Year:2023 | Volume:1 | Issue:2|Papers Count:12

Lorestan is a mountainous region in the east of Mesopotamia which achieved the highest levels of metallurgy in the 8th and 7th centuries BC. The bronze works of Lorestan in this period included the mixed roles of imaginary creatures, which, while being beautiful, were formed on the basis of deep beliefs and expressed the common beliefs in the region. Therefore, in order to accurately understand the motifs and their meaning, it is necessary to study the paintings symbologically. One of the recurring mythological images in the art of the ancient societies of Lorestan and Mesopotamia is the motif of a cow-man. Since the motifs in works of art represent common beliefs and faiths among the people of ancient times, it is necessary to study them in order to understand the religious ideology of ancient societies. The purpose of this research is to identify the visual relationship between the role of cow-man motifs in the ancient art of Lorestan and Mesopotamia in order to examine their development and the evolutionary process of religious ideas in the art of the concerned societies. The study is based on archaeological evidence. The method of this research is descriptive and comparative and it collects library resources (documents and electronic). The pictures were accessed through the museum and the museum’, s website. The results show that the cow-man figure is a symbol of the primitive gods of ancient societies which entered the art of modern societies due to the beliefs of Animism and Totemism. Overtime, with the expansion of human thought and awareness, we witness a change in the way they are represented in the sense that in the images of both societies, the animal’, s head and body are gradually disappearing in pale patterns, and the images of the gods are displayed in a realistic and human form,the horn remains as a divine symbol of power in the headdress of the gods, and their difference is in the way they are performed which is derived from regional beliefs.

In Iran, the Mihrab is considered one of the most important parts of a religious building and it shows the skill of the artists who built it. In the history of architectural decorations of Islamic art, Mihrabs have always contained the best and most valuable examples, both in terms of construction methods and in terms of motifs and values of calligraphy. Among the methods and techniques used in decorating altars, using gold tiles is one of the most difficult and at the same time the most beautiful methods. The masterpieces left from the Luster-glazed Mihrab show the peak of the use of decorative techniques for the construction of Mihrabs. The Luster-glazed Mihrab of Imamzadeh Ali bin Jafar in Qom is one of the most magnificent Luster-glazed Mihrabs belonging to the Ilkhanid era and existing in Iran,it is considered the largest, and due to the fact that it was hidden from public view for many years, little information is available about it. Maybe it is because so far this unique masterpiece of Iranian art has not been properly introduced and its visual and content quality has not been studied and reread. The purpose of this research is the thematic and visual analysis of the Luster-glazed Mihrab of Imamzadeh Ali bin Jafar in Qom as one of the masterpieces of Mihrab making and the largest Luster-glazed Mihrab of the Ilkhanid era in Iran. The results of the research provide important information about the status of the Lustre tile and glaze industry in the Ilkhanid era, the name of the manufacturer, the year of production, and the visual and thematic quality of the largest Luster-glazed Mihrab of the historical Ilkhanid period in Iran. It is found that all the inscriptions of the Luster-glazed Mihrab of Imamzadeh Ali bin Jafar in Qom use Quranic themes and this Mihra has very beautiful plant motifs. Among them, simple slime, rich slime, Khatai motifs, and micro-vegetable motifs are the dominant ones.

A mythological figure in Ferdowsi’, s Shahnameh, Rostam is famous for his fights and the story of Seven Khans (Haftkhuan or Seven Labors) between the fights. He comes across Olad in the Fifth Khan with whom he fights,but then they campaign together and finally Olad helps Rostam reach the Seventh Khan and the dome of the white daemon. The character of Olad is twofold in literature and art. Once he is a demon and the other time he is a man. Olad appears as a man in Shahnameh 953 H. Paris. Shahnameh 953 H. Paris is good for having clear images of garments and is thus more significant than the other copies such as the version kept in the National Museum of Iran. In Shahnameh, Olad has two covers. He has one jupon of metal in one image (The Fifth Khan) and he has a dress that is similar to men’, s cover in Shahnameh 953 H. Paris. Clothing always registers personality. The question is “, how does the artist in Shahnameh 953 H. Paris represent Olad’, s personality by way of his dress? ”,The purpose of this research is to reveal the attitude of the Safavid artist with respect to Olad’, s identity and personality as manifested in designing his dress. The article is by nature practical and it takes a historical-analytic methodology. The research uses the studies in anthropology and mythology. The results of the study show that the artist is mindful about the difficulty of the character of Olad among Rostam’, s competitors and he designs Olad’, s dress accordingly.

City is a place where mobility, continuity and development are its hallmarks, and in which urban furniture is considered an identifying element,thus that most big cities can be recognized by their appearance. In addition to the direct physical effects that it has on the appearance of a city, it can be considered as a factor for citizen satisfaction, attracting tourists and creating economic-cultural activities as a factor of dynamism and mobility. The purpose of this study is to identify the processes through which works of art are installed in the city and play a vital role in creating a sense of satisfaction among citizens and the successful economic development of the city. The question is how an important factor such as the development of urban art can play a role in citizen satisfaction and the growth of the cultural-artistic economy? Thus, in this research, first the theoretical foundations of the research are described and then the impact of the mentioned factors in urban art is reviewed. The results show that the quality of urban art organization affects urban spaces, so knowledge of urban art increases the awareness of designers to the extent that the design method responds to the behavioral needs of users, which results in a sense of citizen satisfaction and growth of socio-cultural economy. This research is applied in nature,its method is descriptive-analytical,and its data are collected through electronic libraries.

City is a place where mobility, continuity and development are its hallmarks, and in which urban furniture is considered an identifying element,thus that most big cities can be recognized by their appearance. In addition to the direct physical effects that it has on the appearance of a city, it can be considered as a factor for citizen satisfaction, attracting tourists and creating economic-cultural activities as a factor of dynamism and mobility. The purpose of this study is to identify the processes through which works of art are installed in the city and play a vital role in creating a sense of satisfaction among citizens and the successful economic development of the city. The question is how an important factor such as the development of urban art can play a role in citizen satisfaction and the growth of the cultural-artistic economy? Thus, in this research, first the theoretical foundations of the research are described and then the impact of the mentioned factors in urban art is reviewed. The results show that the quality of urban art organization affects urban spaces, so knowledge of urban art increases the awareness of designers to the extent that the design method responds to the behavioral needs of users, which results in a sense of citizen satisfaction and growth of socio-cultural economy. This research is applied in nature,its method is descriptive-analytical,and its data are collected through electronic libraries. ame.

The link between literature and art in Iran has been an unbreakable link for a long time. Persian literature with its epic, mystical, romantic, and religious themes has always been an inspiration for Iranian painters and a source of works for many illustrators and painters. Although the poems of Rumi as the leader of mystics in Iran have a special place in classical literature, they have not been illustrated until now. For this reason, at the beginning of the last decade, the Academy of Arts started editing this valuable work for the first time and displayed the artist’, s encounter with Rumi’, s poems to present the sonnets of this outstanding poet in a new way and through a different lens. Based on this, the purpose of the present study, which relies on Gé, rard Genette’, s theory of transtextuality, examines the relationships of a text with previous texts in the form of hypertextuality, intertextuality, semitextuality, paratextuality, and metatextuality, explaining their relationship. There is a parallel between Shams’,sonnets and the works of painters in Shams Farhangistan book. Therefore, the main question is: What is the reflection of verbal texts in the visual works of Shams Farhangistan’, s book based on Genette’, s theory of transtextuality? The results of the research show that the visual text has come out of the verbal text,and the first text can sometimes be seen explicitly in the second text, and sometimes it can be seen metaphorically and implicitly, or in the form of allegory, substitution, and hypertext. It has been identified that one of the main commonalities oft he two texts, in which the type of relationship is explicit, is the connection of the second stanza with the image of a bird surrounded by flowers and the eight-pointed star in Mr. Eskandari’, s work,the placement of part of the first text (poetry) in the second text (painting) by Mr. Jabari’, s calligraphy,and the connection of the fifth stanza with the three birds drawn in the work of Mr. Esadi, which shows being enclosed in a cage between the parallel lines at the top and bottom of the frame.

Photography is an art that after its invention, important developments took place in the field of different arts including painting, architecture and literature. Photography, by showing the details of the environment around people as accurately as possible, and documenting and recording moments and events, served well in art works, including literature. The facilities available in photography were reflected in the lives of the people of the society,this potential was quickly noticed by prominent writers in the field of literature all over the world, and thus photos were involved in the course of important literary stories, setting a new platform for paying attention to the situation and characters of literary works. With the continuation of the presence of photographs and the photographic method in the field of literary texts and a fusion between these two artistic fields, works were created with a novel view of the various concepts in human life in this field,this issue made the audience closer to these two fields. In this research, we tried to pay attention to the description and analysis of the presence of photography in the field of literature, and from this point of view, analyze the work In Search of Lost Time by Marcel Proust. We tried to examine the photographic method that this author chose to express his story based on the opinions of literary and artistic thinkers such as Roland Barthes and Georges Poulet. The main concerns of this study are how the presence of photographs and photography features in this author’, s narrative has played a role in characterizing and overcoming the time course of the story and the way the scenes are presented and the expression of important concepts in the process of the story and how this French writer has used the features of this 19th century invention that originated from his country to represent what he has in mind.

The Sabean Mandaeans are an ethnic minority living in the southern and southwestern regions of Iran that are as old as the glorious civilizations of Mesopotamia and southwestern Iran. These people, who consider themselves Iranians, have a special religion which has the similarities of the great Iranian religions, including Zoroastrianism and Islam, both of which are known for their flexibility. But for various reasons, they have a hidden and unknown culture and religion. This research, following the pattern of transmission and association of cultural values and religious beliefs in the language and artistic expression of a nation, refers to the design and role of “, Sobbi enamel”,and by reading it, it tries to introduce this unique art-industry and opens a window to understand the culture and beliefs of this minority. The findings of this study showed that the traditional patterns of design and role in “, Mandaean enamel”,or “, Sobbi gold”,can be divided into two groups of ethnic patterns and non-ethnic patterns. Non-ethnic patterns and free patterns in this art can be attributed to the spirit of tolerance of the believers of this religion, despite the strong prejudice and commitment that people attributed to religious rituals and beliefs (There are several reasons for this behavior that the text of the article pays special attention to show. ). The results showed that the main belief of the Mandaeans is based on monotheism and worship of the one God. A penchant for symbols is reminiscent of the evolution of Mesopotamian civilizations, which is a construction of ethnic memory, an interest in naturalistic narrative as well as a desire for symbolic language and expression.

The visual creation of Shiite narratives in line with its universal understanding is one of the topics that became increasingly popular during the Qā, jā, r period due to the collective will. Undoubtedly, one of the main reasons for this trend was the arrival of the lithography industry and the possibility of placing illustrations in parts of the text. Based on the surviving works, Ashura narratives are considered one of the most popular content types of illustrations in lithographic books. In the meantime, Mirzā,‘, Ali-Qoli Kho’, i (activity period: 1263-1272 AH) as the first known artist in this field, was often responsible for illustrating the first illustrated works in this field. The purpose of the present research, relying on the descriptive-analytical method, is to answer the question that among the Ashurā,visual narratives of Asrā, r al-Shahā, de by Borujerdi, which was published for the first time in 1268 A. H., the story of Deir and the Rā, heb is to what extent influenced by the content roots of creation (early pre-text: narratives historical and hadith, the middle pre-text: Rawzat al-Shuhadā, , the contemporary pre-text: Asrā, r al-Shahā, deh) and in the meantime, how did Kho’, i reflect on it? The findings indicate that Borujerdi’, s seventh Majlis of Asrā, r al-Shahā, deh entitled “, In the Story of Deer and Rā, heb”,comprises four parts: (1. The arrival of the accursed Shimr at Deir and Deirani’, s investigation of the condition of the heads of that group, 2. The Rā, heb coming out of his house and seeing the prophets, 3. The arrival of the Amir al-Mu’, minin and the conversation of the blessed head of the Seyyedo al-Shohadā,with his mother, 4. Talking to the old Rā, heb with the blessed head of Hazrate Seyyedo al-Shohadā,and accepting Islam). According to the poetic narrative of the events and Kho’, i has created 3 images related to the 1st and 3rd sections. In the meantime, the image of part 1 largely corresponds to the early pre-text and the images of part 3 correspond to the middle and mostly contemporary pre-text, so that this flow can be considered as the result of the popular beliefs and readings of the mass of the society, which has been accompanied by distortion.

Luster glaze was a novel invention by the artists of the Islamic era which was used instead of gold and silver metals. In the course of its development, this pottery went through three periods, among which the beginning and middle periods are of special importance. The country of Iraq was one of the most important production centers of lusterware at the beginning of Islam, and by exporting this type of pottery,it played an important role in spreading this type of technique. The fall of the Abbasids and the migration of artists to other Islamic lands caused the amalgamation of the Abbasid and native styles. Neyshabur, as one of the centers of lusterware production in the early period, despite being influenced by the Abbasid style, has also had differences in the style of drawing motifs. This research intends to analyze 16 samples of the typical vessels of lusterware in Iraq and Neyshabur, to categorize the patterns, themes and stylistic differences of these two centers and to answer these questions: What are the motifs used in the lusterware of Iraq? What themes does Neyshabur lusterware include? The information and data of the study in this research have been collected using library sources and then analyzed through a descriptive-analytical method. The results of the research indicate such scenes as playing an instrument, the use of eye and dotted motifs in the background, teardrop and circular motifs on the back of the dish, the use of birds, especially pigeons, which are conjugated or accompanied by a leaf on the beak, are among the things that are used in a comparative manner in the pottery of the two centers. Despite these common motifs, differences such as the style of drawing human motifs, including curly hair and big eyes, have distinguished them from Iraqi lusterware vessels. In addition to this, the animal motifs of lusterware in Iraq and Neyshabur are completely influenced by the ecology of these regions,for example, we can mention the pattern of camels and fish-eating chickens, which in Neyshabur samples include other motifs such as cows, pigeons and lions as the Iranian symbols which have been used since before Islam.

Due to the social nature of human existence, social identity and cultural factors are one of the influential components in his life. Art can show the identity of a nation when deep cultural ties and familiarity with the roots of society are formed. Considering the importance of using national identity in titling Iranian films, the leading research aims to investigate the visual elements and visual and written semiotics related to Iranian thought in titling one of the prominent films by using Peirce’, s theory of semiotics and the research method is descriptive-analytical. The subject of the study is the title of the movie Jaafar Khan is Back from Farang produced in 1987 AD, which is important due to the presence of images and symbols related to Iranian graphics. In the visual analysis section, the title is divided into 34 plans and the color composition of each view is specified. After that, the meaning and concepts of the symbols are presented in the table, and the images that have the appearance of Iranian motifs, tools and customs are displayed. The results of this research are as follows: in the images and compositions, it is not enough only with Iranian motifs,rather, it displays Iranian thought. Many signs convey messages implicitly, indirectly and sometimes with hints just like old Iranian artists who used to convey the message to their audience indirectly. Colors also have conceptual and symbolic expression. The variety of technique and illustration and the use of moving graphics of this title were innovative in its time.

There are two common views on the relationship between art and society in general. Romanticism believes in the lack of connection between art and society, and sociology believes in the influence of art and society on each other. Religion is a social phenomenon. In the era of the rise of religions, art was considered a kind of industry and was a follower of religions or social-political currents of the society. Religious art is considered a transcendental and sacred phenomenon and Islamic art joined with Islamic culture and society and was created under the influence of Islam. Arabs did not pay much attention to art in the early days of Islam. One of the tribes that had a great impact on the development of Islamic art and culture was Iranians, who already had rich art and culture,with the arrival of Islam, they transferred this treasure to Islamic civilization and contributed to the development of Islamic art and culture. The current library research has been investigated with sociological analysis based on Max Scheler’, s theories on the influence of Iranian art and artists on Islamic civilization. Although art is an independent thing, society has an influence on it. Also, art is effective on society either. A work of art can have a great impact on people when it is cherished by a large number of people. Scheler states that at the time of the emergence of a new culture, the resistance to new ideas is at the lowest level. In this situation, the elites and leaders and people who are role models can support the emergence and prosperity of a new idea. Islamic art emerged in this context with the aim of following the instructions of Islam and getting closer to God. As a result, we cannot deny the mutual influence of Islamic art and Islamic civilization on each other, because even though the form of Islamic art was caused by its contemporary conditions, the idea of its content depends on the minds of artists. Also, these two things, along with the talent of the artist, make the work stronger.