Naghsh Mayeh
Year:2009 | Volume:2 | Issue:3|Papers Count:10

This article is aimed at investigating the symbolic and mythical position of eagle' s motif in ancient Persian mystic since during the Aechemenid kingdom to Sassanians (before Islam) and discovering some pictures of it on parts of crafts such as sculptures, relives, metal works, coins and textiles. This paper also examines the scope that has lead to influence the type of eagles shape in other ancient civilizations such as Greece, Rome and Egypt. Drawing the motif of eagle on the old works was based on Persian religious routines and beliefs and keyhan cognitiion and their cosmos knowledge which had profound contextual meaning.As a result art and craft followed this notion to create some masterpieces with many shapes of this swift-winged bird to show the true meaning of it. The article also tries to explain mythical and symbolic positions of the eagle besides showing some picture of it on crafts to other civilization such as Greece, Rome and Egypt.The method of research is documental analysis and the results reveal that the image of the eagle in ancient Persia was a the symbol of kingdom, monarchy, power, sun, etc. and the motives in many civilizations are mutually influenced by each other.

Mysterious figures imported or even prepared because of being at the center of our attention, were important for different cultures and civilizations from old ages.They have visual attractions if their pictures are studied carefully. No researches have been done on this field. Besides having a common belief in these things, studying its symbolic and pictorial aspects is interesting while having its own problem.This study is an attempt to study the figures of Iranian talisman which have picture making ability, letter an number figures as well. We can find the roles of people beliefs of different cultures and trades while studying the story of the pictures.

Regarding the importance and purpose of "water" in the Iranian culture, the present paper attempts to analyze and discuss "water" with respect to its cryptic concept.In this regard, we will first consider the fundamental issues of the creation of water followed by the discussion of the symbolic and mythical concepts of "water" in the human history as well as in the Iranian culture- where we will see such concepts appear with different names.Then, the effect of this element on the art of architecture and miniature- as the purest and the most genuine art of the Iranian nation and land- is briefly discussed.We hope this paper serves as a basis for more comprehensive studies in future works.

Decorations are an integral and major part of Islamic architecture, and perhaps there are few religious buildings with no decorations within them. Since the second and third centuries AH on, gradually brick decorations started appearing in Iranian building and finally it reaches its climax in Seljuk's era. In this era the best type of brickwork for construction as well as decoration on walls, coverings, ceilings, minerates and buildings was used. But an important point in this process is the incorporation of the sub-structures and decorations in the whole buildings so that decorations are no longer something separate from the building but rather something that helped the reinforcement of the buildings. In Khorasan district there are many buildings utilizing the best types of brickwork decorations from the seljuk era. In this article the special decoration of one of the most beautiful buildings from that era situated in Sabzevar will be studied.

As a result of the presence of the western world during the reign of Qajar, the tendencies of the imperial court to experience the modern world and the enthusiasm of the west, to know the eastern world, caused many traditional and modern dichotomies in areas such as social, cultural and artistic aspects of their lives. this situation not only effected the state of women in public but also their social activities. Images of women in Qajar pictorial arts- which due to its numerous images of women has granted it a feministic look- along with the artistic trends and social changes based on contemporary aesthetic standards could not help but be influenced by the western impact. As the art moved away from the court's atmosphere and popular arts distributed images of women modified from ideal, fictional and limited to the court's domain into original realistic and daily life bound ones.

Qajar era was a period marked by the invasion of modern world symbols and the struggle of Iranian traditions with explicit undeniable influences on the art of this era. Influenced by western art, Iranian paintings of this period shifted from imaginary miniatures to a more realistic point of view.Along with Qajar painting, another trend appeared in this historic era of painting known by painters' society as coffeehouse painting. The advent of such paintings was created due to the need and public request and by respecting their beliefs while keeping logical values of Iranian religious and traditional painting alive.Based on library researches, the present essay aims to study, characterize and compare technical and thematic elements of coffeehouse and court paintings in early Qajar revolving around historical and ceremonial themes. Findings suggest similarities in structure and furbish of the work. Authors hope this very brief work will contribute to more comprehensive and professional studies in order to provide us with higher level of understanding compared to what we already know.

Since Safavid era is one of the most productive era, it is necessary to become familiar with this period. Tabriz, the first Safavid capital, was considered as initiator for this golden age.In Tabriz artistic style, miniature had an remarkable growth. Many artists were summoned from entire country by Shah Ismaeal, the founder of Safavid, to create the best works of art.Among these artists, Soltan Mohammad Tabrizi was one of the most out standing miniaturists. As he was experienced in Torkaman style and because of cooperation with Kamal-Adin Behzad, he could create a new style by combination of Harat miniature with his style. To investigate the painting of Soltan Mohammad Naqashthey are in Kamse Nezami Shahi book for Safavid era-written resourses of art critics were wed.There are some similar specifications in these 3 paintings: Composition style, Creating style and using major and minor components, Special colorizing, Great skill in creating a new composition by using the experience of both previous style and Harat style.

Satchel or mirror case is one of Ghashghaei's tribe's hand-weaving of Fars that generally weaving by women. You can see their tastes, talents, feelings and environment in the form, color and symbols of these satchels or mirror cases. The Basic of symbols and motifs in these hand-weavings returns to mythical beliefs and ancient symbols that peacock symbol show off among them. Peacock is the symbol of human nature in mythical beliefs and universe symbol in the Iranian beliefs after Islam that has many expanded meanings. This symbol designed on these satchels as it shows a part of their mythical existence.Then in this essay with the aim of knowing and understanding meanings of this symbol, first we consider the meaning of it and then some of its visual samples that collected. We will study on it based on historical and descriptive way with librarian documents. At the end after finding its deep meanings, could attain the hidden layers and the reasons of using it by women.

This essay will give an iconographic and iconological analysis of Hans Holbein' s painting; The Ambassadors, based on Erwin Panofsky's special theory of iconography and iconology.It will also point out visual symbols and different inner aspects used in this painting and interpret them based on globalization and historical context of the painter's era.

Hans- Georg Gadamer, the famous German philosopher of our time, believes that the experience of a work of art is a meaningful experience. To shed light on this experience, he focuses on the concepts of the symbolic and mimesis as the well as the relation between them. He believes that symbols consists is a metaphysical connection between the visible and invisible; the inseparability of visible appearance and the meaning of invisible significance. From his perspective a symbol represents the symbolized and its meaning should not be searched outside of it; but in Gadamerian words, the meaning of a symbol, like the meaning of the artwork lies in the fact that it is there. This attitude not only establishes a link between the work of art and another concept, i.e. mimesis but also implies its existential unique nature. Gadamer has barrowed the concept of mimesis from antiquity to and has considered its original nature to be recognition which to him means understanding and cognizing something as something that has already been seen. This refers to uniqueness of artistic work and its experience. Artistic work cannot simply thought as a bearer of meaning because if it is just a bearer, artistic work changes into a replaceable concept which while human experience convinces indicates that human begins are particularly keen on artwork due to its irreplaceable and unique nature. Moreover; the special meaning of the work of art is related to the human being and their experience. The sensuous of the work of art and being confronting by it, without a doubt, is an encounter with the existential human nature.