفه‌ها و مضامین نظریة کارناوال باختین تحلیل کرد؟ یافته‌ها نشان می‌دهد در نگارة دجال میتوان کارناوال‌گرایی را به دلیل برگزاری آن در فضای باز، مردمی بودن و نمایش گونگی آن مشاهده کرد. همچنین، مؤلفه‌های کارناوال باختین همچون خنده، بازی، نقاب، دلقک، وارونگی و گروتسک در تصویر حضور دارند. مضامین مطرح‌شده در نظریة باختین، مانند ضدمذهبی، واژگونی نظام سلسله مراتبی، نافرمانی و سرکشی، دیوانگی، ابله و مرگ نیز در این نگاره بازتاب یافته‌اند. بنابراین، نگارة ورود دجال را می‌توان هم ازنظر صوری و هم ازنظر محتوایی، بر اساس مؤلفه‌ها و مضامین نظریة کارناوال باختین تحلیل کرد.

https://negareh.shahed.ac.ir/article_4354_fba8c1cd3c0cfe8384ae80e9a171c633.pdf

دانشگاه شاهد فصلنامه نگره 2676-7244 20 74 2025 06 22 The Individual Dimension of the Action of the Contemporary Audience in the Field of Traditional and Modern Painting Art of Iran based on Bourdieu's Theory of Cultural Capital تحلیل بُعد فردی کنش مخاطب معاصر در میدان هنر نگارگری سنتی و نوین ایران بر مبنای نظریه سرمایه فرهنگی بوردیو 151 165 4391 10.22070/negareh.2023.17910.3249 FA زهره طاهر دانشجوی دکتری پژوهش هنر، دانشگاه الزهرا(س)، تهران، ایران. 0000-0002-8191-2030 زهرا رهبرنیا دانشیار دانشکده هنر، گروه پژوهش هنر دانشگاه الزهرا(س)، تهران، ایران. 0000000184423139 Journal Article 2023 09 18 Introduction: The necessity of studying possible factors involved in the quality of interaction of the contemporary audience with the traditional arts, including the important missions of artists, researchers and thinkers of the society in preserving the values and fundamentals of the original art works, considering the importance and position of the audience in the process of producing and shaping artworks. This problem is seriously discussed in Iranian painting and makes more research in this field necessary. There are many factors involved in the interaction of the contemporary audience with the art of painting, but among these, cultural factors are so important and effective. According to Bourdieu, the perception of historical classic arts depends on the acquisition of perceptual skills, which also depends on the benefit of cultural capital. Cultural capital is the contribution of society's people to the sublime culture of that society, which affects their interaction with artworks. Bourdieu divides cultural capital into three areas: internal cultural capital, external cultural capital and institutional cultural capital. Aim: the aim of this study is analyzing the institutional cultural capital and its relationship with the action of the contemporary audience in the field of traditional and modern painting art. Main Question: how, based on Bourdieu's theory of institutional cultural capital, can the individual dimension of the action of the contemporary audience be analyzed in the field of traditional and modern painting art of Iran? The sub-questions are: 1- What is the relationship between Bourdieu's institutional cultural capital indicators, including people's degree and field of study, their monthly income, and the level of their artistic knowledge, and the first component of the audience's action, including choice of traditional and modern Iranian paintings and the criterion of applying Bourdieu's aesthetic criteria by the audience? 2- What is the relationship between Bourdieu's institutional cultural capital indicators, including people's degree and field of study, their monthly income, and the level of their artistic knowledge, with the second component of audience’s action, including the extent and manner of audience’s interaction with the work of art and providing solutions to increase this interaction? Method: The current research was carried out with a descriptive-analytical method and with the approach of artistic sociology based on Bourdieu's theories about cultural capital. In the qualitative part, the information was collected by the library-document method and in the quantitative part, by the electronic survey method and by using an online and field questionnaire. The analysis of the qualitative part is based on Bourdieu's theory of institutionalized cultural capital and its analysis in the field of Iranian painting art and in the field section, statistical data was collected by an online questionnaire prepared by the authors, and then data analysis and correlation analysis were performed using SPSS 27 software, and the significance level of the data was considered less than 0.05. The questions of the online questionnaire are designed based on Bourdieu's theory of institutionalized cultural capital and the questions raised in the research. The statistical population of the current research includes all classes of contemporary audiences, including people in different age ranges, different social classes and living in different parts of Iran. In total, the statistical sample size was 100 people. The validity of the questionnaire was also checked based on the opinions of experts in the field of art, and the redesign and modification of the questions were carried out under the supervision of respected professors of art research. Kendall's B&C test was used to determine the relationship between the rank variables mentioned in the questionnaire and the correlation analysis in SPSS 27 software at a significance level of 0.05. Findings: According to our findings, indicators of economic well-being and monthly income of people may affect a small part of how the audience interacts, prioritizing criteria such as a sense of belonging and empathy in selecting works and interacting with them. In fact, as Bourdieu believes in this regard, people who are not concerned about the material necessities of life and have a relative level of well-being, have shown different actions and according to the findings of this research, they have other criteria in selecting and interacting with paintings. However, providing solutions to improve the interaction of the audience with this art has attracted the attention of many people from all levels of economic well-being and education, which shows the importance of serious scientific and practical attention to it. In general, with the qualitative and quantitative analysis of research findings, the individual dimension of the contemporary audience's action in the field of traditional and modern painting art of Iran, both in the way of selecting works and in the way of interacting with them, was in accordance with the indicators of Bourdieu's theory of institutionalized cultural capital, and we found the increase of artistic information of the society has the greatest impact on their action. بی‌تردید عوامل متعددی در نحوة تعامل مخاطب معاصر با هنر نگارگری ایران مؤثرند، اما در این میان، عوامل فرهنگی به‌عنوان یکی از ابعاد مهم اجتماعی نقش پررنگ‌تری ایفا می‌کنند. به عقیده بوردیو، درک آثار کلاسیک تاریخی به اکتساب مهارت‌های ادراکی شناخت بستگی دارد که آن نیز به بهره‌مندی از سرمایة فرهنگی وابسته است. بااین‌حال، تاکنون مطالعات اندکی در تحلیل میدان‌های مختلف، به‌ویژه میدان هنر انجام‌شده است؛ درحالی‌که یافته‌های چنین مطالعاتی می‌تواند در حوزه‌های فرهنگی، هنری و اجتماعی جامعه و نیز در فرایند سیاست‌گذاری‌های مرتبط، نقشی راهبردی و مرجع ایفا کند. بر همین اساس، پژوهش حاضر باهدف تحلیل سرمایة فرهنگی نهادینه و بررسی رابطه آن با کنش مخاطب معاصر در میدان هنر نگارگری ایران، می‌کوشد به این سؤال پاسخ دهد که چگونه می‌توان بر مبنای نظریة سرمایة فرهنگی نهادینه بوردیو، بُعد فردی کنش مخاطب معاصر در میدان هنر نگارگری سنتی و نوین ایران را تحلیل کرد؟ این پژوهش به روش توصیفی- تحلیلی انجام‌شده و در بخش کیفی، اطلاعات از طریق مطالعة کتابخانه‌ای- اسنادی گردآوری‌شده است. در بخش کمی نیز داده‌ها به‌صورت میدانی و از طریق پیمایش الکترونیکی جمع‌آوری شده‌اند. تجزیه‌وتحلیل بخش کیفی بر پایة نظریة سرمایة فرهنگی نهادینة بوردیو انجام‌گرفته و در بخش میدانی داده‌های آماری به‌وسیلة پرسشنامة برخط طراحی‌شده توسط نگارندگان گرد‌آوری و سپس تجزیه تحلیل داده‌ها و تحلیل همبستگی با استفاده از نرم‌افزار SPSS نسخه ۲۷ و در سطح معناداری کمتر از 05.0 انجام‌شده‌اند. به‌طورکلی، بر اساس بررسی‌های کیفی و کمی یافته‌های پژوهش می‌توان گفت بُعد فردی کنش مخاطب معاصر در میدان هنر نگارگری ایرانی - چه در نحوة گزینش آثار و چه در شیوة تعامل با آن‌ها - با شاخص‌های نظریة سرمایة فرهنگی نهادینة بوردیو همخوانی دارد. بر این اساس، می‌توان افزایش سطح آگاهی و اطلاعات هنری جامعه را مهم‌ترین عامل مؤثر بر این نوع کنش دانست.

https://negareh.shahed.ac.ir/article_4391_9366717e979570c751921ab3cf9e8259.pdf

دانشگاه شاهد فصلنامه نگره 2676-7244 20 74 2025 06 22 Thematic Reading of the Inscriptions on the Wooden Doors of Kashan's Blessed Tombs بازخوانی مضمونی کتیبه دَرهای چوبی بقاع متبرکه کاشان 167 189 4388 10.22070/negareh.2024.18265.3285 FA علیرضا شیخی دانشیار گروه صنایع‌دستی، دانشکده هنرهای کاربردی، دانشگاه هنر، تهران، ایران. 0000-0002-7315-4516 مریم کیان فرد دانش‌آموخته کارشناسی ارشد صنایع‌دستی، دانشکده هنرهای کاربردی، دانشگاه هنر، تهران، ایران. 0000-0000-0000-0000 Journal Article 2023 10 10 Kashan city is one of the religious cities of Iran, which has been intertwined with the love of Ahl al-Bayt (peace be upon him) since the beginning of the Islamic period. With regard to the problem statement, there are many blessed places in this city that are decorated with various architectural decorations such as plastering, wall painting, muqarnas work, wooden doors and windows, tiling and verses, which have contributed the most in terms of examples in the contemporary period, while the Timurid ,Safavid, Qajar, and Pahlavi periods also have many significant examples. Among the arrays related to architecture, inscriptions are of special importance, because they provide information about people's culture and beliefs and provide a basis for further knowledge. The following article was created with the purpose of reading the theme and content of the inscriptions on the wooden doors of Kashan's blessed Bekaa. These doors are used as entrance doors, interior doors or shrines, and their inscriptions are executed with wooden arts such as inlay, mosaic, and painting on wood, so these questions are raised: What is the content of the inscriptions on the wooden doors of Kashan's blessed tombs and what themes and information does it contain? The type of basic research and its method is descriptive-analytical. Information has been obtained through library and private field studies. The findings have been identified in thirty-nine wooden doors with inscriptions, and the sampling method of the works was first all the available cases. The result of this study showed that of the findings that have been recognized in thirty-nine inscribed tombs 5% are Timurid, 21% Safavid, 15% Qajar, 10% Pahlavi and 49% belong to the period of the Islamic Republic (contemporary). The contents of the inscriptions have been identified and analyzed in seven groups: Qur'anic, historical, encomium and praise, narrations, martyrdoms, divine names, and the names of the founders or builders. According to the researches, historical themes, Quranic themes, divine names, encomium and praise, and the names of builders and founders are seen in all periods, but martyrdoms have been seen only in the contemporary period, and narratives have also been seen in all periods except the Pahlavi period. Another case is the way of using and inserting the names of the builders and founders of the studied doors, so that from the Timurid period to the Pahlavi period, it is often indirectly associated with nicknames, and they are mostly inserted on the lower parts of the doors, so that they are less visible, but in the contemporary period, the names of founders or builders are written without title and explicitly, and the place of insertion was not important for them, which shows the humility and modesty of traditional artists and their reflection on their works, as well as the more haste and less taste of contemporary artists, such as: "Mehr king build this door in the history of the servant of Sultan Ali Mahmud Maulana Hasan" on the south door of the mausoleum of Sultan Ali bin Muhammad Baqir (peace be upon him) in the Safavid period and "the act of Master Hasan Tasalloti of Kashan" on the eastern porch of the mausoleum of Sultan Mahmud (peace be upon him) in the contemporary period. Also, unlike the contemporary era, where all the years of creation are stated directly and clearly, traditional artists in some of their works have used the material of the date of creation of the work and by replacing dates and figures in the form of poetry, they have added to the delicacy of the poems and their mastery of order while they showed the prose. Another notable case is the wooden arts of making inscriptions; in all the works, inlays are used, and only one work is painted and four works are done using the mosaic method. The texts of the inscriptions are mostly executed in the frames and the spacers, and this can be due to the fact that these places are more visible and also the horizontality of the Persian and Arabic alphabets. The Thuluth script is the most common among the examples and it was used in all periods, and the Nastaliq script was also added to the works from the Qajar period. شهرستان کاشان ازجمله شهرهای مذهبی ایران است که از اوایل دوران اسلامی با محبت اهل‌بیت پیوند خورده است. در این شهر بقاع متبرکه متعددی وجود دارد که با تزئینات وابسته به معماری، همچون گچ‌بری، نقاشی دیواری، مقرنس‌کاری، دَر و پنجره‌های چوبی، کاشی‌کاری و آینه‌کاری آراسته‌شده‌اند. در این‌ میان، دورة معاصر بیشترین تعداد نمونه‌ها را به خود اختصاص داده و پس‌ازآن، دوره‌های صفوی، قاجار، پهلوی و تیموری، به ترتیب فراوانی، دارای نمونه‌های شاخص و متعددی هستند. در میان آرایه‌های مرتبط با معماری، کتیبه‌ها از اهمیت ویژه‌ای برخوردارند؛ زیرا اطلاعاتی پیرامون فرهنگ و باورهای مردم فراهم می‌آورند و زمینة شناخت بیشتر را مهیا می‌سازند. مقاله حاضر باهدف خوانش مضمون و محتوای کتیبه‌های دَرهای چوبی بقاع متبرکه کاشان شکل‌گرفته است. کاربری این درها به‌صورت دَر ورودی، دَرهای داخلی یا دَر ضریح بوده و کتیبه‌های آن‌ها با بهره‌گیری از هنرهای چوبی نظیر منبت، معرق و نقاشی روی چوب اجراشده‌اند. ازاین‌رو، این سؤال‌ مطرح می‌شود که محتوای کتیبه‌های دَرهای چوبی بقاع متبرکه کاشان چیست و چه مضامین و اطلاعاتی را در بردارند؟ روش تحقیق، توصیفی-تحلیلی و از نوع بنیادی است. اطلاعات از طریق مطالعات کتابخانه‌ای، به‌ویژه بررسی‌های میدانی گردآوری‌شده‌اند. درمجموع، سی‌ونه دَر چوبی کتیبه دار شناسایی‌شده‌اند و روش نمونه‌گیری موارد در دسترس بوده است. از این میان، 5 درصد مربوط به دورة تیموری، 21 درصد صفوی، 15 درصد قاجار، 10 درصد پهلوی و 49 درصد متعلق به دورة جمهوری اسلامی (معاصر) هستند. نتایج نشان می‌دهد که کتیبه‌ها بر بخش‌های مختلف دَرها به قلم‌های رقاع، نسخ، ثلث، شبه ثلث، نستعلیق و کوفی بنایی به اجرا درآمده‌اند. محتوای کتیبه‌ها در هفت گروهِ قرآنی، تاریخی، مدح و ثنا، روایات، شهادتین و اسماء الهی و نام واقفان یا سازندگان، شناسایی و بررسی‌شده‌اند. نام سازندگان و واقفان دَرهای موردمطالعه از دورة تیموری تا پهلوی، اغلب به‌صورت غیرمستقیم و با لقب ذکرشده، اما در دورة معاصر، این نام‌ها به‌طور مستقیم و بدون لقب آمده‌اند.

https://negareh.shahed.ac.ir/article_4388_f7bbaf6c717b96e2f169a97ddf7ce239.pdf

دانشگاه شاهد فصلنامه نگره 2676-7244 20 74 2025 06 22 Analysis of the Decorations and Structure of the Kufic Inscriptions of the Tomb Tower of Chihil Dukhtaran (Forty Girls) of Damghan تحلیل تزیینات و ساختار کتیبه‌های کوفی برج مقبرة چهل‌دختران دامغان 191 201 4356 10.22070/negareh.2023.18143.3283 FA رویا شیدا کارشناس ارشد ارتباط تصویری، دانشکده هنر و معماری، دانشگاه تربیت مدرس، تهران، ایران. 0000-0000-0000-0000 مهسا تندرو دانشجوی دکتری تاریخ تطبیقی و تحلیلی هنر اسلامی، دانشکده علوم نظری و مطالعات عالی هنر، دانشگاه هنر، تهران، ایران. Journal Article 2023 09 18 To State the problem, it may well begin with the Kufic script as one of the oldest Islamic calligraphy styles, known for its notable structural diversity. Its distinctive ability to seamlessly conform to diverse design templates, rendering each piece uniquely captivating, has positioned it as a pinnacle of artistic expression. Particularly renowned for its applications in architectural embellishments and inscriptions, Kufic script has left an indelible mark on the aesthetic tapestry of various epochs. Chihil Dukhtaran tomb tower of Damghan is one of the unique instances that uses Kufic inscriptions. Situated in the north-western facade of the Imamzadeh Jafar complex in Damghan, along the Semnan route, it is an architectural marvel dating back to the 5th century AH whose builder is Asfar-e Ibn-e Kordooyeh, a Daylamite commander. Erected by this military commander from the late 4th century AH, this circular and conical brick structure stands as a testament to his leadership during the battles of Al-Ziyar and Al-Buwayh. He was one of the commanders of Manouchehr-e Zyari. Serving as the ruler of Damghan during that era, this Daylamite commander commissioned the construction of the Chihil Dukhtaran tomb tower in the city of Damghan. This brick building is a type of tower-shaped tomb and has a circular plan and a cone-shaped dome, and its body has decorative motifs and inscriptions in the style of plastering and brickwork. The body of the tower consists of two different parts up to the starting point of the cornice. The lower part is about two-thirds of the height of the entire body and is covered with simple and woven brickworks, and the second part has five decorative strips and an inscription. This tomb tower has two inscriptions in Kufic script. One of the inscriptions is above the door head of its entrance, written in Knotted-Kufic script with plaster. The other one is seen all around the tower in the upper part of its body, which is in simple Kufic script in the style of brickwork. The content of the inscriptions includes the introduction of the builder of the monument and the year of its construction. The purpose of the research is to examine and analyze the visual characteristics of the decorative motifs and the structural nature of Kufic inscriptions present on the Chihil Dukhtaran tomb tower of Damghan. It seeks to unravel how these visual elements contribute to achieve visual unity within the architectural design. The key questions revolve around the visual features of the tower's motifs and the structural approach of its Kufic inscriptions towards achieving visual unity. Thus, it's attempted to answer these questions: what are the visual features of the motifs of Chihil Dukhtaran tomb tower and, what structure do its Kufic inscriptions follow to achieve visual unity? The research method is descriptive-analytical and field-based, utilizing library resources and documents. Data collection tools include field observations, photography, and archival research. The results obtained from analyzing the inscriptions and engravings on this tomb tower indicate unique visual characteristics, reflecting aesthetic elements such as resilience, delicacy, symmetry, and continuity. The decorative inscriptions on this brick structure include depictions of two wings, and grapevine motifs, stair-shaped, zigzag, and beehive patterns in brickwork; each symbolizing aspects of nature. The distinct feature of these decorative motifs is the independent identity of the design, which is in harmony with the form of the building. After reconstruction of individual parts, harmonizing characteristics were revealed: the use of decorative elements in the writing system in a connected and dependent manner that is one of the most important connecting factors. Observing uniformity in the form of writing and motifs makes the whole inscription uniform. It is noteworthy to mention that one of the most important ways to achieve visual unity is the use of pseudo-writing inscriptions, which in this building, the most common type of such inscriptions has been used. This type of pseudo-writing, which is not a special letter, serves to read the inscription and is used to achieve visual balance. In each of the two inscriptions, these types of pseudo-writings have been wisely used to create a connection and to make a coherent whole, as well as to maintain balance in the whole inscription that depends on the presence of these elements. برج‌مقبرة چهل‌دختران دامغان از نمونه‌های منحصربه‌فرد در به‌کارگیری کتیبه‌های کوفی است. این برج که به قرن پنجم هـ.ق تعلق دارد به‌فرمان اسفار بن‌ کردویه، سرداری دیلمی ساخته‌شده است. او از سرداران منوچهر زیاری در اواخر قرن چهارم هـ.ق بوده و فرمانروایی دامغان را بر عهده داشته است. این بنای آجری، از نوع مقابر برجی شکل با پلان دایره‌ای و گنبد پیازی است. بدنه آن با نقوش تزئینی و کتیبه‌هایی به شیوة گچ‌بری و آجرکاری تزیین‌شده است. هدف این پژوهش، بررسی ویژگی‌های بصری نقوش و تحلیل ساختار کتیبه‌های این بناست و سؤالات اصلی تحقیق عبارت‌اند از: 1. نقوش برج‌مقبرة چهل‌دختران دامغان دارای چه ویژگی‌های بصری هستند؟ 2. کتیبه‌های کوفی این بنا از چه ساختاری برای رسیدن به وحدت بصری پیروی می‌کند؟ روش پژوهش، توصیفی-تحلیلی و میدانی بوده و روش گردآوری اطلاعات، کتابخانه‌ای و اسنادی است. ابزار جمع‌آوری اطلاعات شامل فیش‌برداری و عکاسی است. نتایج مطالعه نشان می‌دهد که کتیبة گچ‌بری سردر به خط کوفی معقد و کتیبه اصلی بدنة آجری به خط کوفی هندسی ساده نگاشته شده است. محتوای این کتیبه‌ها شامل معرفی سازنده بنا و سال ساخت آن است. ویژگی برجسته آن‌ها هویت مستقل طراحی بوده که هماهنگ با شکل بنا است. با بازسازی مفردات، شاخص‌های هماهنگی کتیبه‌ها مشخص شد: استفاده از اجزای نقوش تزئینی در میان نظام نوشتاری به‌صورت متصل و وابسته و رعایت هم‌شکلی در فرم نوشتار و نقوش، موجب یکدستی کتیبه‌ها می‌شود، یکی از عوامل مهم در ایجاد وحدت بصری، استفاده از نقوش شبه نوشتار است که در این بنا، از رایج‌ترین نوع آن استفاده‌شده است. این نوع شبه نوشتار که حرف خاصی نیست، برای رسیدن به تعادل بصری به‌کاررفته‌ است. از این عناصر در هردو کتیبه به‌منظور ایجاد پیوستگی و انسجام استفاده‌شده و نقش مهمی در حفظ تعادل کلی دارند.

https://negareh.shahed.ac.ir/article_4356_48707f100df3de520046e08fb90b3006.pdf

دانشگاه شاهد فصلنامه نگره 2676-7244 20 74 2025 06 22 The Structure of the Homes in Iranian Paintings: Investigating the Characteristics of the Representation of the Interior of Homes in Iranian Paintings from th 13th- 17th Centuries AD (the 7th – 11th Centuries AH) بررسی ویژگی‌های بازنمایی و تطبیق فضای داخلی خانه‌ها در نگاره‌های ایرانی در سده‌های 7 ه. ق تا 11 ه. ق (13 م تا 17 م) 203 217 4397 10.22070/negareh.2023.15844.2973 FA آرزو توکلی آریان دانش‌آموخته کارشناسی ارشد معماری داخلی، گروه معماری، همدان، دانشگاه آزاد اسلامی، همدان، ایران. منوچهر فروتن استادیار، گروه معماری، واحد همدان، دانشگاه آزاد اسلامی، همدان، ایران. 0000-0002-2793-6912 رضا نظری ارشد استادیار، گروه باستان‌شناسی، واحد همدان، دانشگاه آزاد اسلامی، همدان، ایران. Journal Article 2023 10 12 In terms of the problem statement, the Azari style of painting stands out as a remarkable artistic expression in the rich tapestry of Iranian culture. Notably, the Herat and Tabriz schools have produced significant paintings contemporaneous with the Azari architectural style, providing insights into the depiction of residential spaces. The scarce remaining historical evidence and the vast territorial expansion of architectural structures in cultural Iran make it challenging to comprehend the architectural characteristics of residential buildings from this period. Consequently, research on the architectural features of Azari-style residential houses is limited. This study aims to address this gap by examining paintings from the Herat and Tabriz schools to unravel the representation of interior spaces. The article aims to investigate the representational structure of residential architectural spaces from the Ilkhanate to Safavid period; encompassing the 1st and the 2nd Herat schools, the 1st and the 2nd Tabriz schools, and the Jalairi School (located in Baghdad and Shiraz). The research poses two main questions: 1. What are the characteristics of the interior spaces depicted in the paintings of the first and the second schools of Herat and Tabriz? 2. How can an understanding of the principles of interior architecture of residential spaces from that era be derived through the examination of these paintings? Employing a descriptive-analytical research method, this study collects and analyzes pictures portraying residential interior spaces. Through a comparative analysis of historical documents gathered via the library method, the paintings are scrutinized. The research aims to unveil the structural features of the interior of residential architecture during this era. The results reveal the structural characteristics of residential spaces, the pivotal role of space organization, the influence of ornaments and inscriptions on spatial structure, the correlation of social hierarchy with spatial arrangement, and the impact of residential paintings on prevalent architectural styles in houses and other residential spaces during the study’s timespan. Islamic architecture in Iran boasts enduring role models, particularly in residential buildings that continue to inspire contemporary architectural practices. While a significant number of these buildings belong to the Safavid period, characterized by the distinctive Isfahani style, there are also notable remnants from the pre-Safavid era. The Ilkhanid period, in particular, stands out as a flourishing epoch in residential house construction, drawing influence from the architectural style of the preceding Seljuk period. During the Ilkhanate era, the construction of residential houses thrived, with architects adhering to foundational principles in design and construction. Despite the simplicity and cleanliness of the exterior facades, the interior spaces of these houses were adorned with intricate decorations. Unfortunately, many of these spatial embellishments have succumbed to erosion over time. Analyzing paintings from the first and the second Tabriz and Herat schools offers a unique opportunity to reconstruct the interiors of patriarchal period’s residential houses. This examination provides a comprehensive overview of the living spaces during that era, revealing distinct groups of residential buildings in the Azari style, categorized by quadrangular and hexagonal layouts. Noteworthy examples include the houses of the Al-Muzafar period in Yazd. Further insights are gleaned by combining information from these historical buildings with Iranian drawings, enabling the creation of 3D models. The findings suggest that symmetry and visual proportionality were prevalent in residential areas during the Ilkhanate period, aligning with the hierarchical emphasis in Iranian architecture. The hierarchical arrangement is evident in the interior spaces depicted in paintings, with servants often occupying lower platforms. The architectural spaces of the Azari School, as represented in drawings, demonstrate similarities with the interior spaces and paintings, affirming shared design principles and spatial decorations. The characteristic features include four-sided or six-octagonal plans, symmetry, and the prevalence of pavilions. Verandas, whether single or double, often accompany these pavilions, while internal platforms create hierarchies and delineate distinct sections for varied uses within the interior spaces. This comprehensive overview of Azari School interior spaces sheds light on the continuous evolution of Islamic architecture in Iran. The construction works of the Ilkhanate period represent a crucial chapter in this narrative; reflecting forms from previous periods and distinct design characteristics. The Ilkhanate architectural style is directly adapted from the Seljuk period, marking a seamless transition in the architectural history of Iran. In conclusion, by examining the remaining paintings and buildings from the Ilkhanid period, one can gain a nuanced understanding of the living spaces of the people during that era. The adherence to certain principles in design and construction, the balance between simplicity and intricate interior decorations, and the hierarchical organization of spaces all contribute to the rich tapestry of Islamic architecture in Iran. The legacy of the Ilkhanate period continues to inspire and inform contemporary architectural practices, making these historical structures invaluable as both cultural artifacts and sources of architectural inspiration. هنر نگارگری در سبک آذری یکی از درخشان‌ترین جلوه‌های هنر ایرانی است. ازاین‌رو، نگاره‌های قابل‌توجهی، به‌ویژه از مکتب هرات و تبریز، هم‌عصر با سبک آذری در معماری به‌جامانده که در آن‌ها فضاهای مسکونی به تصویر کشیده شده‌اند. با توجه به کمبود شواهد تاریخی باقی‌مانده از معماری مسکونی این دوره و گستردگی جغرافیایی و پراکندگی بناها در قلمرو وسیع ایرانِ فرهنگی، دستیابی به ویژگی‌های معماری بناهای مسکونی این دوران بسیار دشوار است. ازاین‌رو، پژوهش‌های موجود دربارة ویژگی‌های معماری خانه‌های مسکونی در سبک آذری محدود بوده‌اند؛ اما با بررسی نگاره‌هایی که بناهای معماری را نمایش داده‌اند، می‌توان به الگوهای به‌کاررفته در معماری داخلی این سبک پی‌ برد. این پژوهش به تحلیل نحوة نمایش فضاهای داخلی در نگاره‌های مکتب هرات و تبریز می‌پردازد. هدف این مقاله بررسی ساختار بازنمایی‌ فضاهای معماری مسکونی از طریق نگارگری دوران ایلخانی تا صفوی (مکاتب هرات اول و دوم و تبریز اول و دوم و مکتب جلایری (بغداد و شیراز)) است. سؤال‌های اصلی پژوهش عبارت‌اند از: 1. ساختار فضاهای داخلی به نمایش درآمده در نگاره‎های مکاتب هرات و تبریز اول و دوم چه ویژگی‎هایی دارد؟ 2. چگونه می‌توان با بررسی این نگاره‌ها، به اصول معماری داخلی فضاهای مسکونی آن دوران پی برد؟ به‌منظور دستیابی به این هدف، نگاره‌هایی که فضاهای داخلی مسکونی را نمایش می‌دادند، جمع‌آوری و بررسی شدند. روش تحقیق این پژوهش توصیفی ـ تحلیلی است و داده‌ها از طریق مطالعة تطبیقی اسناد تاریخی به روش کتابخانه‌ای گردآوری‌شده‌اند و سپس واکاوی آثار نگارگری انجام‌گرفته است. این پژوهش با استناد به نگاره‌‌ها، در پی کشف ویژگی‌های ساختاری فضای داخلی معماری مسکونی در هنر نگارگری آن دوران است. نتایج پژوهش بیان‌گر ویژگی‌های ساختاری فضاهای مسکونی، محورهای سامان‌دهی فضا، نقش آرایه‌ها و کتیبه‌ها در ساختار فضایی، رابطة سلسله‌مراتب اجتماعی با ساختار فضایی و تأثیرپذیری آثار نگارگری از سبک‌های رایج معماری خانه‌ها و دیگر فضاهای مسکونی در دورة موردمطالعه است.

https://negareh.shahed.ac.ir/article_4397_617f5b4c342ccbc087b4bf507d14c9a8.pdf