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مرکز اطلاعات علمی SID1
مرکز اطلاعات علمی SID
اسکوپوس
مرکز اطلاعات علمی SID
ریسرچگیت
strs
Journal: 

NEGARINEH ISLAMIC ART

Issue Info: 
  • Year: 

    2020
  • Volume: 

    7
  • Issue: 

    19
  • Pages: 

    101-117
Measures: 
  • Citations: 

    0
  • Views: 

    176
  • Downloads: 

    216
Abstract: 

With the advent of Islam in the 7th century AD, the course of ARTistic trajectories was transformed enormously, and in the shadow of Islamic civilization, an opportunity was provided to other nations to benefit from ARTistic and cultural achievements. Meantime, Persia had the highest position of gaining interest in other nations because the vast majority of Islamic ART was rooted in Persian ART (Sassanid), and in this way, and in this way, the dark and silent Europe during the middle ages, most of whose lands were conquered by Muslims, gained the most. In the 12th century, the Normans overthrew the Islamic State of Sicily and inherited the achievements of Islamic civilization. The aim of this research was to study the aesthetic components of Persian ART and to introduce some of its global effects in the form of Sicily Island in the Norman period ART and to analyze historical events as well as the process of transferring to other nations. To identify influential trends in the process of transferring Persian culture and ART to Middle Ages Europe and Especially Sicily, as well as determining the role of the motifs and concepts which are used in this area’ s ART works and has been impacted by IRANIAN ART, It should be said that the spread of Persian ART in countries has been emerged through direct and indirect factors: the Crusades, Muslim conquests on European soil and consequently, the Governance of the Muslims in this region and residence of IRANIANs, Trade in Italian peninsula with the Islamic World and especially Translate scientific resources that reserved to IRANIANs and muslims. What we call Persian in the works of Sicily are: IRANIAN mythical themes, decorative and lyrical like Griffon, Hunt, Plant motifs, Dance, Animals around the tree of life especially in textile design which is somehow a reflection of their IRANIAN origin, Animal Controversy, falconers on horseback, Horseback riding shooter. This research is of historical type and analytical-comparative method, and has been done by comparing images, and data collection method is secondary research.

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Author(s): 

KHAZAEI MOHAMMAD

Journal: 

ISLAMIC ART

Issue Info: 
  • Year: 

    2008
  • Volume: 

    5
  • Issue: 

    8
  • Pages: 

    25-40
Measures: 
  • Citations: 

    0
  • Views: 

    1000
  • Downloads: 

    293
Abstract: 

IRANIAN designing ART is a pART of visual ARTs in which different shapes and figures are created by paintbrush and ink on paper or any other surfaces, according to their lines and manners. Line in design ART plays the same role as color does in painting. Such substitution gives an independent personality to designing ART. Although IRANIAN designing ART is a subcategory of painting, in general terms, in this essay, it will be studied as an independent ARTistic work of full content and aim in a way that separates it horn other visual ARTs. Designer ARTists had valued the line, as the main element in designing. By making Making the best use of lines as the main element, they preferred simplicity over naturalism in their works and tried to find out which line is more capable to transfer the concept or how to show hidden inside beauties with the simplest and the most suitable lines. The present essay sets forth the importance of designing ART and the themes used by designers to represent symbolic concepts. It attempts in fact to answer these questions:1.Has special pattern or tradition been observed in drawing the themes?2. Has any political-religious structure influenced the existence and formation of designing works?3. Have they included any pARTicular symbolic themes?Surly we encounter more secondary questions that are subordinated to major ones.The research and information compiling method are historical-comparative and content analytic. The method and toolsto collect information include: library, field study, and compiling samples of designing works from museums, private collections, and etc.

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Journal: 

BAGH-E NAZAR

Issue Info: 
  • Year: 

    2019
  • Volume: 

    16
  • Issue: 

    78
  • Pages: 

    5-16
Measures: 
  • Citations: 

    0
  • Views: 

    12091
  • Downloads: 

    16516
Abstract: 

Problem statement: IRANIAN’ s ART has been evaluated from different perspectives during the past two decades, and some critics have presented its mainstreams as the reproduction of Orientalism discourses. This study attempts to investigate the specifications of finding common features between the characteristics presented for the production of such works of ART and Orientalism functioning. To this end, the concept of index has been applied referring to the debates on the semiotics and ART history for the critical reading of the reproduction of Orientalism discourse. Research objectives: This research aimed at critical studying and at the same time extending the theoretical challenges of contemporary IRANIAN ART focusing on the concept of the index. The main question of the current study was “ what components shape the features of contemporary IRANIAN ART and how indexing in the contemporary IRANIAN ART corresponds with Orientalism discourse? ” . Research method: This research was descriptive-analytic and qualitative data analysis has been performed. The samples have been selected through purposive sampling method. Conclusion: The extreme application of some of the elements and traditional motifs in IRANIAN ART has an indexical functioning that creates the capacity for spatial isolation and situationality of works of ART. Both spatial isolation and situationality are corresponded with Orientalism discourse.

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گارگاه ها آموزشی
Author(s): 

MOKHTABAD EMRAEI S.M.

Issue Info: 
  • Year: 

    2007
  • Volume: 

    14
  • Issue: 

    1
  • Pages: 

    89-98
Measures: 
  • Citations: 

    1
  • Views: 

    3909
  • Downloads: 

    87
Abstract: 

The term "Ta'ziyeh" refers to an IRANIAN dramatic genre which might be compared to the Western Passion Play and is the only indigenous drama of the entire Islamic world. This ritual drama has both an Islamic and a Persian heritage, the central theme of which is the tragic and heroic mARTyrdom of Imam Husayn, the grandson of the Prophet Mohammed and the third Imam of Shi'ite in the desert of Karbala in 680 A.D. Shiites believe that Imam Husayn sacrificed his life to be their Intercessor on the Day of Judgment.The history of Ta'ziyeh did not begin with the events at Karbala rather it dates back to pre-Islamic culture as well as the dramatic expressions of both the Memorial of Zarer3-a religious epic from the Sassanid era, (226-652 A.D.), and the Tragedy of Siyavush,-a work from ancient Iran, which precedes the Ta 'ziyeh play by 1,200 years.The tradition continued from an early processional form to the Magtal-Khani (a recital of mARTyrdom stories), until it took a dramatic shape. Further, both the playwrights and the structure of the Takiyeh performance building, its performance site, contributed to the evolution of Ta'ziyeh. In this paper, the emphasis is to demonstrate the character of Ta'ziyeh, its foundation and, the development of its various elements. It also attempts to reveal, from an objective stance, its value to a people who embrace it as a kind of ritual, both a holy and national ART form. Ta'ziyeh is a kind of ritual drama which has fascinated some of the world's most famous theatre historians, critics, and performers, who view in it some elements of the postmodern theatre.

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Issue Info: 
  • Year: 

    2013
  • Volume: 

    5
  • Issue: 

    2
  • Pages: 

    199-213
Measures: 
  • Citations: 

    0
  • Views: 

    1237
  • Downloads: 

    486
Abstract: 

Communities’ worldview has an important role in shaping ARTs. Exploring the evolution of the Persian ART and architecture indicates that, in different periods, despite the change of aesthetic and expression, there have relatively been some similar meanings in different forms of ART. On the words, in different forms of ART, expression might be changed but a unique meaning would bemarinated.In this research it is assumed that the roots of these semblances are in philosophical theories that have been dominant in the society. ART can be inspired by different theories, symbolism in Persian Mythological and mystical texts, and ultimately leads to the creation of a special aesthetic expression that could create a similar meaning in different kinds of forms.The results of this research indicate that there has been an obvious connection between the Persian ART and architecture and philosophy. In Safavids, the combination of various philosophical schools led to the creation of one of the most glorious periods of the Persian ART and architecture. The belief in the sanctity of the symbols of fertility that are visible in the historical IRANIAN thoughtsas well as in various forms of ART such as Anahita and tree of life have been replaced with waterfront and domes in the Safavids architecture. In all these shapes, a similar meaning would be visible.

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Author(s): 

Dastan Nasrin | Kazami Noushin

Issue Info: 
  • Year: 

    2016
  • Volume: 

    -
  • Issue: 

    1
  • Pages: 

    55-68
Measures: 
  • Citations: 

    0
  • Views: 

    2290
  • Downloads: 

    429
Abstract: 

Animal symbols have ever enjoyed a special position in the ARTistic compositions, sometimes held as the symbols of gods and worshiped in various rituals accordingly. Such importance might have been due to animals’ role in providing for the livelihood of the peasantry lives. A symbol finds its meaning within the backdrop of the culture with which it is associated. Therefore, a symbol is a context-based concept, the interpretation of which could be altered depending on the circumstances. One of the best ways to grasp the meaning of symbols is investigating the mind frames and belief systems of the ancient communities where such symbols were used. The interactions of the cultures and civilizations have always led to the swap of symbols from one civilization to the other over time because there is always some sort of inexorable cultural exchange involved in such associations. The existence of shared textual signs and symbols among disparate civilizations testifies to this very fact. However, such impressions obtain a new form as the societies’ habitation place and requirements alter in order to fit to the new situation. On this foundation, the study ahead aims to investigate the symbol of boar within the IRANIAN and Chinese civilizations covering the span of time since the formation of the Silk Road, coinciding with the PARThian period in Iran and the reign of Han dynasty in China, towards the fall of the Sassanid and Tang dynasties. Noteworthy is that when examining the Sino-IRANIAN relations, the role of Silk Road in the establishment of the relations of these two ancient powers stands out. During thousands of years of historic contacts between Iran and China through the Silk Road, the two countries have also enjoyed extensive cultural exchanges pARTicularly during the PARThian’ s era that concurred with the sway of the Han dynasty in China. During this era, commercial transactions between the two countries flourished wherein the Silk Road played an irrefutable pART. The use of Boar symbol in Persian ART dates back to antiquity. This symbol is frequent in IRANIAN ART but it occasionally appears in some Chinese ART works as well. In the IRANIAN culture, Boar is one of the expressions of ‘ Bahram’ , the god of war, who is mostly accompanied by the goddess ‘ Mitra’ in hunting scenes. Hunting is one of the fundamental signs of demonstrating human authority and dominion over the supernatural forces that have been depicted not only in the illustrative documents but also the religious texts such as Bahram Yaš t. In this respect, the boar, ’ s head within a pearl roundel is one of the most prominent common Boar motifs in IRANIAN and Chinese ART. On this basis, this research tends to answer this question that has the boar motif been transferred from Iran to China due to the cultural exchanges that occurred upon the establishment of the Silk Road? The foundation of the study is laid upon this hypothesis that “ it seems that the formation of the boar motif in the ARTworks of the Chinese civilization is derived from IRANIAN ART” . Conducted through a comparative-analytic approach, the study aims to elucidate on the role of boar in the ARTworks of the aforesaid eras and recount their similarities, differences and representations in IRANIAN and Chinese ART. The results acquired confirm that due to IRANIAN influences, this motif became widely popular in ancient China; however, the Chinese ARTists used it within the principles of their own ART traditions. Consequently, this motif has been generally applied to the ARTworks related to the world of the dead and afterlife such as tomb decorations; in other words, in Funerary ARTs. The outcomes also approve that the Boar motif has tread an evolutionary path in Iran but its development in China begins with the formation of the Silk Road; when China made its first contacts with Iran. On the other hand, the paper concludes that the spiral, pearl roundels around the Boar head in Chinese textiles are Sassanid motifs transmitted from Iran to China. Called ‘ medallion’ , this motif evolved along with the Chinese ART and emerged in their ART forms later on.

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strs
Author(s): 

SOLEIMANIAN H.R.

Issue Info: 
  • Year: 

    2009
  • Volume: 

    5
  • Issue: 

    21
  • Pages: 

    58-73
Measures: 
  • Citations: 

    0
  • Views: 

    250
  • Downloads: 

    89
Abstract: 

The admixture of ART and mysticism in IRANIAN-Islamic culture and civilization is an important issue, without the understanding of which it is impossible to describe IRANIAN-Islamic culture. The dominant IRANIAN culture and world view has given ART as well as many other categories a religious tint, making it equal to mystical teachings.With the use of lexical knowledge and the etymology of ART and mysticism in Persian literature, which is a great manifestation of such categories, the present research endeavors to show that ART in this culture is religiously and mystically based and is far from the basics of western aesthetics.A fundamental and important common point in IRANIAN-Islamic ART and mysticism that distinguishes it from the basics of ART in the west is its epistemological value. Hence, the ARTicle continues to study the similarities between these two categories in the way they achieve knowledge and use it.

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Author(s): 

Hamidimanesh Taghi

Issue Info: 
  • Year: 

    2020
  • Volume: 

    -
  • Issue: 

    8
  • Pages: 

    51-64
Measures: 
  • Citations: 

    0
  • Views: 

    113
  • Downloads: 

    271
Abstract: 

The Scythians were a Persian speaking tribe who had kinship with the intial tribes of the Aryans living in the IRANIAN plateau. They have been more or less considered the same as ‘ Turan’ and ‘ Turanians’ mentioned in Avesta and the IRANIAN epic legends. The Scythians had a vast territory stretched from Eastern Europe to the borders of China and Mongolia. This region was inhabited by various Scythians tribes who were not only in battle with their neigbours but were also in conflict with each other. Unlike other Aryan tribes (such as the Greeks, Romans, IRANIANs and Indians), the Scythians were unable to set up a centralized and advanced state system that could lead them to civilization and urbanization and the type of their economy lacked required characteristics to meet such goal. However, they were desert-dwellers but they shouldn’ t be considered among the savage tribes of the ancient world because they were ARTloving people and even in the proximity of their civilized neighbours, they were able to distinguish right from wrong and shad ARTistic taste and admired ART. Scythian ART illustrated the life of a warrior and a nomadic tribe and thus, their ART was distinctly different from the ART of the ancient civilizations. Scythians loved ARTs and culture yet their geographical and social conditions did not allow them to establish a civilization similar to their southern neighbors. The Scythians used to assault their neighbours and took entire possession of their belongings. Thus, in their ARTs, traces of Chinese, Indian, IRANIAN, mesopotamian and Greek ARTs can be found. One of the greatest discoveries of Schtyian ART are Pazirik and Vettersfelde treasures each of which contain valuable golden items that clearly reflect the influences of the pre-Achaemenid and Achaemenid Persian ART. Moreover, although they didn’ t create a city or have a permanent residence; but valuable relics and works of ART have been found in their graves and sanctuaries. These include several golden tools, weapons and a number of other objects among which the golden ones had motifs and sketches of mythical creatures and animals and other interesting designs. Aiming to examine one of the forgotten aspects of IRANIAN ART in Europe, the author has based his research on this hypothesis that the IRANIAN and ancient Mesopotamia ART have influenced the Scythian Vettersfelde ART. Employing a descriptive-analytical method of research, the paper seeks to answer these questions that which elements prove that the works recovered from Vettersfelde have been influenced by the ART of Iran and the ancient Mesopotamians and how they such elements have found their way to the Scythian Vettersfelde ART. The study shows that the motifs and designs on these objects have a common root and that they indicate apparent influences from IRANIAN and Mesopotamian ART or even they have been created in this region. Among different ART styles of numerous regions, the Zagros Bronze Age ARTworks are most prominent which corresponds to the arrival of Scythians in the area during the Median period and the existence of the Scythian graves there. Addressing this issue is important in several respects including that the Scythians played a role as cultural mediators among their neighboring nations because they were scattered over a vast territory. Given their close proximity to IRANIANs, a thor-ough understanding of their ART and culture can be very helpful in understanding IRANIAN ART and culture. Moreover, the Vettersfelde treasure shows the strong influence of IRANIAN and Mesopotamian ART on the ART of far-reaching areas and can help researchers seek similar influences in such a vast scope. The treasure contains few objects (because most of the ARTifacts were crushed or melted by farmers), but among them, there are a few golden saddles that are extremely valuable for understanding the Scythian culture. In two large pieces of Vettersfelde Collection, there are several distinct designs, each of which show that these items all belong a single origin and have probably been made by the same ARTist. While studying it against the Achaemenid and pre-Achaemenid Persian ART (especially the Zagros region) as well as the Mesopotamian ART, the outcomes display that their motifs and patterns have been derived from the ARTs and culture of this region, which is dealt with in this research. Perhaps the Scythians’ military influence over the Median and UrARTu territories for three decades and then Darius’ s war operations in Western Scythian territory led to the influence of IRANIAN culture influence on Scythian ART.

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Issue Info: 
  • Year: 

    2020
  • Volume: 

    25
  • Issue: 

    2
  • Pages: 

    85-93
Measures: 
  • Citations: 

    0
  • Views: 

    6
  • Downloads: 

    7
Abstract: 

From the past, interior decorations in Iran have been pART of the visual and ARTistic culture of the collection of visual works in interacting with architecture, which has been implemented with a variety of materials and techniques. The decoration of palaces, public and private buildings during the Safavid period were abundant, as the various arrays used, indicates a variety of design, motifs, and performance that, despite many studies, there is no complete information on how all these types of decorations are, especially, research in this area is generally around a variety of colorful and with many motifs, and recognizing simpler decorations is somehow in the shade and margin. Among all of the types of decorations used during the Safavid era, some surfaces are decorated simply on a white background with an oyster-like and brilliant effect that the purpose of this research is to identify the type of material used to create such an effect on the white surfaces of the Hasht-Behesht palace and one of the historical houses of Isfahan. The Historic monument of Hasht-Behesht was built during the reign of Shah-Soleiman and is of its kind in the unique palaces of the Safavid era. Among the various decorations of this building, some simple white decorative surfaces are surrounded in color lines, or with decorative elements such as Rosace and Pendentif elements on a white background have been implemented. The white color of the background in this type of decorative surfaces has an oyster-like and brilliant effect. Identifying this decorative style was based on field observations, historical sources, and the use of laboratory techniques, since it was not possible to complete recognition of the methods used in the past by merely confining the experimental methods and studying ancient resources. The compound found in the analysis shows a typical potassium-aluminum hydrate silicate from the muscovite mica group. The identified composition is a kind of Muscovite mica. To find out more about this kind of decorative ART, we have tried to look at a sample of similar decorations from the Safavid period in one of the historic houses of Isfahan. The use of the fine flakes of mica to create brilliance on white surfaces has in the past been a comprehensive way to decorate the architectural surfaces of the buildings, as we see it in both the Hasht-Behesht Palace and the IRANIAN houses. During the recent centuries, the materials and techniques used in the IRANIAN architectural decorations and their application, have been forgotten, but by reference to the old written texts, can be found the signs of their use and methods of preparation. Understanding one of the many types of IRANIAN architecture decorations with such methods can be a step to resolve the ambiguity of the ART of wall paintings in Iran. Gaining a better recognition of the techniques of IRANIAN interior decoration will be very effective in protecting them. In the forthcoming research also, with the historical texts reading, other ARTistic applications in manuscript and book design and book crafting will be examined.

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Author(s): 

Haghir Saeed | Alizadeh Sina

Journal: 

BAGH-E NAZAR

Issue Info: 
  • Year: 

    2021
  • Volume: 

    18
  • Issue: 

    101
  • Pages: 

    125-140
Measures: 
  • Citations: 

    0
  • Views: 

    7113
  • Downloads: 

    10147
Abstract: 

Problem statement: Parallel with the confrontation of the East and the West in the fields of worldview and philosophy, the comprehension of contemporary ARTistic approaches and movements also has its own complexities. Among these, conceptual ART is one of the most controversial issues in the ART world due to its characteristics and its view of aesthetics, media, audience, and institutions. This subject by its very nature is directly related to the language. The question that arises is what is the connection between language and ART in IRANIAN conceptual ART? Research objective: The aim of the present study is to gain a deeper understanding of conceptual ART in Iran so that the weaknesses and strengths of the relationship between ART and language in this movement can be better explored and, if possible, solutions for the future can be considered. Research method: In this study, the first step was to examine conceptual ART by delving into the background of the study and its related spectrum. In the second step, the relationship between ART and language, was first analyzed in general and then were scrutinized in conceptual ART by referring to the opinions of ARTists, current trends, and works, and to extract its components and principles. In the third step, the IRANIAN conceptual ART and the relationship between ART and language in this fledgling ART movement were studied and the works were analyzed based on the mentioned components and principles. In this study, the main purpose was to analyze the relationship between ART and language in conceptual ART, and show the weaknesses and strengths of the process of understanding and absorbing conceptual ART in Iran. Conclusion: By studying the relationship between language and ART in IRANIAN conceptual ART, the results can be summarized in two dimensions. First, the three components of the formation of conceptual ART in the West are very different from the context of its development and absorption in Iran. Second, this difference has created a weak link between language and ART in IRANIAN conceptual ART, which is contrary to the two principles derived from Western conceptual ART. It seems that these two dimensions should be considered next to the strength of this movement, namely being related to tangible issues.

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