Naghsh Mayeh
Year:2011 | Volume:3 | Issue:6|Papers Count:12

Historically, the art of architecture has a special status among different cultures and civilizations. Religious architecture is referred as sacred art, because it connects the earth with the sky and heaven. Since sacred architecture is considered along with a special philosophy and an attitude to an ultra mundane meaning - as an expression and a sign of a religious philosophy - we can construe the architecture and particularly - in this study -the sacred architecture, as the usher of an religious insight which eventually shall expresses and shows the sacred origin. Both in Zoroastrianism and Buddhism, the sacred architecture exhibits the principals of the traditions and customs. In particular, in Buddhism, the habitudes and manners of ritual practices are demonstrated by different kinds of arts, which can be called religious arts. This study, which is a documentary research and done by comparative style, aimed to survey the common and different aspects of sacred architecture in the Zoroastrian fire temples and Indian stupas.

Primary human thought of the world day and night, in the myths of creation and resurrection is reflected. The myths, legends among the most common form of human cultures that are considered high as facts and the views and attitude towards the world community shows. Rig Veda in the two views about creation, we faced, the birth and the other one is the creation, and creation have two categories: creating from nothing and creating a giant god first (Purusha). In Hindu myth of creation myths speak of Gods is triune. "Brhma", "Vishnu" and "Shiva" in terms of cosmology position that align to each other. Brhma principle of creation, Vishnu principle of survival and Shiva principle of destruction. Some features in the myths and symbols, is the same among different nations in their visual representation is also detected. This paper reviews creation myths and illustrations associated with them in India. During the review, in the mythological symbols and images have been identified and described. The result suggests the importance of Gods presence in their art because most of the files, making the narrative myths, gods are depicted. Also, symbols like the lotus in the representations repeatedly suggests that there are goals in the sanctity of art and beliefs of India.

Ukiyo-e is the reflection of daily life in art. In Art it represents the pleasure and entertainment to city dwellers and its origin refers to urbanism and its classes. In this essay we review Ukiyoe characters which come from Japanese aesthetic attitude. At first we consider Zen- Buddhist attitude to nature. On that man is part of the nature and united with it. Then it indicates to understanding the essence of nature is depends on understanding nature's movement.Furthermore this essay considers the understanding of nature's aesthetic as a ritual matter.After that it shows the reflection of that in Japanese prints, in a comparison between landscape in Ukiyo-e and Western world, Ukiyo-e considers nature in Japanese ritual more than any other thing. At the end it shows that landscape in Ukiyo-e is a clever combination between nature and ritual ceremonies and on that landscape is not a marginal matter but an original reflection.

Nirvana is the highest level in mystical behavior in Buddhism. In fact may be we can consider nirvana as the most important concept and keyword in Buddhism. But usually researches about Buddhist art are done without any consideration about this concept.If we accept that art is a means of expressing the religious ideas in traditional societies, Buddhist architecture is one of the best manifestations of nirvana as the most important purpose of Buddhism. In this essay we will briefly review the life and believes of Buddha, then after explaining the meaning of nirvana we discuss about it in Buddhist architecture. The architecture works will be analyzed with semiotic approach.

There were influences and effects between Indian and Iranian culture, art and religion from ancient era. This article tries to have a survey though attributive studies and comparative style in symbol of Lion in Indian and Iranian myths and art. Lion symbolizes king's power and Mithra, Sun, Fire and Heat. Also, Lion is the carrier of earth Goddess and it has been symbolized as evil in Achaemenid engravings.In India, Lion is the carrier of Durga "goddess" and the "god' Gansha. Lion is also a symbol of Buddha and manifestation of Vishnu in the earth. In India Lion is in ever combat with evil.In Indian motives like Iranian ones, Lion visualizes goodness and god's carrier.Sphinx in Iranian and Indian art guards and watch outs religion contents and temples (in India) and palaces (in Iran) from evil spirits and sins.

Since most of the articles and books written in Persian include surveys on Lotus in Iran only, it seems essential to study this flower in other countries. On the other hand, explaining the true meaning of Lotus in Iran can help protecting this design in contemporary arts. It is important to study Blue Lotus designs as well as the meaning of this symbol, and the study can be done simultaneously or individually. The main purpose of this article is to study different aspects of this symbol, and its relation with different religions and religious traditions in different countries, and to investigate the relation between this flower with meanings such as rebirth, abundance and peace. The relationbetween natural elements such as sun, water and soil can be pointed out as well. The obtained information shows the importance of the Blue Lotus in the aforementioned countries, specially India and Egypt. In ancient Egypt, this flower was used in funeral and after death ceremonies. In India, Lotus was related to gods and goddesses. In Iran considering the connection of sun and water, Lotus is introduced with Mitra and Anahita.In Egypt Lotus is usually half-open and in India, it is fully-open, while in Iran it is seen both half and fully open. Lotus had a special importance for Persian Kings and it can generally be said in all mentioned countries Lotus has a great importance in culture, religion and tradition.

Religious beliefs of human are formed by legends and yield in religions legend is a response of human inability to distress, his weakness in achieving inclinations and fear of unexpected events. It is the realization of human feelings in an unconscious way and a sign of human ignorance about true reason of affairs. Human following his imagination, makes up reasons, causes for events, and mixes imagination with reality.Legends don' t simply indicate human thinking about fundamental concepts of living but they are charters for human adjustment in daily life & an explanation to obtain social validity, religious & moral charters in the line with interpretation and justification of believes and origins of ultra-man power. So, when looking at symbolism, we see not only poetical and artificial narrations but ideology and conception of ancients about creation, human, community and God.This research while briefly examining historical & geographical situation of Iran & India in ancient times and presenting their cultural and religious commons, investigates legends and combined creatures of these two regions and finally concludes using a comparative examination.

that the Indian artists, through the ordeal from a traditinal art to a modern art and subsequent ones, drew on cultural elements of India and using the international language of art to present this culture internationally, they achieved great prominent successes.In fact, the contemporary artists of India, as well as past artists, are doing the best to stablish a deep relationship with his native origins and his identity, through using a comprehensible language for the world and creating artistic work.This article is aimed at surveying the above noted issues through study and introducing the points of similarity and differences among approaches in sculpture used by a number of contemporary artists of India.

The concept ' time' has been a topic considered by philosophers throughout the history. A lot of literature might not be found on this idea since the East world has always used to explore the inner, mystic, and cognitive thoughts and rituals. The way this concept is perceived will follow some specific cultural manifestations. Therefore, this article is helpfully an attempt to study the ' time' concept in Zen rituals, with an emphasis on Dogen’s theory. In addition to ideas presented by this great master, the Zen rituals and arts have been studied.

From ancient era silk production and silk weaving have been of main arts of china and silk textiles have been used to decorate walls and temples in addition to producing clothes. At this time, the effect of religions especially Buddhism that has growth in this country rightfully, is sensible on these elegant textiles clearly. This article which has written using analytical and descriptive method, has analyzed Buddhism phenomenon and image and the manner of their execution on silk of China. Survey of Buddhism phenomenon on silk weaving of China, introducing us more about the main part of religion and art of China that form the main base of this article.

The Japanese place a considerable importance on nature. Although the significance of nature originates in their customs and religions, it has been influenced by the Chinese love of nature as well. Examples of this inate adoration in Japanese civilization, which has special value, are flowers and blossoms. There have been numerous studies on Japanese culture and art conducted. This essay will survey this topic focusing primarily on the significance of plum and cherry blossoms and will outline their status in Japanese culture.

The comparative study of the arts of different nations to find new information is one of the various ways that have recently been paid attention to by researchers. Our country and other civilizations that were once related in one way or another are subjects of this research method. China and Iran are two of such countries. China and Iran have been economically, commercially, culturally, artistically and industrially related. One of the items that invigorated this relationship in various aspects in the past is an object called blue & white ceramic. This sort of ceramic was as important as gold to various nations in the past, including those of China and Iran. This type of ceramic was so precious because of the attention paid by the world market and business to it in old days as an object of art. The history of art emphasizes the role of China as the main producer of this art and that of Iran as another production center and a main road for its exchange with the west and other world markets. The summit of such activities on the part of both countries was between the 14th and 18th centuries part of which corresponded to the rule of the Ming dynasty in China and the rest of which corresponded to the rule of the Safavid dynasty in Iran.