دانشگاه سوره رهپویه هنرهای صناعی 2821-0352 4 2 2024 09 21 Iconological Analysis of the Tilework at the Entrance Gate of Eram Garden, Shiraz تحلیل و خوانش کاشی نگاره سر در ورودی باغ ارم شیراز با رویکرد آیکونولوژی 7 19 722418 10.22034/rac.2024.722418 FA نرگس طالبی کارشناسی ارشد عکاسی، دانشکده هنر، موسسه آموزش عالی اقبال لاهوری ، مشهد، ایران پژمان دادخواه استادیار گروه عکاسی، دانشکده هنر، موسسه اموزش عالی اقبال لاهوری، مشهد، ایران 0009-0003-6164-1071 Journal Article 2024 05 10 Eram Garden in Shiraz is a significant structure from the Qajar era. Due to Shiraz's historical background and its influence from Western culture, it played a key role in shaping Iranian art and architecture. Until the end of the Qajar period, the Shiraz school of painting incorporated themes from Persian literary classics such as One Thousand and One Nights, Shahnameh, Khamseh by Nezami, Divan of Hafez, the works of Saadi, and Quranic stories like those of Joseph and Zulaikha and Solomon and the Queen of Sheba. These narratives are frequently depicted in Shiraz’s tilework, characterized by vibrant colors—particularly shades of red—and an emphasis on human figures. This research aims to analyze the meanings and content of the three-arched tilework at the entrance of Eram Garden using Erwin Panofsky’s iconology method. The tilework consists of four panels: the Queen of Sheba in Solomon’s court, the court maidens swooning at the sight of Joseph’s beauty, Shirin bathing while Khosrow watches, and a depiction of Naser al-Din Shah on horseback. These illustrations reflect human, mythological, and narrative elements typical of the Qajar period. During the Qajar era, tilework largely followed the style of the Safavid period but evolved with distinct decorative innovations. The entrance tilework served both functional and ornamental purposes, conveying cultural, social, and even political messages. Historically, entrances in Iranian architecture have been seen as spiritual spaces expressing the beliefs and values of the building’s owner. Tilework, alongside brickwork, stucco, and painting, was used for entrance decorations across various historical periods, reflecting the traditions and beliefs of each era. The visual language of entrance tilework can be viewed as a set of symbols and motifs that convey deeper cultural narratives. Analyzing these motifs using Panofsky’s iconology can uncover hidden meanings and their connections to Iranian culture and religion. The study aims to answer two key questions: (1) What are the fundamental meanings behind the human, mythological, narrative, and animal motifs in these tileworks? (2) How are these motifs connected to Iranian culture and religion? Methodology The research is descriptive-analytical, using Panofsky’s three-tiered iconology approach. Data collection was conducted through library research and field observations. The study’s statistical sample consists of three narrative panels from Persian literary and religious stories, analyzed qualitatively through three stages: pre-iconographic description, iconographic analysis, and iconological interpretation. The objective is to interpret the hidden meanings in the tilework panels based on Panofsky’s framework. Findings The findings reveal that the motifs in the Eram Garden tilework are symbolic, encompassing historical, mythological, and religious themes. Depictions of religious and royal figures, such as Solomon and the Queen of Sheba and Joseph and Zulaikha, signify the fusion of religion and power in Iranian art and culture. Each human figure—Solomon and the Queen of Sheba, Khosrow and Shirin, Joseph and Zulaikha—symbolizes virtues like wisdom, love, beauty, and authority. These characters served as role models, promoting values such as justice, courage, and love. The representation of women in the tilework is diverse. On one hand, figures like the Queen of Sheba and Shirin symbolize power, intelligence, and beauty. On the other hand, Zulaikha is portrayed as a symbol of temptation and seduction. This diversity reflects the multi-faceted view of women in Iranian culture. Evil figures such as demons symbolize malevolent forces, and the struggle against them represents humanity’s battle with the ego in the quest for perfection. Mythical birds like the Simurgh represent wisdom and enlightenment, guiding humanity toward truth. Animals such as lions and leopards symbolize strength and bravery and are often depicted as adversaries in Persian epic and mythological tales. Nature plays a vital role in Iranian culture, symbolizing life and creativity. In these tileworks, nature is depicted symbolically, linked to fertility and growth. By illustrating scenes from Shahnameh, Nezami’s romantic tales, and Quranic narratives, the tilework highlights Iran’s cultural heritage and historical identity. The inclusion of figures like Joseph and Zulaikha symbolizes virtues such as morality, virtue, and self-restraint. The motifs of the three-arched entrance of Eram Garden deeply resonate with Iranian cultural and religious themes. Overall, the tilework reflects elements of Islamic-Iranian architecture, combining religious, mystical, and symbolic concepts. The number three holds a special place in Iranian culture and philosophy. It may symbolize the three essential elements of creation—heaven, earth, and water—or the three Zoroastrian principles of “good thoughts, good words, and good deeds.” This triadic symbolism is also prevalent in Islamic-Iranian art and architecture. The crescent, a prominent motif in the Islamic world, represents a connection to the heavens and spirituality. In Safavid and Qajar tilework, crescents often symbolize divine guidance and spiritual ascension. The three arches at the entrance of Eram Garden may symbolize the sacred triad in Islam—God, the Prophet, and the Imams—representing unity and spiritual authority. In Iranian art, floral motifs, such as flowers and vines, often symbolize paradise and spiritual realms. These motifs surround the three arches at the entrance of Eram Garden, emphasizing the connection between the earthly and the divine. They may also symbolize the unity between humanity and the natural and spiritual worlds. In conclusion, the entrance tilework of Eram Garden showcases a rich tapestry of religious, mythological, and cultural motifs, reflecting the historical and spiritual identity of Iran. By employing Panofsky’s iconology, this study reveals the symbolic meanings and intricate connections within these tileworks, highlighting their significance in Iranian cultural and artistic heritage. باغ ارم شیراز یکی از بناهای مهم دوره قاجار است. موضوع اصلی پژوهش، تجزیه و تحلیل مفاهیم و محتوای کاشی‌نگاره سه‌هلالی سردر ورودی باغ ارم با توجه به رویکرد آیکونولوژی اروین پانوفسکی است. این کاشی‌نگاره، شامل چهار مجلس؛ بلقیس در بارگاه حضرت سلیمان، مدهوش‌شدن ندیمگان از دیدن جمال حضرت یوسف، آبتنی شیرین و نظاره خسرو، و نگاره‌ای از ناصرالدین شاه سوار بر اسب است. این نگاره‌ها حاوی نقوش انسانی، اسطوره‌ای و روایتی رایج دوره قاجار هستند. تحلیل این نقوش از طریق شمایل‌شناسی پانوفسکی، می‌تواند معانی پنهان و ارتباط آن‌ها با فرهنگ و مذهب ایرانی را روشن سازد که شایسته مطالعه و بررسی هستند. لذا هدف پژوهش حاضر، تحلیل و تبیین نشانه‌ها و روایت کاشی‌نگاره‌ها با توجه به فرهنگ ایرانی است تا به این سوالات پاسخ دهد که 1. نقوش انسانی، اساطیری، روایتی و حیوانی در این نگاره‌ها، به‌طور اساسی نمایان‌گر چه مفاهیمی هستند؟ 2. این نقوش چه ارتباطی با فرهنگ و مذهب ایرانی دارند؟روش پژوهش، توصیفی- تحلیلی با رویکرد شمایل‌شناسی پانوفسکی است که اطلاعات از طریق منابع کتابخانه‌ای و میدانی گردآوری شده است و سه مجلس کاشی‌نگاره با مضامین روایتی از داستان‌های ادبی و مذهبی به عنوان جامعه آماری، انتخاب شده و به شیوه کیفی مورد تجزیه و تحلیل قرار گرفته است. پژوهش در سه مرحله «توصیف پیشاشمایل‌نگارانه»، «تحلیل شمایل‌نگارانه» و «تفسیر شمایل‌شناسانه» انجام شده و تلاش دارد معانی پنهان در کاشی‌نگاره‌ها را بر اساس رویکرد پانوفسکی تفسیر کند. نتایج پژوهش حاکی از آن است که نقوش کاشی‌نگاره جنبه نمادین داشته و حاوی مضامین تاریخی، اسطوره‌ای و مذهبی هستند. اشاره به تصویرسازی‌های دینی و حکومتی، نشان‌دهنده پیوند دین و قدرت در هنر و فرهنگ ایرانی است. زنان در این نقوش نمادهایی از قدرت، زیبایی، هوش (بلقیس و شیرین) و فتنه‌گری (زلیخا) هستند که بازتاب‌دهنده نگاه چندوجهی فرهنگ ایرانی به زنان است. دیوها و موجودات اهریمنی نماد شرارت و مبارزه با آن‌ها، نماد مبارزه انسان با نفس اماره و تلاش برای رسیدن به کمال است. پرندگان اساطیری چون سیمرغ نشان‌دهنده حکمت و راهنمایی انسان به سوی حقیقت هستند. حضور شخصیت‌هایی چون یوسف و زلیخا نماد اخلاق و فضیلت است. به طور کلی، این نقوش بازتاب‌دهنده عناصر معماری و هنر اسلامی ایرانی هستند که ترکیبی از مفاهیم دینی، عرفانی، و نمادگرایانه را به تصویر می‌کشند. عدد سه، نمادی از اصول اخلاقی و آفرینش در فرهنگ ایرانی و سه‌گانگی مقدس اسلامی است. در کاشی‌کاری‌ اسلامی، هلال نماد پیوند با آسمان و معنویت است.نقوش گیاهی اطراف این هلالی نیز ارتباط بین زمین و آسمان و دنیای معنوی را نشان می‌دهند.

https://rac.soore.ac.ir/article_722418_1b22773612a69d08b3afcdbdb77e694e.pdf

دانشگاه سوره رهپویه هنرهای صناعی 2821-0352 4 2 2024 09 21 A comparative study of the form and decorations of glass bowls of the Timurid era of Iran and the Mamluks of Egypt مطالعه تطبیقی فرم و تزیینات کاسه‌های شیشه‌ای عصر تیموریان ایران و مملوکیان مصر 21 29 722420 10.22034/rac.2024.2038256.1086 FA پردیس زارعی کارشناسی ارشد پژوهش هنر، دانشکده هنرهای تجسمی، دانشگاه هنر اسلامی تبریز، تبریز، ایران. 0009-0003-8627-2399 معصومه زمانی سعدآبادی دانشجوی دکترای تخصصی تاریخ تطبیقی و تحلیلی هنر اسلامی ، گروه مطالعات عالی هنر، دانشکده هنرهای تجسمی، دانشگاه تهران، تهران، ایران. 0000-0002-1203-2398 فرنوش شمیلی دانشیار، دانشکده هنرهای تجسمی، دانشگاه هنر اسلامی تبریز، تبریز، ایران. Journal Article 2024 05 31 Glassmaking is one of the valuable arts of Iran and Egypt. Due to factors such as trade, war, migration, and other issues, there have been influences between these two lands in various fields, including the field of art, which has also been influential in the art of glass, based on historical and archeological documents from the Elamite period in Iran, it has a rich historical and artistic background, so that during different historical periods, valuable glass works have been left that show the dimensions of innovativeness in glass fabrication and decoration. During the Islamic era, Egypt (Fustat and Cairo) was one of the leading glass producers, and glassmakers migrated there from Islamic lands. The Mamluks, who ruled in Egypt, achieved great power during their rule, the most golden period in history, and they created these two lands separately. During the Islamic Renaissance, they gradually developed their military power and culture, reached a prominent position in the arts, and used many arts in all aspects of their lives, pure gems in a unique period of art and human history. However, the Egyptian school was one of those schools of art that came into being due to the divisions of Islamic art in the Islamic world. The art of glassmaking was one of the popular handicrafts, especially in producing enamel glass, enameled and gilded containers, and chandeliers. The growth and prosperity of glassmaking result from the influence, knowledge, and exchange of experiences of glassmaking artists between the main glassmaking centers, such as Iran and Egypt. Iran and Egypt have been among the pioneering lands of glass art and valuable works have been left from ancient times to the Islamic period and afterwards. Iran and Egypt have always been in contact with each other. Due to the role of Siraf port and the vital role of the Silk Road, the road leading to the shores of the Mediterranean Sea and Egypt, and the trade of artworks and the migration of artists, extensive relations were established between the two lands in various economic, cultural and artistic fields from the beginning of Islam to the end of the 7th century AH. This period was chosen because glass art was important in the Islamic era. On the one hand, glassmaking, which had stagnated after the Mongol invasion, was revived and prosperous due to Timur's actions and the gathering of the most skilled glassmakers in Samarkand. On the other hand, one of Egypt's most important glassmaking groups belongs to the Mamluk period of Egypt. The study of Timurid and Mamluk glass bowls indicates a golden age of glassmaking in Egypt, where production surpassed contemporary Iranian bowls in quality and decoration. This study aims to study the decorations of glass bowls in Iran and Egypt in the Timurid and Mamluk eras in order to increase the knowledge of the art of glass and answer the fundamental question of what the differences and similarities between glass bowls in Iran and Egypt? to answer. The method of the present study is descriptive-analytical, and the method of collecting library information is descriptive. The results indicate that the bowl has a long history in Iran and Egypt and was mainly used for daily use. In some cases, it has also had a decorative aspect. By studying the glass bowls of the Timurid and Mamluk eras, it was concluded that Egypt in this era was spending a golden age in the field of glassmaking, and the glass bowls of this era were better than the bowls of Iran in terms of quality and decoration. Because Iran was involved in war during this period, a limited number of glass works have been made and survived. Iranian glass bowls are made in the shape of a cup and a wide mouth with different details, and Egyptian glass bowls are made in various forms, such as wide-mouthed bowls, cups, spherical, and plates. Iran's glass bowls were greenish and dark blue, and Egypt's were pale blue, opaque white, dark purple, brown, yellow, and gray. Iranian glass bowls often feature decorations ranging from minimalist styles to relief work combining figurative-abstract floral motifs with abstract, non-geometric designs. Egyptian glass bowls, decorated through enameling and gilding, combine iconic abstract motifs, Thuluth script, and floral, animal, and geometric patterns, often augmented with raised "eyebrow" or "feather" tape motifs. In terms of decoration, the glass bowls of Iran are devoid of decoration and decoration of reliefs. However, the glass bowls of Egypt are full of enamel decorations and gilding with various decorative motifs. The color of the body of the Iranian bowls is greenish and blue, and the body color of the Egyptian bowls is varied, including pale blue, opaque white, dark purple, brown, yellow, and gray. . شیشه‌گری از جمله هنرهای ارزنده سرزمین‌های‌ ایران و مصر است و از آنجاکه بین این دو سرزمین در مقاطع مختلف تاریخی تعاملاتی در زمینه‌های مختلف هنری اتفاق افتاده که در هنر شیشه نیز تأثیرگذار بوده است، این پژوهش با هدف مطالعه تزئینات کاسه‌های شیشه‌ای ایران و مصر در عصر تیموریان و مملوکیان به‌منظور افزایش دانش هنر شیشه با رویکردی تطبیقی انجام یافته است تا به این پرسش اساسی که وجوه تفاوت و تشابه کاسه‌های شیشه‌ای ایران و مصر به لحاظ فرم، نقوش و تزئینات کدام است؟ پاسخ دهد. روش تحقیق حاضر توصیفی-تحلیلی و شیوه گردآوری اطلاعات کتابخانه‌ای است. نتایج پژوهش با مطالعه فرم بدنه، پایه، تزئینات و نقوش کاسه‌های شیشه‌ای ایران و مصر حاکی از آن است که شیشه‌گری در دروره تیموریان ایران کم رونق اما در دوره مملوکیان مصر دوره‌ای درخشان را سپری می‌کرده است و از این‌رو کاسه‌های شیشه‌ای ایران به لحاظ فرم و تزئینات نسبت به نمونه‌های مصر ساده‌تر هستند. فرم بدنه پیاله‌ای و دهانه گشاد فرم مشترک بین نمونه‌های ایران و مصر و فرم کروی و بشقابی مختص نمونه‌های مصر است. کاسه‌های شیشه‌ای ایران از پایه مسطح اما کاسه‌های شیشه‌ای مصر از پایه‌ای کوتاه و بلند نیز برخوردار هستند. تزئینات آثار مزبور ایران هندسی، غیرهندسی و گیاهی بوده در حالی‌که آثار مصر از تنوع تزئینات و نقوش شامل نقوش انتزاعی محض هندسی، غیرهندسی و نوشتاری و نقوش شمایلی-انتزاعی گیاهی و جانوری بهره‌مند بوده که با رنگ‌های متنوع و تکنیک‌های متفاوت به‌ویژه میناکاری اجرا شده است.

https://rac.soore.ac.ir/article_722420_536388f3ebb6411327797a36452e3f6a.pdf

دانشگاه سوره رهپویه هنرهای صناعی 2821-0352 4 2 2024 09 21 Farabi's Aesthetics in the Visual and Conceptual Analysis of Iranian-Uzbek Painting in the 10th Century رویکرد دینی زیبایی‌شناسی فارابی در تحلیل بصری و مفهومی نگارگری ایران ازبک در قرن دهم 31 40 722432 10.22034/rac.2024.722432 FA عاطفه گروسی دانشجوی دکتری، گروه هنراسلامی، دانشکده هنر و معماری، دانشگاه تربیت مدرس، تهران، ایران، مهناز شایسته فر دانشیار، گروه هنراسلامی، دانشکده هنر و معماری، دانشگاه تربیت مدرس، تهران، ایران، 0000-0002-3537-0269 علی‌رضا مهدی زاده دانشیار گروه نقاشی، دانشکده هنر و معاری، دانشگاه شهید باهنر. کرمان. ایران. Journal Article 2024 06 05 The Iran-Uzbek miniature tradition known as the “Bukhara School” reached its zenith through the contributions of artists such as Kamāl al-Dīn Behzād and Maḥmūd Mudhahhib, subsequently influencing later schools of miniature painting. Behzād was among the painters who, during the rule of Moḥammad Shaybānī, relocated from Herat to Bukhara, where he lived until Shaybānī’s death in 916 AH; afterward, he moved to Tabriz. One can say that the continuity of Behzād’s works and those of his pupils, coupled with the local painting style of Bukhara, collectively gave rise to what became known as the Bukhara school of miniature painting. Initially inspired by the Herat school, the Bukhara school gradually evolved into an independent style of miniature art that later, through the migration of its artists, profoundly influenced Indian miniature painting and other subsequent periods. Two main tendencies can be identified in the painting of this era. The first is rooted in literature and epic poetry, as evidenced in the illustration of the Shāhnāmeh or the miniature tradition tied to Saʿdī’s Golestān, where the impact of the Herat school on Bukhara is apparent. Such works depict flowing streams, trees, meadows, palace façades, festive gatherings, as well as epic scenes like the Sīmorgh or the episode of Sīyāvash passing through fire. The second tendency behind the formation of the Bukhara school of miniature painting draws on Uzbek local legends and folktales, characterized by Uzbek-style clothing and distinctively bold and vivid color palettes. These miniatures include romantic scenes, depictions of public entertainments, and occasional references to war and hunting. Overall, they convey an atmosphere of calmness and composure. Art possesses inherent and essential components, one of the most crucial being beauty. Over time, the nature of art shifts in tandem with how an artist defines beauty. If an artist takes “jamāl” (beauty) as the foundation of their work, the resulting artwork will have a particular quality; if instead they take “kamāl” (perfection) as their guiding principle, their art will manifest in another way. Since birth, human beings have shown a propensity toward the beautiful—whether a landscape, a flower, a sound, or calligraphy—and thus derive pleasure from noting such examples while striving to create them. Throughout history, due to the significance of humanity’s aesthetic sense and inclination toward beauty, many questions have been raised concerning this subject. In the Islamic world, one of the most important definitions of beauty was provided by al-Fārābī. In his few but varied discussions, Fārābī addresses the concept of beauty and its boundaries. From the overall content of his remarks, one may infer that Fārābī regards beauty as a “secondary philosophical intelligible”—that is, a concept that is existential and objective—because he views beauty as something belonging to the entity or existence of a thing. Such notions gained considerable expression in art, especially in miniature painting. Gaining a deeper understanding of al-Fārābī’s ideas on art and beauty, as an Islamic philosopher, can open up a new avenue of conceptual frameworks for us—particularly in reexamining art and, more specifically, miniature painting. This research aims to explore such a perspective within the context of Iran-Uzbek miniature art by examining al-Fārābī’s views on art and aesthetics. Accordingly, the central question of this study is: What characteristics does Iran-Uzbek miniature painting possess based on al-Fārābī’s aesthetic views? To answer this question, information was gathered from library sources and analyzed using a descriptive-analytical method. The research sample consisted of nine miniatures from the Bukhara school, purposefully chosen from among recognized and accessible works. A study of al-Fārābī’s views in these selected works from the Bukhara school revealed that its artists, relying on all three types of imaginative forms—preserving the form of tangible entities, creatively manipulating and recombining forms, and imitating (muḥākāt) by means of sensory images—successfully deployed elements of imagination and reason in conceptualizing religious art. This not only yields beneficial pleasure and usefulness but also satisfies the audience intellectually, motivating them toward true happiness. Moreover, perfection in the unity of components—form and color—is evident in these miniatures, although such perfection is directed toward achieving a “secondary perfection,” given that, in Fārābī’s view, attributes of perfection ultimately belong to God. In each examined miniature, the artist employs one of Fārābī’s conceptualizations of imaginative forms in some manner. In most of these paintings, the artist incorporates content indicative of moral virtue and rationality, for instance, depicting a human figure with two wings akin to angels, suggesting a lofty status, possibly that of a divine messenger. The artist strategically arranges colors, elements of nature, light, and figures so as to maintain visual harmony and create aesthetic pleasure, while also conveying the moral dimension of the narrative, aiming at elevating intellect, transmitting emotion, and guiding the audience’s responses toward spiritual uplift. In shaping the setting, the artist blends architectural structures with natural features to more effectively impart a sense of place to the viewer. نگارگری ایران ازبک معروف به مکتب بخارا با حضور هنرمندانی چون کمال‌الدین بهزاد و محمود مذهب به اوج رسیده و بر مکاتب بعد از خود تأثیرگذار بوده است. شناخت بیشتر اندیشه‌های فارابی، فیلسوف اسلامی، در حوزه هنر و زیبایی رویکردی جدید از مفاهیم هنر دینی را بر ما خواهد گشود که بر اساس آن بتوان با نگاهی متفاوت به هنر و خصوصاً هنر نگارگری بازنگریست. این پژوهش برآن است تا با مطالعه آراء فارابی در حیطه هنر دینی و زیبایی‌شناسی، به بررسی این رویکرد در نگارگری ایران ازبک بپردازد. پرسش مطروح در پژوهش حاضر عبارت است از؛ رویکرد دینی نگارگری ایران ازبک بر مبنای آراء زیبایی‌شناسی فارابی چه ویژگی‌هایی دارد؟ در راستای پاسخ به این پرسش، اطلاعات از طریق منابع کتابخانه‌ای گردآوری و با روش توصیفی-تحلیلی مورد مطالعه و بررسی قرار گرفته است. جامعه آماری حاوی 9 نگاره از مکتب بخارا است که به-طور هدفمند و از بین نگاره‌های معتبر و دسترس انتخاب شد. نتایج حاصل حاکی از آن است که مطالعه آراء وی در نگاره‌های منتخب از مکتب بخارا نشان می‌دهد که هنرمندان این مکتب، با اتکا به هر سه نوع صور خیالی فارابی، سودمندی و ایجاد لذت مفید، اقناع ذهن مخاطب، همراهی نطق و خیال در شکل‌گیری آثار و حفظ کمال در رنگ و شکل توانسته‌اند به اصول زیبایی شناسی بر اساس رویکرد دینی فارابی دست یابند.

https://rac.soore.ac.ir/article_722432_3abe5df28ac978bcd56394e8d8848758.pdf

دانشگاه سوره رهپویه هنرهای صناعی 2821-0352 4 2 2024 09 21 A Comparative Study of Iranian Chini-bandzani and Japanese Kintsugi مطالعه تطبیقی چینی‌بندزنی ایران و کینتسوگی ژاپن 41 55 722421 10.22034/rac.2024.722421 FA مینا حسینی کارشناسی ارشد صنایع‌دستی، دانشکده هنرهای کاربردی، دانشگاه‌ هنر ایران، تهران. 0009-0005-5943-9581 علیرضا شیخی دانشیار گروه آموزشی صنایع دستی، دانشکده هنرهای کاربردی، دانشگاه هنر، تهران، ایران. 0000-0002-7315-4516 احمد تندی استادیار گروه آموزشی صنایع‌دستی، دانشکده هنرهای کاربردی، دانشگاه هنر ایران، تهران. Journal Article 2024 05 21 A Comparative Study of Iranian Chini-bandzani and Japanese Kintsugi Introduction: Traditional techniques and crafts, especially in Eastern civilizations such as Iran and Japan, have deep connections with cultural ideologies, ritual beliefs, and the spiritual values of these societies. In this regard, "Chini-bandzani" in Iran and "Kintsugi" in Japan, like many other traditional arts and crafts in the East, are considered part of the intangible cultural heritage of these nations. This heritage, possessing an independent and valuable status, has provided a suitable foundation for the intergenerational continuity of these traditions. Reviewing the historical background, examining the factors influencing the formation of Chini-bandzani and Kintsugi techniques, as well as analyzing lifestyle changes and the spread of consumer culture in contemporary times, highlight the importance of recognizing the rightful status of these crafts, which are among the most effective restoration methods for ceramic and porcelain objects. Unfortunately, today, unlike Kintsugi in Japan, Chini-bandzani in Iran has become a forgotten craft. However, similar to Kintsugi, Chini-bandzani can be introduced and utilized as one of the most practical techniques for restoring ceramic and porcelain artifacts worldwide. Therefore, the necessity of this research lies not only in recognizing the traditional techniques of Chini-bandzani and Kintsugi and their applications but also in understanding the cultural ideologies that have contributed to their formation and survival. Research Methodology: This study aims to identify and analyze the techniques of Chini-Bandzani and Kintsugi, examining their similarities and differences, as well as the cultural ideologies influencing their formation and persistence. Accordingly, this research seeks to answer the following questions: What are the similarities and differences between Chini-bandzani in Iran and Kintsugi in Japan? How have the cultural ideologies of these societies influenced the development and survival of these techniques? From a methodological perspective, this research is applied in nature and follows a qualitative approach. The study employs a descriptive-analytical and comparative method, with data collection based on library and electronic sources, field observations, and interviews with master craftsmen of Chini-Bandzani. To achieve the research objectives, the first step involved studying the historical background, tools, and techniques of Chini-bandzani in Iran and Kintsugi in Japan. In the next step, a comparative analysis of these techniques was conducted based on field findings, along with an examination of the cultural ideologies that have influenced their formation and continuity. Research Findings: Despite differences in various aspects between Iran and Japan, shared continental culture, historical heritage, and similar cultural, philosophical, and religious components have played a significant role in shaping many traditional arts and techniques in both countries. Accordingly, similarities and differences between Chini-bandzani in Iran and Kintsugi in Japan can be explored both in terms of execution techniques and the philosophical and cultural perspectives that have shaped and sustained them. Similarities between Chini-Bandzani and Kintsugi: Technical and Practical Similarities: Both Chini-Bandzani and Kintsugi are used for restoring damaged porcelain, ceramic, and even glass objects. In both methods, the damage remains visible and tangible. Additionally, as discussed earlier, filling missing pieces with adhesive or paste, replacing lost parts with different materials, and using simple, handmade tools and natural materials are among the prominent technical and practical features of both techniques. Influence of Religious Beliefs and Doctrines: Religion and religious teachings are fundamental elements in both Iranian and Japanese cultures, influencing the creation of many traditional arts and crafts. In Japan, Shinto and Buddhist teachings emphasize humility, respect for nature, and balance in life. Shintoism regards respecting objects as essential due to the belief in the presence of spirits within them. Similarly, in Buddhism, balance is a fundamental principle, and actions such as excessive consumption and environmental degradation are discouraged. In Iran, Islam, as the dominant religion, promotes principles such as avoiding wastefulness and extravagance, encouraging simplicity, moderation, and mindful consumption. These teachings significantly contributed to the formation and sustainability of Chini-bandzani in the past. Influence of Traditional Beliefs and Philosophical Concepts: Respecting traditions and preserving family heirlooms, even when damaged or worn, is a shared cultural aspect between Iran and Japan. Additionally, the core Japanese aesthetic and philosophy associated with Kintsugi is derived from "Wabi-Sabi," which emphasizes the beauty of imperfection. In traditional Iranian culture, the restoration of objects, particularly in the past, was valued more for their historical and sentimental significance rather than their material worth. Differences between Chini-Bandzani and Kintsugi: Technical and Practical Differences: The most notable difference between Chini-bandzani and Kintsugi lies in their execution methods, connections, and materials used. Unlike Chini-Bandzani, Kintsugi does not involve drilling holes or inserting metal fasteners into the object's surface; instead, broken pieces are joined using natural adhesives and lacquer. Moreover, unlike Kintsugi, Chini-bandzani does not utilize precious metals such as gold, which is a key material in Kintsugi restorations. From an aesthetic perspective, Chini-Bandzani prioritizes functional repair and simplicity, whereas Kintsugi, influenced by cultural values and philosophical principles, emphasizes turning imperfection into a form of beauty. Cultural and Philosophical Differences: Japanese culture values the natural aging and imperfections of objects, emphasizing restoration over replacement. Japan has successfully preserved its traditional arts while adapting them to contemporary global tastes. In contrast, Iranian culture has historically associated broken ceramics with misfortune, and in Islamic traditions, using repaired dishes for hospitality was considered inappropriate and a sign of poverty. Over time, these beliefs contributed to the decline of Chini-bandzani in Iran. Additionally, in contemporary times, the influx of modernity, lifestyle changes, increased consumerism, and detachment from traditional values have led to the neglect of many traditional Iranian crafts, including Chini-Bandzani. Conclusion: Chini-bandzani and Kintsugi share similarities in execution techniques, religious influences, and traditional and philosophical beliefs. However, their differences are evident in technical aspects such as materials and connection methods, as well as in their aesthetic and cultural influences. These differences have played a key role in the survival of Kintsugi and the decline of Chini-bandzani. The restoration of artworks using traditional techniques not only highlights the importance of preserving damaged objects—contrary to modern consumerist attitudes—but also demonstrates the resilience of cultural heritage, particularly in Eastern civilizations. Both Chini-bandzani and Kintsugi are traditional crafts that are now classified as intangible cultural heritage. This heritage, rooted in human thought and emotions, has been passed down through generations, strengthening the connection between societies and their past. Therefore, preserving these crafts as valuable cultural traditions is of utmost importance. هدف از پژوهش حاضر ضمن بازشناسی چینی‌بندزنی ایران و کینتسوگی ژاپن و بررسی وجوه افتراق و اشتراک میان آن‌ها، شناخت اندیشه‌های‌ فرهنگی‌ مؤثر بر شکل‌گیری و بقای این فنون در ایران و ژاپن است. نوشتار بر اساس هدف کاربردی و از نوع کیفی به شمار می‌آید. روش پژوهش توصیفی - تحلیلی و تطبیقی بوده و گردآوری داده‌ها بر مبنای مطالعات کتابخانه‌ای، مصاحبه و مشاهدات میدانی صورت‌گرفته است. نتایج پژوهش بیانگر آن است که چینی‌بندزنی و کینتسوگی در مواردی همچون فرم و بخشی از تکنیک‌های اجرایی، تأثیرپذیری از مفاهیم و عقاید دینی، باورها، عقاید سنتی و اندیشه‌های فلسفی از رویکردی مشابه برخوردارند. وجوه افتراق این هنرها نیز در زمینه‌های اجرایی همچون مواد و نحوه اتصال قطعات شکسته و نیز جنبه‌های زیباشناسانه این تکنیک‌ها قابل پی‌جویی است. ضمن آن که کینتسوگی و چینی‌بندزنی در زمینه‌ تأثیرپذیری‌های فکری و فرهنگی نیز از تفاوت‌هایی قابل‌توجه برخوردارند که همین امر اصلی‌ترین عامل وضعیت کنونی بقای این هنرهاست. چنان که برقراری و حفظ پیوند نسل‌ها با فرهنگ اصیل و اندیشه‌های فلسفی در ژاپن موجب ارتقا و توسعه کینتسوگی در ژاپن و دیگر نقاط جهان شده و در مقابل اعتقاد به بدیُمنی و ترویج فرهنگ نامناسب دانستن کاربرد ظروف بندزده در میان ایرانیان ضمن انفصال از سنت‌های فرهنگی گذشتگان و هجوم مدرنیته و مصرف‌گرایی، چینی بندزنی ایران را در معرض خاموشی کامل قرار داده است. این در حالی است که هر دو این فنون ضمن برخورداری از وجوه کاربردی، تأکیدی بر لزوم توجه به ارزش‌ها، حرف و هنرهای‌ سنتی در قالب میراث فرهنگی ناملموس به ‌شمار می‌آیند.

https://rac.soore.ac.ir/article_722421_eecb8fbf80cf9d7fb731e5278b7cf955.pdf

دانشگاه سوره رهپویه هنرهای صناعی 2821-0352 4 2 2024 09 21 The influence of Iranian Islamic motifs and decorations on the signs of Iranian graphic pioneers (50s to 70s A.H.) تأثیر نقوش و تزئینات ایرانی اسلامی بر نشانه های پیشگامان گرافیک ایران (دهه 50 تا 70 ه.ش) 57 71 722430 10.22034/rac.2024.722430 FA هاله عطاپور کارشناسی ارشد هنر اسلامی/ نگارگری، دانشکده هنرهای تجسمی، دانشگاه هنر اسلامی تبریز، تبریز، ایران. 0009-0006-1956-0392 امیر فرید استادیار دانشکده هنرهای تجسمی، دانشگاه هنر اسلامی تبریز، تبریز، ایران Journal Article 2024 02 16 Communication and dialogue play a significant role in human life and the all-round progress of human life. One of these types of communication is visual communication, and sign design, as one of the most prominent branches of graphic art, plays a key role in transmitting messages and cultural identities. A sign, such as a single or two-word text (or acronyms), a minimal image, or a combination of these two forms, helps in this communication to introduce an individual or collective identity. In today's world, where visual competition has spread to all aspects of life, paying attention to cultural and historical aspects in sign design is of great importance. The structure of the sign can also be designed in the form of traditional motifs. Traditional Iranian-Islamic motifs are the same patterns that show our Islamic and Iranian identity and can also be seen on various utensils, tools, and equipment, or architecture. Iranian-Islamic motifs, as an inseparable part of Iran’s artistic heritage, have a special place and, with deep roots in Iranian history, art, and architecture, are not only a symbol of national identity but also a tool for preserving and strengthening contemporary visual identity. In the introduction to Alireza Vakili’s book, Signs, a review of Iranian sign motifs, Ebrahim Haghighi notes that whether an Iranian designer wants it or not, he unconsciously steps into the realm of his ancient visual culture and displays them in his works. Today, our environment is full of various signs that try to introduce and symbolize a product or organization and are used as a coherent visual pattern. Those signs that have remained since ancient times, the same signs that revive a nostalgic feeling in today’s contemporary world, are the same works that have often been designed and executed by pioneering Iranian graphic artists. By utilizing Iranian-Islamic motifs, Iranian graphic designers were able to design signs that, while maintaining cultural authenticity, were in harmony with the needs of the time. Studying the signs of the pioneering generation of Iranian graphic artists can provide a deeper understanding of how traditional and modern elements are combined in graphic art and offer a solution for preserving cultural identity in the face of global trends. The main question of this research is: How did Iranian-Islamic motifs play a role in the design of contemporary Iranian signs and what impact did they have on the visual identity of these works? The aim of this research is to identify the basis for sign design in this period and analyze the impact of Iranian-Islamic motifs on them. It also attempts to propose a model for the innovative use of these motifs in contemporary design by examining selected examples. In addition to analyzing historical examples, this research highlights the importance of using Iranian-Islamic motifs as a tool for conveying Iranian identity and culture in contemporary graphic designs. Studying the works of this generation in advancing the art and industry of graphic design, on the one hand, and the effective use of traditional Iranian-Islamic motifs in a different way and the different functionality of the motifs, is of great importance in advancing the studies of graphics and Iranian-Islamic motifs. Finally, it is hoped that the results of this research can pave the way for graphic designers to benefit from this artistic treasure. Many of the signs of the pioneering generation of Iranian graphics were designed based on the motifs of the past Iranian Islamic culture. The motifs obtained were all formed based on Iranian thoughts and perceptions over the centuries and became the motifs for creating works. The use of these motifs, in addition to helping to create the sign, has been able to give the signs a specific semantic and identity. These motifs in a geometric, Islamic, written and combined framework have been able to serve as the basis for design and instill important concepts about presenting to the audience, such as balance, solidarity, order, etc. using Iranian Islamic decorative motifs. In the collection conducted based on what was examined, it was observed that many geometric motifs have been able to be used in cultural fields and government institutions. Plant motifs have also been an assistant to the designer in artistic, cultural and Iranian fields. Calligraphy and written arts have also been used for religious and national cultural purposes. Finally, the findings indicate that in the four categories of geometric, plant, written and combined motifs in Iranian Islamic art, the primary motif was the designer's primary motif to achieve a sign or logo. The use of these motifs in sign design could have been both a direct interpretation and an inspiration and adaptation that the designer could have had from those motifs. Studying and understanding the rich content of Iranian Islamic motifs and the correct use of these motifs can be a very effective and important step in presenting innovative and modern designs in accordance with today's tastes in line with a new movement in Iranian graphics. نشانه (آرم) در حوزه گرافیک یکی از ماناترین مباحث گرافیکی است و این نشان از اهمیت نشانه در کاربرد روزمره جامعه دارد. از سوی دیگر، نشانه‌ می‌تواند هویت ساز باشد؛ یکی از راه‌کارهایی که گرافیست‌ها به جهت هویت از آن استفاده می‌کنند، بهره‌گیری از گنجایش نقوش سنتی است. در این میان بسیاری از آثار نشانه نسل پیشگام گرافیک ایران بر مبنای نقوش ایرانی و اسلامی شکل گرفته و این نقوش، بسان بُن‌مایه و پایه طرح بسیاری از طراحان گرافیک به کار رفته است. نقوش ایرانی اسلامی با محتوای غنی، هویت آثار نشانه را شکل می‌دهد. این مقاله با هدف شناسایی پایه طراحی این نشانه‌ها و چگونگی تأثیر نقوش ایرانی اسلامی بر طراحی نشانه‌های نسل پیشگام گرافیک ایران نوشته شده است. رویکرد پژوهش بر مبنای روش توصیفی تحلیلی بوده و همچنین انتخاب نمونه‌های مطالعاتی به صورت آگاهانه از آثار هنرمندان پیشگام گرافیک ایران می‌باشد(هنرمندانی که آثار متعددی از نشانه دارند). داده‌های مطالعاتی از منابع کتابخانه‌ای یا پایگاه‌های اطلاعات علمی گردآوری شده است. پرسش اصلی این مقاله چنین تدوین یافته که نقوش ایرانی-اسلامی چگونه در طراحی نشانه‌های معاصر ایران نقش ایفا کرده و چه تأثیری بر هویت بصری این آثار داشته‌اند؟یافته‌ها مبنی بر این است که در چهار دسته نقوش هندسی، اسلیمی، نوشتاری و تلفیقی در هنر اسلامی ایران دسته‌مایه اولیه طراح برای رسیدن به نشانه بوده است. طراح گرافیست نسل اول ایران با الهام از نقوش ایرانی اسلامی توانسته آثاری درخور ذائقه ایرانی بیافریند و وظیفه مهم نشانه که جذب مخاطب با استفاده از سادگی است را به انجام برساند.

https://rac.soore.ac.ir/article_722430_8799f460c87f33ff564c136692691db2.pdf

دانشگاه سوره رهپویه هنرهای صناعی 2821-0352 4 2 2024 09 21 Analysis of the Painting "Isfandiyar kills Arjasp to Rescue his Sisters" by Mir Khalil Musavvir, Based on Erwin Panofsky's Iconological Approach تحلیل نگاره‌ی«کشتن اسفندیار ارجاسپ را در رویین دژ» اثر میر خلیل مصور، با استفاده از نظریه‌ی شمایل‌شناسی اروین پانوفسکی 73 88 722433 10.22034/rac.2024.722433 FA علیرضا طاهری : استاد گروه تاریخ تطبیقی و تحلیلی هنر اسلامی، دانشکده علوم نظری و مطالعات عالی هنر، دانشگاه هنر ایران، تهران، ایران 0000-0001-5798-4037 مهدی نصیری دانشجوی دکتری تخصصی گروه تاریخ تطبیقی و تحلیلی هنر اسلامی، دانشکده علوم نظری و مطالعات عالی هنر، دانشگاه هنر ایران، تهران، ایران 0000-0002-2818-7976 Journal Article 2024 03 10 Persian miniature painting, with its intricate integration of form, narrative, and symbolism, has long been revered as a medium that transcends mere decoration to serve as a profound conduit for cultural, historical, and philosophical expression. The painting “Isfandiyar kills Arjasp to Rescue his Sisters” by Mir Khalil Musavvir exemplifies this tradition, showcasing the innovative interplay of geometry, spatial organization, and narrative composition that characterizes the illustrious Herat School during the Timurid period. In this study, a qualitative, descriptive-analytical method—supported by extensive library and archival research—is employed to undertake a detailed iconological analysis of the painting. Utilizing Erwin Panofsky’s three-tiered framework, which comprises pre-iconographical description, iconographical analysis, and iconological interpretation, the research aims to unravel the multilayered meanings embedded within the artwork’s visual structure. In the initial phase of analysis, the painting is examined through its pre-iconographical elements, where geometric motifs and guiding lines are meticulously deployed to structure the narrative. Mir Khalil Musavvir’s use of geometric patterns, such as the emblematic “Hasht-o-Sabounak” (eightfold star), not only establishes a visual order but also directs the viewer’s attention to crucial narrative moments. The calculated employment of mathematical proportions and spatial distribution creates an inherent balance, ensuring that each element of the composition contributes to an overall sense of harmony. These formal devices serve as the groundwork for the painting’s visual language, demonstrating how precise artistic technique can effectively communicate complex narrative ideas. Following this, the iconographical analysis delves into the symbolic significance of the identified visual elements. In this stage, the geometric constructs and spatial arrangements are interpreted as symbols resonant with themes of heroism, justice, and divine order. The interplay between architectural forms and human figures is deliberately orchestrated to reflect the dualistic nature of the narrative where order contends with chaos, and virtue faces the forces of evil. The dynamic positioning of figures, coupled with the rhythmic repetition of geometric patterns, evokes notions of cosmic balance and perfection. This deliberate design mirrors broader philosophical ideas of the Timurid era, where art was not merely decorative but served as an allegory for ethical and metaphysical principles. At the deepest level of analysis, the iconological interpretation situates these visual and symbolic elements within the broader ideological and cultural context of the period. The Timurid era witnessed a fusion of pre-Islamic Iranian traditions with Islamic thought, a synthesis that is vividly reflected in the artistic innovations of the Herat School. The painting’s structured spatial organization and meticulous geometric precision are indicative of a worldview that values order, balance, and the harmonious interplay of opposing forces. In this context, the heroic act of Isfandiyar transcends its immediate narrative function to become a representation of cosmic justice, where the triumph of good over evil is both a literal and a symbolic reality. This layer of interpretation transforms the artwork into a visual discourse on the nature of destiny, ethical dualism, and the eternal struggle between light and darkness. Moreover, the painting stands as a testament to the innovative spirit of the Herat School, which redefined narrative representation in Persian miniature art. The integration of geometric principles with narrative content highlights a sophisticated understanding of visual rhetoric, where every line, shape, and color is imbued with layered meaning. This methodological approach not only enhances the aesthetic appeal of the work but also deepens its interpretative potential, inviting viewers to engage with the narrative on multiple levels. Through the harmonious synthesis of precise spatial organization and dynamic compositional elements, Mir Khalil Musavvir has created an artwork that transcends a mere retelling of an epic event, offering instead a rich tapestry of interwoven symbols and themes that speak to the cultural and philosophical values of his time. The comprehensive findings of this study underscore the pivotal role of geometry and spatial organization in Persian miniature painting as essential tools for conveying complex narrative and symbolic content. By employing Panofsky’s iconological framework, the analysis demonstrates how the strategic interplay of formal elements within “Isfandiyar kills Arjasp to Rescue his Sisters” not only articulates a heroic narrative but also encapsulates the broader ideological and cultural aspirations of the Timurid period. The painting emerges as an exemplar of artistic ingenuity, where the marriage of aesthetic precision and narrative depth allows for a multifaceted exploration of themes such as cosmic order, ethical dualism, and the reconciliation of human endeavor with divine will. Ultimately, this study contributes to a deeper understanding of both Mir Khalil Musavvir’s artistic mastery and the symbolic language of Persian miniature painting. It provides a methodological blueprint for future research in the field, encouraging a holistic examination of art that considers formal, narrative, and cultural dimensions in tandem. By revealing how geometric and compositional strategies can be harnessed to convey layered narratives, the analysis not only enriches our appreciation of this particular artwork but also affirms the enduring significance of the Herat School in the evolution of Iranian art. As such, “Isfandiyar kills Arjasp to Rescue his Sisters” is not merely a depiction of an epic battle but a visual manifesto of the cultural, philosophical, and aesthetic ideals that continue to resonate in the Iranian artistic tradition. These findings not only broaden the scholarly understanding of Persian miniature techniques but also offer a vital lens for reexamining artworks within the Shahnameh corpus. By elucidating the relationship between geometric structuring and narrative dynamism, this study invites further exploration into the convergence of artistic tradition and cultural ideology in Timurid art. The integration of visual rigor with symbolic depth demonstrates art’s power to express enduring societal values, inspiring contemporary interpretations of Iran’s rich heritage. Overall, this approach significantly enriches the discourse on Iranian visual culture and artistic innovation in modernity. هندسه در نگارگری ایرانی همواره نقشی کلیدی در ایجاد پیوند میان فرم و محتوا ایفا کرده و بستری برای انتقال مفاهیم چندلایه فراهم آورده است. این پژوهش به تحلیل نگاره‌ی «کشتن اسفندیار ارجاسپ را در رویین دژ»، اثر میر خلیل مصور، می‌پردازد؛ اثری که با بهره‌گیری از اصول هندسی، تمهیدات تجسمی و عناصر بصری، فضایی حماسی و روایتی چندلایه را بازنمایی می‌کند. سؤال اصلی پژوهش این است که چگونه میر خلیل توانسته با بهره‌گیری از هندسه، فضاسازی و ترکیب‌بندی‌های هنری، نگاره‌ای خلق کند که روایت حماسی را با مفاهیم نمادین، تاریخی و اسطوره‌ای درهم‌آمیزد. این پژوهش با رویکرد کیفی و روش توصیفی-تحلیلی، مبتنی بر مطالعات کتابخانه‌ای و اسنادی، به تحلیل سه‌سطحی اثر از منظر نظریه شمایل‌شناسی اروین پانوفسکی می‌پردازد. یافته‌ها نشان می‌دهد که میرخلیل با بهره‌گیری از نقوش هندسی، تناسبات ریاضی و خطوط هدایت‌گر، ساختاری منسجم ایجاد کرده‌است که هماهنگی میان داستان و تصویر را به‌خوبی تقویت می‌کند. در این نگاره، استفاده از تمهیدات تجسمی، همچون تعادل در ترکیب‌بندی، چیدمان پویای شخصیت‌ها و تعامل بصری میان عناصر، نه‌تنها به ارتقای زیبایی‌شناسی کمک کرده، بلکه روایت بصری داستانی حماسی را به لایه‌های عمیق‌تر معنا پیوند داده است. این نگاره، با فضاسازی دقیق و تأکید بر مفاهیمی همچون پیروزی نیکی بر بدی، علاوه بر بازتاب ارزش‌های فرهنگی و اسطوره‌ای دوره تیموری، نمونه‌ای از هم‌افزایی میان هنر نگارگری و ادبیات حماسی ایران است. تحلیل این اثر، نه‌تنها بر اهمیت مکتب هرات در تاریخ هنر ایران تأکید دارد، بلکه الگویی برای مطالعه ساختارهای بصری و تمهیدات تجسمی در دیگر نگاره‌های شاهنامه بایسنقری ارائه می‌دهد.

https://rac.soore.ac.ir/article_722433_77f0999c4f614b9d9e81d8bf425cf749.pdf