Scientific Journal of Research of Art
Year:2022 | Volume:12 | Issue:23|Papers Count:6

Japan and Guilan being located in similar climates have experienced same architectural and artistic characteristics such as Kumiko art and Gereh-Chini. Due to the fact that so far no research has been conducted on the similarities and differences between Kumiko and Gereh-Chini, the present study will try to investigate the components forming the two arts. With the aid of comparative studies, the authors aim to answer the following questions: What factors have been effective in the formation of Japanese Kumiko art and Masouleh's Gereh-Chini? Are the geometric motifs of the two arts categorized in several levels? What are the similarities and differences between the two arts? This investigation is based on descriptive-analytical and comparative studies, and library and field methods have been used in the recognition of Gereh-Chinis. The results of the research show that the most effective factors in the formation of Kumiko art are the existence of concepts such as plant forms, animals and cultural interactions with China and India, traditional clothes of China and Japan, elements of traditional architecture and the living environment of Japan. Concepts of Gereh-Chini include celestial objects, religious symbols, holy names and numbers, simple and complex geometric shapes, non-native patterns, animal motifs and native plants of Masouleh. Among the main differences and similarities between the two arts, we can point out the presence of complex geometric structures, simple materials and the more delicate framework of Kumiko compared to Gereh-Chini. Komikos are used in dividing spaces and Gereh-Chinis are used in openings. Kumiko joints are in the form of mortise and tenon and Gereh-Chinis are in the form of mortise and tenon and ghavarehbori. The results of the research show the existence of formal similarities, the influence of religious and historical concepts and the use of same plant forms and animal motifs in the two arts.

Nicole Eisenman, a contemporary figurative painter belongs to a generation of masters of the art who have equally adapted their sources from Renaissance newspaper caricatures and paintings, seeking to efface the borders between fine art and popular culture. “Triumph of Poverty”, one of Nicole Eisenman's greatest nipping artworks, is a contemporary conception of a work of art of the same name by Hans Holbein with a multi-layered, dialogical, allegorical, satirical, and grotesque feel to it. Mikhail Bakhtin is one of the most important theorists of the twentieth century who studied language as a system. He also studied how dialogue works concerning the effects it creates through communication and observed a connection between art and this establishment. He considered Carnival, a popular arena for indulging in physical excesses, to have a dialogue and a grotesque and popular tradition whose images are an effective link between vivacity and violence or the low quality of materialism. He also considers the grotesque common and distorted body in an ambitious and positive framework and acknowledged that such creates instability in accepted social, political, and aesthetic norms. In this regard, and by focusing on the specific features of grotesque realism, this study reads and analyzes the visual aspects of the “Triumph of Poverty” painting by Nicole Eisenman based on the views of Mikhail Bakhtin. This study is qualitative in terms of developmental purpose and qualitative in terms of type and method, qualitative and descriptive-analytical. The findings showed the fact that the artist has used his art to show the ironic triumph of poverty after the poor decisions of the US government, which is the main cause of the economic crisis in 2008 in this country, and thus, the protest. In this way, it has protested against wrong policies, inefficient time management, injustice, and inequality in society.

With the beginning of the 8th century AH/14 AD, until the end of the 10th century AH/16 AD, one of the illustrious eras of Iranian carpets occurs, due to the importance of the stylistic changes of hand-woven carpets in this era, many ambiguities have been created in the quiddity of Iranian carpets due to the small number of existing examples. Despite the few references in this era, including the remaining carpets and paintings of the Timurid and Turkoman era, there are countless questions about the structure of Iranian carpets in this era and these ambiguities have caused non-Iranian experts in the field of carpet history to place the existence of carpets before the Safavid era in an aura of ambiguity. While it is possible to understand the stylistic connection between Iranian carpets and Anatolian carpets in this period of time by comparing the patterns of carpets in the paintings of this era with the examples of Anatolia, this research aims to compare the similarities between the carpets of the Timurid era of Iran (911-771 ah/1506-1370 AD) with the Holbein carpets of Turkey (about 8 to 12 AH/14 to 17 AD) in order to express the stylistic relationships of the Iranian Timurid carpets with Anatolian carpet is made in this period to answer the main question through deductive reasoning: What was the reason for the persistence of comparative traits in the Timurid and Ottoman era of Turkey? In this regard, the data of this research have been prepared by documentary method and theoretical saturation, and by classifying the comparative components of these simultaneous and temporal samples at the level of description, their deductive explanation has been done at the level of analysis. The results show that these comparative traits originally originated from Iran to Turkey and the form and content of the carpet is based on the socio-cultural context and ideologies of Turkish designers has acquired a new structure and meaning. Furthermore, this interaction between Iranian and Turkish artists is due to being in the environment, creating a common perception between the people involved and their participation in transferring, teaching, learning and then writing the carpet design; Therefore, the artists of both studies have played an important role in the education and continuity of these carpets.

The connection between the climatic features and the physical dimensions of the place and urban space is one of the important factors in the process of designing to the implementation of mural painting, which, especially in historical cities, can play an effective role in the decoration, harmony and unity, continuity and spatial continuity with the historical context. In the last decade, murals have been executed in the city of Isfahan, which in a field study, due to the lack of attention to physical and non-physical dimensions in the mentioned process, has caused adverse effects in the formation of a desirable urban landscape with a historical texture. The purpose of this research was to identify and compile indexes and sub-indexes related to non-physical and physical dimensions of mural painting in urban space, which the researchers identified and compiled the mentioned items through a descriptive-analytical method based on the sustainable place model. The obtained results show two main indicators: 1- The type of climate and the effects of weather, which includes sub-indices: A- Types and climate patterns that are related to seasonal changes of weather in the four seasons and B- Climate stability, which monitors the coherence, stability and adaptation of the climate; And 2- Fabric materials, which include sub-indexes: A- Sustainable ecological possibilities, which refers to all kinds of natural, mineral and organic pigments in addition to natural pigments in mural painting, B- Considering the color palette of the wall painting that matches the color of the environment and is in line with the climatic features, and C- Connection with the natural and artificial environment and its reflection in the visual features of the mural.

Mir Ali Heravi (died in 1545) is one of the greatest masters in Nasta’liq script who was famous and popular while he was alive among Uzbek, Indian and Ottoman governors. Majnoun Rafiqi is also one of the poets and calligraphers who is contemporary with Mir Ali and has written three treatises about teaching calligraphy. He was famous in his own period of time but since he did not have well-known works, his popularity has decreased over time. Attributing ancient treatises about teaching calligraphy to celebrities has a long duration. For instance, attributing Adab al-Mashq treatise by Baba Shah Isfahani to Mir Emad Qazvini. Khat va Savad treatise by Majnoun Rafiqi has been attributed to Mir Ali because of his universal popularity after Safavid. This attribution caused contemporary researchers think that there is a treatise named Medad al-Khotout by Mir Ali Heravi and this mistake has been repeated in many researches by Islamic art scholars. According to the comparative study of these two treatises and also documentary sources related to the end of Timurid and beginning of Safavid era, this article has talked about non-attribution of this treatise to Mir Ali Heravi.

In the beginning of the nineteenth century, with the increasing interest of the Europeans in the culture of the East, the first articles on Islamic art and culture appeared in German-speaking countries. In the mid- nineteenth century, some entries in German encyclopedias were devoted to Islamic art, and from the end of the century, the first monographs on Islamic architecture and ornament were published. These texts were written by historians of European art, who analyzed Islamic art and architecture based on European aesthetic principles. At the beginning of the twentieth century, scientific studies in this area were started. Researchers such as Friedrich Sarre, Ernst Herzfeld, Ernst Kühnel and Richard Ettinghausen played an important role. By searching among German books and papers published in the nineteenth and early twentieth centuries, this article seeks to answer the questions of how these studies were formed and evolved in Germany. It can be said that in the scattered research of the nineteenth century, no chronological development can be observed. Among the important events of the first decade of the twentieth century, we can mention the publication of the first books on Persian architecture, carpets and metalwork, the establishment of the Museum of Islamic Art in Berlin, and the exhibition of “Masterpieces of Muhammadan Art” held in Munich. This exhibition and its catalogue were a turning point in the academic studies of Islamic art not only in Germany but in the entire Western world. In the second decade of the century, the first scientific excavation in an Islamic site was done by Herzfeld, and the first comprehensive book on Persian painting was published by Fredrik Martin. The first two decades of the twentieth century can be considered as the period of introduction and classification of Islamic art that researchers tried to establish chronology and attribute objects through stylistic comparisons and examination of their formal qualities. In the third decade, the meaning of the works based on historical and cultural contexts or the iconographic studies were followed in Hamburg, and after the rise of the Nazi Party, Ettinghausen continued it.