دانشگاه شاهد فصلنامه نگره 2676-7244 21 77 2026 04 01 A Comparative Study of the Ilkhanid Cloud Motif with the Song, Yuan, and Ming Schools of Painting مطالعۀ تطبیقی نقش‌ ابر در مکتب نقاشی ایلخانی با سونگ، یوآن و مینگ 6 37 5030 10.22070/negareh.2024.19409.3411 FA زهرا اصغری راد دانشجوی کارشناسی نقاشی ایرانی، دانشکده هنرهای تجسمی، دانشگاه هنر اسلامی تبریز، تبریز، ایران. 0009-0001-9445-725X معصومه زمانی سعدآبادی دانشجوی دکتری تخصصی تاریخ تطبیقی و تحلیلی هنر اسلامی، دانشکده هنرهای تجسمی، دانشکدگان هنرهای زیبا، دانشگاه تهران، تهران، ایران. 0000-0002-1203-2398 مهران هوشیار دانشیار، گروه مطالعات عالی هنر، دانشکده هنر، دانشگاه سوره، تهران، ایران. 0000-0001-8166-0294 Journal Article 2025 02 25 Introduction: Iran and China are among the lands that have been in contact with each other in different periods of history. The invasion of the Mongols caused changes in the culture of Iran and influenced the civilizations of Iran and China, which is even evident in their art. Landscape painting and inspiration from the surrounding world are subjects that can be considered one of the widest and most interesting art forms. Among these, landscape paintings in Chinese and Iranian art play a brilliant role. The main cause of this phenomenon is the thoughts and culture of these two civilizations, which make nature dominant over man and try to show this worldview. Clouds and rain are important elements of nature that play a significant role in growth and development, which are also considered blessings and mercy, and were very important for these two ancient civilizations of China and Iran, and their artists continuously tried to portray this role model. Reflecting on the cloud motif elucidates the aforementioned points; furthermore, the evolution and appearance of this motif in Chinese and Iranian art allow for a detailed analysis of its influence and reception. Purposes & Questions: This study aims to find the commonalities and differences of the motif of the cloud in the art of Iran and China, and to express how it reflects and manifests its mutual effects, and to answer the following question: What are the differences and similarities of the motif of the cloud in terms of its reflection in the paintings of the Ilkhanid period of Iran and the Song, Yuan and Ming periods of China. Methods: This study employs a descriptive–analytical, comparative approach. Data were collected from the library and online sources and analyzed inductively. The corpus comprises seven Ilkhanid artworks, three from the Song dynasty, three from the Ming dynasty, and six from the Yuan dynasty; analysis was qualitative and used purposive sampling. Findings & Results: The results indicate that despite the similarities in the motif of the cloud, which represents the interactions between Iran and China in the field of art, differences can also be identified in terms of the visual and thematic characteristics of the clouds, which are specific to the works of each period and land. Ilkhanid clouds have a decorative and metaphorical appearance, and of course, a wider application than usual, which is in harmony with Iranian culture and art. This motif is used as a symbol and metaphor of the whole sky in the upper part of the picture in the patriarchal paintings, and it is even a symbol for the sanctity of the divine saints that are placed above their heads. In some cases, it also plays a protective role for the person. The colouring of thick twisted lines inside the clouds has been done with great softness and with colours such as blue, red, and gold. Compared to the Chinese examples, these clouds have many points of difference and commonality, and the differences are much greater in the Song and Yuan periods than in the Ming period. The clouds painted in the Song period are foggy and dusty, often appearing in white or the paper’s original colour. Lacking the decorations and twists seen elsewhere, these elements are used throughout the painting to create an eerie atmosphere and establish atmospheric perspective. Yuan clouds were observed with less intensity than the foggy state, and they are more massive, and the constituent lines inside them are more visible with fine black lines, but they are still useful for creating a naturalistic atmosphere. In the Ming period, most subscription funds were found. The distribution of the clouds, their location, and even in a few cases their use is the same as the Ilkhanid samples. In some cases, their drawing method is completely similar to the Ilkhanid clouds and they are decorated with thick yellow lines, which is very different compared to the previous examples of Chinese art, and it is similar to the Iranian example, and it can be said that these types of clouds with Iranian stylistic characteristics can be seen to some extent in the works of the Ming period of Chinese civilization. Of course, in general, the type of application has not changed much, and it has followed the same course of thought and approach to nature, but the influence of the way of drawing Iranian clouds is evident in the paintings of the Ming period. The cloud is an important and widely used element in the paintings of both civilizations, and due to the investigation of the mutual effects of how the cloud element is used in the paintings and their commonalities and differences to gain knowledge on the impact and impressions of Iranian and Chinese art, this research is important. مقدمه: ایران و چین ازجمله سرزمین‌هایی هستند که در مقاطع مختلف تاریخی با یکدیگر در ارتباط بوده‌اند. هجوم مغولان موجب ایجاد تغییراتی در فرهنگ ایران شد و زمینه‌ساز تأثیر و تأثرات متقابل در تمدن‌های ایران و چین گردید؛ تأثیراتی که حتی در نقاشی‌های این دو سرزمین نیز مشهود است. ازجمله این موارد، نقش‌ ابر است که با اندکی تأمل، نمودهای آن آشکار می‌شود. بررسی سیر تکامل و تجلی این نقش‌ در هنر چین و ایران، وجوهی از تأثیرپذیری و تأثیرگذاری متقابل را برای مطالعه و تطبیق فراهم می‌سازد. اهداف و سؤال‌ها: هدف پژوهش حاضر، تبیین وجوه اشتراک و افتراق نقش‌ ابر در هنر ایران و چین و چگونگی انعکاس و نمود تأثیرات متقابل آن‌هاست. پژوهش در پی پاسخ به این سؤال است که وجوه تشابه و تفاوت نقش ابر در انعکاس آن در نقاشی‌های دورۀ ایلخانی ایران و سلسله‌های سونگ، یوآن و مینگ چین کدام‌اند؟ روش‌ها: ‌روش این پژوهش، توصیفی-تحلیلی است و گردآوری اطلاعات با ‌استفاده از منابع کتابخانه‌ای و اینترنتی انجام‌شده و داده‌ها به شیوۀ کیفی مورد تجزیه‌وتحلیل قرار گرفته‌اند. یافته‌ها و نتایج: نتایج پژوهش حاکی از آن‌ است که با وجود شباهت‌هایی در نقش ابرها که بیانگر تعاملات ایران و چین در حوزۀ هنرهای تصویری است، تفاوت‌هایی نیز ازنظر ویژگی‌های بصری و مضمونی آن‌ها قابل‌شناسایی بوده که مختص به آثار هر دوره و سرزمین است. نقاط افتراق نقش‌ ابر، میان نقاشی‌های ایلخانی، سونگ و یوآن به‌مراتب بیشتر است و ازنظر کاربردی و شیوۀ ترسیم، تفاوت‌های بسیاری باهم دارند که در دورۀ سونگ به‌وفور یافت می‌شوند و کم‌ترین میزان تشابه را با ابرهای ایلخانی دارند. در دورۀ یوآن، ابرها با تزئیناتی ظریف نمایان شده، اما همچنان تفاوت‌های قابل‌توجهی با ابرهای ایلخانی دارند. بیشترین وجوه تشابه در دورۀ مینگ مشاهده می‌شود که حتی تزئینات، رنگ‌ها، محل قرارگیری و شیوۀ ترسیم ابرها شباهت زیادی به ابرهای ایلخانی دارد.

https://negareh.shahed.ac.ir/article_5030_81cf6d08d33193933e7f278936890ac4.pdf

دانشگاه شاهد فصلنامه نگره 2676-7244 21 77 2026 04 01 Comparative Study of Decoration and Decorative Inscriptions of Metal Pitchers in the Safavid and Ottoman Periods مطالعۀ تطبیقی نقوش و تزئینات کتیبه‌ای تنگ‌های فلزی دورۀ صفویه و عثمانی (قرن دهم تا دوازدهم) 40 69 4656 10.22070/negareh.2024.19328.3400 FA الهام طاهریان عضو هیئت‌علمی دانشگاه فرهنگیان استان تهران، گروه آموزش هنر، تهران، ایران. 0009-0001-2866-9668 اصغر فهیمی‌فر دانشیار، گروه نقاشی، دانشکده هنر و معماری، دانشگاه تربیت مدرس، تهران، ایران. 0000-0003-4705-7357 Journal Article 2025 04 03 Introduction: The art of the Safavid and Ottoman eras is one of the most important manifestations of Islamic magnificence, which has significant value and credibility in various artistic fields, including metalwork. The artists of these two periods started to create works of artistic value, among which the metal pitchers have remarkable beauty and sophistication. In the Safavid school, various types of art, including metalwork, which reflects ritual and religious thoughts and views, grew and flourished. However, until now, no comprehensive research has been done regarding metal pitchers of the Safavid and Ottoman eras in comparison with each other, which would lead to a better understanding of the decorations and inscriptions of the metal pitchers of the two periods in relation to each other, and understanding that the strongest influence on Ottoman art derives from Safavid Iranian culture and art. Since the Safavid and Ottoman schools are two important eras in the promotion of Islamic art and culture, and the Ottoman government also received influences from Iranian metalworking art after the attack on Tabriz, research on this becomes a factor to investigate the motifs and decorations of pitchers. Purposes & Questions: This research was conducted with the purpose of comparative study of the form and decorations of inscriptions in metal pitchers of the Safavid and Ottoman eras, and answered the question of what the similarities and differences are between the motifs and decorations of the inscriptions of pitchers or Mashrebas. Do Safavid and Ottoman works reflect their different cultural and social beliefs? Methods: The research method in this study is carried out with a descriptive-analytical approach, and its data collection is by library and documentary methods, and the data analysis method is qualitative. One of the problems of the research is the existence of very limited resources, especially regarding the metal pitchers of the Ottoman era. As a result, the researcher limited the study to examining the few samples available in some museums and selected some representative examples of these pitchers in order to understand the best aesthetic features of each period. The present research is fundamental and in line with a better understanding of the motifs and decorations of the inscriptions of the metal pitchers of the Ottoman and Safavid periods in comparison with each other. The research was conducted using a descriptive-analytical method with a comparative approach and with a historical nature in a qualitative manner, and the method of collecting information was carried out by using library resources, sampling, and virtual museum databases. The statistical population of the research is the investigation of motifs and inscription decorations in the Safavid era metal pitchers compared to the Ottoman era metal pitchers. These works include four representative examples of pitchers from the Safavid period and four examples from the Ottoman period. By comparing them, some samples were randomly selected and analyzed using related criteria in a logical and analogical way. The method of analyzing the works is based on visual principles and rules, as well as logical and comparative analysis. In the following, the similar aspects and the different aspects of the prominent pictorial details of the mentioned pitchers are analyzed in tabular form, and the social and cultural contexts of the sequence of the mentioned traditions are investigated, and at the end, a diagram is presented to show the number and the type of motifs used in the pitchers of both periods has been compiled. Findings & Results: In the war with Shah Ismail, the Ottoman government took several artists of the Safavid school to its capital and used Iranian artists and craftsmen in the production of various art sectors. This influence led to the promotion of the art of the Safavid era in the Ottoman period. Among these influences are pitchers in the shape of a dragon’s handle, which were popular in Iran during the Timurid era. During the Safavid period, Ottoman artists were inspired by these forms after interacting with Safavid art; subsequently, they incorporated these motifs into their own vessel designs. The results show that paying attention to details and small works and writing inscriptions such as poems and supplications in Thuluth and Nastaliq scripts, which express Shia and religious beliefs and Iranian artists' interest in poets, are more obvious in Safavid pitchers. Whereas in the Ottoman school, simple and more decorative motifs often appear in the form of flowers, and the inscriptions do not express religious beliefs, but generally include the names of the builders and poems of the poets who dedicated it. In addition, Ottoman art is influenced by Iranian art, especially the Safavid period, in the use of some motifs. مقدمه: هنر دوران صفویه و عثمانی از مهم‌ترین مفاخر اسلامی به شمار می‌رود که در حوزه‌های گوناگون ازجمله فلزکاری از اعتبار و ارزش قابل‌توجهی برخوردار است. هنرمندان این دو دوره دست به خلق آثار با ارزش هنری زدند که در این میان، تنگ‌های فلزی به دلیل زیبایی و نفاست، جایگاه ویژه‌ای دارند. اهداف و سؤال‌ها: این پژوهش باهدف مطالعه تطبیقی شکل و تزئینات کتیبه‌ای در تنگ‌های فلزی عصر صفوی و عثمانی انجام شده و در پی پاسخ به این پرسش است که چه شباهت‌ها و تفاوت‌هایی میان نقوش و تزئینات کتیبه‌ای تنگ‌ها یا مشربه‌های عصر صفوی و عثمانی وجود دارد که نشانگر عقاید مختلف فرهنگی و اجتماعی آن‌ها است؟ روش‌ها: این پژوهش با رویکردی توصیفی- تحلیلی انجام شده است. گردآوری اطلاعات به روش کتابخانه‌ای و اسنادی صورت گرفته و تجزیه‌وتحلیل اطلاعات نیز به‌ شیوۀ کیفی انجام پذیرفته است. یافته‌ها و نتایج: یافته‌های پژوهش نشان می‌دهد که پرداخت جزئیات، ریزه‌کاری‌ها و کتابت کتیبه‌هایی مشتمل بر اشعار و ادعیه با خطوط ثلث و نستعلیق -که بیانگر عقاید شیعی، باورهای مذهبی و نیز علاقه هنرمندان ایرانی به شعرا است- در تنگ‌های دورۀ صفویه جلوه‌ای بارزتر دارد. این در حالی است که در مکتب عثمانی نقوش ساده‌تر و تزئینی‌تر بوده و اغلب به‌صورت نقوش گل‌ها ظاهر می‌شود و کتیبه‌ها نه بیانگر عقاید مذهبی، بلکه عموماً شامل اسامی سازندگان و اشعار شاعرانی است که آن را وقف کرده‌اند و غالباً جز در موارد معدود فاقد کتیبه‌اند. ضمن اینکه، هنر عثمانی در بهره‌گیری از برخی نقوش، متأثر از هنر ایرانی به‌ویژۀ دورۀ صفویه بوده است.

https://negareh.shahed.ac.ir/article_4656_c350b7566a5fc80b31ab4fd96fda47dd.pdf

دانشگاه شاهد فصلنامه نگره 2676-7244 21 77 2025 04 01 Analysis of Technical and Artistic Features of Wooden Doors and Windows in Timurid and Safavid Paintings تحلیل ویژگی‌های فنی و هنری دَر و پنجره‌های چوبی در نگاره‌های تیموری و صفوی 72 95 4597 10.22070/negareh.2024.18627.3319 FA علیرضا شیخی دانشیار، گروه صنایع‌دستی، دانشکده هنرهای کاربردی، دانشگاه هنر ایران، تهران، ایران. 0000-0000-0000-0000 امیرحسین عباسی شوکت آباد دانشجوی دکتری، رشته تاریخ تطبیقی و تحلیلی هنر اسلامی، دانشکده هنر، دانشگاه شاهد، تهران، ایران. 0000-0003-1114-5013 Journal Article 2025 04 18 Introduction: Persian miniature painting, through its close association with artistic disciplines such as painting, poetry, and calligraphy, underwent a process of evolution across various Islamic periods. The most extensive use of architectural ornamentation and related elements can be observed between the 9th and 11th centuries AH, particularly in the Herat School and the Second Tabriz School. Within this context, doors and windows in miniature painting offer a significant visual narrative, as their depiction reflects the artistic and technical characteristics of the real world. According to the literature and historical studies of Iranian architecture, doors and windows, as functional architectural components, played an essential role in ensuring light and ventilation within buildings. Wooden architectural elements, however, have received comparatively little scholarly attention due to the passage of time and the exposure of buildings to natural and human factors. Persian miniature painting belongs to the category of traditional arts and follows a distinctive visual language and expressive system. Through its interaction with painting, poetry, and calligraphy, it evolved throughout Islamic periods, particularly from the Ilkhanid to the Safavid era. In this framework, the broadest incorporation of architectural representation—and consequently its decorative and structural elements—appears during the 9th to 11th centuries AH, most clearly in the Herat and Second Tabriz schools. It can therefore be argued that doors and windows depicted within the architectural spaces of miniature paintings convey a considerable range of artistic and technical characteristics related to woodworking and carpentry in historical buildings. Purposes & Questions: The aim of this research is a typological study of doors and windows represented in Timurid and Safavid miniature paintings from artistic and technical perspectives. Accordingly, the central question is: From artistic and technical viewpoints, into how many categories can doors and windows in the miniatures of this period be classified, and what similarities and differences can be identified among them? The research seeks to determine how these elements can be categorized and to identify their points of similarity and distinction. Methods: According to the research aims and questions, it is necessary to compare these pictorial representations with surviving examples from historical buildings and museum collections of the same period to clarify the correspondence between artistic depiction and architectural reality, the painter’s fidelity to observed forms, and the general formal and stylistic characteristics of doors and windows in historical architecture. In terms of purpose, the research is applied and follows a descriptive, analytical, and comparative methodology. Data collection was conducted through library research using primary sources on miniature painting as well as searches of museum and archival websites. The statistical population consists of 120 miniatures from the Timurid and Safavid periods that include architectural structures in which doors and windows are depicted. Samples were selected through purposive sampling based on comparability (representativeness). The qualitative analysis was conducted in three stages: description, evaluation, and analysis of visual and technical factors. The study first examines the position of doors and windows in Iranian culture and their functional role in both reality and pictorial representation. It then identifies architectural elements in historical reality and their visual representation in miniatures as historical documents, followed by an assessment of the characteristics of the paintings and an analysis of the degree of correspondence between pictorial representation and architectural reality, based on surviving architectural evidence from the same period. Findings and Results: The results indicate that doors and windows in the Timurid and Safavid periods can be classified according to placement, function, form, decoration, frequency, mode of depiction, and spatial positioning. Doors are divided into two types—main entrance doors and interior doors—and function both as architectural ornamentation and as scenic elements. Their forms include rectangular, mihrab-shaped, and arched types, either decorated with inscriptions or without inscriptions. Windows and balconies are categorized into four types: window, Shabāk (lattice screen), Roshandān (clerestory opening), and Dārāfarīn. Modes of depiction include open, semi-open, and closed states. Windows and balconies appear more frequently overall and are placed in diverse spatial configurations. Decorative elements fall into three main categories—geometric knotwork, arabesque (Eslimi), and Khata’i motifs—executed using techniques such as latticework, carving, relief carving, and Khatam marquetry. Most geometric patterns are based on hexagonal and octagonal structures. The materials used are primarily wooden elements, including enamel work, carving, and Khatam, as well as combinations of wood and metal. The decorative crown element appears exclusively on Safavid-period entrance doors, while mihrab-shaped forms occur more frequently in the Timurid period than in the Safavid period. مقدمه: نگارگری به دلیل همجواری با هنرهای مختلفی همچون نقاشی، شعر و خوشنویسی سیر تکاملی خود را در ادوار مختلف اسلامی طی کرده و بیشترین بهره‌گیری از تزیینات و عناصر وابسته به معماری را می‌توان در سده‌های 9 تا 11 هجری و به‌ویژه در مکتب هرات و تبریز دوم مشاهده کرد که در این بین دَر و پنجره‌ها در نگارگری به دلیل باز‌نمایی خصوصیات هنری و فنی جهان واقعیت، گستره قابل‌تأملی را روایت کرده است.‌ اهداف و سؤال‌ها: هدف پژوهش حاضر گونه‌شناسی دَر و پنجره در نگاره‌های دوران تیموری و صفوی از منظر هنری و فنی است. ازاین‌رو، در پی پاسخ به این سؤال است که دَر و پنجره‌ها در نگاره‌های این دوران از منظر هنری و فنی به چند دسته طبقه‌بندی‌شده و نقاط افتراق و اشتراک آن‌ها چیست؟ روش‌ها: این پژوهش ازنظر هدف، کاربردی و از نوع کیفی است که به شیوۀ توصیفی و تحلیلی – تطبیقی انجام‌شده و گردآوری اطلاعات نیز به‌صورت کتابخانه‌ای است. یافته‌ها و نتایج: نتایج پژوهش حاضر نشان می‌دهد که دَر و پنجره‌ها در دورۀ تیموری و صفوی در جایگاه، عملکرد، شکل، تزیین، میزان فراوانی، حالت ترسیم و موقعیت جای‌گذاری قابل‌طبقه‌بندی هستند. دَرها به دو نوع ورودی اصلی و داخلی، عملکرد تزیین بنا و منظر، شکل‌های مستطیلی، محرابی، هلالی، با تزئین‌ و دارای کتیبه و فاقد کتیبه است. پنجره و بالکن نیز در چهار نوع پنجره، شباک، روشندان و دارآفرین هستند. حالت ترسیم باز، نیمه‌باز و بسته، فراوانی پنجره و بالکن بیشتر بوده و همچنین موقعیت جای‌گذاری با حالات گوناگون قابل‌مشاهده است. تزیینات در سه دستۀ گره هندسی، اسلیمی و ختایی با فن مشبک، منبت، کنده‌کاری، خاتم و غالب نقوش هندسی بر مبنای شش و هشت‌ضلعی است. مصالح به‌کاررفته چوبی در سه نوع مینا، منبت، خاتم و نیز تلفیق چوب و فلزاند. عنصر تزیینی تاج فقط بر روی دَر‌های ورودی دورۀ صفوی به‌کاررفته و شکل محرابی در دورۀ تیموری نسبت به دورۀ صفوی فراوانی بیشتری دارد.

https://negareh.shahed.ac.ir/article_4597_9138ded04acf2612182648d3bf354267.pdf

دانشگاه شاهد فصلنامه نگره 2676-7244 21 77 2026 04 01 Continuity of Carpet Designing Traditions in Iran from the Achaemenid Empire to the Seljuk Empire استمرار سنت‌های طراحی فرش از دورۀ هخامنشیان تا اوایل سلجوقیان در ایران 98 129 4585 10.22070/negareh.2024.19259.3396 FA داود شادلو استادیار گروه فرش دانشگاه هنر شیراز 0009-0001-8158-8349 Journal Article 2025 03 05 Introduction: Due to the fragility of primary carpet materials, researchers employ a wider range of methods beyond examining physical samples (carpets and fragments). They also analyze written documents, including reports, travelogues, and historical writings, visual sources (Persian miniatures and European paintings), and archaeological findings, such as metalwork, stonework, and pottery, to learn about past carpet designs and patterns. The Pazyryk carpet stands as an unparalleled exemplar of carpet design, pattern, and color during the formative centuries of Persian carpet-making, spanning from the Achaemenid Empire to the Seljuk Empire. Its exceptional state of preservation offers an unprecedented opportunity to study the technical proficiency, aesthetic sensibilities, and cultural significance of this early textile. The paucity of comparable physical artifacts from this era presents a formidable challenge to reconstructing the broader trajectory of carpet design and production. The Pazyryk carpet has long been revered as a solitary masterpiece, providing an isolated glimpse into a lost world of textile artistry. However, this perspective has been fundamentally altered by the groundbreaking discoveries of Friedrich Spuhler in 2014. His revelation of a collection of pre-Islamic carpets exhibiting remarkable affinities with the Pazyryk carpet has reshaped our understanding of early Persian carpet-making. These newly uncovered textiles not only corroborate the existence of a sophisticated carpet-making tradition in Iran prior to the Islamic conquest but also suggest a more complex and interconnected network of textile production and exchange. These newly discovered carpets provide compelling evidence supporting the Iranian origins of the Pazyryk and suggest a rich tapestry of carpet-making traditions predating it. By delving deeper into the artistic and cultural landscape of Iran from the Achaemenid Empire to the Seljuk era (the 5th century BC to the 7th century AD), we can discern a foundational framework of design motifs and patterns that served as the bedrock for subsequent carpet creations. While these core elements evolved and diversified over time, their enduring presence attests to a continuous tradition of carpet-making in Iran. The Pazyryk carpet, in this light, emerges not as an isolated marvel but as a culminating point in a centuries-long artistic lineage. The chasm between the Pazyryk carpet and its Sasanian successors, separated by over a millennium, presents a formidable obstacle for scholars seeking to trace the evolution of carpet design. To illuminate the origins of this enduring pictorial art form, a multifaceted approach is imperative, extending beyond the confines of carpet analysis. By examining a wider range of artistic expressions, we can identify the shared visual language that connects these seemingly disparate textiles. Emerging evidence points to a remarkable resilience of Iranian carpet design traditions, which flourished well into the first three centuries of the Islamic era (the 10th century AD), suggesting a continuous artistic lineage rather than isolated peaks of creativity. Purposes & Questions: This research seeks to illuminate the evolution and enduring characteristics of Persian carpet design from the Achaemenid Empire to the Seljuk Empire (the 5th century BC to the 10th century AD). By adopting a comprehensive approach, this study aims to identify and trace the development of underlying design principles, despite the limited availability of physical carpet artifacts from this period. Specifically, the research investigates the mechanisms by which Persian carpet design traditions transformed and persisted over this extensive timeframe. This research delves into the question of how traditions in designing Persian carpets evolved and persisted from the Achaemenid Empire to the Seljuk Empire (the 5th century BC to the 10th century AD). Methods: This research employs a descriptive-analytical and historical methodology. Data collection relies on documentary and library research, incorporating archaeological findings, historical documents, and existing carpet examples to reconstruct the design traditions. Given the limited physical evidence from this period, the analysis necessitates a rigorous evaluation and interpretation of available sources. Findings & Results: The results indicate that the available corpus of evidence, encompassing physical carpets, pictorial representations, and archaeological artifacts, constitutes the primary sources of knowledge regarding carpet design and purpose during the specified period. A comprehensive analysis of documented Persian carpet design traditions spanning from the Achaemenid to the Seljuk Empires reveals a striking degree of continuity, with underlying principles remaining largely consistent. Full-field designs (Vagireh), characterized by their expansive patterns, and pictorial motifs emerged as dominant styles, exemplified by the early appearance of the Afshan carpet type during the Sasanian era. The repertoire of decorative motifs employed in these carpets is extensive, encompassing animal imagery such as deer, horses, ibex, and lions; botanical elements like arabesques and Khatai patterns; human figures; grotesque creatures like the Griffin; and a variety of geometric and abstract forms. مقدمه: تا سال 2014 که از فرش‌های نویافتۀ ساسانی رونمایی شد، دانسته‌ها دربارۀ طرح، نقش و رنگ فرش‌های پیش از اسلام محدود به قالی پازیریک بود. نقوش برخی از این فرش‌ها، شبیه پازیریک و مؤید ریشه‌های ایرانی سنتِ طراحی قالی پازیریک است. از سویی با استناد به دیگر آثاری که از دورۀ هخامنشی تا اوایل سلجوقی در جغرافیای ایران فرهنگی یافت شده ‌است، می‌توان رد سنتی تصویری را شناسایی کرد که در این دورۀ زمانی تراداد شده و ادامه یافته است؛ اما میان پازیریک و نمونه‌های ساسانی، بیش از هزار سال فاصله است. بنابراین، یافتن ریشه‌های یک سنت تصویری ادامه‌دار، نیاز به بررسی موشکافانه‌تر بر آثاری جز فرش‌ها دارد؛ ازاین‌رو باید به منابعی مراجعه کرد که ریشه‌هایی مشترک را می‌نمایانند. به نظر می‌رسد سنت‌های طراحی فرش پیش ‌از اسلام، در سده‌های اولیۀ اسلامی نیز ادامه داشته‌اند. اهداف و سؤال‌ها: هدف این پژوهش شناسایی سنت‌های طراحی و نقش‌زنی فرش‌های ایرانی از دورۀ هخامنشی تا اوایل سلجوقی بر پایۀ تطبیق داده‌های پیشین و نویافته است و می‌کوشد به این پرسش‌ها پاسخ دهد که سنت‌های طراحی و نقش‌زنی فرش‌های ایرانی از دورۀ هخامنشی تا اوایل سلجوقی چه بوده است؟ سنت‌های طراحی و نقش‌زنی فرش‌های ایرانی از دورۀ هخامنشی تا اوایل سلجوقی چگونه دگرگون شده‌اند؟ روش‌ها: روش این پژوهش توصیفی-تاریخی است. روش گردآوری داده‌ها اسنادی و ابزار آن فیش‌برداری است. جامعۀ آماری کلیۀ نمونه‌های در دسترس (فرش‌ها، یافته‌های تصویری و باستان‌شناسی) است که بر اساس آن‌ها می‌توان به شناسایی طرح و نقش فرش‌های بافته‌شده در این دوره پرداخت. یافته‌ها و نتایج: نتایج نشان می‌دهد بر اساس مستندات کنونی سنت‌های طراحی فرش در ایران از دورۀ هخامنشی تا اوایل سلجوقی بدون تغییرات پایه‌ای ادامه یافته‌اند؛ فراگیرترین طرح‌ها واگیره‌ای و تصویری بوده و نمونۀ نخستینی از افشان نیز از دورۀ ساسانیان به‌جای مانده است. نقوشی که در طرح‌ها جای‌گذاری شده‌اند، جانوری، گیاهی، انسانی، عجایب‌نگاری، هندسی و انتزاعی هستند.

https://negareh.shahed.ac.ir/article_4585_4a68eb2fd354008ac78b0a62d5d4f7a6.pdf

دانشگاه شاهد فصلنامه نگره 2676-7244 21 77 2026 04 01 Iconology of the Figure of a Lying Person on a Bed in the Bas-reliefs of the Parthian Period شمایل‌شناسی نقش فرد لمیده بر تخت در نقوش‌برجستۀ صخره‌ای دوره اشکانی 134 157 4655 10.22070/negareh.2024.19534.3422 FA احمد حیدری دانشجوی دکتری پژوهش هنر، دانشکده عمران معماری و هنر، واحد علوم و تحقیقات، دانشگاه آزاد اسلامی، تهران، ایران. 0000-0003-2572-5086 فاطمه شاهرودی استادیار گروه پژوهش هنر، دانشکده هنر، واحد تهران مرکزی، دانشگاه آزاد اسلامی، تهران، ایران. 0000-0002-9659-1698 ایلناز رهبر استادیار گروه پژوهش هنر، گروه پژوهش هنر، دانشکده عمران، معماری و هنر، واحد علوم و تحقیقات، تهران، ایران. 0000-0003-8754-2398 Journal Article 2025 04 27 Introduction: The motif of the Lying person on the bed in the iconography of ancient art represents a banquet scene that was first depicted in Assyrian reliefs and later appeared during the Achaemenid period in the Mediterranean region. Its prevalence expanded in the Parthian period and reached the borders of present-day Iran. This icon is depicted as a reclining person holding a bowl or cup in his left hand with his right hand placed in various positions. Purposes & Questions: The goals of this research are to identify, analyze and explain the positions of the reclining person on the bed and its underlying meanings. The two questions of this research include: 1-What themes and concepts did the icon of the lying person on the bed and its reclining position contain? 2- What iconographic role and position did this image have in the cultural context of Iran during the Parthian period? Methods: The research method is descriptive-analytical, based on library sources and documents, using the iconological approach of Erwin Panofsky. Findings & Results: The results show that at least three postures of the lying person on the bed can be observed in bas-reliefs in the Parthian Period: First, the representation of normal life, the second posture, where the hand bends back, as seen in the reliefs of Lycean Apollo and sleeping Ariadne, indicating sleep derived from the story of Ariadne and the carefree nature of Dionysus. This posture does not appear in Parthian art. The third posture shows the reclining figure holding a bowl or vessel in the left hand, found in all ten Parthian bas-reliefs. The right hand varies in posture: sometimes resting on the right thigh (as in the Hercules reliefs at Behistun, Tang-Sarvak IV, Andika and Sang Mahi), sometimes holding a symbol of power or a crown, or reaching for it (as in the reliefs from Shimbar, Tang-Sarvak II, and Jangeh), and occasionally holding a cup or vessel for filling the left hand’s bowl (as seen in the Yakhchal relief and the Meidan-e Mishan).In Parthian reliefs, the depiction of the reclining figure lacks a tripod table (like the Kleinian feast) and is arranged as a single throne (in contrast to the Sigma installation, which has three thrones arranged in a C or U shape). In sum, banquet scenes in the ten Parthian rock reliefs depict only the second part, the symposion, with no evidence of the dining phase. Furthermore, the spread of Stoic beliefs in the Eastern Mediterranean during the first three centuries CE facilitated the acceptance of diverse cultural and religious beliefs, providing an appropriate context for the expansion of syncretic religions rooted in Roman beliefs, Mithraism, and Zoroastrianism. From an iconographic perspective, the lying person on the bed has ancient roots in Mesopotamia and Asia Minor. The representation of Hercules reclining naked on a throne with a cup in hand appears at Behistun (the 148 BCE), and from the 1st to the 3rd centuries CE, it was widely used to portray kings and local high officials. During this period, figures are depicted reclining on thrones, clothed and without specific symbols of Hercules. Although the reclining figure icon is an imported element in the Parthian realm, iconologically, reclining conveys a sense of a desire for sleep and rest, with the concept of Hercules reclining at Behistun representing not a victorious Hercules, but one who rests after a great conquest, gazing towards Mesopotamia under the Seleucids for future conquest wile he drinks the sacred liquid for immortality. This borrowing transcends mere stylistic and iconographic features, moving towards a complete adaptation of Hercules iconography in a Zoroastrian context, a situation facilitated by the expansion of Stoic philosophy, which allowed for the acceptance of various ideas and beliefs, leading to the spread of syncretic religions and Hercules iconography in the first three centuries CE. During this period, it was believed that the spirit of the deceased remained in the air after death, and if the spirit was free of flaws, its particles would ascend towards the moon and ultimately to the sun. This ascent could only occur through purification, offering, and burning. From the 1st century CE onward, local kings and high officials adopted the heroic figure (Hercules), but not naked; rather, they were clothed, resembling Hercules resting after enduring battles, as if preparing the symposion feast to reach a state of relaxation and liberation from suffering and immortality, similar to Hercules. In other words, the Last Supper of Iran the icon of the reclining figure, representing a king or high-ranking Parthian official preparing in a heroic manner for immortality and ascension to the heavens. مقدمه: نقش فرد لمیده بر تخت در شمایل‌نگاری هنر باستان، بیانگر صحنه‌ای از ضیافت است که نخست در نقشبرجسته‌های آشوری و سپس در دورۀ هخامنشی در حوزه مدیترانه رواج یافت. گستره این آیکون در دورۀ اشکانی به حوزۀ ایران کنونی می‌رسد. در این شمایل، فردی لمیده بر تخت تصویر شده که در دست او چپ یک کاسه یا پیاله و دست راست نیز در حالت‌های مختلفی نمایش داده‌شده است. اهداف و سؤال‌ها: هدف از این پژوهش شناسایی و تبیین حالت‌های مختلف فرد لمیده بر تخت و معانی نهفته در آن است. این پژوهش در پی پاسخ به این دو پرسش است: 1. شمایل فرد لمیده بر تخت و حالت لمیدگی آن حاوی چه مضامین و مفاهیمی بوده است؟ 2. این شمایل چه نقش و جایگاهی در بافت فرهنگی ایران دورۀ اشکانی داشته است؟ روش‌ها: این پژوهش با روش توصیفی-تحلیلی و بر پایۀ گردآوری اطلاعات کتابخانه‌ای و اسنادی انجام‌شده است. همچنین تحلیل شمایل‌ها با رویکرد شمایل‌شناسانۀ اِروین پانوفسکی در سه مرحله انجام‌گرفته است. یافته‌ها و نتایج: نتایج پژوهش نشان می‌دهد که در ده نقش‌برجستۀ اشکانی، شمایل فرد لمیده بر تخت، ضیافت سمپوزیوم (مرحله نوشیدن) را نمایش می‌دهد که نوعی احساس تمایل به خواب و استراحت (برای آرامش ابدی یا مرگ)؛ پس از یک پیروزی بزرگ است که توأم با نوشیدن مایع مقدس، برای جاودانه شدن است. این وام‌گیری فراتر از ویژگی‌های صرفاً سبک‌شناسی و شمایل‌نگاری بوده و به سمت انتقال کامل شمایلن‌گاری هرکول در یک زمینه مزداپرستی است که متأثر از گسترش فلسفه رواقیون و پیدایش مذاهب التقاطی در سه سدۀ نخست میلادی است. به عبارتی شمایل فرد لمیده بر تخت در نقشبرجسته‌های اشکانی، شام آخر ایرانی است.

https://negareh.shahed.ac.ir/article_4655_6530c6ad1a6dd71d0bc59133ff54e951.pdf

دانشگاه شاهد فصلنامه نگره 2676-7244 21 77 2026 04 01 Analysis of the Dual World in the Image of Judgment Day in the Dresden Falnama Based on Harpham’s Grotesque Theory تحلیل جهان دوگانه در نگارۀ روز داوریِ فالنامۀ دِرِسدن بر اساس تئوری گروتسک هارفام 152 167 4586 10.22070/negareh.2024.19173.3385 FA فرزانه واحددهکردی گروه هنر، دانشگاه آزاد اسلامی قم، قم، ایران. 0000-0003-4401-9961 Journal Article 2025 04 22 Introduction: When there is no possibility of combining and juxtaposing incompatible elements in a world, the grotesque emerges to draw humans into its own world, and when this becomes possible, both the dark nightmare aspects and the joyful aspects can be given meaning side by side. The grotesque refers to characteristics such as incongruity, inconsistency, exaggeration, and abnormality, and has always been associated with the concept of conflict and duality of fear and laughter. Jeffrey Galt Harpham, in his book "About Grotesque: Strategies of Contradiction in Art and Literature", discusses the thoughts of Kaiser and Bakhtin, as well as the theories of pre-process theorists such as Kant, Hegel, Baudelaire, and Ruskin. His research provides a comprehensive examination of the visual arts. He believes that culture always presents assumptions that determine the specific forms of grotesque, and this is done through creating regular and coherent situations, especially in determining which classifications are incongruous with other groups logically or generally. In fact, when culture changes, elements of the grotesque also change. Among the prominent theories of the grotesque, the Harpham theory deals with both the frightening aspect of the grotesque and the humorous aspect of it. From his perspective, the grotesque creates a dual space, and the only way to confront this duality is to create a structure in which the existing dualities in expressing a single meaning are considered normal. Since its appearance in Western culture, the grotesque represents a different place to be and live; a culture mixed with myths that has disappeared. This is an important link in Harpham's theory because he wants to continue working with this basic premise, based on which the grotesque includes the visual or direct presence of mythological and ancient elements in a modern or non-mythical concept. In his theory, Harpham presents a fundamental distinction that was not formed based on other theories of the 20th century. Rather, there is a genuine connection between the grotesque of ancient works of art and the grotto or prehistoric cave paintings. In political, cultural, and psychological dimensions, people create a system of norms and customs to protect them from inferior and marginal threats and to keep them in their central position, and in this process, they become vulnerable to evil, unknown elements, dualities, and ambiguities of life. The famous Falnama in the Dresden edition, which was published as Shah Tahmasbi's Falnama, is "a collection of drawings made during several decades (947-997 AH/ 1540-1588 AD). Based on the function of Falnamas, the illustrated pictures are a collection of good and evil, which mostly have religious themes. The image of Judgment Day is one of the 51 images of this Falnama. The image of Judgment Day depicted in the Dresden Falnama manuscript in the Safavid period is a combination of the juxtaposition of dual contradictory elements of good and evil that appear contradictory in a coherent structure in terms of form and content. Purposes & Questions: This research aims to analyze the dual world in the image of Judgment Day based on Harpham’s theory of the grotesque. The research questions are as follows: how has the grotesque manifested in the image of Judgment Day? And second, how is the dual world depicted in this image adaptable to Harpham’s theory of the grotesque? Methods: This research was conducted by collecting information from library sources related to Harpham’s theory of the grotesque and by analyzing its manifestation in the “Day of Judgment” image through a descriptive-analytical approach. So, the method of data analysis is qualitative. Findings & Results: The findings show that according to Harpham's theory, elements of the grotesque are portrayed in the three distinct realms within the painting: Hell, Purgatory, and Paradise. In Hell, grotesque elements such as death are symbolized through imagery like coffins and shrouded figures, representing the concept of the afterlife and resurrection day. The fiery depiction of Hell, with burning sinners, dragons, venomous animals, and guardians armed with fiery weapons, not only embodies the essence of the grotesque but also signifies his concept of rift or hiatus. Purgatory, situated in the middle of the painting, serves as a transitional space between death and the paradisiacal realm above and the inferno below. Grotesque elements in Purgatory include distorted sinners and naked humans, along with those recognized by their unique combination of wings and human features, embodying the essence of the grotesque according to Harpham’s theory. The amalgamation of grotesque elements creates a contrasting structure among Paradise, Hell, and Purgatory, forming a dualistic world within the painting. The juxtaposition of life in Paradise against the portrayal of death in Hell and Purgatory, the conflict between sinners and the forgiven who have received divine mercy, and the juxtaposition of demonic guardians of Hell with angelic beings, as well as the presence of water in Paradise and fire in Hell, all contribute to a harmonious yet contradictory composition that evokes a unified concept. This duality not only enhances the understanding of the painting but also elicits both fear and humor simultaneously. مقدمه: در جهانی که امکان ترکیب و همجواری عناصر ناسازگار وجود نداشته باشد، گروتسک خلق می‌شود تا انسان را به جهان خود بکشاند و هنگامی‌که این امر ممکن می‌گردد، می‌توان هم جنبه‌های تاریک کابوس‌گونه و هم وجوه سرخوشانه را در کنار یکدیگر معنا بخشید. از میان نظریه‌های مطرح گروتسک، نظریۀ جفری گالت هارفام به جنبۀ ترس‌آوری گروتسک توجه دارد و درعین‌حال، وجه خنده‌آوری آن را نیز نادیده نمی‌گیرد. از دیدگاه او، گروتسک فضایی دوگانه ایجاد می‌کند و تنها راه مواجهه با این وضعیت بغرنج دوگانه، ایجاد ساختاری است که در آن دوگانگی‌های موجود در بیان یک معنای واحد، به‌عنوان هنجار تلقی شوند. نگارۀ روز داوری که در فالنامۀ طهماسبی، نسخۀ دِرِسدن در دورۀ صفوی تصویر شده، ترکیبی از همجواری عناصر متضاد دوگانۀ خیر و شر است که در یک ساختار منسجم، ازنظر صورت و محتوا متناقض به نظر می‌رسند. اهداف و سؤال‌ها: پژوهش حاضر باهدف تحلیل جهان دوگانه در نگارۀ روز داوریِ فالنامۀ دِرِسدن بر اساس نظریۀ گروتسک هارفام، در پی پاسخ به این سؤالات است که نخست، گروتسک در نگارۀ روز داوری چگونه نمود یافته است؟ و دیگر این‌که جهان دوگانه تصویر شده در این نگاره چگونه با نظریۀ گروتسک هارفام قابل تطبیق است؟ روش‌ها: این پژوهش از نوع توصیفی- تحلیلی با رویکرد کیفی است و اطلاعات آن از طریق منابع کتابخانه‌ای و اسنادی گردآوری‌شده است. یافته‌ها و نتایج: یافته‌ها نشان می‌دهد گروتسک در نگارۀ روز داوری بر اساس نظریۀ هارفام در سه فضای متفاوت دوزخ، برزخ و بهشت با عناصری همچون گناهکاران، نگهبان دوزخ، آتش، مسخ، تابوت، کفن‌پوشان، اژدها و شیطان نشان داده‌شده است. همچنین تقابل میان عناصر گروتسکی تصویر شده در نگارۀ به خلق جهانی دوگانه انجامیده است؛ به‌گونه‌ای که در تصویر بهشت، برزخ و دوزخ، نه‌تنها ناهنجار نیست، بلکه با ایجاد هم‌زمان حس ترس و طنز در مخاطب، به درک بهتر مفهوم نگاره منجر شده و معنایی واحد را پدیده آورده است.

https://negareh.shahed.ac.ir/article_4586_fa391defe9a5e18eafe51fb436676f40.pdf

دانشگاه شاهد فصلنامه نگره 2676-7244 21 77 2026 04 01 Components of Eternity in Traditional Art: An Analysis of Ananda K. Coomaraswamy's Opinions and Ideas تحلیل مؤلفه‌های جاودانگی در هنر سنتی از دیدگاه کوماراسوامی 170 191 4593 10.22070/negareh.2024.18803.3334 FA ایرج داداشی دانشیار، دانشکدۀ علوم نظری و مطالعات عالی هنر، دانشگاه هنر ایران، تهران، ایران. 0000-0002-0353-1232 امیراحمد زندی دانشجوی کارشناسی ارشد پژوهش هنر، دانشکدۀ علوم نظری و مطالعات عالی هنر، دانشگاه هنر، تهران، ایران. 0009-0007-6798-9799 Journal Article 2025 05 06 Introduction: Since long ago, man has longed for eternal life and cultivated the dream of being immortal in his mind and conscience. The origin of this concern is in the love that man feels for immortality in the depths of his soul. Belief in immortality plays a decisive and important role in man’s perception of life and its meaning. The observation of the eternal visual order and stable symbolic manifestations is an objective sign of the stability of human determination and will in showing the infinite nature and eternal space, in humanity’s transitory encounter with the mortal and unstable material world. In the traditional worldview, art is a path for human perfection and the artist’s creativity as participation in divine creativity. Symbols are reflections of stability and durability in a world of change, because ideas are eternal essences and are free from changes and transformations. Traditional art is associated with knowledge and reflects manifestations of the realm of God and higher worlds beyond the material world. Coomaraswamy, a sage and a scholar of the Perennial Philosophy, explained and interpreted in his works the eternal dimension of traditional artworks and their symbolic meanings in accordance with this philosophy. He considers the heavenly fundamentals of existence to be the field of all dynamic and living patterns and examples in the process of creating a work of art. In other words, in his vision, works of art according to perennial philosophy cannot be divided into two categories, functional and spiritual, but belong to both functional and semantic, natural and metaphysical worlds. He considers symbols to be the universal language of art, an international language, which differs only in tones and accents. He considers the condition for understanding the true meaning of symbols, which are not just verbal constructions, to study the extensive written works of nations that contain the description of symbols, and to learn the basis of symbolic thought. Therefore, the importance and necessity of this research lies in enumerating, analyzing, explaining, clarifying, and regulating the components of eternity. Purposes & Questions: This study seeks to analyze critical perspectives and to infer and elucidate the components of eternity in traditional art as articulated by him. The main question that this research seeks to answer is as follows: What are the eternal components in traditional art from Coomaraswamy’s point of view? Methods: The research method is descriptive-analytical, and the method of collecting information and data has been done through documentary and library-based methods. Research in conventional academic categories is qualitative in terms of nature, fundamental and theoretical in terms of purpose, and descriptive and analytical in terms of tools. In the analysis, an effort has been made not to deviate from the foundations of perennial philosophy. It should further be noted that the research method involves engaging critically with relevant opinions and theories, avoiding the imposition of prejudice, extracting concepts of eternity from Coomaraswamy’s works, and systematically organizing them in accordance with the principles of perennial philosophy. The study and review of historical works based on the university research method clearly showed the gap and lack of extraction of the elements and components of eternity for traditional works of art. Therefore, the differences of this research compared to the background cases are the extraction, analysis, and explanation of the mentioned components in the art tradition from the mentioned point of view, and the discussion regarding the relationship of these indicators with the analysis of eternal symbolic features in the artworks. Findings & Results: According to the opinions and views mentioned, traditional art has eternal and timeless indicators and components arising from universal semantic and epistemological principles and foundations in connection with its symbolic nature. These components include: The hierarchical and existential priority of intellectual knowledge (intuitive intellect in its Platonic sense) over sensory knowledge in the path of perfection, obtaining meanings from the unseen world and its image in imagination, Creativity in divine creativity by adapting to divine attributes, the representation of the eternal and continuous state of the heavenly world (more expression of the representation of the relation of objects with God or their source), applying the principle of unity in plurality, plurality in unity, Negation of individual and sensual expression and reference to the absolute and true self and the preference of the divine ego over the carnal ego and individuality of the artist, and Manifestation of absolute divine beauty in all beauties. مقدمه: انسان از دیرباز در اشتیاق عمر ابدی زیسته و سودای جاودانگی را در ضمیر خویش پرورانده است. منشأ این دل‌مشغولی را می‌توان در عشقی دانست که آدمی در ژرفای روح خود نسبت به جاودانگی احساس می‌کند. باور به جاودانگی در برداشت انسان از زندگی و معنابخشی به آن نقش تعیین‌کننده و مهمی را ایفا می‌کند. آناندا کوماراسوامی، حکیم، محقق و فرزانۀ مکتب فلسفۀ جاویدان، در آثار خود به تبیین و تفسیر بُعد جاودانۀ هنر سنتی و مفهوم نمادین آن‌ مطابق با فلسفۀ جاویدان پرداخته است. او مبادی مینوی هستی را سرچشمۀ الگوها و سرمشق‌های پویا و زنده در فرایند آفرینش اثر هنری می‌داند. اهداف و سؤال‌ها: هدف این پژوهش تحلیل آرا، استنباط و تبیین مؤلفه‌های جاودانگی در هنر سنتی از منظر کوماراسوامی است. این پژوهش، در پی پاسخ‌گویی به این پرسش است که مبانی و مؤلفه‌های جاودانگی در هنر سنتی از دیدگاه او کدام‌اند؟ روش‌ها: این پژوهش با رویکرد توصیفی- تحلیلی انجام‌شده است. گردآوری اطلاعات، داده‌ها و مستندات مبتنی بر مطالعات کتابخانه‌ای و اسنادی صورت گرفته و تحلیل مباحث با اتکا به چارچوب نظری فلسفۀ جاویدان انجام پذیرفته است. یافته‌ها و نتایج: بر اساس دیدگاه کوماراسوامی، هنر سنتی واجد شاخصه‌ها و مؤلفه‌های جاودانگی و فرازمانی برآمده از اصول و مبانی معنایی و معرفتی جهان‌شمول و در پیوند با ماهیت رمزی و نمادین آن است. این مؤلفه‌ها عبارت‌اند از: تقدم رتبی و وجودی معرفت عقلی (عقل شهودی به معنای افلاطونی) بر معرفت حسی در مسیر کمال؛ اخذ معانی از عالم غیب و تصویر‌ آن در خیال؛ خلاقیت در طول خلاقیت الهی از طریق تخلق به صفات الهی؛ بازنمایی وضع ابدی، مستمر و پیوستۀ جهان مینوی (بیان بیشتر بازنمایی نسبت اشیاء با خداوند یا مبدأشان)؛ به کار بستن اصل وحدت در کثرت، کثرت در وحدت؛ نفی بیان فردی و نفسانی و ارجاع به خویش مطلق و حقیقی و ترجیح انائیت الهی بر انائیت نفسانی و فردیت هنرمند؛ و تجلی زیبایی مطلق الهی در همة زیبایی‌ها.

https://negareh.shahed.ac.ir/article_4593_0c8bac9690bd709e2fb9db051734c4a8.pdf

دانشگاه شاهد فصلنامه نگره 2676-7244 21 77 2026 04 01 A Comparative Study of the Visual Components of the Ascension of the Prophet in the Khavaran-nameh of Ibn-Hassam Khosfi and Khamsa Tehmasabi مطالعۀ تطبیقی مؤلفه‌های تصویری معراج پیامبر(ص) در خاوران‌نامه ابن‌حسام خوسفی و خمسه تهماسبی 194 213 4969 10.22070/negareh.2024.19595.3428 FA پریسا گل آقائی دانشجوی دکتری پژوهش هنر، دانشگاه علم و هنر، یزد، ایران. 0009-0006-4889-5685 Journal Article 2025 04 08 Introduction: The subject of the Ascension of Prophet Muhammad (PBUH) has always been of interest in the history of Islamic culture, art and civilization, and the illustration of this religious belief has been created across different periods according to the taste of patrons, kings and painters, and based on the mystical ideas of that time. This has caused a distinction between the depiction of fixed image elements in the illustrated versions of the Ascension books, such as Prophet, Baraq, Angels, Gabriel, etc. Thus, during the Timurid period, the versions: Mirhaydar, Khavaran-nameh, and Khamseh Nizami, and during the Safavid period, the versions: Heft Aurang Jami, Khamseh Tehmasabi, and Falnameh Tehmasabi were illustrated. Overall, these works are based on the influence of religion and mysticism, and government conditions. Among the most important and valuable illustrated versions of the Ascension of the Prophet (PBUH), we can mention Khavaran-nameh of Ibn-Hossam Khosfi in the Timurid period and Khamsa Tehmasabi attributed to Sultan Muhammad in the Safavid period. These two paintings are based on the influence of religion and mysticism, and the governmental conditions of their time have been illustrated; therefore, while having commonalities in their pictorial components, they also have differences. The importance of the current research is that, according to the social and intellectual conditions governing society, art adopts a specific language and form at each historical stage, and in the case of Iranian painting, the artists affected by the intellectual conditions of the society use visual and symbolic elements to express their opinion and point of view. Therefore, the visual arrangements and symbolic techniques of each of the examined paintings tell about the meaning, intention, and narrative intended by the artist. Purposes & Questions: The main goal of this research is to study the comparative elements of the Ascension of the Prophet (PBUH) in Khavaran-nameh of Ibn-Hossam Khosfi and Khamsa Tehmasabi, and to discover their commonalities and differences. The main question raised is: What are the aspects of difference and commonality of visualization and iconography in the pictorial narration of the Ascension of the Prophet (PBUH) in Khavaran-nameh of Ibn-Hossam Khosfi and Khamsa Tehmasabi? Methods: This research helps to develop studies in the field of the analysis of visual works. The research method is descriptive-analytical in terms of its nature and method of implementation with a comparative approach, and fundamental in terms of its goal. The method of collecting information was conducted through documentary and library research. The comparative study of these two works from the point of view of visual elements and visual analyses, and how they work, if combined with the historical, artistic, and intellectual conditions of the time, provides very useful information that can be obtained from each of the works to give information that will help to better understand and interpret them from various aspects. Findings & Results: After studying each of the pictures, and examining and comparing their visual components, the conclusion showed that: Among the obvious effects of depicting the face of the Prophet (PBUH) in the middle period of Iranian painting history, especially in the Timurid period are attention and respect for the Muhammadan religion, and the depiction of scenes of religious themes. In the illustrated version of Ibn Hossam Khosfi's Khavaran-nameh during the Timurid period, there was no covering on the face of the Prophet (PBUH), and the details of his face, such as the state of the eyes, nose, and features, are clearly visible. In this period, facial expressions are still under the influence of the previous period, i.e., the Ilkhanid period, and Mongolian influences, such as almond-shaped eyes, can be seen in these pictures. Also, the obvious details in the face painting with beard and mustache influenced by Central Asian painting are depicted in a realistic way with careful attention to show the inner states of the spirit. However, during the Safavid period, and the uprising of Shah Ismail I, religious trends and strict prejudices in the course of sectarianism created new visual factors in the scenes of the Ascension of Prophet Muhammad (PBUH), especially in the new era of Iranian painting history. Special effects of depicting the Ascension of Prophet Muhammad (PBUH) with visual elements such as: The way of drawing the shape and size of his turban, the arrangement of a niqab or a white veil on his face or an image of golden light instead is very important, because the followers of Sheikh Safi in the Safavid era were very much influenced by the sectarianism and strict prejudices of the Shiites, for this reason the face of the Prophet (PBUH) is covered with a white veil (burqa), which is clearly visible in the image of Khamsa Tehmasabi. In general, the visual components in Khavaran-nameh, such as characterization, color variation, and figure design, are weaker than those in the Khamsa Tehmasabi. مقدمه: معراج‌نگاری حضرت محمد(ص) در تاریخ فرهنگ، هنر و تمدن اسلامی همواره موردتوجه بوده است. مصورسازی این باور دینی در طول اعصار مختلف با توجه به سلیقه حامیان و پادشاهان و نگارگران و بر مبنای اندیشه‌های عرفانی آن زمان انجام‌شده است. این امر موجب تمایز میان تصویرسازی عناصر تصویری ثابت در نسخه‌های مصورسازی‌ معراج‌نامه‌ها همچون پیامبر، براق، فرشتگان، جبرئیل و... شده است. یکی از مهم‌ترین نسخه‌های مصور ارزشمند معراج پیامبر(ص)، در دورۀ تیموری خاوران‌نامه ابنحسام خوسفی و در دورۀ صفوی خمسه تهماسبی منسوب به سلطان محمد است. این دو نگاره، مبتنی بر نفوذ مذهب و عرفان و شرایط حکومتی زمان خود مصور شده‌اند. بر همین اساس، در عین داشتن وجوه اشتراک در مؤلفه‌های تصویری خود، تفاوت‌هایی نیز دارند. اهداف و سؤال‌ها: هدف اصلی این پژوهش، مطالعۀ تطبیقی مؤلفه‌های تصویری معراج پیامبر(ص) در خاوران‌نامه ابن‌حسام خوسفی و خمسه تهماسبی و کشف وجوه اشتراک و افتراق آن‌ها است. پرسش اصلی پژوهش این است که وجوه افتراق و اشتراک بصری و شمایلی در روایت تصویری معراج پیامبر(ص) در خاوران‌نامه ابن‌حسام خوسفی و خمسه تهماسبی چیست؟ روش‌ها: روش پژوهش ازنظر ماهیت و روش اجرا، توصیفی-تحلیلی با رویکرد تطبیقی و ازنظر هدف، بنیادی است. روش جمعآوری اطلاعات به شیوۀ اسنادی و کتابخانه‌ای انجام‌شده است. یافته‌ها و نتایج: پس از مطالعۀ هر یک از نگاره‌ها و بررسی و تطبیق مؤلفه‌های تصویری آن‌ها، این نتیجه حاصل شد که مؤلفه‌های تصویری در خاوران‌نامه همچون پیکره‌سازی، تنوع رنگی و طراحی فیگورها ساده‌تر از خمسه تهماسبی انجام‌شده است. همچنین، وجود گرایش‌های مذهبی و تعصبات سخت در جریان فرقه‌گرایی عصر صفوی منجر به ایجاد تفاوت‌هایی در برخی مؤلفه‌های تصویری، همچون چهرۀ پیامبر(ص) شده است. به‌طوری‌که در خاوران‌نامه هیچ پوششی بر چهرۀ پیامبر(ص) نبوده و جزئیات چهرۀ ایشان به‌وضوح قابل‌مشاهده است، اما چهرۀ پیامبر(ص) در خمسه تهماسبی قابل‌مشاهده نیست و به‌واسطۀ نور سفیدرنگ پوشانیده شده است.

https://negareh.shahed.ac.ir/article_4969_258ad112dcbb2f70302bdf29a21c61b9.pdf

دانشگاه شاهد فصلنامه نگره 2676-7244 21 77 2026 04 01 Applied Arts of Iran during the Ghaznavid Period based on the Book of Tarikh Beyhaghi هنرهای کاربردی ایران در دوران غزنویان بر مبنای کتاب تاریخ بیهقی 216 237 4583 10.22070/negareh.2024.19399.3406 FA محمود اشعاری استادیار گروه صنایع‌دستی، دانشکده هنر و معماری، دانشگاه علم و فرهنگ، تهران، ایران. 0000-0001-9335-1472 Journal Article 2025 03 22 Introduction: Tarikh-i Beyhaghi occupies a distinguished position in Islamic historiography. Although earlier works such as Tarikh-i Sistan, Tarikh-i Bal'ami, and Zayn al-Akhbar had already established historical writing in Persian, Beyhaghi’s contribution extends beyond the mere narration of events. His method integrates precise administrative details, vivid scene construction, and attention to the sociopolitical contexts underlying events. This narrative depth transforms the text into a multilayered source capable of yielding implicit cultural, artistic, and institutional data. As a first-hand account of the Ghaznavid era, the work is particularly valuable for reconstructing aspects of material culture and applied arts. The deterioration and loss of many artistic artifacts from this period have obscured their historical development, leaving significant gaps in archaeological and stylistic analyses. In such circumstances, written sources become essential complementary tools for historical reconstruction. Despite their potential, textual materials have received insufficient attention in contemporary studies of Iranian applied arts. A close reading of Beyhaghi’s chronicle reveals scattered yet significant references to courtly objects, production practices, ceremonial settings, and aesthetic values. These references enable scholars to contextualize surviving artifacts and to hypothesize about lost traditions. Therefore, this study emphasizes the historiographical and interdisciplinary importance of Beyhaghi’s History as a critical textual source for the cultural and artistic history of Islamic Iran in the Ghaznavid period. Purposes & Questions: The primary objective of this study is to classify and develop an analytical model to clarify the history of Iranian applied arts during the Ghaznavid era based on Tarikh-i Beyhaghi. The research addresses two questions: (1) Under what categories can the applied arts of the Ghaznavid period be systematically presented? (2) What analytical model can determine their quantitative and qualitative status? Methods: In terms of purpose, this research is fundamental and theoretical; methodologically, it adopts a qualitative approach. Data were collected through library and documentary research. As the study seeks to extract historical evidence concerning applied arts, it relies primarily on the textual analysis of Tarikh-i Beyhaghi as a complementary historical source. Data analysis was conducted using qualitative content analysis. Findings & Results: In response to the first research question, although Beyhaghi primarily focuses on official and governmental events in his book, the diversity of his observations provides substantial evidence regarding artistic production. References to gift registers, production centers, architectural ornamentation, property inventories, household goods, and war booty offer significant insights into the material culture of the Ghaznavid era and allow for the analysis of everyday life, aesthetic standards, and the social significance of artistic objects. Based on these textual indications, the applied arts of this period can be categorized into several groups: patterned garments, delicate and patterned textiles, functional and decorative vessels made of glass, metal, and pottery, gold and semi-precious jewelry, richly ornamented and multifunctional animal trappings, predominantly ceremonial or decorative weapons, royal accessories such as thrones and crowns with rare designs, and various luxurious furnishings and underlays. These categories not only demonstrate the diversity, sophistication, and aesthetic refinement of Ghaznavid applied arts, but also reflect functional, symbolic, and even political and social aspects of material culture, highlighting the interconnection between art and power. In response to the second research question, assessing the quantitative and qualitative dimensions of these productions requires systematic and detailed textual analysis. After identifying the documentary capacities of the source, the frequency of relevant terms, semantic classification, and contextual associations were examined according to a predetermined analytical framework. The systematic classification model employed in this study incorporates explicit and descriptive valuation of objects, conceptual analysis of the text, and the hypothesis of word proximity, providing a structured approach for interpreting textual data. Terms denoting excellence, rarity, durability, or aesthetic quality allow researchers to evaluate perceived value, while the use of descriptive compounds and adjectives—such as “best,” “hard,” “good,” “immeasurable,” and “rare”—provides insights into the quality, materials, production techniques, and visual characteristics of these objects. Furthermore, the juxtaposition of equivalent and non-equivalent terms enables the estimation of relative importance, rarity, and production scale of artistic items. Analysis of the semantic relationships among these terms offers a deeper understanding of the artistic and social priorities of the Ghaznavid period. By combining qualitative assessment with systematic categorization, this approach provides a comprehensive method for interpreting historical textual sources and reconstructing the material, symbolic, and social dimensions of Ghaznavid applied arts, serving as a foundation for interdisciplinary studies in the history of art and culture. مقدمه: بیهقی با بهره‌گیری از دقت در توصیف مشاهدات و توجه به بستر وقایع تاریخی، تصویری دقیق و چندلایه از عصر غزنوی ارائه می‌کند که در خلال آن، جزئیات ارزشمندی از تولیدات هنرهای کاربردی قابل استخراج است. این ویژگی، اثر بیهقی را به منبعی دست‌اول و معتبر برای مطالعات تاریخ فرهنگ و هنر ایران اسلامی تبدیل کرده است. با توجه به زوال‌پذیری آثار مادی و کاستی‌های موجود در تحلیل‌های باستان‌شناختی، تاریخ بیهقی به‌مثابۀ روایتی مستند از دورۀ غزنوی، نقشی کلیدی در بازسازی فرهنگ مادی و شناخت هنرهای کاربردی آن ایفا می‌کند. اهداف و سؤال‌ها: هدف پژوهش حاضر، دسته‌بندی و ارائه مدل تحلیلی برای روشن‌سازی تاریخ هنرهای کاربردی ایران در دورۀ غزنوی بر اساس تاریخ بیهقی است. سؤالات پژوهش عبارت‌اند از: ۱. هنرهای کاربردی دورۀ غزنوی در چه دسته‌بندی‌هایی قابل ارائه هستند؟ ۲. چه مدلی می‌تواند وضعیت کمی و کیفی این تولیدات را مشخص کند؟ روش‌ها: این پژوهش از نوع بنیادی - نظری و مبتنی بر رویکرد کیفی است. داده‌ها از طریق مطالعات کتابخانه‌ای و اسنادی گردآوری‌شده و تحلیل متنی تاریخ بیهقی به‌عنوان منبع محوری پژوهش انجام‌گرفته است. تحلیل داده‌ها با بهره‌گیری از روش تحلیل محتوای کیفی صورت پذیرفته است. یافته‌ها و نتایج: مشاهدات گسترده بیهقی با اشاره به فهرست هدایا، مراکز تولید، تزئینات معماری و غنائم جنگی، درک مهمی از فرهنگ مادی دورۀ غزنوی فراهم می‌آورد. هنرهای کاربردی این دوره شامل پوشاک و منسوجات نقش‌دار، ظروف شیشه‌ای، فلزی و سفالی، زیورآلات، یراق‌آلات تزئینی، سلاح‌های تشریفاتی و اثاثیه گران‌بها است. تحلیل کمی و کیفی این آثار از طریق بررسی واژگان، طبقه‌بندی معنایی و واکاوی روابط متنی انجام شد. کاربرد صفت‌ها و ترکیبات توصیفی در متن، امکان ارزیابی کیفیت، مواد سازنده و ویژگی‌های بصری آثار را فراهم می‌آورد و تلفیق ارزیابی کیفی با طبقه‌بندی نظام‌مند، به بازسازی ابعاد مادی، نمادین و اجتماعی هنرهای کاربردی دورۀ غزنوی انجامیده و زمینه‌ای برای توسعۀ پژوهش‌های میان‌رشته‌ای در حوزۀ تاریخ هنر ایران فراهم کرده است.

https://negareh.shahed.ac.ir/article_4583_af51ab03b288c4a39f2614b6214dd2a7.pdf

دانشگاه شاهد فصلنامه نگره 2676-7244 21 77 2026 04 01 Analyzing and Comparing the Hidden Geometry of Architecture with the Murals of Behnam House in Tabriz based on the Infrastructure Network تحلیل و تطبیق هندسۀ پنهان معماری با دیوارنگاری‌های خانۀ بهنام تبریز بر پایۀ شبکۀ زیرساختی 240 261 5031 10.22070/negareh.2024.18548.3314 FA احد نژاد ابراهیمی استاد گروه معماری، دانشکده معماری و شهرسازی، دانشگاه هنر اسلامی تبریز، تبریز، ایران 0000-0001-6025-1942 پریسا هاشم پور استاد گروه معماری، دانشکده معماری و شهرسازی، دانشگاه هنر اسلامی تبریز، تبریز، ایران. 0000-0000-0000-0000 سمیرا کریمی قلعه لر دانشجوی دکتری معماری، دانشکده معماری و شهرسازی، دانشگاه هنر اسلامی تبریز، تبریز، ایران. 0009-0008-2285-2171 Journal Article 2025 06 01 Introduction: Geometry was one of the integral principles of Iranian-Islamic architecture, which created the necessary harmony in different parts of a building with the help of proportions and Peymun. The use of a mesh background was one of the oldest manifestations of the presence of geometry in architecture, which was used as a guide for the architect to ensure proportions and basic harmony in the building. But geometry was not only specific to the art of architecture; geometry has also been used by artists in other Iranian-Islamic arts in a hidden form. By conducting various studies, researchers have come to the conclusion that geometry has been important not only in architecture, but also in other Iranian-Islamic arts such as miniature painting, and painters have used geometry for aesthetic purposes. Mural painting is one of the branches of the art of painting that has been used as decoration in Iranian historical buildings. Researchers believe that in Iranian-Islamic architecture, geometry was not only used in the main structure and spatial organization of buildings, but architects and artists also used this geometry in details such as decorations and motifs. Hidden geometry was a geometric coordinate system based on which the artist composed their work, and its purpose was to create a coherent whole. This coherent whole in architecture included plans, sections, details, and architectural decorations. Reticulated substructures found in scrolls such as the Topkapi Scroll were some of the most important documents to prove the use of hidden geometry by traditional architects in the construction of their buildings. These scrolls, which included plans and patterns of decorations aligned with reticulated substructure networks, indicated the coherence between building components. Therefore, it can be said that if such a grid-based infrastructure was used in the design of Iranian buildings, it should be possible to adapt the existing buildings to such networks. To investigate this issue, the historic Behnam House, which has valuable murals, was selected for the case study. Purposes & Questions: The purpose of the present study is to investigate the hypothesis regarding the use of geometric micro-patterns and a reticulated grid to compose and place motifs in the murals of Behnam House, similar to pattern drawing in Iranian painting, and to find the relationship between this reticulated grid and the architecture of Behnam House. The research questions are as follows: What is the relationship between the architectural geometry and the geometry of the motifs in the mural paintings in historical Iranian-Islamic houses? and what is the relationship between the pattern and geometry of the walls and the plan of Behnam House in Tabriz, and its mural motifs? Methods: The research is qualitative, and the method of this research is analytical-comparative. The data collection method is library and documentary research, and images related to the murals have also been recorded in the field. The analysis part of the research, which includes the analysis of hidden geometry in plans, murals, and drawings, has been carried out with the help of software such as AutoCAD and Photoshop. Findings & Results: According to the studies and analyses, the results of the study indicated that the hidden geometry in the mural painting of the Tannabi room of Behnam House is related to its architecture, so that both correspond to a single grid, that is, the artist designed the mural painting using the infrastructure network modules of the room’s architecture on a smaller scale. The square infrastructure network with horizontal and vertical lines obtained from testing different divisions with proportions is completely consistent with the Behnam House plan. The secondary and tertiary grids with specific proportions, obtained from the primary grid, are also consistent with the mural motifs of the Behnam House. In addition to the 45-degree rotation of this grid (the method used in the Tabriz school of painting), a template design obtained for placing motifs, in which the shamsa in the wall painting has been developed with a square proportion and the important components of mural painting such as oval frames, flowers and vases, shamsa and half-shamsa and half triangles are placed in this pattern of divisions with a proper order. مقدمه: هندسه از اصول جدایی‌ناپذیر معماری ایرانی- اسلامی است که با بهره‌گیری از تناسبات و پیمون، هماهنگی را در اجزای بنا ایجاد می‌کند. پژوهشگران با انجام مطالعات مختلف به این نتیجه رسیده‌اند که هندسه نه‌تنها در معماری، بلکه در هنرهای ایرانی– اسلامی همچون نگارگری نیز موردتوجه بوده و نگارگران از آن برای ارتقای زیبایی آثارشان بهره برده‌اند. دیوارنگاری، به‌عنوان یکی از شاخه‌های هنر نگارگری، در تزئین بناهای تاریخی ایران کاربرد داشته است. پژوهشگران بر این باورند که در معماری ایرانی-اسلامی، هندسه هم در ساختار اصلی و فضاسازی بنا و هم در جزئیاتی چون تزئینات و نقوش، به‌کاررفته است. اهداف و سؤال‌ها: هدف پژوهش حاضر، بررسی فرضیۀ استفاده از ریزنقش‌های هندسی و شبکۀ شطرنجی زیرساختی برای ترکیب‌بندی و جایگیری نقوش در ترسیم دیوارنگاری‌های خانۀ بهنام، مشابه ترسیم نقش‌ها در نگارگری ایرانی و یافتن ارتباط این شبکه شطرنجی با معماری بنای خانۀ بهنام است. سؤال‌های پژوهش این است که در خانه‌های تاریخی ایرانی –اسلامی چه ارتباطی بین هندسۀ معماری و هندسۀ نقوش دیوارنگاری‌ها وجود دارد؟ و چه ارتباطی میان الگو و هندسۀ جداره‌ها و پلان طنبی خانۀ بهنام تبریز با نقوش دیوارنگاری‌های آن وجود دارد؟ روش‌ها: در این مطالعه موردی، خانۀ تاریخی بهنام با دیوارنگاری‌های ارزشمند انتخاب‌شده است. روش پژوهش، تحلیلی- تطبیقی و شیوۀ گردآوری اطلاعات، کتابخانه‌ای و میدانی است. یافته‌ها و نتایج: نتایج نشان می‌دهد که شبکۀ شطرنجی به‌کاررفته در دیوارنگاری‌ها با شبکۀ شطرنجی زیرساختی معماری بنا هماهنگ است و هندسه و تناسبات نمای جداره‌ها بر الگوی جایگیری نقوش در دیوارنگاری‌ها منطبق است.

https://negareh.shahed.ac.ir/article_5031_461f6b568f5c5bfc47273a449953ee86.pdf

دانشگاه شاهد فصلنامه نگره 2676-7244 21 77 2026 04 01 Investigating and Studying the Visual Features of Metal Knockers and Studsthe Doors of the Historical Buildings in the Qajar Era in Ardabil City بررسی و مطالعۀ ویژگی‌های بصری کوبه‌های فلزی و گل‌میخ‌های در‌های ابنیه تاریخی عصر قاجار شهر اردبیل 264 287 5028 10.22070/negareh.2024.19614.3432 FA سید مهدی حسینی نیا پژوهشگر پسادکتری باستان‌شناسی دوران اسلامی، گروه باستان‌شناسی، دانشکدۀ علوم اجتماعی، دانشگاه محقق اردبیلی، اردبیل، ایران. 0009-0004-3527-7154 حبیب شهبازی شیران استاد گروه باستان‌شناسی، دانشکده علوم اجتماعی، دانشگاه محقق اردبیلی، اردبیل، ایران. 0000-0003-4931-0977 محدثه امینی کارشناس ارشد باستان‌شناسی، دانشگاه محقق اردبیلی اردبیل، اردبیل، ایران. 0009-0002-0116-267X Journal Article 2025 04 15 Introduction: In general, out of the total of 34 remaining houses from the Qajar period in the historical context of Ardabil, only about 15 of these works have the entrance facade, wooden door and decorative facade of the building. These entrances are divided into two groups: entrances belonging to the early and middle Qajar period, and entrance doors belonging to the late Qajar period. In general, various decorative knockers, back plates and studs stand out on the mentioned wooden doors. The importance and necessity of the research lies in the fact that the wooden doors of historical Qajar houses in the old context of Ardabil are the first elements that attract the viewer's attention with their additions and detailed metal decorations. The need to preserve and maintain them, as well as to introduce them to other enthusiasts and art lovers helps preserve the historical heritage of cities and the country, and increases their attention to other aspects of traditional architecture. Their thought and effort in creating precious Iranian arts is meaningful. On the other hand, metal knockers, along with other artistic elements on the doors, between the surfaces of thatched, clay and even brick walls, create a combination that, apart from enlivening the movement of the eye, refreshes the mind amid the monotony. Mud walls are a good indication of the development of a certain type of culture and special artistic features. Purposes & Questions: The purpose of this research is to investigate the morphology and identify the visual characteristics of metal knockers and studs used in historical Qajar-era buildings in the ancient context of Ardabil. In addition, the study seeks to examine the motifs and decorative elements applied to these objects and to explore the reasons for their use as well as their symbolic meanings. In this context, the research addresses how many types of motifs are present on the knockers and studs of historical Qajar houses in Ardabil, what kinds of motifs they include, and what meanings these motifs convey. Methods: The current research is qualitative in nature. It is fundamental and theoretical in terms of purpose and it was done in a descriptive-analytical way. Data were collected through field surveys and library research. The statistical population of the study consists of the motifs of the facades of the historical houses of the old context of Ardabil, and the total number of samples examined in this research is 15 intact facades with decorative works. Data were analyzed qualitatively. Findings & Results: The investigation and study of the functional-decorative elements on the doors of the historical houses of the Qajar era in the ancient context of Ardabil shows that the three elements of knockers, studs and back plates with their various forms and decorative motifs have a special effect. The wooden doors of this building depict the genius and artistry of the masters of this period. On these doors, men's knockers with elongated and long rectangular shape have the highest number among other sizes. Also, the heart-shaped or teardrop-shaped knockers are used more than other forms for women. Men's knockers in these houses have more diversity both in terms of form and in terms of more detailed patterns and decorations. But on the other hand, women's knockers have more elegance and the motifs and decorations in these works are created with more precision and sensitivity. Qajar studs have a circular design with a convex cap, and the two motifs of Panirak flower and Shamseh design are mostly used in these works. Besides these functional elements, back plates are among the decorative elements that are abundantly seen on the Qajar-era doors of Ardabil. These back plates can be divided into three groups: back plates under the knockers, back plates under the studs, and those on the frame or body of the doors. Geometric, plant, and animal motifs including sun, circle, peacock tail, lotus flower, cypress, medallion and multi-petal flowers are the most important decorations of these elements. The two methods of brushwork and meshwork are decorative techniques used in all these works while the contribution of the brushwork technique is more evident. The conducted studies show that the general form of these elements and the decorative motifs placed on them, in addition to the aesthetic aspect and the aesthetic sense that they instill in the viewer, also support the beliefs, intentions and convictions of the Muslim artist of the Qajar era. In the end, it can be concluded that the artists of the Qajar era chose the form of these elements, and the decorative motifs on them with full awareness, and in this regard, the religious significance was always more important than the decoration and the type of pattern, form and image. مقدمه: کوبه‌ها ازجمله عناصر اصلی معماری سنتی ایرانی هستند که نماد و نشانه‌ای از تفکیک جنسیتی و نیز نمایانگر احترام ویژه به اصل رعایت محرمیت در جامعۀ سنتی ایرانی محسوب می‌شوند. این آثار در کنار عناصر وابسته ازجمله پولک و گل‌میخ‌ها، به زیبایی هرچه‌تمام‌تر و در همان وهله نخست و پیش از ورود به اندرونی خانه؛ شیوه، تزئین، تخیل، نماد و ارتباط حسی و بصری در معماری اصیل ایرانی را به بیننده القا می‌کنند. در این پژوهش، کوبه‌ها، گلمیخ‌ها و پولک‌های تزئینی خانه‌های تاریخی بافت کهن اردبیل در دورۀ قاجار موردمطالعه قرار گرفته‌اند. اهداف و سؤال‌ها: اهداف این پژوهش شامل مطالعۀ شکل‌شناسی و شناسایی ویژگی‌های بصری کوبه‌های فلزی و گل‌میخ‌های ابنیه تاریخی عصر قاجار در بافت کهن اردبیل، بررسی ماهیت و دلیل نقوش و تزیینات موجود بر روی این آثار و همچنین نمادشناسی آن‌ها است. روش‌ها: پژوهش حاضر از نوع تحلیلی– تاریخی بوده و بر اساس پیمایش نگارندگان در بافت تاریخی اردبیل و مطالعات کتابخانه‌ای انجام‌شده است. هدف این پژوهش گونه‌شناسی کوبه‌ها، پولک‌ها و گل‌میخ‌های روی دَرها، دسته‌بندی نقوش و عناصر تزئینی و نمادشناسی آن‌ها است. در این راستا به دنبال پاسخی منطقی برای این سؤال است که کوبه‌ها و گل‌میخ خانه‌های تاریخی قاجار در بافت اردبیل شامل چندگونه و چه نقوشی هستند؟ یافته‌ها و نتایج: نتایج این پژوهش نشان می‌دهد که در عصر قاجار، هنرمندان اردبیلی جلوه‌هایی از ویژگی‌های فرهنگی، اعتقادی و اقتصادی را در هنر فلزکاری؛ به‌ویژه در عناصر فلزی موجود بر روی دَر خانه‌های تاریخی از خود نشان داده‌اند. در این راستا، هنرمندان این دوره از انواع کوبه‌های فلزی حلقه‌ای، بیضی، میله‌ای بلند، زبان‌های با شکل‌های حلقه‌مانند و بیضی‌شکل و اشکال ظریفتر برای زنان و کوبه‌های ضخیم‌تر به‌صورت میله‌مانند، مستطیلی بلند و زبان‌های برای مردان بهره برده‌اند. نقوش هندسی، گیاهی و حیوانی مانند مربع، مستطیل، شمسه، سرو، مار و گل نیلوفر بر روی این آثار دیده می‌شوند. نمادشناسی این نگاره‌ها نشان می‌دهد که هنرمندان عصر قاجار با آگاهی کامل به انتخاب شکل این عناصر و نقوش تزئینی روی آن‌ها پرداخته‌اند و بار مذهبی و دینی همواره بیش از تزیین، نوع نقش، شکل و نگاره، موردتوجه بوده است.

https://negareh.shahed.ac.ir/article_5028_120111059aa4ca26fb0b660b9892b5e9.pdf

دانشگاه شاهد فصلنامه نگره 2676-7244 21 77 2026 04 01 Aesthetic Analysis of Mythological Conflicts in Digital Interactive Media (Case Study: Video Games) تحلیل زیبایی‎ ‌شناختی تقابل‌های اسطوره‌ای در رسانه‌های تعاملی دیجیتال (نمونه موردی: بازی‌های ویدئویی) 298 315 5029 10.22070/negareh.2024.19402.3407 FA سمیه رسولی‌پور دانشجوی دکتری پژوهش هنر، دانشکده هنر، دانشگاه شاهد، تهران، ایران. 0000-0003-2355-8624 سید نظام الدین امامی فر دانشیار، دانشکدة هنر، دانشگاه شاهد، تهران، ایران، 0009-0001-8845-2786 سمیه آرزوفر استادیار گروه ارتیاط تصویری، دانشکده هنر، دانشگاه شاهد، تهران، ایران. 0000-0002-4160-5394 Journal Article 2025 04 23 Introduction: Video games are characterized by technology, the communication environment, and audience understanding. That is, this type of media uses technology in the context of two-way communication, and the audience can play the role of producing, distributing and managing the message by using the communication technology provided to them. On the other hand, myth emerged with people, changed and evolved and has continued in narrative forms and along with artistic and literary works. The necessity and importance of the research is that with the increasing popularity of video games, it is important to examine how these games are used to interpret and transmit mythological values. This research can help to better understand the influence of mythology on the human mind and the role of video games in promoting culture and art. Purposes & Questions: The aim of this research is the aesthetic examination of mythological confrontations in video games, and also after explaining the relationship between myth, aesthetics and confrontation, by examining mythological confrontations in video games, an attempt has been made to answer the question of what the mythological confrontations in these games are and how and with what mechanism they have created aesthetic pleasure in the audience. The research questions are: in what way and with what mechanism have the mythological confrontations in video games created aesthetic pleasure in the audience. Methods: This research is based on a theoretical and descriptive-analytical research method. The method of collecting data is documentary and library research, along with observation of works, and the means of gathering information is observation and a new scanning tool. Examples of video games inspired by mythology are studied. The authors examined four cases selectively (non-probability sampling), two examples of international games inspired by Iranian mythology and two examples of video games made in Iran using a qualitative analysis method. This means that according to the initial familiarity with games and works, examples have been selected that are able to provide the desired information in this research in order to be effective in understanding the research problem. Findings & Results: It can be argued that mythological confrontations in video games generate aesthetic pleasure for players through several interconnected mechanisms. Firstly, interactive storytelling enables players to actively participate in mythological narratives and engage directly with characters, an involvement that goes beyond passive observation and fosters a sense of immersion within the story world. Secondly, strong characterization, particularly in confrontations between heroes and anti‑heroes, presents complex and multidimensional figures whose emotions and motivations encourage player identification and deepen enjoyment. Thirdly, the visual and artistic experience—shaped by art direction, graphics, and visual effects—enhances aesthetic perception through the use of color, lighting, and environmental design inspired by mythological elements. Fourthly, music and voice-over play a crucial role in establishing atmosphere and emotional resonance, conveying feelings such as tension, excitement, or calm, and thereby influencing the overall experience. Fifthly, challenges and rewards inherent in mythic encounters create a sense of achievement, further engaging players in the narrative and its characters. Sixthly, video games offer opportunities for cultural and social analysis embedded within mythological confrontations, prompting players to reflect on their own values and norms and enriching their aesthetic experience. Finally, such mythic encounters can strengthen a sense of belonging to a particular culture or community, leading to a deeper and more meaningful engagement with the game. By combining these mechanisms, video games can provide players with a rich and enjoyable experience that is not only entertaining but also thought-provoking. As a result, the aesthetic analysis of mythological confrontations in video games shows that this medium, as an interactive and engaging platform, has been able to depict cultural and mythological elements in a new and effective way. Hero and anti-hero confrontations, cultural and social conflicts, as well as symbolic representation of deep human concepts, all add to the richness of the game stories and experiences. On the other hand, the use of creative art design, appropriate music and interactive storytelling has helped to create a unique atmosphere that invites players to think and reflect on their cultural values and norms. This interaction not only provides an entertaining experience, but also supports education and cultural transmission. Finally, as a modern medium, video games have a high potential for aesthetic analysis and can play an important role in preserving and promoting cultural myths and narratives. مقدمه: تقابل‌های اسطوره‌ای در بازی‌های ویدئویی می‌تواند به‌عنوان ابزاری کارآمد برای ایجاد تجربه‌های زیباشناختی و جذاب در محتواهای دیجیتال موردبررسی قرار گیرد. این تقابل‌ها معمولاً بر اساس اساطیر، داستان‌های کهن و نمادهای فرهنگی شکل می‌گیرند و به‌کارگیری آن‌ها در محتوای دیجیتال، تأثیرات عمیقی بر احساس و ادراک بازیکن بر جای می‌گذارد. اهداف و سؤال‌ها: هدف این پژوهش تبیین چرایی و چگونگی تأثیر زیبایی‌شناختی تقابل‌های اسطوره‌ای در بازی‌های ویدئویی است. در این جستار، پس از بررسی ارتباط میان اسطوره، زیبایی‌شناسی و مفهوم تقابل، با تحلیل نمونه‌هایی از تقابل‌های اسطوره‌ای در بازی‌های ویدئویی، تلاش شده است به این سؤال پاسخ داده شود که این تقابل‌های اسطوره‌مدار در بازی‌های مذکور، از چه طریق و با چه سازوکاری موجب ایجاد لذت زیبایی‌شناختی در بازیکن شده است. روش‌ها: روش پژوهش در مطالعه پیش‌رو، توصیفی- تحلیلی و بر اساس مطالعات کتابخانه‌ای به سرانجام رسیده است. یافته‌ها و نتایج: نتایج این پژوهش نشان می‌دهد که تقابل‌های اسطوره‌ای در بازی‌های ویدئویی می‌توانند از طریق سازوکارهایی همچون داستان‌گویی تعاملی، شخصیت‌پردازی عمیق، تجربه‌های بصری و هنری، موسیقی و صداگذاری، ایجاد چالش‌ و پاداش‌، تحلیل‌های فرهنگی و اجتماعی و همچنین احساس تعلق، زمینه‌ساز لذت زیبایی‌شناختی در بازیکن شوند. بازی‌های ویدئویی به‌عنوان رسانه‌ای مدرن، ظرفیت بالایی برای تحلیل‌های زیبا‌شناختی دارند و می‌توانند نقشی مؤثر در حفظ و ترویج اسطوره‌ها و روایت‌های فرهنگی ایفا کنند.

https://negareh.shahed.ac.ir/article_5029_d4d685103828c30bf581cfa5e6e4c28a.pdf