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مرکز اطلاعات علمی SID1
مرکز اطلاعات علمی SID
اسکوپوس
مرکز اطلاعات علمی SID
ریسرچگیت
strs
Issue Info: 
  • Year: 

    2019
  • Volume: 

    16
  • Issue: 

    35
  • Pages: 

    121-138
Measures: 
  • Citations: 

    0
  • Views: 

    185
  • Downloads: 

    95
Abstract: 

There has been involvement in formation of Islamic art from different views; what TRADITIONALism involves in historical and comprehensive explanation of the art, and at the same time, confining its historical process. Present paper attempts to discuss formation of Islamic ARTS based on authentic TRADITIONAL views, including Schoun's, Nasr's, Burkhardt's, and Guenon's. Through the text, one could find comparisons between art historians' and TRADITIONALists views. Furthermore, there is a presentation of historic process of characteristic types of Islamic ARTS. Accordingly, there is an attempt to discuss effects of Islam and consequent manifestation of Islamic ARTS, following general discussions about Iranian Pre Islamic legacy. There is statement about general historic development of some types of more defined and mostly known Islamic ARTS within the same framework, including coinage, painting, architecture, pottery and metallurgy, and finally textiles among many types of manifestations of Islamic ARTS. The authors bibliographically collected information and data.

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Journal: 

Kimiya-ye-Honar

Issue Info: 
  • Year: 

    2018
  • Volume: 

    7
  • Issue: 

    27
  • Pages: 

    7-22
Measures: 
  • Citations: 

    0
  • Views: 

    958
  • Downloads: 

    481
Abstract: 

One of the terms that is currently used for art quiddity is the term “ aesthetics” . Although this term has a new meaning in Western philosophy with the advent of the German philosopher Baumgarten and then Immanuel Kant, but nowadays it is used for different kinds of art, including the ARTS derived from the tradition, and this usage is considered controversial by Eastern philosophers. In this paper, we try to explain why using the term “ Indian aesthetics” is not recommended for the remnants of this civilization by reviewing different aspects of TRADITIONAL Indian art, and showing that such an usage causes some special aspects of Hinduism, that were the motivation to produce artworks, remain unknown. To achieve such goal, we try to list particular features of Indian art such as being ritual and then classify its conflict with the concept of aesthetics.

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Journal: 

ISLAMIC ART

Issue Info: 
  • Year: 

    2020
  • Volume: 

    16
  • Issue: 

    38
  • Pages: 

    142-159
Measures: 
  • Citations: 

    0
  • Views: 

    18155
  • Downloads: 

    9195
Abstract: 

Poetry is formed as a poet's intellectual coordination in direct connection with society and its progresses. Thus, the analysis of poetry can provide a comprehensive representation of the society and its developments. Saeb Tabrizi is one of the poets of the Safavid period who is known as a prominent representative of the Indian style. The period of the Safavid rule (1355-1907 AH) was a period of ebb and flow in the intellectual and artistic life of the Iranian society. The issue that can be raised in this regard is how the developments of this period were reflected in the poetry of Saeb Tabrizi. This research seeks to answer the mentioned problem by relying on analytical and descriptive methods and library data. The research findings indicate that Indian style poets experienced two diverse stages in their lives; regarding the first stage; whilst bearing with poverty and financial incapacity, they composed poems in their homeland, and in the second phase, with the wealth accumulated from the support of the courtiers of India, they expressed poetic fantasies in a new and extraneous means. Saeb is one of the Indian style poets who has spent some time of his poetic life in India by emigrating; Therefore, "homeland" and related concepts in his poetry can demonstrate how the poet views the cultural, social and geographical environment of his time; moreover, the reasons for his immigration to India can be understood amongst the verses of his poetry. Alternatively, his poems are full of concepts of TRADITIONAL ARTS that can be a manifestation of the artistic prosperity of the Safavid era. Research aims 1. Investigating the role of social and cultural space in the concept of homeland and TRADITIONAL ARTS in the poetry of Saeb Tabrizi 2. Drawing different dimensions of the concept of homeland in Saeb Tabrizi's poetry. Research questions 1. What effect has the cultural, social and geographical atmosphere had on the poetic atmosphere of Saeb Tabrizi? 2. What is Saeb Tabrizi Saeb's attitude about homeland and exile?

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گارگاه ها آموزشی
Author(s): 

Ganji Narges | Ishraqi Fatima

Journal: 

LITERARY ARTS

Issue Info: 
  • Year: 

    2020
  • Volume: 

    12
  • Issue: 

    1 (30)
  • Pages: 

    1-16
Measures: 
  • Citations: 

    0
  • Views: 

    60
  • Downloads: 

    89
Abstract: 

Introduction One of the important research fields in literary research, which helps us better and more deeply understand the literary works is to investigate the links between art and literature and the exchanges that have existed between these two big branches of human sciences since ancient times, particularly the effect that art and its subcategories have had on literary evolution throughout history. One of such fields on which little research has been done is investigating the inspiring and enriching effect of performing ARTS in literature. One type of performing art that has a long history in the culture of Iran and Arab countries is the puppet show which has a dominant presence in Persian and Arabic literature, especially mystical literature, and mystics have benefited from it as a vehicle to explain their mystic thoughts. The current research has made an effort to fulfill the purpose of classic research on the relationship between art and literature and investigate one of the unique aspects in the mystical literature, that is the creative and artistic approach of Sufi masters to the art of puppet show and benefiting from that as a way to express the unspeakable and enigmatic perceptions of mysticism. Also, the present research has tried to clarify the historical roots of the use of the symbolic image of the puppet show in explaining ontological issues and disclose the evolution of this cryptic image in mystical literature. However, the period of this research is restricted from the 4th/10th to the 9th /15th century. The reason behind selecting this historical period is that this epoch is the period of the doom of the mystic thoughts and appearance of eminent mystics and the creation of mystical masterpieces in Arabic and Persian literature. But in later centuries, there is a little sign of previous mystics' Revelations and creation of past thinkers has descended to repeated and formulaic images. This raised this question in the authors' minds that why some mystics have taken hold of this performing art. Trying to find the answer to that question raised other questions in the authors' mind: why has the puppet show, especially the shadow play, become an opportunity for mystics to display their creative imagination? To explain which of their mystic thoughts did mystics use this performing art? What is the historical background of the symbolic image of the puppet show in ontological issues? Making an effort to reach a suitable response to such questions persuaded us to investigate the position of the symbolic image of the puppet show, especially the shadow play, in mystic thoughts in independent research and to figure out the reason for this intelligent selection by mystics. Discussion and analysis The puppet show, which was more folkloric by almost fourth century AH, gradually entered the literary and mystic language and was suddenly welcomed by mystics due to their “ aesthetic and artistic view of religion” . They found everything associated with spiritual experiences, and because of their spiritual needs and similarity between materialistic things and their supreme mystic experiences, they would make an effort to depict a part of the spiritual world in the form of the materialistic world. Therefore, they did not consider this performing art a means of entertainment. They had an artistic and mystic view of that and had made it an opportunity to display their imaginations by their artistic view and intelligent selection. In Conclusion, the main reason behind the selection of the puppet show by mystics was that such a show could be considered an appropriate tool that has depicted the thought system of Ibn Arabi and other mystics, whose thoughts were in line with him, in the form of an interwoven set of signs using a symbolic language. Because they sought a mystic purpose behind the puppet's movements and their relationship with the puppeteer who was hidden behind the screen and moved them with invisible strings or cast their shadows on the screen with light. They also considered that simple show with a symbolic image to be the best tool to explain their complicated mystic perceptions and thoughts from the world of mystic journey and tried to make hard-to-grasp mystic concepts as simple as possible for their audience and followers of mysticism by taking advantage of symbols and imagery. So, it is not surprising that despite its simplicity and informality, the puppet show entered mysticism, became known as one of the areas in which mystics could depict their creative thoughts, and was welcomed by mystics who sought supreme truths of the spiritual world through the simplest materialistic things and used everything to interpret their revelations. In General, based on mystics' quotes, we concluded that pantheism, the unity of divine acts, and explaining the position of heavenly spheres in controlling the world's affairs formed three functions of the symbolic image of the puppet show, especially the shadow play. Apparently, the statement of Ibn Hazm is the earliest in using the performing ARTS to express the impermanence of the world. Although the creation of past thinkers such as Ibn Hazm and Ghazali have benefited from this symbolic image, the boom in the usage of this symbolic image in Islamic mysticism dates back to Ibn Arabi who has most probably promoted the usage of this performing art among mystics. After him, many mystics have taken advantage of this image among which the symbolic image of Rumi in Persian literature and Ibn Fariz in Arabic literature seem to be the most imaginative and effective.

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Author(s): 

MORTAZAVI MEHDI

Issue Info: 
  • Year: 

    2012
  • Volume: 

    2
  • Issue: 

    2
  • Pages: 

    37-47
Measures: 
  • Citations: 

    0
  • Views: 

    167
  • Downloads: 

    61
Abstract: 

Answer to Why and How of ancient human behaviors is the task of Archaeology, proper understanding of natural environment will answer most of the questions related to ancient time. Nowadays, archaeology attempts to reconstruct ancient human behaviors with the help of other sciences such as ethnology. Ethnoarchaeology is one of the main approaches, which helps archaeologist to make a bridge between the present and the past. Analogy between present and past environments is one of the most important conditions. It is not possible to study a village in Sistan region and then reconstruct ancient human behavior in Kordestan. In fact, it is believed that human offers certain behaviors against specific environment. Thus, people who are living in Sistan and Baluchestan Province, live in an environment, which has had a few changes during last 5000 years. TRADITIONAL ARTS such as local music, carpet, rug, pottery, needle works, coin works, mat weaving and many other ARTS have roots in ancient ARTS of people of Sistan Region. Neglect and decline of some of the above ARTS are results of different ideas to support these ARTS. In fact, localization of art and archaeological studies in Sistan reagion mean to have full understanding of the environment of this region from the past to the present. In this regard, with support of TRADITIONAL artists, which have roots in history, it is possible to hope that archaeology and art could serve for development of Sistan and Baluchestan Province. The aim of this article is two folded firstly to discover problems of archaeology and TRADITIONAL ARTS in this region and secondly to suggest certain solutions. As in modern time, environment of the Sistan region is fragile, support of the TRADITIONAL ARTS could function as a main way to strength unity in this province, it also could function as a sure source of income for people of this region.

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Author(s): 

MOUSAVI SEYED RAZI

Journal: 

ISLAMIC ART

Issue Info: 
  • Year: 

    2012
  • Volume: 

    8
  • Issue: 

    15
  • Pages: 

    21-34
Measures: 
  • Citations: 

    0
  • Views: 

    3543
  • Downloads: 

    1975
Abstract: 

Scrutinizing the Fotovat Naméh in Islamic culture is amongst the best known rudiments for the cognition of Islamic art history and the relation between art and theology. Artists who endeavor in this rightful art, apart from having an occupation, venture in a religious act; therefore, such ARTS are never categorized as fancy or highly extravagant for they were strongly allied with sincere and theological standpoints. In past times, seniors and mentors of various castes attempted to write books about the chivalry of their professions and trades; such books were named as “Fotovat Naméh”. By investigating the context of such writings, particularly the Fotovat Naméh of Chitsazan, one can become acquainted with a complete and comprehensive nurture scheme that has paved the way for a major art revivification. In contrary, many ARTS lacked such a scheme and did not choose to have a Fotovat Naméh for their own specific trade; hence such professions are classified as illegitimate and dishonest ARTS.Objectives: 1- Investigating the degree of impact of Fotovat Naméh on Islamic art. 2- Introducing the main elements of the Chitsazan album.Questions: 1- Has religious knowledge influenced TRADITIONAL art?2- How was the FotovatNaméh of different professions, first established?

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strs
Author(s): 

SADRI MINA

Issue Info: 
  • Year: 

    2018
  • Volume: 

    12
  • Issue: 

    25
  • Pages: 

    143-159
Measures: 
  • Citations: 

    0
  • Views: 

    86
  • Downloads: 

    45
Abstract: 

TRADITIONAL ARTS have had an educational function in the realm of religion and morality. This function was the result of a harmony between form and meaning. The harmony between form and meaning would result in a movement from the outward to inward, and its educative process is formed in this stage. The identity of form with meaning has been neglected in contemporary TRADITIONAL ARTS, and accordingly, its educative process has been lost. The question is how the separation between from and meaning has come about and what the consequent defects were. It is presumed that the defect is resulted from the mode of education and the effect of educational system on TRADITIONAL ARTS as well as the evaluating standards of the western thought. To get the answer, the related library sources were identified and the artistic features of the ancient and contemporary periods were compared and contrasted through a content analysis, the following findings were obtained: a disorder in unity of form and meaning is the result of (a) a separation between TRADITIONAL artists and other sciences; (b) neglecting the logical stages of education; and (c) the importance of personal method is due to the principality of individuality and innovation. In view of the achievement, the most important result which is worth noting is the loss of educational aspect due to a disorder in the movement from outward to inward.

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Writer: 

MORADI ZOHREH

Issue Info: 
  • Year: 

    2016
  • Volume: 

    0
  • Issue: 

    1
Measures: 
  • Views: 

    1365
  • Downloads: 

    0
Abstract: 

TIME AND HISTORICAL EVENTS HAVE HAD DEVASTATING IMPACTS ON THE ERASURE AND OBLIVION OF THE 'ART WORKS' IN DIFFERENT PERIODS. NOTWITHSTANDING, RECOGNITION AND REVALUATION OF THESE ART WORKS NECESSITATE THE STUDY OF THE HISTORICAL WRITTEN ACCOUNTS. HISTORICAL BOOKS PROVIDE A COMPLETE PICTURE OF THE CUSTOMS IN ROYAL COURTS, GOVERNMENTS, POLITICAL AND SOCIAL AFFAIRS, GIFT GIVING CEREMONIES, THE LIFE OF PEOPLE FROM ALL WALKS OF LIFE AND ETC. THOUGH WHICH DIFFERENT ASPECTS OF CULTURE, TRADITIONAL ARTS, AND HANDICRAFTS CAN BE EXPLORED. SO THE RESEARCH AIMS IN THIS RESEARCH ARE: STUDYING THE TRADITIONAL ARTS AND HANDICRAFTS OF THE GHAZNAVID ERA THROUGH THE HISTORICAL BOOKS REMAINED FROM THIS PERIOD AND CATEGORIZING THE TRADITIONAL ARTS AND HANDICRAFTS OF THE GHAZNAVID ERA BASED ON THE LATEST FORMAT PROPOSED BY THE CULTURAL HERITAGE, HANDICRAFTS AND TOURISM ORGANIZATION. THE PRIMARY SOURCES FOR THIS ESSAY CONSIST OF TARIKHE YAMINI, TARIKHE GARDIZ, TARIKHE BEYHAGH AND TARIKHE BEYHAG. TARIKHE BEYHAGH IS THE MOST COMPLETED BETWEEN SOURSES BECAUSE OF DESCRIBING DETAILS IN GHAZNAVID EDA. THE MAIN PURPOSE IN THIS ESSAY IS INTRODUCING OF HANDICRAFTS IN THIS ERA NOT THE PLACE OF MADE THEM. THE METHODS USED IN THIS ESSAY ARE LIBRARY RESEARCH, THE DESCRIPTIVE AND HISTORICAL ANALYSIS.

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Author(s): 

ARBABI BIJAN

Journal: 

GOLJAAM

Issue Info: 
  • Year: 

    2008
  • Volume: 

    -
  • Issue: 

    11
  • Pages: 

    57-74
Measures: 
  • Citations: 

    0
  • Views: 

    1758
  • Downloads: 

    703
Abstract: 

Books and topics of TRADITIONAL ARTS (especially hand-made carpet) have not been compiled based on scientific methods. For years, the literature of carpet design and motif is strangely non-structural and full of deficiencies; even the major writers of the field follow in others’ footsteps. This article tries to prepare the ground for a different viewpoint: a better understanding and classification of “design” and “motif” in Iranian carpets requires solid and reliable bases. Review of those books which have mentioned designs and motifs and have introduced a classification for them reveals that the definitions are heterogenic, references and structures are unknown and there are many sharp and tremendous differences among them, as if there is no cognitive and conceptual objective to be drawn from such classifications. None of such categories can be regarded as scientific, therefore design and motif shall be defined using comprehensive methods but not merely descriptive ones. Ultimately this paper proposes that “design” can be considered as the architecture and overall image of those motifs included in a text, while “motif” can be regarded as the element which portrays the design by means of its capabilities.

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Journal: 

URBAN MANAGEMENT

Issue Info: 
  • Year: 

    2016
  • Volume: 

    15
  • Issue: 

    43
  • Pages: 

    151-160
Measures: 
  • Citations: 

    0
  • Views: 

    26767
  • Downloads: 

    19407
Abstract: 

The backwardness of the countryside is most important issues of developing countries. The result of this study, based on descriptive - analysis studies, shows that revive TRADITIONAL ARTS and crafts with much charm with planning and organizing on development stimulus projects, can direct influence on the villager’s empowerment. Of course, the existence of such attractions, itself, without providing proper bed in the field of empowerment, has not the capability to introduce and identifying. Hence, there is appropriate site in the village of Laft in empowering the intellectual and cultural treasures. The creation and the spread of such projects, in addition to revive TRADITIONAL ARTS and crafts provide empowerment and development of Laft villages.

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