ISLAMIC ART
Year:2019 | Volume:15 | Issue:34 |Papers Count:14

The valuable work of Shahnameh, Ferdowsi Tusi is well-known and famous epic in Persian, by the people of Iran has for a long time been considered, and due to the story’ s context of this art work throughout history, this combination enabled us to build a close relationship with it. This unique collection contains narratives of the heroes of the Shahnameh and other Iranian heroic texts, tangled with symbolic and mythical themes. To the extent, reflections of Ferdowsi's themes and concepts can be seen in various works such as Mazandaran artworks. As far as it's a nice replication on the strength of the themes and concepts of Ferdowsi's Shahnameh which is seen especially in various works contained in the art works of Mazandaran. The purpose of writing this article is the evaluation and analysis of the symbolic themes of Ferdowsi's Shahnameh in the art works of Mazandaran, through descriptive-analytical method, based on quantitative content analysis and the data derived from observation, library studies. In other words, examples of the artistic works of this area proved almost symbolic for the themes of the Shahnameh which were classified and analyzed. The results of this research show that although the symbols commonly are used in some of these the artistic works have undergone a profound industrial change, however, a wide range of uses of symbolic and mythological for themes of Ferdowsi's Shahnameh can be mentioned in them. The research Aims: 1. Evaluation and analysis of the Ferdowsi's Shahnameh symbolic themes in the Mazandaran artworks. 2. 2. Classifying and analyzing examples of Mazandaran artworks that includes the symbolic themes of the Shahnameh. The research questions: 1. How can the symbolic elements of the Ferdowsi Shahnameh be explained in Mazandaran artworks? 2. 2. Why is Mazandaran sometimes symbolic manifestations in Ferdowsi's Shahnameh and what is the reason for this unique influence?

Story of Layla and Majnun is one of most famous literary works which has attracted all artists and made enrich their works. due to a solidarity of literature with painting, painters among these artists, revived a process of making illustrated works, which were surely transfer of poets thinking. In this regard, the literature of Shahnameh and Khamseh has a special position. Considering influence of the Safavid painters in royal workshops and effect of painting on other arts fields, including weaving, it is possible to find effects of literature on motifs of these woven fabrics. A main purpose of this paper is to identify and study common points of literature with images and motifs of this story on textiles in Safavid era and to identify a relationship between painters and textile designers. findings of this paper show that themes of lyric poetry are reflected in motifs of textiles and images. Because these stories have been cultural commonalities, and painters in this period have been fabric designers too, considering a comparison of Nizami poem in painting and textile-weaving. Research purpose: 1. identifying and studying common points of literature with images and motifs of this story will perform on textiles in Safavid era. 2. a relationship between painters and textile designers in the Safavid era will make clear. Research questions: 1. what kind of a relationship is between painters and proficient designers at textileweaving? 2. To what extent, painters and textiles designers have been loyal to literature?

Traditional arts such as plaster, tiling and brickwork are very important in Iranian architecture especially in mosque architecture. With the arrival of Islam in Iran, we have witnessed a great transformation in the form, content and place of the implementation of these arts in architecture, which is the result of the socio-religious context of the societies. Since the advent of Islam in Iran, we have witnessed extensive physical and non-structural changes in the architecture of mosques. Formation of arrays in different historical periods has affected the various factors, including the socio-political context of societies. The present study describes and studies the arrays of the Jameh mosque in Varamin in order to understand the thoughts of Shia religion and the process of changes in its form and content and to examine the effect of social context as one of the factors involved in this transformation. The questions raised in this study are:-What are the motifs attributed to the Shia religion in the main mosque of Varamin? 2. The social context and historical events of the seventh century. Is it involved in the use of Shi'i arrays in the comprehensive mosque in Varamin? The goal of this article is the study of designs which their symbolic aspects contain Shiite thinking. The research method is descriptive-analytical and published material is used. According to research finding we conclude on how to change the method of execution (plaster casting and color tiling), the use of natural plant designs in a complex and semantic geometric form, the theme of inscriptions (using Quranic verses, holy names Imams, and Hadiths), and the location of the use of arrays in the interior of the sanctuary to the outer space, and further elaborates and reinforces Shiite thought in calligraphic arrays to emphasize the rule of the time on Shi'a religion.

Sash windows are windows where the glazed panels are opened by sliding vertically with colored glasses that can pass sunlight with different colors in proportion to the hours and intensity of radiation. Masouleh historical city is one of the areas with the most remarkable sash windows in its architecture. In this research, it is tried to categorize various types of sash windows in Masouleh historical city. It is also tried to analyze and evaluate the visual, structural, functional and light features of sash window. The present research has used field method and descriptive-analytic studies to achieve these goals. The results of the research indicate that sash windows in Masouleh can be categorized in 6 different types of diverse sash windows, such as non-porous market sash windows, double glazed one-Daraki sash windows, two-Daraki sash windows, three-Daraki sash windows, four-Daraki sash windows, and five-Daraki sash windows. Also, by reviewing and analyzing the visual and structural features of Masouleh's sash window, the main reasons for the appearance of different types of sash windows are as follows: creating more human dimensions in the dimensions of the openings, creating a suitable covering (Hijab) for users in the interior, creating visual visibility proportional to user-friendly conditions (Animating), increasing physical protection from older users and children, reducing energy consumption, as well as weight reduction in buildings in order to reduce vulnerability to earthquakes. Research objectives 1. Investigating, introducing and categorizing different types of sash windows in Masouleh historical city. 2. Understanding the visual and structural features of sash windows in Masouleh historical homes. Research questions 1. How many different types of sash windows are in the Masouleh historical city? 2. What factors affect the formation of the visual and structural features of sash windows in Masouleh historical houses?

Environmental issues and energy crisis are among the problems of contemporary man for which the local architecture in hot and arid areas in Iran achieved some wise solutions. This kind of architecture has been successful in harmonizing the environment, utilization the natural sources, and confronting hard climate conditions. Sustainable architecture of this area could obtain impressing success in thermal balancing with the help of suitable materials and knowledge of the local architects. That is why recognition the patterns of this architecture can be useful for designing modern houses. This research studies design standards of central courtyard and summer hall in Yazd Qajar houses in the hot and arid areas of Iran. The statistical population of this study contains some traditional houses in Qajar era because most of these kinds of buildings have been built in this period of time. The correlation method has been used for finding the relations between different spaces and geometric patterns. Deducing and analyzing the results have been by comparison and induction. After field studies and collecting information, the measured dimensions of the central courtyards and summer halls have been presented in different charts and the design standards and structural patterns have been surveyed. On the other hand, the proportions and spatial relations of various areas have been investigated. According to the aim of this research, this is a functional survey with the quantitive-qualitative method. As the conclusion, the design standards and the correct proportions of the central courtyards and summer halls in hot and arid areas in Iran have been resulted.

Not long after the discovery of the Halilud (Jiroft) civilization, much research has been done on this civilization and the study of the structure of motifs on recent works. Given the lack of written information and sufficient historical evidence from this civilization and its place in the history of ancient Iranian art, articles on the subject can be a good source of inspiration and inspiration., Our knowledge, technical know-how, and so on. The motifs used on the works are an important part of ancient Iranian art. The motifs of pottery, and many of which are decorated with very beautiful themes, have always been at odds with the worldview, symbolic concepts, and cultural connections of societies in times past. The purpose of this research is to study the visual structure of decorative motifs (technical knowledge of aesthetics) on the found works of Jiroft civilization and to question their aesthetic quality. As well as studying the visual structure of the motifs used on the works, we can reveal the visual sensibilities of the creators of these works on the beautiful, the principled and precise application of aesthetic elements (technical knowledge) such as rhythm, symmetry, balance, proportion, concentration, balance and so on. The stone artifacts of Jiroft civilization are widespread and it is important to note that the people of this civilization, in addition to the functional aspects of everyday life, use various motifs (geometric, human, plant, animal, thematic and symbolic) on these works. They have tried to satisfy their aesthetic needs. The method of data collection in this article is library studies and field research through objective observation and research method is descriptive and analytical. It seems that the origin of the visual elements, abstract ideas, and realistic images is derived from the surrounding nature and mythological rituals of the field, along with the sensitive and aesthetic mind of the artists emanating from their culture. Engraving on these containers has been a means of conveying the message in pre-historic times and has been used by artists as the most appropriate canvas for displaying the message and human knowledge. The questions of this study are: 1. What are the elements and qualities of the technical (visual knowledge) used in the design and composition of the decoration of the containers and what are the visual communication techniques associated with the Harylrud stone containers? What is the semantic relationship between the form and content of the motifs in these works? Objectives: 1) To study the visual and visual structure of the motifs in the works of this civilization 2) To analyze the relationship between form and content used in the works of this civilization

The present study deals with the analysis of modern medicine and its evolutionary aspects in Iran, Qajar Era with emphasis on pictorial manuscripts. Since health and treatment in Qajar Era was completely unorganized and unstable, introduction of modern medicine can be considered as a new chapter in the medicine history of Iran in the Era of Qajar. The data of this study were collected from among first-hand library sources. This research aims to answer this question: what was the position of modern medicine among the politicians and different spheres of society and what are the factors affecting this evolution. In order to answer the said question, it was supposed that a set of factors involved in the evolution and expansion of modern medicine including the influence of the thought of superiority of modern medicine, the superiority of new education in Dar Ul-Funun, the interest of Qajar kings in using foreign physicians, advantages and positive results of services of modern medicine to society such as hospitals, inoculation, quarantine and individual and public health. Alongside these factors, passage of time, demand and interest of Qajar society which composed of different spheres and pictorial medical manuscripts of Qajar era that contained artistic and aesthetic descriptions as well as anatomical and medical descriptions resulted in prosperity and expansion of modern medicine. The finding of the study, while approving the hypothesis, indicated that all of these factors helped replace traditional medicine with modern medicine during modernity in that era. However, traditional medicine continued its life alongside modern medicine. Therefore, through a descriptive analytical method, the researcher endeavored to answer the question: what were the factors affecting modern medicine by expressing the pictorial aspects and relationship between medical sciences and graphics in Qajar Era? And what were the factors affecting the evolution of modern medicine in Qajar society? Did factors such as hospitals, modern clinics, healthcare preservation centers, quarantine, publications and financial power play a role in the process? Hence, the main goal of this study is to evaluate evolutionary aspects of modern medicine in Iran, Qajar era with emphasis on pictorial manuscripts as well as the changes in people’ s outlook on preparation of infrastructures and acculturation to accept and develop the factors of this medicine. Key Words: Modern Medicine, Medical Sciences, Qajar, Dar Ul-Funun, Traditional Medicine

Architecture in every school and in every geographic region, reflects its own characteristics as a cultural and social phenomenon. The architecture never has been separated from the historical, economic, social, culture and customs of the society in different and always evolution in society, has also an important impact on architecture. The architecture in the first and second Pahlavi era, was along with the great developments in the field of western architecture besides it was influenced by the ideas and theorical attitudes of western and neighboring countries. Understanding these trends and approaches, would help comprehensive understanding of the architecture of this period and plays an important role on explanation of the effective elements place in the Iranian contemporary architecture. Due to the extensive studies that have been done in this regard in Tehran, it is needed to recognize architectural trends and approaches in different parts of the country. The architectural survey of the North West, given that the area in addition to the being under influence of western architecture, has received profound effects from the architecture of the neighboring countries, could be handy in full understanding of contemporary architecture, especially during the first and second Pahlavi era. The main question in this case study is that what can be the architectural trends and theoretical approaches in the design of public and government buildings within the first and second Pahlavi in the north west of Iran. To answer this, the historical-analytical and descriptive-analytical methods should be used to reach to the desired results which seem to be effects of neighboring countries architecture on the region’ s architecture.

Chador Shab is a textile that is traditionally woven in Guilan. This braided motif depicts the continuation of ancient symbolism of the land of Guilan until the present day. The present study seeks to realize the symbolic and pictorial concepts of animal motifs in Guilan’ s Chador Shab. The purpose of the research is to analyze the semantics and background of the designation knowledge of Chador Shab as a traditional woven. The research method is descriptiveanalytical. The method of collecting library data is through noting and picture reading. Data analysis was performed qualitatively. Based on the study findings, the background of the presence of animal motifs in the folklore culture and ancient art of Guilan can be demonstrated. Caprinae symbolizes fertility and also the Aries and arrival of spring, deer is the evader of evil and guardian of elements of good, bird is the heavenly symbol that is the guardian of the sacred plant, butterfly symbolizes change from stage to stage. Most animal motifs are associated with the concepts of benevolence, fertility and excess. An in-text study of popular beliefs as well as antiquities of the region show the continuity of symbolic thought in the Guilan art. Research objectives 1-Study of animal symbolic elements of Guilan’ s Chador Shab 2-Studying the visual background of the Chador Shab’ s animal motifs in ancient works of Gilan. research questions 1. What are the symbolic meanings of the Chador Shab’ s animal motifs and what are the local beliefs associated with these symbols? 2. What similarities can be drawn between Chador Shab’ s animal motifs and the Guilan antiquities?

In this research, according to the studies of samples of hot and dry climate rating systems in the world and also hot and dry climate in Iran, all of the issues that are available in this field are studied and the purpose of this article is to answer this question that whether these studies can be used to formulate sustainability standards at the vernacular level of Iranian architecture as well, and how we can extract and design sustainability indicators and variables of hot and dry climate based on these texts. Based on this, examples of sustainable standards in the world for hot and dry climate, such as rating systems (GRIHA, NABERS, GREEN STAR, SAGREEN STAR, ESTIDAMA, QSAS), as well as hot and dry climatic condition indicators and sustainability strategies in this climate are investigated and it is concluded that regional, vernacular, architectural and urban standards in such systems are quite influential among selected hot and dry climate systems and we can not necessarily use the world's outstanding systems for hot and dry climate in Iran. So, to provide a sustainable and vernacular system for this climate, we should take into account the climatic and regional conditions and priorities as well as other standards and patterns that are developed and implemented in Iran. Research objectives: 1-Feasibility study on the development of sustainability standards in Iranian native architecture based on the studies on the assessment of the sustainability of warm and dry climate in the world. 2-Understanding how to extrapolate or design indicators and sustainability variables of Iran's hot and dry climate based on studies on the assessment of the sustainability of hot and dry climate in the world. Research questions: 1-Can we use the study of samples from warm and dry climate sustainability assessment systems worldwide to develop sustainable standards in Iranian native architecture? 2. How can we extrapolate and design the indicators and variables of Iran's warm and dry climate based on the studies of samples from the warm and dry climate sustainability assessment systems around the world?

In accordance to the adaptation of architectural styles to the specific climatic conditions of the desert regions has led to the formation of an architectural style tailored to the needs of these areas. Understanding the coordination mechanisms of the technique, materials and environment and its intended application in understanding the concept of aesthetics and the performance of traditional buildings in the Iranian desert cities has attracted the attention of local and foreign researchers. In general, the concept of sustainability formed as a result of human awareness of environmental issues and socio-economic and cultural problems can be seen in desert architecture. One of the most important goals of sustainable development is to preserve nature and to alter the overall outlook towards it; furthermore, it is also sought to promote sustainable development in the built environment termed as sustainable architecture. Hence, the aim of this article is to understand climate adaptation and the environment response of traditional Iranian structures in the unique climate conditions of the desert. In this regard, this paper with a descriptive and analytic methods expresses this hypothesis that there seems to be a reliable and unique association between technique, structuring materials and environment with traditional Iranian structures built in desert areas. In order to prove the research hypothesis, first a descriptive and eloquent definition of the concept of sustainability in the structures and synergies created in the desert ecosystem and architecture is presented and then, the spatial features of a native desert architecture model after climate adaptation are described. Finally, it has been proven that the special features of architecture in desert areas have led to the emergence of beautiful traditional buildings appropriate to the climate of this resort. Research questions: 1-How does the combination of techniques and materials affect the beauty and performance of traditional buildings in the desert cities of Iran? 2-What are the characteristics and traits of the traditional buildings in desert cities that have led to the harmonization of this architectural style with the dry desert climate? Research aims: 1-Understanding the relationship between techniques and materials in the beauty and performance of Iranian desert cities. 2-Identification of features and characteristics of Iranian traditional desert buildings in harmony with arid desert climate.

The thinking of Animism is an ontological view of man in relation to both the material and immaterial aspects of the creation system. This belief creates a feeling in literature that seemingly objects are alive and have intelligence. In this method, the author or poet strives to add life and personality to his/her inanimate elements through imagination. Animal and human organism similar to an animal or human being, or by the formation of combinations of the two is considered as a part of animism. In the meantime, Forough Farrokhzad, a contemporary Iranian modern poet and Nazek al-Malaika, a contemporary poet and pioneer of modern poetry in Arabic literature, have taken the task of conveying important parts of their poetic concepts through imagination. These two female poets, who are both prominent representatives of women's literature in Iran and Iraq, are not only feminine in their language and emotion, but also reflect on the ideas that govern their day, such as loneliness and malice, cruelty, female oppression, skepticism, social issues and other matters with a delicate connection to animism in the form of protest poetry. In the present article, the manifestations of the beliefs of animism or life-oriented beliefs in the poems of these two poets are studied through a descriptive-analytic method. Studies show that the biodiversity in the works of these two poets goes beyond literary arrays and reflects their naturalistic infrastructures. Also, the use of animism in nature is more evident in Forough's poems than in the concepts of Nazek’ s poems. Research aims: 1-Identifying poetic elements in the form of animal and human organism in the poems of Forough Farrokhzad and Nazek al-Malaika 2-A Comparative Study of Animal and Human Organism in Poems by Forough Farrokhzad and Nazek al-Malaika Research questions: 1-How did Forough Farrokhzad and Nazek al-Malaika use organism or animism to emphasize poetic views in their poems? 2-Which types of animism are more prominent in the poems of the mentioned poets?

Religion and culture of people in Mazandaran has changed from worshiping natural elements and monotheism to Islam following twelve Shia Imams. The memorial of freedom myth, Third Shiite Imam was hold in the form of Ta'ziyah, as a type of ritual drama in a communal space to worship prophet and his family. Ta'ziyah was undergoing, a transformation and gradually was felt necessary to be performed into indoor space instead of temporary outdoor space. This evolutionary process based on introversion principles resulted in a physical change due to central representation of Ta'ziyah in a ring and audience's position around it too. In contemporary Tekiehs, these changes were appeared in the form of Zainabiya a place for women, and Abu al-Fazli, another station for men. In this research, historical Tekiehs are classified according to climatic situation and functional spaces; and analyzed based on Iranian architecture of principles and symbolic elements of Ta'ziyah. This qualitative research has used historical-interpretative method. The data was collected from field resources and analyzed through comparative descriptive method. The results have shown that cultural factors have more effects to identify the form, symbols, and function of ritual drama than climatic unilateral extroversion to cultural bilateral introversion – extroversion style. The function of spaces has transformed from solid to divides spaces due to audience gender as a cultural factor. The vernacular extroversion space has changed undergoing the influence of central Ta'ziyah scene and central courtyard and introversion of Iranian architecture. Research Objectives: 1-Recognizing the ritual spaces and form of reflecting the elements of the art of Ta'ziyah in the evolution of Tekiehs architecture. 2-Organizing the spatial relationships of the dramatic elements of Ta'ziyah in the vernacular architecture of Mazandaran’ s Tekiehs. Research Questions: 1-To what extent has the characteristic of the architectural elements of Tekiehs been influenced by the elements of Ta'ziyah shows? 2. What cultural elements have been used by Ta'ziyah rituals for the architecture of Tekiehs?

Among the most significant features in the poems of Rumi is the concept of “ will” and “ divine providence” . The mentioned features are abundantly manifested in the poems of Rumi due to this knowledgeable outlook. From his point of view, all substances in the universe are defined merely in the domain of God’ s will and authority. Such insights, which are derived from the verses of the Qur'an, are found in various sections of Rumi's poems in Masnavi and Divan Shams. Of course, Rumi does not deny the will of man in the fullest sense; moreover, the exhortation of such verses implies his belief in the insignificance of man and his actions against the absolute power of God. The present article seeks to study the rare illustrated versions of these highly valued works (here 5 copies), focusing on the implications of these concepts in light of the centrality of divine will and desire in his poems. According to the studies, the representation of the divine will in the paintings is in accordance with the context of the story contained in the poems, and the artist selects and displays some of the narrative scenes to incline the viewer's mind toward the story and indeed the concept designated prior by the poet. Guidance, fate, triggering and burning, managing affairs, control of the heart, supplication of prayers and others are among the instances of the will of God depicted in these five versions. Research questions: 1-How are the visual effects of the divine will and providence reflected in the two versions of Masnavi and Shams' sonnets? 2. What examples of divine will can be found in the paintings of these manuscripts? Research aims: 1-Understanding the visual effects of divine will and providence in two versions of Masnavi and Shams' sonnets. 2-Identification of instances of divine will and providence in two versions of Masnavi and Shams's sonnets.