دانشگاه شاهد فصلنامه نگره 2676-7244 21 78 2026 07 01 The Iconographic Transformation of the Gemini Constellation in Iranian Texts According to Erwin Panofsky's Theory استحالۀ شمایل‌نگارانۀ بازنمایی صورت فلکی دوپیکر در متون ایرانی بر اساس آرای اروین پانوفسکی 6 25 5039 10.22070/negareh.2025.19199.3389 FA شادی نقیب دانشجوی دکتری رشته پژوهش هنر، دانشکده پژوهش‌های عالی هنر و کارآفرینی، دانشگاه هنر اصفهان، ایران. 0009-0009-9754-8331 افسانه ناظری دانشیار گروه نقاشی، دانشکده هنرهای تجسمی، دانشگاه هنر اصفهان، (نویسنده مسئول). 0000-0003-1295-0065 Journal Article 2025 10 31 Introduction: The constellation Gemini (Khordad, Jowzā) is the third sign of the zodiac and has been symbolically represented in numerous historical sources, particularly in Iranian texts. Iconographic transformation is a process that examines the evolution and changes of symbols and images over time under the influence of cultural, social, and historical factors. Examining this process in the representation of the Gemini constellation in Iranian texts provides an opportunity for a deeper understanding of the impact of this cosmic symbol on Iranian culture and thought, highlighting the significance of this research. Since the representation of this constellation in different texts and its evolution over time remain unclear, and because its inherent binary symbolism reflects distinctive cultural, intellectual, and philosophical traditions, this study investigates the iconographic transformation of Gemini in Iranian texts based on Erwin Panofsky’s theories. Purposes & Questions: This study aims to investigate the iconographic transformation of the representation of the Gemini constellation in various Iranian texts according to Erwin Panofsky's theories and to answer the following question: How can the representation of the Gemini constellation be analyzed and interpreted through the approach of iconographic transformation in Iranian texts? Methods: This research employs a descriptive-analytical method with an iconographic transformation approach based on Erwin Panofsky's theories. Data were collected through documentary sources and visual analysis. The research corpus includes Iranian texts and objects with astronomical themes, including illustrated manuscripts, pottery, and metalworks. The visual patterns and iconographic transformations of the constellation were identified, tabulated, and comparatively analyzed. The method of data analysis was qualitative and comparative. Findings & Results: The examination of the transformation of Gemini's representation underscores the enduring importance of this iconographic form across different historical periods and textual traditions, in which its depiction persisted with only minor modifications. In Babylonian texts, Lugal-irra and Meslamta-ea were two mythological figures associated with this constellation and were regarded as guardians of the gates of the underworld. Their role was primarily protective, defending against hostile and malevolent forces. Similar forms of binary symbolism also appear in ancient Greek, Roman, and other cultural traditions. Similarly, in ancient Iran, the dualistic struggle between Ahura Mazda and Ahriman, representing the cosmic conflict between good and evil, became conceptually associated with the Gemini constellation. Historically, three principal methods of depicting Gemini emerged, each rooted in specific beliefs, traditions, and cultural contexts: (1) two completely separate figures, a form found predominantly in scientific and educational manuscripts, where Gemini is represented primarily as an astronomical symbol, emphasizing its celestial identity rather than its mythological or philosophical implications. (2) a single figure with two heads, symbolizing the coexistence of opposing forces within a single body and representing dual personality, gender duality, and other opposing forces inherent in human perception. (3) two separate figures joined at the lower body, a representation that, together with the second type, appears most frequently in astrological texts, divinatory manuscripts, and mythological narratives, conveying the notion of unity within opposition and the inseparability of contrasting forces within the cosmic order. The binary opposition embedded in the iconography of Gemini is evident both in its visual structure and in its symbolic meanings. The constellation expresses concepts such as light and darkness, life and death, masculinity and femininity, and other complementary oppositions. It also symbolizes the dual dimensions of human existence, namely body and soul. These meanings are deeply rooted in Iranian dualistic traditions of thought, in which one twin may represent positive forces while the other signifies negative influences. Such symbolism reflects the perpetual cosmic struggle between good and evil and emphasizes the idea of an eternal conflict within the metaphysical structure of the universe. The iconographic transformation of the Gemini constellation encompasses both minor and major visual changes. Minor transformations include changes in clothing, accessories, and associated attributes, while major transformations involve shifts in the mode of representation, whether as separate figures, joined figures, or a single two-headed figure. In addition, the inclusion of the quasi‑planet Jowzahr, depicted as a staff held by the twins, contributed to further changes in symbolic interpretation. These transformations demonstrate the dynamic nature of celestial iconography and reveal how artistic and philosophical interpretations evolved over time while preserving the essential dualistic character of the constellation. مقدمه: صورت فلکی دوپیکر (خرداد، جوزا)، سومین صورت فلکی منطقه‌البروج، در آثار تاریخی گوناگون، به‌ویژه متون ایرانی به شیوه‌های مختلف و درعین‌حال مشابه، به‌صورت نمادین بازنمایی شده است. اهداف و سؤال‌ها: ازآنجاکه شیوه‌های بازنمایی این صورت فلکی در متون مختلف و سیر تحول آن درگذر زمان مبهم بوده و درعین‌حال، دوگانگی نهفته در اشکال گوناگون آن بیانگر نظامی ویژه از اندیشه‌های فرهنگی و فلسفی حاکم است، نگارندگان بر آن شدند تا باهدف بررسی استحالۀ شمایل‌نگارانۀ بازنمایی این صورت فلکی در متون ایرانی، پیشینه و خاستگاه تصویری آن و نیز نظام فکری حاکم بر این متون ایرانی را واکاوی کنند و به این پرسش پاسخ دهند که چگونه می‌توان شیوه‌های بازنمایی صورت فلکی دوپیکر را بر اساس آرای اروین پانوفسکی در متون ایرانی تحلیل و خوانش کرد؟ روش‌ها: پژوهش حاضر با بهره‌گیری از روش توصیفی- تحلیلی انجام‌شده و داده‌های آن از طریق مطالعۀ اسناد مکتوب و مشاهده گردآوری‌شده است. یافته‌ها و نتایج: یافته‌های پژوهش نشان می‌دهد که برای بازنمایی صورت فلکی دوپیکر، سه شیوۀ ترسیم وجود داشته که ریشه در باورها، سنن و فرهنگ ایران دارند. این سه شیوه عبارت‌اند از: 1. دوپیکر کاملاً مجزا؛ 2. یک پیکره با دو سر که دلالت بر وجود دو شخصیت یا وجهی از دوگانگی در پیکری واحد دارد و 3. دوپیکر جدا از هم اما متصل در بخش پایین‌تنه است. تقابل دوگانۀ به‌کاررفته در این صورت فلکی دلالت بر وجوهی متضاد چون تاریکی و روشنی، میرایی و جاودانگی، گذشته و آینده، مرگ و زندگی، آغاز و پایان، غالب و مغلوب، مؤنث و مذکر، دو بُعد وجودی انسان و نیز تقابل خیر و شر دارد.

https://negareh.shahed.ac.ir/article_5039_6651526b6fb8f29a00507de6a49ce30f.pdf

دانشگاه شاهد فصلنامه نگره 2676-7244 21 78 2026 07 01 Stylistic Analysis of the Waqf Quran of Imam Quli Khan at the Mausoleum of Allahverdi Khan معرفی و سبک‌شناسی قرآن وقفی امام‌قلی‌خان بر مزار الله‌وردی‌خان (نسخۀ شمارۀ 2139 کتابخانۀ آستان قدس رضوی) 28 43 5037 10.22070/negareh.2025.19777.3449 FA محمدصادق میرزاابوالقاسمی دانشیار، دانشکده هنر و معماری، دانشگاه شیراز، شیراز، ایران. 0000-0002-5865-7561 Journal Article 2025 07 14 Introduction: In the Astan Quds Razavi Library, there is a Quran manuscript that was endowed to the Mausoleum of Allahverdi Khan in Rabi' al-Thani 1023 AH. Allahverdi Khan, the governor of Fars during the reign of Shah Abbas I, died in 1022 AH and was buried in a portico he had built on the eastern side of the shrine of Imam Reza in Mashhad. The donor of this manuscript was his eldest son, Imam Quli Khan; therefore, the manuscript is referred to in this study as the “Waqf Quran of Imam Quli Khan.” The manuscript lacks both a colophon and a transcription date, while the waqf inscription appears to have been added later on the opening folio. In addition to its historical importance, the manuscript is notable for its codicological and artistic features and is regarded as one of the significant Quran manuscripts preserved in the Astan Quds Razavi Library. Despite its significance, the manuscript has not yet been the subject of an independent scholarly study. Only a single note placed among the folios records some of its characteristics. This handwritten leaf was probably a draft prepared by the library’s cataloguer. This article first discusses the mausoleum and portico of Allahverdi Khan in Astan Quds Razavi complex and then examines the historical background of the manuscript on the basis of marginal notes and related documentary evidence. Finally, the codicological and physical features of the manuscript are analyzed. The manuscript is preserved under catalogue number 2139 in the Astan Quds Razavi Library. Purposes & Questions: Based on a close and detailed examination of the manuscript, this study aims to identify the stylistic characteristics of the Quran and to determine its historical and geographical context of its production. Methods: The research method of this study is primarily historical; however, discussions related to the stylistic features of the Qur’an are carried out using a descriptive–analytical approach. The investigation is based on a close and meticulous examination of the manuscript and has proven particularly useful in the field of codicology. Data were collected through both library research and field observation. Since this article focuses on a single manuscript, attention has been given, as far as possible, to all components and structural elements of the Waqf Qur’an of Imam Quli Khan. For certain codicological features—such as paper dimensions, tables, motifs, and verse markers—measurement was limited to selected samples. These measurements were conducted while observing preservation precautions and only on intact sections of the manuscript. The method of analysis is qualitative. Findings & Results: The study shows that the Waqf Quran of Imam Quli Khan remained in the portico of Allahverdi Khan for recitation and preservation from the time of its endowment until 1315 SH, after which it was transferred to the Astan Quds Razavi Library. Marginal notes written on several folios of the manuscript confirm this history. Most of these notes belong to Mirza Fazlollah Rawzeh‑khan, the son of Akhund Mulla Yusuf Rawzeh‑khan. He refers to himself as a rawzeh‑khan (eulogy reciter) and the guardian (hafez) of Dar al‑Saʿadah, and introduces his father as the guardian of the area located at the foot of the blessed shrine.The main text of the manuscript is written in Naskh script, while its additions are executed in Thuluth, Tawqi, and Nastaliq scripts. In terms of codicological structure and manuscript compilation, the Quran closely resembles manuscripts produced in Shiraz during the Safavid period. Features such as the illuminated medallions of the first double-page frontispiece, the beginning of the Quranic text on the second double-page opening, and the inclusion of a Persian poetic horoscope at the conclusion of the manuscript reflect conventions associated with the Shiraz school of manuscript production. The illumination and page layout likewise conform to stylistic principles characteristic of Safavid Shiraz manuscripts. The manuscript can probably be attributed to workshops active in Shiraz between the second half of the tenth century AH and the early eleventh century AH. It was likely created in commercial workshops without a direct commission and later circulated in the manuscript market. Like many Shiraz manuscripts of this period, the Quran was produced anonymously and lacks a colophon. The waqf inscription on the opening folio further indicates that the manuscript was not originally commissioned by Imam Quli Khan. مقدمه: در کتابخانۀ آستان قدس رضوی نسخه‌ای از قرآن وجود دارد که در ربیع‌الثانی 1023ق بر مزار الله‌وردی‌خان وقف‌شده است. الله‌وردی‌خان بیگلربیگیِ فارس در دورۀ حکومت شاه‌عباس صفوی بود. او در سال 1022ق درگذشت و در رواقی که در سمت شرقی روضۀ امام رضا(ع) ساخته بود، دفن شد. واقف قرآن مذکور امام‌قلی‌خان، فرزند ارشد الله‌وردی‌خان، است. ازاین‌رو، در این مطالعه از آن با عنوان «قرآن وقفی امام‌قلی‌خان» یاد می‌شود. قرآن وقفی امام‌قلی‌خان رقم کاتب یا تاریخ کتابت ندارد. وقف‌نامۀ امام‌قلی‌خان نیز بر روی برگ سفید ابتدای قرآن، با خطی متفاوت و ناهماهنگ با ساختار کلی نسخه، افزوده‌شده است؛ ازاین‌رو، تاریخ آن نمی‌توان تاریخ دقیق کتابت نسخه دانست. این قرآن، افزون بر اهمیت تاریخی، ازنظر ویژگی‌های نسخه‌پردازی نیز شایان توجه است و از نسخه‌های ارزشمند کتابخانۀ آستان قدس رضوی به شمار می‌رود. بااین‌حال، تاکنون بررسی علمی مستقلی دربارۀ آن انجام نشده است. اهداف و سؤال‌ها: هدف این مقاله معرفی و سبک‌شناسی قرآن وقفی امام‌قلی‌خان است تا به این سؤال پاسخ داده شود که تولید این نسخه در کدام قلمرو تاریخی و جغرافیایی قرار می‌گیرد؟ ازاین‌رو، ضمن بررسی ابعاد تاریخی موضوع، ویژگی‌های نسخه‌شناختی قرآن نیز به‌دقت بررسی خواهد شد. این بررسی‌ها بر پایۀ مطالعۀ نزدیک قرآن انجام شده و با شواهد بیرونی تطبیق داده‌شده است. روش‌ها: در این پژوهش از روش تاریخی و توصیفی-تحلیلی استفاده‌شده است. گردآوری اطلاعات به شیوه‌های کتابخانه‌ای و میدانی انجام گرفته و داده‌ها با رویکرد کیفی تحلیل شده‌اند. یافته‌ها و نتایج: نتایج این پژوهش نشان می‌دهد که قرآن وقفی امام‌قلی‌خان از زمان وقف تا سال 1315ش در رواق الله‌وردی‌خان نگه‌داری و قرائت می‌شده و پس‌ از آن به کتابخانۀ آستان قدس رضوی منتقل شده است. این قرآن ازنظر شیوۀ تدوین و مؤلفه‌های تزئینی شباهت زیادی به نسخه‌های شیراز در دورۀ صفوی دارد و احتمالاً در نیمۀ دوم سدۀ دهم تا اوایل سدۀ یازدهم هجری قمری در شیراز تولیدشده است. هرچند این قرآن را امام‌قلی‌خان وقف کرده، اما بسیار بعید است که تولید این نسخه نیز به سفارش او بوده باشد.

https://negareh.shahed.ac.ir/article_5037_97af07a14cacba681feacf3012730892.pdf

دانشگاه شاهد فصلنامه نگره 2676-7244 21 78 2026 07 01 The Genealogy of the Artistic Family of Najafali Naqqashbashi Isfahani پژوهشی در تبارشناسی خاندان هنری نجفعلی نقاشباشی اصفهانی 46 79 4683 10.22070/negareh.2024.19736.3444 FA طاها صنیع زاده دانشجوی دکتری تاریخ تطبیقی و تحلیلی هنر اسلامی، گروه مطالعات عالی هنر، دانشکدگان هنرهای زیبا، دانشگاه تهران، تهران، ایران. 0009-0008-7532-0902 حسن بلخاری قهی استاد گروه مطالعات عالی هنر، دانشکدگان هنرهای زیبا، دانشگاه تهران، تهران، ایران. 0000-0002-6304-4815 Journal Article 2025 09 28 Introduction: One of the distinctive characteristics of Iranian art in past centuries was the formation of artistic families, through which artistic knowledge, skills, and professional traditions were transmitted from one generation to the next. This process led to the emergence of artistic lineages whose members often played important roles in the preservation, development, and continuation of specific artistic traditions. Such family-based transmission was not limited to painting and calligraphy but extended to a wide range of artistic fields, including architecture, music, pottery, and other crafts. Through these familial networks, artistic styles and techniques were transmitted across generations, contributed significantly to the continuity of Iranian artistic heritage. Despite the historical importance of these artistic families, information regarding their personal histories, familial relationships, and artistic backgrounds remains limited. As a result, many aspects of their genealogies and their roles in the development of Iranian art have remained unclear. The reconstruction of these lineages is therefore essential for a more accurate understanding of the social and artistic history of Iran. Among the most significant of these lineages is the artistic family of Najafali Naqqashbashi Isfahani, a renowned painter of the early Qajar period. Over several generations, this family produced a number of influential artists who played a major role in the preservation and development of Iranian painting, particularly lacquer painting, miniature painting, and enameling, from the late eighteenth century to the twentieth century. Several members of this family were recognized among the leading artists of the Zand, Qajar, and Pahlavi periods and played an important role in the development of Iranian painting and related decorative arts. The importance of this family has attracted the attention of numerous researchers, both in Iran and abroad. However, previous studies have presented conflicting genealogical reconstructions and contain significant gaps and inconsistencies regarding the origins and relationships of these artists. These discrepancies appear to result from limited access to historical documents and reliance on unverified assumptions. Accordingly, re-examining the genealogy of this family through newly available documentary evidence is necessary and may illuminate an overlooked aspect of Iranian art history. Purposes & Questions: The main objective of this study is to reconstruct the genealogy of the artistic family of Najafali Naqqashbashi Isfahani and to identify the ancestry of its members. Accordingly, the research seeks to answer the following question: Who were the father and ancestors of Najafali Naqqashbashi Isfahani, and in what historical context did this artistic family emerge and develop? Methods: This fundamental qualitative research was conducted using a historical approach and a descriptive-analytical method. Data were collected through library research, electronic resources, historical documents, and archival evidence. The analysis was carried out using an inductive approach, with particular emphasis on the examination and comparison of documentary sources related to the family and its members. Findings & Results: The findings of the study are based primarily on a historical document—the marriage certificate of Aqa Najaf Isfahani dated 1232 AH, presented and analyzed here for the first time—together with other supporting historical evidence. The analysis demonstrates that Najafali Naqqashbashi Isfahani was the son of Aqa Mohammad Jafar, known as Aqa Baba Naqqash, an artist active during the Zand and early Qajar periods, and the grandson of Mohammad Baqir, a painter active between the late Safavid and early Qajar eras, who was most likely the renowned artist Mohammad Baqir Naqqash. The study also confirms the fraternal relationship between Najafali and Mohammad Ismail, another prominent painter of the Qajar period, thereby resolving one of the uncertainties found in previous scholarship. Furthermore, one artistic work attributed to their father, Aqa Baba Naqqash, was identified and introduced, providing new evidence regarding his artistic activity and position within the family tradition. The research additionally confirms the existence of their elder brother, Mohammad Hassan, and reveals that he was active in calligraphy, particularly in the writing of Naskh script and the decoration of Qur'anic manuscripts. By synthesizing documentary, archival, and historical evidence, the study reconstructs the genealogy of this artistic family from the late Safavid period to the contemporary era. The findings therefore provide new insights into the history of Iranian art and demonstrate the significance of family networks in the preservation and continuation of artistic traditions over more than three centuries. مقدمه: خاندان هنری آقا نجفعلی نقاشباشی اصفهانی، از شناختهشدهترین خانوادههای هنریِ فعال در عرصۀ هنرهای سنتی ایران است که هنرمندان سرشناس متعددی در آن ظهور یافتهاند. اهمیت جایگاه این خاندان در هنر سه قرن اخیر ایران سبب شده است که پژوهشگران داخلی و خارجی بسیاری دربارۀ تبارشناسی هنرمندان آن به پژوهش و نظریهپردازی بپردازند. بااین‌حال، وجود تناقض‌های اساسی و برخی کاستی‌ها در نتایج پژوهشهای پیشین سبب شده است که نظریه‌های موجود با تردید مواجه شوند و نیاز به بازبینی و تصحیح داشته باشند. اهداف و سؤال‌ها: هدف اصلی این پژوهش، تبارشناسی و معرفی پیشینۀ این خاندان هنری بر مبنای اسناد تاریخیِ مغفول‌مانده‌ای است که تاکنون کمتر موردتوجه قرار گرفته‌اند. در این راستا، پرسش اصلی پژوهش آن است که تبار این خاندان هنری به چه دورهای باز میگردد و اجداد آقا نجف اصفهانی چه کسانی بودهاند؟ روش‌ها: این پژوهش از نوع پژوهش‌های بنیادین و کیفی است که با شیوۀ توصیفی- تحلیلی و رویکرد تاریخی انجام‌شده است. گردآوری اطلاعات نیز از طریق مطالعات کتابخانهای، منابع الکترونیکی و مراجعه به اسناد تاریخی صورت گرفته و دادهها با رویکردی استقرایی تجزیه‌وتحلیل شده‌اند. یافته‌ها و نتایج: نتایج این پژوهش که بر مبنای متن سند قباله‌نامۀ ازدواج آقا نجف اصفهانی مربوط به سال 1232 ه.ق -که برای نخستین‌بار منتشر میشود- و نیز سایر شواهد تاریخی استوار است، نشان می‌دهد که نجفعلی اصفهانی فرزند آقا محمدجعفر (ملقب به آقا بابا نقاش، هنرمند دورۀ زندیه و اوایل قاجار) و نوادۀ محمدباقر (متعلق به اواخر دورۀ صفویه تا اوایل دورۀ قاجار و احتمالاً همان محمدباقر نقاش مشهور) بوده است. همچنین، رابطۀ برادری نجفعلی با محمداسماعیل نقاشباشی، دیگر هنرمند سرشناس دورۀ قاجار که پیش‌ازاین موردتردید برخی پژوهشگران قرارگرفته بود، به اثبات رسید. ازاین‌رو، سلسلۀ انساب هنرمندان این خاندان هنری از اواخر دورۀ صفوی تا دورۀ معاصر شناسایی و معرفی شد.

https://negareh.shahed.ac.ir/article_4683_d1e96978c6935ec01d995b1b8e4d8c33.pdf

دانشگاه شاهد فصلنامه نگره 2676-7244 21 78 2026 07 01 A Typology of Pattern-Making Methods in Marbling Art گونه‌شناسی روش‌های ایجاد نقوش در هنر ابری‌سازی 74 97 4762 10.22070/negareh.2024.19351.3402 FA زینب عابدیان جلودار کارشناس ارشد صنایع‌دستی، دانشکده هنرهای کاربردی، دانشگاه هنر ایران، تهران، ایران. 0009-0001-8184-0372 Journal Article 2025 09 15 Introduction: Marbling is an aqueous surface-design technique capable of producing patterns resembling polished marble. Practiced since before the twelfth century CE, it remains a living tradition that continues to evolve in response to contemporary contexts. The interaction of colors on the liquid surface creates a wide variety of patterns and visual effects. Understanding the characteristics of these patterns and the methods through which they are created contributes to the preservation, development, and teaching of this art. Despite the long history and wide geographical distribution of marbling, comprehensive studies that classify its patterns remain limited. Existing research often focuses on particular traditions and does not provide a complete typology of pattern-making methods. Therefore, documenting and categorizing marbling patterns is important not only for research but also for preserving this artistic heritage and maintaining its connection with contemporary Iranian art and culture. Purposes & Questions: The purpose of this research is to provide a technical and theoretical study of the various patterns found in marbling art and to examine the methods used to create them in both Eastern and Western traditions. Accordingly, the study addresses the following questions: 1) What are the names of the patterns used in marbling art and how can their diagrams or visual structures be described? 2) How can marbling patterns be categorized according to the techniques and methods used in their creation? 3) What are the specific visual and technical characteristics of each group of patterns? Methods: In terms of purpose, this study is applied research aimed at developing a structured framework for understanding and teaching marbling patterns, rather than statistically generalizing findings. Therefore, this research was conducted using a qualitative approach and a descriptive-analytical method. Data were collected through library research and field studies, including observation, interviews with specialists, and practical experience in producing marbling patterns. Sampling was conducted sequentially using the snowball method. Important references, museum resources, documented artworks, and artists’ works published on social media were examined. More than ten interviews were conducted, and five workshops involving leading marbling artists and specialists were observed. Two major English-language studies published in 1990 and 1991 were also reviewed. Although these sources provide valuable information on the history and techniques of marbling, their discussions focus mainly on European traditions and do not present a comprehensive categorization of patterns across different cultural contexts. A review of Persian-language research further shows that written documentation on marbling—especially regarding pattern typology—is relatively limited, suggesting that the subject has received less scholarly attention in Iran. Findings & Results: The findings indicate that marbling art encompasses a wide range of visual patterns, from simple and abstract forms to complex representations that resemble landscapes or natural scenes. Based on the analysis of techniques and pattern formation, seven primary methods of creating marbling patterns can be identified. These include: sprinkling paint with a brush, applying paint with a brush, applying and shaping paint with a stylus, shaping paint with combs, double marbling, paper movement, and paper masking. Each method comprises several subgroups, and the range of patterns continues to expand through artistic experimentation and innovation. Among these methods, sprinkling paint with a brush can be considered the most fundamental technique. It forms the basis of many other marbling methods and allows for a wide range of variations, although it is not used in the traditional Japanese brush-application method known as suminagashi. In contrast, the technique of shaping patterns with combs provides a high degree of control over the structure of the design and generates the greatest diversity within its subgroup. The comb is also unique in that it produces motifs with clearly repeated and regular structures. The use of a stylus enables the artist to draw and manipulate the floating pigments with precision, making it possible to create distinctive motifs and detailed compositions. Many of the most refined marbling images are produced using this method, which—after the comb technique—exhibits the second greatest diversity of patterns. Paper masking represents another important method and is often used in calligraphic borders or as a texture within painting in order to complete certain parts of an image. In some cases, however, calligraphic forms or pictorial compositions are created solely through repeated masking and marbling processes without the involvement of other artistic techniques. Finally, double marbling and paper movement function as special visual effects applied during the transfer of the design onto paper. Together, these seven methods provide a comprehensive framework for understanding the technical formation of marbling patterns, offering a theoretical foundation for further research and pedagogical applications in this field. مقدمه: ابری‌‌سازی از مهم‌ترین هنرهای سنتی ایران و نوعی تزیین است که در آن رنگ‌ها بر سطح مایع مخصوص پخش و درهم‌آمیخته می‌شوند و جلوه‌هایی چشم‌نواز پدید می‌آورند. نقوش در این هنر متنوع‌اند و قابلیت اجرا به شیوه‌های گوناگون را دارند. بااین‌حال، پراکندگی مطالب و نبود طبقه‌بندی منسجم در پژوهش‌های پیشین محسوس است. اهداف و سؤال‌ها: هدف این پژوهش، تبیین و بررسی انواع روش‌های خلق نقوش در هنر ابری‌سازی و دسته‌بندی آن‌هاست. بر این اساس، سؤالات پژوهش عبارت‌اند از: 1. نام نقوش و الگو‌های رسم آن‌ها در ابری‌سازی چیست؟ 2. روش‌های ایجاد نقوش ابری چه دسته‌بندی‌هایی دارند؟ 3. ویژگی‌های هر دسته از نقوش چیست؟ روش‌ها: پژوهش حاضر با روش توصیفی- تحلیلی انجام‌شده است. داده‌ها از طریق مطالعات کتابخانه‌ای، مطالعات میدانی، مصاحبه با هنرمندان و بررسی آثار آنان گردآوری شده‌اند. یافته‌ها و نتایج: نتایج نشان می‌دهد که نقوش ابری، از شمایل کاملاً ساده و انتزاعی تا نقاشی مناظر و عناصر طبیعی را در برمی‌گیرد. روش‌های ایجاد نقوش در هفت گروه دسته‌‌بندی می‌شوند: پاشیدن رنگ با قلم‌مو، گذاشتن رنگ با قلم‌مو، رنگ‌گذاری و نقش‌اندازی با درفش، رنگ‌گذاری و نقش‌اندازی با شانه، دوبل، حرکت کاغذ و ماسکه ‌کردن کاغذ. در زیرگروه‌های این دسته‌ها، بیش‌ از 22 نقش جای می‌گیرد که در برخی از آن‌ها چندین روش به‌صورت هم‌زمان در فرایند شکل‌گیری نقش دخیل‌اند و با توجه به خلاقیت هنرمندان، قابلیت افزایش نیز دارند. از مهم‌ترین ویژگی‌های این گروه‌ها آن است که پاشیدن رنگ با قلم‌مو، بنیادی‌ترین روش محسوب می‌شود و در تمامی شیوه‌ها، به‌جز روش گذاشتن رنگ با قلم‌مو، کاربرد دارد. همچنین، روش رنگ‌گذاری و نقش‌اندازی با شانه بیشترین تنوع را در زیرمجموعه‌ها‌ی خود دارد و دقیق‌ترین و پرکارترین نقوش با روش رنگ‌گذاری و نقش‌اندازی با درفش خلق‌ می‌شوند.

https://negareh.shahed.ac.ir/article_4762_ea81a3d20bf98ef2c9bef9dc24ec777a.pdf

دانشگاه شاهد فصلنامه نگره 2676-7244 21 78 2026 06 22 Discursive Conflicts of Fadaeian Islam and the Khalq Party in the Graphic Design of Nabard‑e Mellat (1940–1955): A Study Based on Laclau and Mouffe’s Discourse Theory مطالعۀ نمود منازعات گفتمانی جمعیت فدائیان اسلام و حزب ‌خلق در گرافیک مطبوعاتی نشریۀ نبرد ملت (1329-1334) بر مبنای نظریۀ تحلیل گفتمان لاکلا و موف 100 131 4797 10.22070/negareh.2025.19824.3457 FA رسول کمالی دولت آبادی استادیار و عضو هیئت‌علمی گروه ارتباط تصویری، دانشکدۀ هنرهای تجسمی، دانشگاه هنر اصفهان، شهر اصفهان، ایران. 0009-0009-9297-1915 Journal Article 2025 10 28 Introduction: Nabard-e Mellat (Battle of the Nation), a weekly journal founded in 1940 and owned by Amir Abdullah Karbaschian, was officially licensed by the Press Commission of the Ministry of the Interior as a non-political publication devoted to literary, religious, and moral subjects. In practice, however, it proved to be far more militant, confrontational, and politically engaged than most religious and moral periodicals of its time. From the mid-1940s to 1952, Nabard-e Mellat became closely associated with the Islamic-militant discourse of Fadaeian Islam. Following its separation from that organization, it became the official organ of the Khalq Party. Despite its subsequent alignment with governmental discourse, the journal largely preserved its earlier Islamic-militant and semi-nationalist orientation. The Fadaeian Islam Society was established in 1945 under the leadership of Seyyed Mojtaba Navvab Safavi. Its discursive identity, centered on Islamic law as the primary nodal point and on the supremacy and implementation of Islamic principles as its principal signifiers, combined Shiʿi teachings with revolutionary and anti-colonial tendencies. For approximately a decade, until 1955, the organization pursued the goal of establishing an Islamic state. Among its principal concerns were the unity of the Islamic world, the implementation of Shiʿi religious principles, opposition to religious deviation, the struggle against corruption and poverty, resistance to the influence of the Baha’is and followers of Kasravi, criticism of religious authorities who misused their position, opposition to both Western and Eastern colonialism, and resistance to communism. More broadly, it sought the triumph of Islam over global hegemony and imperial domination. The Khalq Party was formed after the 1953 Iranian coup and the fall of Mohammad Mossadegh’s government by Amir Abdullah Karbaschian and several former members of Fadaeian Islam. Although the party retained many of the central signifiers and discursive articulations of Fadaeian Islam, it differed from the organization in certain political positions, particularly in its support for the monarchy and criticism of some actions undertaken by Fadaeian Islam. At the same time, it placed greater emphasis on the signifier of the “nation,” understood as the oppressed Muslim society of Iran, and on resistance to foreign colonialism. Consequently, Islamic and doctrinal issues within Nabard-e Mellat were frequently articulated through semi-nationalist themes. Purposes & Questions: This study aims to investigate the reflection of the discursive conflicts of Fadaeian Islam and the Khalq Party in the graphic design of Nabard-e Mellat. It seeks to answer the following research question: How did the logo, headline designs, and column graphics of Nabard-e Mellat embody the discursive conflicts of Fadaeian Islam and the Khalq Party in relation to rival political and ideological movements? Methods: The research adopts a descriptive-analytical approach based on selected concepts from the discourse theory of Laclau and Mouffe, including articulation, antagonism, dislocation, otherness, foregrounding, marginalization, and chains of equivalence. Data were collected through documentary and library research, as well as the purposive selection and examination of visual materials relevant to the study. The qualitative analysis focuses on approximately sixty examples of press graphics published in Nabard-e Mellat between 1940 and 1955. These visual materials were analyzed in relation to the confrontational activities of Fadaeian Islam and the Khalq Party and within their broader historical and socio-political context. Findings & Results: The findings indicate that the designers and editors of Nabard-e Mellat, drawing upon the discursive equivalence established between the signifiers “Islam” and “Iran,” as well as between “nation” and “Muslim,” sought to expand chains of equivalence with the broader social identity in order to attract and mobilize the widest possible audience. Accordingly, nationalist elements, including the title of the journal itself, were strategically foregrounded in support of an Islamic-militant discourse. During periods of political pressure and marginalization, the visual meanings associated with these signifiers were reinforced and rearticulated. The study further shows that the headline and masthead graphics of Nabard-e Mellat, in both visual appearance and execution, reflected the dominant aesthetic preferences of Iranian society during the 1940s and 1950s, which were significantly influenced by Western graphic design practices. As a result, these graphic forms lacked a distinct visual identity specifically associated with Islamic discourse. Nevertheless, in an effort to establish a chain of equivalence with militant Islamic movements beyond Iran, particularly organizations such as the Muslim Brotherhood in Egypt, the journal frequently equated the signifier “nation” with the signifier “Ummah.” Consequently, the graphics of its columns, headlines, and advertisements often relied on generalized visual elements rather than imagery with clearly identifiable Iranian characteristics. The analysis demonstrates that the graphic design of Nabard-e Mellat functioned not merely as a vehicle for communication but also as a site of discursive articulation. Through visual strategies of selection, emphasis, and symbolic association, the journal participated in the construction and negotiation of ideological identities. The interaction between Islamic-militant discourse and semi-nationalist themes became visible in the publication’s graphic language, revealing how visual design contributed to the representation, reinforcement, and transformation of political meanings during a period of intense ideological contestation in modern Iran. مقدمه: نشریۀ «نبرد ملت» به صاحب‌امتیازی امیرعبدالله‌ کرباسچیان، دست‌کم در فاصلۀ سال‌های 1329 تا 1331، وابستگی کامل به گفتمان اسلامی-مبارزاتی فدائیان اسلام داشت؛ اما پس از فاصله‌‌گیری از این جمعیت، به‌ویژه پس از کودتای 1332، به ارگان رسمی «حزب خلق» تبدیل شد. باوجود همسویی آشکار با گفتمان حکومتی حاکم، این نشریه کمابیش رویکرد اسلامی-مبارزاتی و شبه ملی‌گرایانۀ پیشین خود را حفظ کرد. اهداف و سؤال‌ها: این پژوهش باهدف مطالعۀ نمود منازعات گفتمانی فدائیان اسلام و حزب خلق در گرافیک مطبوعاتی «نبرد ملت» انجام‌شده است. سؤال اصلی پژوهش آن است که لوگو و گرافیک سرصفحه‌ها، سرستون‌ها و تبلیغات ‌تجاری هفته‌نامۀ نبرد ملت چگونه منازعات گفتمانی فدائیان اسلام و حزب خلق با جریان‌های رقیب را بازنمایی و تجسم بخشیده‌اند؟ روش‌ها: این پژوهش با رویکردی توصیفی-تحلیلی و با بهره‌گیری از برخی مؤلفه‌های نظریۀ تحلیل گفتمان لاکلا و موف، ازجمله نحوۀ مفصل‌بندی، منازعه، تحریک و جابه‌جایی، غیریت‌سازی، برجسته‌سازی، حاشیه رانی و ایجاد زنجیرۀ هم‌ارزی، انجام‌شده است. اطلاعات از طریق مطالعات کتابخانه‌ای-اسنادی و مشاهده و انتخاب هدفمند تصاویرِ مرتبط با موضوع جمع‌آوری شدند. تحلیل کیفی مقاله بر پایۀ مطالعۀ «بیان بصری حدود 60 نمونۀ تصویری از گرافیک مطبوعاتی منتشرشده در شماره‌های هفته‌نامۀ «نبرد ملت» طی سال‌های 1329 تا 1334 و بررسی نسبت آن با کنش‌های تقابلی فدائیان اسلام و حزب خلق و نیز شرایط زمانی-مکانی قلمرو پژوهش» صورت گرفته است. یافته‌ها و نتایج: نتایج پژوهش نشان می‌دهد که پدیدآورندگان این هفته‌نامه، بر اساس هم‌ارزی دو دال «اسلام» و «ایران» و نیز دو دال «ملت» و «مسلمان» در گفتمان فدائیان اسلام و حزب خلق، خود را مجاز دانستند که برای جلب حداکثری مخاطبان، زنجیره‌های هم‌ارزی با هویت گفتمانی جامعه را به شیوه‌های گوناگون گسترش دهند. ازاین‌رو، در لوگوی نبرد ملت، عناصر ملی‌گرایانه، ازجمله نام نشریه در خدمت گفتمان اسلامی-مبارزاتی برجسته شده و به گفتمان آن درآمده بودند. همچنین، ارزش‌های بصری این عناصر در دوره‌های طرد و توقیف، دستخوش فرایند تحریک (تعدیل یا تقویت) می‌شدند. افزون بر این، گرافیک سرستون‌ها و سرصفحه‌های «نبرد ملت» ازنظر ظاهر و شیوۀ اجرا، با ذائقۀ بصری جامعۀ ایران در دهه‌های 1320 و 1330 ایران که متأثر از الگوهای طراحی غربی بود، همسویی داشت و فاقد هویت بصری‌ منحصربه‌فردی مبتنی بر به گفتمان اسلامی بود.

https://negareh.shahed.ac.ir/article_4797_cede2d63a7c04ebd4cb55a2228c7141a.pdf

دانشگاه شاهد فصلنامه نگره 2676-7244 21 78 2026 07 01 A Structuralist Analysis of Sultan Sanjar and the Old Woman by Sultan Mohammad with a Focus on Movement تحلیل ساختارگرایانه نگارۀ سلطان سنجر و پیرزن اثر سلطان محمد با تمرکز بر عنصر حرکت 134 151 5040 10.22070/negareh.2025.19982.3483 FA زهرا خداداد کاندیدای دکتری تاریخ تطبیقی هنر اسلامی، دانشگاه آزاد اسلامی، واحد تهران مرکزی، تهران، ایران. 0009-0003-6165-3291 حسین اردلانی استاد، گروه فلسفه هنر، واحد همدان، دانشگاه آزاد اسلامی، همدان، ایران. 0000-0002-4390-3862 Journal Article 2026 01 07 Introduction: The close relationship between literature, particularly poetry, and the visual arts in Iran reflects a long-standing interaction shaped by historical contexts and artistic developments. This relationship is especially evident in the works of Hakim Nizami, who, while narrating moral and didactic stories, also addresses social and political issues of his time. One of the notable narratives in Makhzan al-Asrar (The Treasury of Mysteries) is the fourth discourse, entitled “In Compliance with the Peasants.” Owing to its expressive content and powerful narrative, this story has attracted the attention of painters throughout history. In the illustrated version of the tale, the story of an oppressed old woman forms the central theme of the painting. Bent under the burden of hardship and injustice, she symbolizes the suffering of her time and represents the voice of the oppressed. The manuscript was transcribed by Mahmoud Neyshaburi, and its illustrations were produced by Sultan Mohammad between 945 and 949 AH. The resulting work presents a remarkable synthesis of text and image in which movement functions as an essential element in the perception of time and space. During this artistic period, particular attention was paid to the depiction of courtly life, costumes, and decorative coverings. A significant feature of these illustrations is the deliberate use of line, which plays a crucial role in conveying movement. In visual art, movement directs the viewer’s gaze through the composition and establishes a visual path across the narrative. Through the careful arrangement of forms and lines, different components of the image become interconnected within a coherent structure. Iranian painters were also highly skilled in creating a sense of internal movement, guiding the viewer from the outward appearance of forms toward deeper layers of meaning. This approach reflects broader cultural and philosophical concerns regarding existence and human experience. To evoke visual movement, artists employed a variety of design elements and manipulated color relationships to generate dynamism within the composition. At the same time, the human eye naturally seeks balance and stability. This interaction between movement and equilibrium creates a visual tension that attracts the viewer while encouraging contemplation of the work’s deeper meanings. Purposes & Questions: This study aims to examine the role of movement in the painting of Sultan Sanjar and the Old Woman by Sultan Mohammad and to investigate its contribution to the overall composition. The main question addressed in this research is: What effect does the element of movement have on the composition of this painting? Methods: This research adopts a descriptive-analytical method within a qualitative framework. A selected illustration from Nizami’s Khamsa was analyzed to examine the relationship between movement and composition. The study focuses on the structural organization of visual elements and their role in directing the viewer’s perception throughout the image. Findings and Results: The analysis demonstrates that the composition is organized within a rectangular framework structured according to principles of the golden ratio. This compositional arrangement contributes to visual harmony while supporting the narrative content of the image. The artist’s careful juxtaposition of primary and complementary colors creates strong visual relationships that guide the viewer’s eye across the composition. The use of curved lines, circular forms, and diverse geometric shapes further reinforces visual movement and strengthens the coherence of the pictorial structure. The findings also indicate that movement does not arise from a single visual element but through the interaction of multiple compositional elements. Color relationships, directional lines, spatial organization, and rhythmic repetition of forms collectively guide the viewer through different areas of the image. These elements establish a visual sequence that enhances both narrative clarity and aesthetic unity. As a result, movement functions not merely as a formal characteristic but as a structural principle that organizes the entire composition. In conclusion, the relationship between movement and composition in this painting enriches the visual experience and reinforces the narrative content of the work. The dynamic arrangement of visual elements contributes to the expressive power of the image and reveals the artist’s ability to integrate aesthetic and narrative concerns. Examining these interactions provides a deeper understanding of Sultan Mohammad’s artistic strategies and highlights important aspects of Iranian painting during the Second Tabriz School. The study ultimately demonstrates that the effective use of movement is one of the principal factors contributing to the lasting artistic significance of this masterpiece. مقدمه: نگارۀ «سلطان سنجر و پیرزن» با رقم سلطان محمد، یکی از نگاره‌های مصورِ خمسه نظامی در مکتب تبریز دوم است. این اثر، ازجمله نگاره‌هایی است که از ترکیب‌بندی غنی و منحصربه‌فردی برخوردار بوده و عامل حرکت، به‌عنوان مولد بُعد زمان و مکان، نقشی بنیادین در شکل‌گیری و پویایی آن ایفا می‌کند. اهداف و سؤال‌ها: هدف این پژوهش، شناخت حرکت بصری در نگاره از طریق شناسایی هندسۀ پنهان آن، ازجمله روابط مثلثی، حرکات حلزونی، تغییر جهت خطوط و عناصر و سایر مؤلفه‌های مؤثر در ایجاد حرکت است. روش‌ها: پژوهش حاضر با رویکرد کیفی و با انتخاب هدفمند یکی از نگاره‌های ارزشمند خمسه نظامی انجام شده است. داده‌ها به روش کتابخانه‌ای گردآوری و نگاره به شیوۀ توصیفی- تحلیلی بررسی شده است. پرسش محوری پژوهش آن است که عامل حرکت چه تأثیری بر ترکیب‌بندی این نگاره دارد؟ یافته‌ها و نتایج: نتایج تحلیل‌های تصویری نشان می‌دهد که قاب اصلی نگاره به‌ شکل مستطیل طراحی‌شده و بر اساس محاسبات تقسیمات طلایی، رویداد اصلی در محدودۀ مربع شاخص آن ترسیم‌شده است. نگارگر با بازی رنگ‌های اصلی و مکمل، تنوع رنگی خاصی به تصویر بخشیده است که باعث حرکت چشم در میان رنگ‌ها و فرم‌ها می‌شود. همچنین، استفاده از منحنی‌ها، دایره‌ها، نیم‌دایره‌ها، مثلث‌ها و سایر اشکال هندسی، به تقویت حرکت چشم و افزایش پویایی بصری اثر انجامیده و نقش مؤثری در شکل‌گیری حرکت القایی در ترکیب‌بندی نگاره داشته است.

https://negareh.shahed.ac.ir/article_5040_79c662560b0a5f1ae00b623ad8c775e3.pdf

دانشگاه شاهد فصلنامه نگره 2676-7244 21 78 2026 07 01 Visual Features of the Shahnameh of Olfat from the Qajar Period in the Central Library of the University of Isfahan معرفی ویژگی‌های بصری شاهنامه الفت از دورۀ قاجار متعلق به کتابخانه‌ مرکزی دانشگاه اصفهان 154 169 4883 10.22070/negareh.2025.19450.3413 FA حمیدرضا روحانی استادیار، گروه نقاشی، دانشگاه هنر اصفهان، اصفهان، ایران. 0009-0003-8772-668X فاطمه نادر کارشناس ارشد نقاشی، گروه نقاشی، دانشگاه هنر اصفهان، اصفهان، ایران. 0009-0000-2985-0883 Journal Article 2025 08 09 Introduction: In the history of Iranian painting, illustrated copies of the Shahnameh have consistently attracted the attention of artists and court patronage . Following the flourishing tradition of manuscript illustration during the Safavid period and the transitional Afshar and Zand periods, the Qajar school is one of the major schools of Iranian painting that emerged at a significant historical moment, coinciding with broader cultural transformations and increasing contact with Europe. The Qajar period began with the coronation of Agha Mohammad Khan Qajar in 1795 AD and ended with the fall of the dynasty in 1925 AD after the reign of seven rulers. In contrast to artistic restrictions in many Islamic regions, painting and manuscript illustration continued to develop during this period. The influence of European landscape painting and changing visual attitudes contributed to the emergence of a distinctive pictorial culture in Qajar Iran. Although artistic production varied across the period, the reign of Fath Ali Shah Qajar is often regarded as a particularly productive phase. During this time, numerous Persian manuscripts were produced and illustrated. Ferdowsi's Shahnameh, as one of the most important literary and historical works of Persian culture, was frequently copied and illustrated. Under the patronage of Fath Ali Shah and Mohammad Shah, manuscript illustration—particularly Shahnameh painting—experienced renewed development. Shahnameh painting involves the visual representation of the stories, characters, and major events of the Shahnameh through painting, illumination, geometric and arabesque designs, the application of gold, and other decorative techniques. As a visual medium, it has played an important role in preserving and transmitting the narratives and concepts of the Shahnameh across generations. A copy of Ferdowsi's Shahnameh, written and illustrated in the thirteenth century AH, is currently preserved in the Manuscript Museum of the Central Library of the University of Isfahan under accession number 12453. The manuscript was probably produced during the final years of the reign of Naser al-Din Shah Qajar and the early years of the reign of Mozaffar al-Din Shah Qajar. Purposes & Questions: The aim of this research is to introduce and examine a previously unstudied illustrated copy of Ferdowsi's Shahnameh and to analyze its visual and formal characteristics in relation to Qajar painting and book arts. This manuscript consists of two volumes, 613 folios in Nastaliq script and sixteen illustrated scenes executed in watercolor. It was owned by Mohammad Baqir bin Mohammad Taqi Aqanajafi Isfahani, known by the pen name “Olfat,” and is therefore referred to as the Shahnameh of Olfat. The manuscript was copied by Musa al-Musawi in a traditional four-column layout. Based on direct examination of the manuscript and supporting documentary sources, this study seeks to identify its codicological and visual features. Accordingly, the research addresses the following questions: 1) What are the identifying components of the Shahnameh of Olfat manuscript? and 2) What are its distinctive visual and formal characteristics in the illustrated scenes? Methods: This research adopts a descriptive-analytical approach. Data were collected through library and field research based on direct access to the manuscript. The study focuses on the identification and analysis of the manuscript’s visual structure, pictorial features, and stylistic characteristics. Findings & Results: The findings indicate that the manuscript contains both calligraphic text and pictorial illustrations. The text is written on ochre-colored paper, while the illustrated folios are executed in watercolor technique. The paintings display a relatively simple and direct visual language, with limited attention to fine detail. Although the identity of the painter remains unknown, the execution of certain visual elements suggests that the illustrations are likely the work of one painter. The compositions are generally organized into three spatial levels: foreground, middle ground, and background. The backgrounds typically consist of blue skies with white and gold cloud formations, while the main narrative unfolds in the central pictorial space. Landscape elements, architectural forms, and ornamental details are rendered in a simplified manner. The palette is limited, dominated by blue and orange tones, and the works are characterized by broad color fields, high horizon lines, and schematic figural representation. Overall, the illustrations rely on simplified visual interpretations of epic themes and show only partial adherence to the narrative details of the Shahnameh text. مقدمه: در عصر قاجار و تحت حمایت فتحعلی‌شاه و محمدشاه، هنر کتاب‌آرایی و به‌ویژه شاهنامه‌نگاری، احیا و رونقی دوباره یافت. نسخه‌ای نویافته از شاهنامه فردوسی که احتمالاً در سال‌های پایانی پادشاهی ناصرالدین‌شاه و اوایل پادشاهی مظفرالدین‌شاه قاجار کتابت و مصور شده است، اکنون با شمارۀ «12453» در موزۀ نسخ خطی کتابخانۀ دانشگاه اصفهان نگه‌داری می‌شود. اهداف و سؤال‌ها: هدف از این پژوهش، معرفی و تحلیل نگاره‌های این نسخه است که در شناخت نقاشی و کتاب‌آرایی دورۀ قاجار ضرورت دارد. این نسخۀ دوجلدیِ 613 صفحه‌ای که تاکنون معرفی نشده، به خط نستعلیق و با 16 مجلس نگاره به شیوۀ آبرنگ آراسته‌شده است. این شاهنامه در تملک محمدباقر بن ‌محمدتقی آقا نجفی ‌اصفهانی (متخلص به اُلفت) بوده، کاتب آن موسی الموسوی است و کتابت آن به شیوۀ مرسوم چهارستونی انجام‌یافته است. سؤالات پژوهش عبارت‌اند از: ١. مؤلفه‌های شناسایی شاهنامه اُلفت کدام‌اند؟ ٢. ویژگی‌های دیداری و وجوه مشخص فرمی در نگاره‌های شاهنامه اُلفت چیست؟ روش‌ها: این پژوهش با دسترسی مستقیم به نسخه و بهره‌گیری از اسناد و داده‌های مکتوب به روش توصیفی- تحلیلی انجام‌شده و در پی معرفی کامل و تحلیل شاخصه‌های تصویری آن است. یافته‌ها و نتایج: نتایج نشان می‌دهد که نگاره‌های این نسخه، کیفیتی خام‌دستانه دارند و کمتر به متن شاهنامه وفادار هستند. اگرچه از نقاش آن، اطلاعی در دست نیست، اما نگاره‌ها احتمالاً اثر یک هنرمند است. از ویژگی‌های بارز این نسخه می‌توان به‌وفور رنگ‌های نارنجی و آبی، وسعت سطوح تصویر و افق‌های رفیع اشاره کرد.

https://negareh.shahed.ac.ir/article_4883_1f2b325dcdaf12a68ed498273206d263.pdf

دانشگاه شاهد فصلنامه نگره 2676-7244 21 78 2026 07 01 An Aesthetic Analysis of Marginal Decoration in the Tradition of Iranian Islamic Book Arts: A Case Study of the Ilkhanid Tabriz, Timurid Herat, and Safavid Tabriz Schools تحلیل زیباشناسانۀ حاشیه‌نگاری در سنت کتاب‌آرایی ایران اسلامی (مطالعه موردی: کتاب‌آرایی مکاتب تبریز ایلخانی، هرات تیموری و تبریز صفوی) 172 195 4674 10.22070/negareh.2024.19158.3384 FA مژگان درویش کارشناس ارشد هنر اسلامی، گرایش مطالعات کتابت و نگارگری، دانشگاه علم و فرهنگ، دانشکده هنر و معماری، تهران، ایران. 0009-0002-4657-7641 جواد علیمحمدی اردکانی دانشیار، دانشکده هنر و معماری، دانشگاه علم و فرهنگ تهران، تهران، ایران. 0009-0002-0822-9611 Journal Article 2025 07 20 Introduction: Iranian visual culture encompasses a wide range of artistic and aesthetic elements that distinguish it from many other cultural traditions. Among these elements, marginal decoration occupies a significant place and has played an important role throughout the history of Iranian art. Beyond its presence in manuscript production, the concept of the margin can also be observed in architecture, pottery, carpets, textiles, and other visual arts, where supplementary and peripheral elements contribute to the overall meaning and aesthetic coherence of the work. Within the tradition of Islamic book arts, marginal decoration developed as an essential component accompanying the main text and image. Rather than functioning merely as a decorative addition, it served as a visual threshold through which the viewer entered the world of the manuscript. In the production of illuminated manuscripts, scribes, painters, and illuminators carefully organized the page, establishing a balanced relationship between the central text and the surrounding margins. Although marginal decoration possessed its own visual identity and decorative autonomy, it remained conceptually connected to and supportive of the principal content. Depending on the manuscript and historical period, marginal decoration appeared in diverse forms, including illumination, tashʿir motifs, marbled patterns, vegetal ornaments, decorative frames, grids, and linear compositions surrounding the written and pictorial text. The concept of the margin presupposes the existence of a center. Consequently, the viewer’s encounter with the text often begins through the visual language of the margins. The creation and arrangement of marginal space require artistic knowledge and aesthetic sensitivity, since the margins must complement the central composition without overwhelming it. In this respect, marginal decoration performs several important functions: it introduces the visual field, guides perception, establishes harmony, and invites the viewer into the artwork. As an integral component of artistic composition, the margin possesses its own identity, role, and meaning while simultaneously reflecting broader cultural values and worldviews. Throughout the Ilkhanid, Timurid, and Safavid periods, marginal decoration became increasingly sophisticated and visually significant. During the Safavid period in particular, marginal decoration gained such prominence that it came to be regarded as a distinct artistic practice within the tradition of Iranian manuscript arts. Artists devoted considerable attention to embellishing manuscript borders, transforming margins into spaces of artistic creativity. The framing of visual and textual content through margins contributed to the establishment of order, balance, and unity within the composition and reflected the enduring human tendency to organize and define spaces of visual attention. Purposes & Questions: This study seeks to identify and analyze the aesthetic capacities of marginal decoration within the tradition of Iranian Islamic book arts, with particular emphasis on the Ilkhanid Tabriz, Timurid Herat, and Safavid Tabriz schools The central research question asks: what aesthetic qualities and visual functions can be identified through the examination of marginal decoration in the book arts of these three major artistic schools? Methods: In terms of purpose, this research is fundamental in nature and adopts a descriptive–analytical approach based on documentary and library sources. The research population consists of selected masterpieces associated with the Ilkhanid Tabriz, Timurid Herat, and Safavid Tabriz schools. Five significant manuscripts were purposively selected for analysis: The Demotte Shahnameh, the Baysonghori Shahnameh, Saadi’s Bustan, the Shahnameh of Shah Tahmasp, and the Khamsa of Shah Tahmasp. From these manuscripts, twenty illustrations containing notable examples of marginal decoration were selected and analysed Findings & Results: The findings demonstrate that marginal decoration is not merely a decorative device but a meaningful aesthetic concept deeply rooted in Iranian culture, philosophy, and worldview. Its significance extends beyond ornamentation and reflects fundamental principles underlying Iranian artistic thought. The analysis indicates that marginal decoration contributes to the creation of a protected visual space, emphasizes the central subject, establishes compositional balance, and directs the viewer’s gaze toward the interior of the pictorial field. Through these functions, the margin mediates the relationship between the viewer and the artwork while preparing the visual experience of the main text and image. The examined examples further reveal the artists’ adherence to several recurring aesthetic principles characteristic of Iranian art, including the aesthetic principle derived from the traditional belief in the inauspiciousness of the square form, hierarchical organization, visual order, proportional relationships, and the application of coherent color systems. Together, these principles create harmony between the central composition and its surrounding space. Marginal decoration also provides a zone of visual calmness that separates and simultaneously connects the viewer to the principal content of the manuscript.The study suggests that the aesthetic role of marginal decoration should be understood as an active and meaningful component of visual structure rather than a secondary or peripheral element. By functioning as a mediator, guide, and organizer of visual experience, marginal decoration contributes significantly to the artistic unity and cultural meaning of Iranian manuscripts. Given the relatively limited scholarly attention devoted to this subject, the present research highlights an important yet underexplored dimension of Iranian visual culture and offers a framework for further studies on the aesthetic and conceptual functions of margins in Islamic book arts. مقدمه: حاشیه‌نگاری در فرهنگ تصویری ایران جایگاه و اهمیت ویژه‌ای دارد. این عنصر بصری در تمامی آثار هنری، ازجمله در نقوش برجسته، ظروف سفالی و فلزی، فرش، پوشاک، منسوجات، معماری و تزیینات وابسته به آن مانند کاشی‌کاری و به‌ویژه در هنر کتاب‌آرایی ایران، مشهود است. حاشیه‌نگاری در آثار هنری ایران دارای هویت مستقل و کارکردهای گوناگونی بوده و در دوره‌های مختلف دستخوش تحولات ساختاری شده است. اهداف و سؤال‌ها: هدف از انجام این پژوهش، دستیابی به قابلیت‌های زیبایی‌شناختیِ حاشیه‌نگاری در سنت کتاب‌آرایی دوران اسلامی ایران و به‌ویژه در هنر کتاب‌آرایی دوره‌های ایلخانی، تیموری و صفوی است. این مطالعه در پی پاسخ به این پرسش است که با بررسی حاشیه‌نگاری در سنت کتاب‌آرایی دوره‌‌‌های ایلخانی، تیموری و صفوی چه قابلیت‌های زیباشناختی را می‌توان شناسایی کرد؟ روش‌ها: این پژوهش ازنظر هدف، بنیادی بوده که با رویکرد توصیفی- تحلیلی انجام‌شده است؛ همچنین گردآوری اطلاعات به روش اسنادی و کتابخانه‌ای صورت پذیرفته است. یافته‌ها و نتایج: نتایج حاصل از بررسی‌ها حاکی از آن است که حاشیه‌نگاری، مفهومی زیباشناختی و یکی از عناصر مهم هنر ایران است که از اصول و اندیشه‌های حکمی و عرفانی نشأت گرفته و ریشه در باورها و جهان‌بینی شرقی دارد. ازجمله این مفاهیم و شاخص‌ها می‌توان به ایجاد حریم امن، برجسته کردن موضوع و تأکید بر آن و معطوف کردن نگاه بیننده به درون قاب اشاره کرد. همچنین با تحلیل ویژگی‌های این عنصر بصری، به پایبندی هنرمند به اصولی چون اصل نحوست تربیع، اصل سلسله‌مراتب و پیروی از نظام رنگی خاص پی بردیم که همگی از ارکان زیباشناسی هنر ایران‌ به شمار می‌روند. هدف از به‌کارگیری آن‌ها همانا بهتر دیده شدن اثر، آماده کردن نگاه مخاطب برای ورود به متن اصلی، ایجاد فضایی برای سکون و سکوت بصری و برقراری اتصال‌ میان نگاه بیننده و اثر بوده است.

https://negareh.shahed.ac.ir/article_4674_1f5795e7b93f423c397e6f7aaff80133.pdf

دانشگاه شاهد فصلنامه نگره 2676-7244 21 78 2026 07 01 Typology of Motifs in Horse Blankets Depicted in the Paintings of the Shahnameh of Shah Tahmasp گونه‌شناسی نقشمایه‌های برگستوان جامگی اسبان در نگاره‌های شاهنامه طهماسبی 198 225 4695 10.22070/negareh.2025.19788.3450 FA ناهید جعفری دهکردی استادیار، گروه صنایع‌دستی، دانشکده هنر و علوم انسانی، دانشگاه شهرکرد، شهرکرد، ایران. 0000-0003-1828-9159 سیدمحمدرضا طبسی دانش‌آموخته دکتری پژوهش هنر، دانشکده پژوهش‌های عالی هنر و کارآفرینی، دانشگاه هنر اصفهان، اصفهان، ایران. 0000-0002-9367-5095 Journal Article 2025 11 18 Introduction: Throughout history, horses have symbolized qualities such as courage, nobility, endurance, and freedom in many cultures. Initially, the relationship between humans and horses was primarily based on transportation, herding, and agriculture. Over time, horses became essential for riding, hunting, warfare, and military campaigns. They played a significant role in maintaining political authority, suppressing rebellions, and expanding territorial control. The mobility and strength of horses enabled riders to confront threats and contributed to the military and political dominance of states. During the Safavid period, with the support of the royal court, many arts and crafts, including book arts and textiles, reached a remarkable level of excellence. Textile production developed in close connection with contemporary painting, and many textile designs were created by skilled painters. As a result, highly refined textiles were produced through diverse techniques and decorative approaches. Among the various forms of equestrian equipment was the horse blanket, a type of horse covering produced in different forms, materials, and designs. Some blankets protected only vulnerable parts of the horse, such as the head, neck, or withers, while others covered most of the body, excluding the legs, tail, ears, eyes, mouth, and underbelly. This form of protection, known as horse armor, appears to have become widespread during the Safavid period and gradually replaced earlier forms of limited protective covering. One of the most important primary sources depicting such horse equipment is the Shahnameh of Shah Tahmasp. Its illustrations present horse armor and saddlery made not only of metal but also of richly decorated textiles, revealing aspects of the textile industry and artistic achievements of Safavid Iran during the reign of Shah Tahmasp. Although no surviving examples of Safavid horse blankets have been identified, historical texts, literary sources, and manuscript paintings provide valuable evidence for their reconstruction. The Shahnameh of Shah Tahmasp is therefore an important visual source for examining the forms and decorative designs of this largely lost artistic tradition. Since few material traces of this Safavid art industry remain, studying these visual documents is essential for understanding and reconstructing an important aspect of Iranian cultural heritage. Purposes & Questions: This study aims to describe and analyze thirty-seven selected examples of horse blankets depicted in the illustrations of the Shahnameh of Shah Tahmasp. The research seeks to identify the types of horse blankets represented in the manuscript and to answer the following question: What decorative patterns and motifs were applied to the textile surfaces of these horse blankets? Methods: This research was conducted using a descriptive-analytical method within a qualitative framework. Thirty-seven selected examples of horse blankets depicted in the illustrations of the Shahnameh of Shah Tahmasp were examined and comparatively analyzed to classify their motifs and decorative structures. Findings & Results: The findings indicate that the diversity of horse blankets depicted in the Shahnameh of Shah Tahmasp provided artists with an opportunity to demonstrate their creativity and artistic capabilities. While these depictions reflect certain aspects of Safavid material culture, they should not be regarded solely as representations of historical reality. Rather, they also served as a visual field through which artists expressed their imagination and creative power. Safavid painters created innovative combinations of form and ornament in their depiction of horse blankets. The decorative patterns identified on the horse blankets can be classified into three principal groups: vegetal, animal, and abstract designs. Vegetal motifs include arabesque and Khatai patterns. Animal motifs include hunting animals, ducks, and mythical creatures. Abstract designs encompass geometric, lattice, fractal, and simple abstract patterns. The diversity of these motifs demonstrates the artistic richness of Safavid visual culture and the close relationship between painting and textile design. The findings further suggest that horse blankets were commonly used during the Safavid period as protective coverings for horses maintained in a state of readiness. Since the royal stables and the royal workshop were both associated with the court environment, artists were familiar with horses and equestrian equipment. Nevertheless, the depictions found in the Shahnameh of Shah Tahmasp appear to represent an idealized vision rather than a purely documentary record. The painters either imagined horses appearing in the same elegant and perfected form during warfare as in ceremonial settings, or they believed that a royal manuscript such as the Shahnameh of Shah Tahmasp should portray all elements in their most perfect and harmonious state. The evidence suggests a combination of both interpretations. From the perspective of Safavid court artists, whether in scenes of celebration or battle, royal life was represented in its ideal form. مقدمه: برگستوان جامگی نوعی پوشش برای اسب بوده است که با اشکال و فرم‌های متنوع، ماده اولیه گوناگون و طرح‌های مختلف تولید می‌شده است. برخی از برگستوان‌ها تنها بخش‌هایی از بدن اسب، مانند مرکب یا سر و گردن آن‌ها را که در هنگام نبرد آسیب‌پذیرتر بودند، می‌پوشاندند و برخی دیگر تمام بدن اسب را به‌جز پاها، دم، زیر شکم، گوش‌ها، چشم‌ها و دهان، در برمی‌گرفتند. این نوع برگستوان که در پژوهش حاضر با عنوان «تن‌‌پوش» یا «تن‌پوش اسبان» معرفی می‌شود، به نظر می‌رسد در دورۀ صفوی به‌طور گسترده رواج یافته و به‌تدریج جایگزین انواع کوچک‌تر برگستوان شده است. شواهد موجود در نسخۀ شاهنامه طهماسبی به‌درستی گویای این نکته است. اهداف و سؤال‌ها: این پژوهش باهدف شناسایی گونه‌های برگستوان جامگی در نگاره‌های شاهنامه طهماسبی انجام‌شده و در پی پاسخ به این پرسش است که چه نقوشی بر سطح منسوجات این برگستوان‌ها اجرا شده‌اند؟ روش‌ها: پژوهش حاضر با رویکردی توصیفی ـ تحلیلی و بر پایۀ مطالعات اسنادی، به بررسی و واکاوی ۳۳ نمونه منتخب از نگاره‌های این نسخه مصور پرداخته است. یافته‌ها و نتایج: یافته‌های پژوهش نشان می‌دهد، تنوع تن‌پوش اسبان شاهنامه طهماسبی، افزون بر بازنمایی بخشی از واقعیت‌های عینی دورۀ صفوی، عرصه‌ای برای نمایش توانایی‌ها و خلاقیت هنرمندان آن عصر نیز بوده است. ازاین‌رو، برگستوان‌های اسبان شاهنامه طهماسبی بیش از آن‌که بازتابی دقیق از واقعیت‌های موجود باشند، زمینه‌ای ذهنی برای تجلی قدرت خلاقیت و آفرینشگری هنرمندان به شمار می‌آیند. به نظر می‌رسد هنرمندان یا اسب‌های جنگی را در قالبی آرمانی، زیبا و ایدئال تصور می‌کرده‌اند یا بر این باور بوده‌اند که اثری فاخر همچون شاهنامه طهماسبی باید همۀ عناصر خود را در اوج کمال، اعتدال و شکوه به تصویر بکشد. بر این اساس، وضعیت موجود، ترکیبی از این دو دیدگاه است. هنرمندان معتقد بودند آنچه از منظر شاهانه می‌گذرد، در حالت آرمانی آن است؛ چه در بزم باشد، چه در رزم. این تن‌پوش‌ها که ترکیبی از نقوش گیاهی (اسلیمی و ختایی)، حیوانی (حیوانات شکارگاهی و موجودات اساطیری) و طرح‌های آزاد (هندسی و مشبک) هستند، جلوه‌ای از ذوق، خلاقیت و مهارت صنعتگران و هنرمندان دورۀ صفوی را به نمایش می‌گذارند.

https://negareh.shahed.ac.ir/article_4695_5034a5d62f91942d2a7aeaf527dfe111.pdf

دانشگاه شاهد فصلنامه نگره 2676-7244 21 78 2026 06 22 Representation of the Human Face and Body in Hayek Ojaghian's Movie Posters in Iran )1950s and 1960s): An Analysis Based on Gillian Dyer's Method تحلیل بازنمود چهره و پیکر انسانی در اعلان‌های سینمایی هایگ اُجاقیان در دهۀ 30 و 40 ه. ش ایران بر مبنای روش گیلیان دیر 228 247 4935 10.22070/negareh.2025.19048.3370 FA نرجس مومنی کارشناس ارشد ارتباط تصویری، دانشکده هنرهای تصویری، پردیس هنرهای زیبا، دانشگاه تهران، تهران، ایران. 0009-0006-1034-6437 Journal Article 2025 07 26 Introduction: The history of movie posters in Iran predates the development of Iranian cinema itself. With the introduction of modern theater during the Naseri period, theatrical advertising gradually emerged and continued to develop until the end of the Qajar era. In the early fourteenth century SH, the first theatrical advertisements were produced in Tabriz using lithographic and letterpress printing techniques. Like other printed materials of the period, these advertisements featured Nastaliq script and highly symmetrical compositions. Their decorative borders and frames were influenced by Western models. Over time, the use of photographs in advertisements increased. One of the earliest cinema advertisements appeared on Lalehzar Street in Tehran, inviting audiences to attend screenings at Faros Cinema. The visual limitations of early advertisements were largely determined by available printing technologies and the constraints of movable type. Consequently, images of actors were absent from the earliest movie posters, and emphasis was placed instead on the names of performers and film titles. Following the interruption of Iranian film production between 1317 and 1326 SH (1938–1947), film advertising continued to develop. During this period, Western models became an important source of inspiration for Iranian cinematic publicity. As Iranian cinema revived after 1327 SH, calligraphers and painters became increasingly involved in poster production, initially by adapting and redesigning the Persian titles of foreign film advertisements. During the 1330s SH, Armenian artists played a major role in shaping Iranian cinema graphics. The history of cinematic graphic design in this period is closely associated with figures such as George Gazarov, Misha Geragosian, and Hayek Ojaghian. Ojaghian entered the field of cinema advertising through the design of film banners and later became one of the most influential poster designers of his generation. Purposes & Questions: This study aims to examine the work of Hayek Ojaghian and analyze the visual characteristics of his movie posters. It seeks to answer the following questions: What are the main visual features of Hayek Ojaghian’s movie posters? How do the human face and body function in his poster designs according to Gillian Dyer’s analytical framework? Methods: This research is fundamental in nature and adopts a descriptive-analytical approach. Data were collected from written sources and reliable online archives. Twelve posters by Hayek Ojaghian were selected through purposive sampling and analyzed using Gillian Dyer’s method. The study combines quantitative content analysis with visual analysis in order to examine the representation of the human face and body in the selected posters. Findings & Results: The findings indicate that Hayek Ojaghian was among the earliest prominent designers of Iranian cinema posters and banners. His works were primarily executed through painting and color illustration, with particular emphasis on the faces of actors. Facial and bodily representations are characterized by volumetric modeling, subtle shading, and the use of intermediate tonal values. Through asymmetrical compositions, Ojaghian created dynamic and visually engaging designs. His color palette is diverse, although warm colors predominate in most examples. The posters reveal a strong tendency toward narrative and descriptive representation. In many cases, a large image of the principal actor occupies the upper section of the composition, while smaller scenes depicting emotional, dramatic, or criminal events appear below. Although the arrangement of textual elements does not always follow a fixed compositional system, the design of the main title is generally more structured than that of comparable posters from the same period. Ojaghian frequently employed newspaper-inspired lettering in his title designs. His posters are among the earliest examples of Iranian cinema advertising to prominently display the names of actors and other production details. The analysis further demonstrates that Ojaghian’s posters were largely produced through straightforward painting and typographic techniques, with limited conceptual experimentation. Their overall composition was strongly influenced by American movie posters, particularly in the arrangement of portraits and visual hierarchy. While both male and female figures appear in the posters, the visual emphasis is predominantly male-oriented. The depicted characters serve an expressive function, with facial expressions and bodily gestures communicating the emotional tone and narrative direction of the film. Half-length portraits occur more frequently than head-only or full-length representations. Moreover, comparison of posters from the 1330s and 1340s SH indicates an increase in the number of depicted figures over time, reflecting changing trends in Iranian cinematic advertising and visual communication. مقدمه: تاریخ اعلان فیلم در ایران قدمتی بیش از خودِ سینما در این کشور دارد. نخستین اعلان سینما، دعوتی برای تماشای فیلمی در سینما فاروسِ تهران بود. در اولین نمونه‌های اعلان فیلم در دهۀ 1300 ه. ش اثری از چهرۀ بازیگران در متن اعلان‌ها دیده ‌نمی‌شود، اما از سال ۱۳۲۷ ه. ش و با تجدید حیاتِ دوبارۀ سینمای ایران، فعالیت خطاطان و نقاشان در این حوزه گسترش یافت. طراحان مهاجر ارمنی، هنرمندانِ اصلی طراحی اعلان‌ها و سردرهای سینمایی ایران در دهۀ ۱۳۳۰ ه. ش بودند. اهداف و سؤال‌ها: پژوهش حاضر باهدف معرفی هایگ اُجاقیان، به تحلیل اعلان‌های سینمایی او می‌پردازد. ازاین‌رو، در پی پاسخ‌گویی به این سؤالات است که اعلان‌های سینمایی هایگ اُجاقیان دارای چه ویژگی هستند؟ و مؤلفه‌هایی چون چهره و پیکر انسانی در اعلان‌های سینمایی او، بر مبنای روش گیلیان دیر، چه کارکردی داشته‌اند؟ روش‌ها: پژوهش حاضر با روش توصیفی - تحلیلی انجام‌شده است. ازنظر هدف در زمره پژوهش‌های بنیادی و ازنظر داده، پژوهشی کیفی به شمار می‌آید. گردآوری داده‌ها با بهره‌گیری از اسناد مکتوب و منابع معتبر اینترنتی صورت گرفته است. یافته‌ها و نتایج: نتایج این پژوهش نشان می‌دهد که آثار هایگ اُجاقیان با تکیه‌بر قدرت دست در نقاشی، پرداخت دقیق جزئیات، حروف‌نگاری ساده و با تأکید بر عنصر تصویریِ چهره و بدن بازیگران شکل گرفته‌اند. ترکیب‌بندی اغلب آثار او به تقلید از اعلان‌های آمریکایی، چیدمان پرترهها در کنار هم است، به همین دلیل حضور ایده در اعلان‌های وی کمتر به چشم می‌خورد. فضای اعلان‌های او عمدتاً در اختیار مردان و زنان جوان است؛ اما درمجموع، اعلان‌های فیلم وی مرد محور‌ طراحی‌شده‌ و شخصیت‌ها کارکردِ بیانی دارند؛ بدین معنا که نمایش صریح حالات چهره و پیکر‌ها به روایت، مضمون یا فضای فیلم اشاره می‌کند. نمایش نیم‌تنۀ بازیگران در اعلان‌های موردِمطالعه بیش از نمایش سر یا پیکر کامل آنان دیده می‌شود و هرچه از اعلان‌های دهۀ ۳۰ به‌سوی دهۀ ۴۰ حرکت می‌کنیم، بر تعداد عناصر و ابژه‌های تصویری حاضر در اعلان‌ها افزوده‌ می‌شود.

https://negareh.shahed.ac.ir/article_4935_991327d63593b0ba2c45618bf81f6a64.pdf

دانشگاه شاهد فصلنامه نگره 2676-7244 21 78 2026 06 22 A Comparative Study of the Illustrations of Alexander's Wall Against Gog and Magog in the Manuscript Daqāʼiq al-Ḥaqāʼiq by Nasir al-Din Muhammad Haikali (d. 671/1272) and the Catalan Atlas (776/1375) مطالعۀ تطبیقی نگارۀ سد اسکندر در مقابل یأجوج و مأجوج در نسخۀ خطی دقایق الحقایق نصیرالدین محمد هیکلی (671ه. /1272م.) و نقشۀ کاتالان (776ه./1375م.) 250 269 4796 10.22070/negareh.2025.19986.3485 FA فائزه رضایی دانشجوی تاریخ تطبیقی تحلیلی هنر اسلامی، دانشگاه هنر، تهران، ایران. 0009-0004-3959-355X علیرضا طاهری استاد، دانشکده علوم نظری و مطالعات عالی هنر، دانشگاه هنر، تهران، ایران. Journal Article 2026 01 07 Introduction: The narrative of Alexander’s Wall against Gog and Magog occupies an important place in both Islamic and Christian traditions. In Islamic sources, Alexander is often identified with Dhul-Qarnayn, a Qurʾanic figure associated with divine guidance and moral responsibility. The manuscript Daqāʾiq al-Ḥaqāʾiq reflects this perspective by emphasizing the completed construction of the wall and the divine protection associated with it. Unlike many other visual representations of the story, this manuscript omits the figures of Alexander, Gog, and Magog. Instead, it focuses on the defensive structure of the wall and associated magical devices, including mounted figures holding musical instruments atop towers. In contrast, the Catalan Atlas combines historical narrative with eschatological expectations characteristic of the medieval Christian worldview, in which history and theology are closely intertwined. Alexander is portrayed as a Christian ruler confronting apocalyptic forces with the aid of divine and supernatural powers. The image includes vivid representations of Gog and Magog and extends the narrative toward an anticipated eschatological future. Through its elaborate visual language, rich colors, and detailed imagery, the Catalan Atlas reflects a European cartographic tradition that integrates geographical knowledge with theological concepts. This study comparatively examines the representation of Alexander’s Wall against Gog and Magog in these two significant medieval works, exploring how a shared narrative was adapted within different cultural, religious, and artistic contexts. Purposes & Questions: This study aims to compare the visual representation of Alexander’s Wall against Gog and Magog in Daqāʾiq al-Ḥaqāʾiq, a thirteenth-century Islamic manuscript attributed to Nasir al-Din Muhammad Haikali (d. 671/1272), and the Catalan Atlas (776/1375). It addresses the following question: How do these two works visually narrate the story of Alexander’s Wall, and what theological, artistic, and historical perspectives are reflected in their representations? Methods: The research adopts a descriptive-analytical comparative approach based on the visual and symbolic examination of primary sources. Data were collected through a detailed study of the illustrations in Daqāʾiq al-Ḥaqāʾiq and the Catalan Atlas. The analysis employs a qualitative approach to interpret artistic styles, symbolic elements, and narrative structures in order to identify thematic patterns and cross-cultural influences. Findings and Results: The findings reveal both significant similarities and notable differences between the two depictions. In both works, magical devices function as symbols of divine protection against Gog and Magog. In Daqāʾiq al-Ḥaqāʾiq, mounted figures positioned atop towers convey vigilance and supernatural intervention, whereas in the Catalan Atlas, bronze trumpets produce frightening sounds that serve a protective function. In both cases, sound operates as a symbolic mechanism of defense sanctioned by divine power. Despite these common features, the two works differ substantially in their theological orientation and narrative emphasis. The Islamic manuscript presents Alexander as Dhul-Qarnayn and highlights divine guidance, moral authority, and the completed achievement of constructing the wall. By avoiding dramatic scenes of confrontation, it adopts a restrained and reflective visual language that emphasizes divine protection through symbolic rather than narrative means. The Catalan Atlas, by contrast, incorporates apocalyptic themes and portrays Alexander as a Christian ruler engaged in a struggle against forces associated with the end of time. Gog and Magog are represented as agents of disorder, confined behind the wall until their prophesied future release. This interpretation combines the memory of Alexander’s achievements with eschatological expectation and reflects a worldview in which historical and theological narratives are closely connected. The comparison further demonstrates how a shared narrative could be reshaped to address different ideological and cultural concerns. While the Islamic image emphasizes divine order, protection, and moral authority, the European example foregrounds prophecy, eschatology, and the anticipation of future events. At the same time, both visual narratives reveal common symbolic structures that transcend cultural boundaries. The use of sound as a protective force, the conception of the wall as a divinely sanctioned barrier, and the presence of supernatural elements illustrate the circulation and adaptation of ideas across different intellectual traditions. Overall, the study highlights the role of visual representation in medieval intercultural exchange. Although each work reflects the specific religious and artistic context in which it was produced, both demonstrate how shared narratives could be reinterpreted through distinct visual strategies. The analysis contributes to a deeper understanding of interactions between Islamic and Christian traditions, demonstrating how the story of Alexander’s Wall functioned both as a point of cultural convergence and as a marker of religious and ideological difference. مقدمه: داستان سد اسکندر در برابر یأجوج و مأجوج یکی ازجمله روایت‌هایی است که در فرهنگ‌ها و ادیان مختلف به اشکال گوناگون بازگو شده است. این داستان نه‌تنها در منابع اسلامی، بلکه در متون یهودی و مسیحی نیز اهمیت دارد و در ادبیات غرب و اروپا نیز بازتاب‌های متعددی یافته است. روایت ساخت این سد موضوع یکی از نگاره‌های نسخۀ خطی دقایق الحقایق نصیرالدین محمد معزم هیکلی 671ه. /1272م و نیز بخشی از نقشۀ کاتالان 776ه./1375م را شکل می‌دهد. اهداف و سؤال‌ها: این مقاله به تطبیق نگارۀ سد اسکندر در برابر یأجوج و مأجوج در نسخۀ خطی دقایق الحقایق و نقشۀ کاتالان می‌پردازد. هدف پژوهش، بررسی چگونگی بازتاب داستان مشترک سد اسکندر در این دو اثر تصویری است که از دو سنت هنری و فرهنگی کاملاً متفاوت سرچشمه گرفته‌اند. پرسش‌ اصلی پژوهش این است که این دو اثر چگونه به روایت این داستان پرداخته‌اند؟ روش‌ها: جمع‌آوری اطلاعات با استفاده از منابع کتابخانه‌ای انجام‌شده است. ضرورت و اهمیت پژوهش در بررسی تعاملات میان‌فرهنگی و نقش داستان‌های جهان‌شمول در شکل‌دهی به هنر و روایت‌های تصویری نهفته است. یافته‌ها و نتایج: نتایج پژوهش نشان می‌دهد که نگارۀ دقایق الحقایق با نمایش سد اسکندر، پیکره‌های طلسمی و تأکید بر آیات قرآن، اسکندر را به‌عنوان ذوالقرنین قرآنی بازنمایی می‌کند؛ درحالی‌که نقشۀ کاتالان با بازنمایی خروج قوم یأجوج و مأجوج همراه با رهبرشان، از رویکردی جغرافیایی و آخرالزمانی بهره می‌گیرد و این روایت را با مفاهیم مسیحی پیوند می‌دهد.

https://negareh.shahed.ac.ir/article_4796_c96ebeee051996333b6d70b2da6191b0.pdf

دانشگاه شاهد فصلنامه نگره 2676-7244 21 78 2026 06 22 Visual and Semiotic Analysis of Non-Narrative Motifs in the Wall Murals of Qajar Houses in Amol تحلیل بصری و معنایی نقوش غیر روایت‌محور در دیوارنگاره‌های خانه‌های تاریخی شهر آمل در دورۀ قاجار 251 295 4936 10.22070/negareh.2025.20170.3514 FA ثمره رضائی دانشجوی دکتری تاریخ تطبیقی و تحلیلی هنر اسلامی، دانشکده هنر، دانشگاه آزاد اسلامی، واحد تهران مرکزی، تهران، ایران. 0000-0003-2943-4921 محمدرضا شریف زاده استاد، دانشکده هنر، دانشگاه آزاد اسلامی، واحد تهران مرکزی، تهران، ایران. 0000-0002-8965-9287 کاوه بذرافکن استادیار، دانشکده معماری، دانشگاه آزاد اسلامی، واحد تهران مرکزی، تهران، ایران. 0000-0002-5106-3699 Journal Article 2025 02 24 Introduction: The wall murals of Qajar-era houses in Amol reflect the complex artistic and cultural interactions of the period and represent a distinctive combination of floral, animal, and geometric elements that together form a coherent visual system within architectural decoration. Owing to East–West cultural exchanges during the Qajar period, Iranian art and architecture underwent significant developments in both style and decorative expression. Nevertheless, most existing studies have focused on narrative and symbolic motifs associated with religious or mythological themes, while comparatively little attention has been paid to non-narrative motifs despite their important role in shaping the visual identity of architecture in northern Iran. Examining these motifs provides an opportunity to better understand the aesthetic values, cultural meanings, and decorative traditions embedded in Qajar architectural ornamentation. Purposes & Questions: This study aims to identify the dominant themes present in the wall murals of Qajar houses in Amol and to analyze the symbolic meanings of non-narrative motifs, particularly floral, animal, and geometric forms, within the context of local beliefs and aesthetic traditions. The research addresses the following questions: (1) What thematic elements are represented in the wall murals of these historical houses? (2) What symbolic meanings are conveyed through the geometric, floral, and animal motifs employed in these architectural decorations? Methods: This research adopts a qualitative approach based on a descriptive-analytical method. Data were collected through library research, field observation, photographic documentation, and semi-structured interviews with local residents and specialists familiar with the region’s architectural heritage. The research population consisted of thirteen Qajar-era houses in Amol identified through field surveys. Among these, eight houses were selected through purposive sampling based on their state of preservation, structural integrity, and accessibility for documentation. The study focuses specifically on non-narrative motifs that could be clearly observed and systematically analyzed. Data were examined through a semiotic approach emphasizing both the visual structure and symbolic content of the motifs. The visual elements identified in the murals were classified into five categories: floral, animal, geometric, human, and symbolic. The present study concentrates exclusively on floral, animal, and geometric forms, while human and symbolic motifs were excluded because of their stronger association with religious, mythological, and narrative contexts. By focusing on non-narrative motifs, the research seeks to contribute to a more comprehensive understanding of the decorative vocabulary of Qajar architecture in northern Iran and to provide insights relevant to the preservation of architectural heritage. Findings & Results: The findings reveal that non-narrative motifs constitute an important component of the visual language of Qajar domestic architecture in Amol. Although often regarded as purely decorative elements, these motifs carry symbolic meanings closely connected to local cultural values and aesthetic perceptions. Within the animal category, the peacock appears as a symbol of protection against evil, the dove represents blessing and auspiciousness, the rabbit is associated with intelligence and victory, and the shaneh-be-sar (a mythical bird in Iranian folklore) functions as a metaphor for the ideal or perfected human being. Certain animal motifs, such as the deer and lion, were excluded from the analysis because they appeared only within narrative scenes, including hunting compositions and symbolic human–animal interactions, rather than as independent decorative motifs. Among floral motifs, the cypress tree symbolizes immortality and the concept of the Tree of Life, while vase compositions contribute to visual rhythm, decorative balance, and compositional harmony across architectural surfaces. Geometric motifs also play a significant role in organizing visual space. In particular, the shamseh (sunburst) motif emerges as one of the most prominent decorative elements, symbolizing order, energy, movement, and harmony within the architectural environment. The analysis demonstrates that these motifs perform functions that extend beyond ornamentation. Through their symbolic associations and visual organization, they contribute to the formation of cultural identity and reinforce the aesthetic character of architectural space. The findings further indicate that local craftsmen responded creatively to religious beliefs, environmental conditions, and social influences by incorporating culturally meaningful motifs into architectural decoration. As a result, the wall murals of Qajar houses in Amol should be understood not only as decorative programs but also as visual expressions of cultural memory and collective values. Overall, the study highlights the close relationship between artistic motifs and cultural meanings in Qajar-era architecture. The examined non-narrative motifs, despite their apparent simplicity, reveal complex layers of symbolism and play an important role in shaping the visual identity of traditional architecture in northern Iran. Understanding these motifs contributes to a deeper appreciation of Qajar aesthetics and provides a valuable basis for the preservation and continuity of cultural heritage. مقدمه: دیوارنگاره‌های خانه‌های قاجاری آمل بازتابی از تعاملات پیچیده هنری و فرهنگی این دوره‌اند که در آن، تلفیقی از نقوش گیاهی، حیوانی و هندسی به چشم می‌خورد. تعاملات فرهنگی شرق و غرب در دورۀ قاجار موجب تحول و نوآوری در هنر و معماری ایران شد و زمینه را برای شکل‌گیری زبان بصری جدیدی در تزئینات معماری فراهم کرد. اهداف و سؤال‌ها: این پژوهش باهدف شناسایی مضامین دیوارنگاره‌های خانه‌های قاجاری آمل و بررسی معانی نقوش غیر روایت‌محور انجام‌شده است. پرسش‌های اصلی عبارت‌اند از: ۱. چه مضامینی در این دیوارنگاره‌ها وجود دارد؟ ۲. نقوش گیاهی، حیوانی و هندسی چه مفاهیم معنایی را منتقل می‌کنند؟ روش‌ها: روش پژوهش توصیفی–تحلیلی بوده و داده‌ها از طریق مطالعات کتابخانه‌ای، مشاهدۀ میدانی، عکاسی و مصاحبه با بومیان منطقه گردآوری شده‌اند. نمونه‌ها با توجه به معیارهایی مانند سلامت ساختاری و امکان مستندسازی انتخاب‌شده و تحلیل نقوش بر اساس رویکرد نمادشناسی انجام‌گرفته است. یافته‌ها و نتایج: یافته‌ها نشان می‌دهد که دیوارنگاره‌های این خانه‌ها در پنج دستۀ گیاهی، حیوانی، هندسی، انسانی و نمادین قابل طبقه‌بندی‌اند. بااین‌حال، تمرکز پژوهش بر نقوش غیر روایت‌محور (گیاهی، حیوانی و هندسی) است. در نقوش حیوانی، طاووس نماد حفاظت، کبوتر نماد برکت، خرگوش نماد درایت و پیروزی و شانه‌به‌سر نماد انسان کامل است. در نقوش گیاهی، درخت سرو نماد درخت زندگی و نقوش گلدانی عناصر ایجادکنندۀ تعادل بصری‌اند. همچنین شمسه تنها نقش هندسی برجسته در این آثار است که مفاهیمی چون هماهنگی، انرژی و پویایی را بازنمایی می‌کند. درمجموع، این نقوش بازتابی از پیوند عمیق باورهای فرهنگی با تزئینات معماری دورۀ قاجار هستند و مطالعۀ آن‌ها می‌تواند در شناخت بهتر هویت بصری و حفاظت از میراث معماری منطقه مؤثر باشد.

https://negareh.shahed.ac.ir/article_4936_64a7157cf3932bf74755aa3cf586f2ec.pdf