دانشگاه سوره رهپویه هنرهای صناعی 2821-0352 4 4 2025 03 18 Studying the Structural and Semantic Components of Kurdish Carpets From the Kurdistan Region of Iran, a Case Study of Colorful Comb Carpets From the Kurdistan Region Preserved in the Tehran Carpet Museum مطالعه مؤلفه‌های ساختاری و معنایی قالی سنه مربوط به منطقه کردستان ایران، مطالعه موردی قالی شانه‌ای الوان منطقه کردستان محفوظ در موزه فرش تهران 7 25 730558 10.22034/rac.2025.2056952.1121 FA الهه پنجه باشی دانشیار گروه نقاشی، دانشکدۀ هنر، دانشگاه الزهرا (س)، تهران، ایران. 0000-0001-5631-8622 مهیلا حسامی کارشناسی ارشد نقاشی، دانشکده هنر، دانشگاه الزهرا(س)، تهران 0009-0003-1188-194X Journal Article 2024 10 22 Carpet weaving in Iran is a long-standing traditional art that has always been intertwined with the culture, myths, and beliefs of local communities. Among the various historical periods, the Qajar era stands out as a pivotal moment in the flourishing of this art, marked by a significant expansion of carpet weaving across urban and rural areas. This growth provided fertile ground for the emergence of diverse designs and motifs. One of the notable centers of carpet production during this era was the Sanneh region (present-day Sanandaj) in Kurdistan, whose carpets have consistently drawn the attention of weavers and collectors due to their distinctive technical and aesthetic characteristics. This study aims to examine the structure, symbolism, and aesthetics of one of the rare and lesser-known examples of Sanneh carpets<span style="font-size: 11.0pt; line-height: 120%; font-family: 'Calibri','sans-serif'; mso-ascii-font-family: 'Times New Roman'; mso-hansi-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman';">—namely, the Alvan Comb Carpet. Preserved in the Iran Carpet Museum, this exquisite piece stands out for its visual complexity, unique composition of motifs, and rich semantic layers. Employing a descriptive-historical method and a qualitative approach, the research draws on library resources, historical documents, and interviews with local experts for data collection and analysis. The main research questions address the shared characteristics of Sanneh carpets housed in the Iran Carpet Museum, the historical background of the symbols used in the Alvan Comb Carpet, and the potential meanings of the prominently repeated comb motif. The findings reveal that Sanneh carpets typically feature single-weft construction with thick wefts, a knot density ranging from 50 to 80 knots per row, natural plant-based dyes, and dimensions varying from approximately six meters. These carpets are generally woven using wool from Kurdish sheep, lending them a distinctive luster and high quality. The motifs of the Alvan Comb Carpet include lachak-toranj (corner-and-medallion patterns), intertwined fish (mahi dar ham) in both the central medallion and corners, sixteen rows of colorful combs on the large medallion, doost-kami motifs in the main border, and tasbih-like (prayer bead) patterns across three inner and one outer border. Among these, the comb emerges as the dominant recurring motif with significant symbolic weight. Comparative analysis with single-sided combs engraved on male gravestones in Kurdish cemeteries, along with iconographic parallels in religious imagery associated with Saint Blaise (a revered Armenian bishop), suggests a potential reference to this saint, whose symbol is the comb and who is traditionally regarded as the patron of wool workers. This interpretation gains further support when considering the prominence of Armenian Christianity during the Naseri period in Sanneh, the carpet’s discovery in the Golestan Palace, and the high artistic value of this particular piece. It is therefore plausible to conclude that the carpet was commissioned by a prominent Armenian figure and later gifted to the Qajar court. Additionally, the doost-kami motif in the main border and the tasbih-like elements in the secondary borders function as protective symbols encircling the central combs. In contrast, the intertwined fish motifs in the main field carry connotations of fertility, vitality, and movement. These decorative features<span style="font-size: 11.0pt; line-height: 120%; font-family: 'Calibri','sans-serif'; mso-ascii-font-family: 'Times New Roman'; mso-hansi-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman';">—commonly found in traditional Kurdish carpets<span style="font-size: 11.0pt; line-height: 120%; font-family: 'Calibri','sans-serif'; mso-ascii-font-family: 'Times New Roman'; mso-hansi-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman';">—often serve protective, ritualistic, or even mythological purposes. For instance, the intertwined fish motif is associated with themes of fecundity, life, and dynamism, while the tasbih patterns may reflect religious or mystical beliefs. From an aesthetic perspective, Sanneh carpets present a harmonious blend of authenticity, simplicity, and chromatic diversity. The use of natural dyes, such as red, blue, and cream, extracted from plants and applied to local wool, yields vibrant color combinations that enhance the visual allure and artistic distinction of the carpet. In reviewing the scholarly literature, the works of A.Cecil Edwards, Shirin Sure-Esrafil, Leyla Dadgar, and an article by Mahtab Mobini & Farzam Ebrahimzadeh are cited. While these studies offer valuable general insights into Kurdish carpet weaving, they fall short of providing an in-depth structural and symbolic analysis of specific examples. The distinctive contribution of this research lies precisely in its focused and detailed examination of a single carpet, which enables the uncovering of hidden meanings embedded in its motifs. Ultimately, by simultaneously analyzing the historical, aesthetic, and symbolic dimensions of this carpet, the study takes a significant step toward a deeper understanding of the carpet-weaving art of the Sanneh region during the Qajar period. It demonstrates that Kurdish carpets<span style="font-size: 11.0pt; line-height: 120%; font-family: 'Calibri','sans-serif'; mso-ascii-font-family: 'Times New Roman'; mso-hansi-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman';">—especially those from Sanneh<span style="font-size: 11.0pt; line-height: 120%; font-family: 'Calibri','sans-serif'; mso-ascii-font-family: 'Times New Roman'; mso-hansi-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman';">—are not only technically and visually exceptional but also embody profound narratives, beliefs, and socio-cultural symbols, whose full appreciation requires meticulous attention and interdisciplinary research. دوره قاجار به دلیل گسترش و رواج قالی‌بافی در شهرها و روستاها دوره رواج قالی‌هایی با طرح‌های ساده‌تر نسبت به دوران صفوی است. هدف پژوهش حاضر مطالعۀ نقوش و زیبایی‌شناسی قالی شانه‌ای الوان متعلق به منطقه سنه بین قالی‌های نفیس این منطقه موجود در موزه فرش ایران است. ازاین‌رو پژوهش حاضر در پی یافتن پاسخ به این سؤالات است چه ویژگی مشترکی بین قالی‌های منطقه سنه در موزه فرش تهران وجود دارد؟ نمادهای موجود در قالی شانه‌ای الوان به چه پیشینه تاریخی در منطقه کردستان باز می‌گردد؟شانه‌های پرتکرار نماد چه هستند؟ پژوهش حاضر با شیوه توصیفی-تاریخی به تجزیه‌وتحلیل اطلاعات گردآوری‌شده از منابع کتابخانه‌ای و اسنادی پرداخته است. این پژوهش به این نتیجه دست یافت که شانه‌ها در این فرش نماد مردان هستند که با توجه به پرتکرار بودن این نقش در سرتاسر ترنج بزرگ و تأکید بر آن و رایج بودن دین ارامنه در دوران ناصری در شهر سنه و تطبیق این شانه با نقاشی‌های سنت بلیز مقدس، معتقد است که نقش شانه‌ در متن فرش نماد سنت بلیز مقدس یکی از اسقفان ارامنه است که نماد او شانه و حامی پشم‌بافان است . همچنین نقش دوست‌کومی در حاشیه اصلی و نقوش تسبیحی در حاشیه‌های فرعی داخلی و بیرونی فرش نقش محافظت از شانه‌ها و ماهی‌های درهم موجود در متن اصلی را بر عهده دارند که در آن زمان از پرتکرارترین نقوش رایج در منطقه بوده‌اند.

https://rac.soore.ac.ir/article_730558_e04eb311ec5177d971e87212e1ca91b0.pdf

دانشگاه سوره رهپویه هنرهای صناعی 2821-0352 4 4 2025 03 18 Typology of Door Knockers and Sequins of Historical Buildings in Quchan City گونه‌شناسی کوبه و پولک دَرهای بناهای تاریخی شهرستان قوچان 27 42 729841 10.22034/rac.2025.2047198.1105 FA فاطمه جنتی دانشجوی کارشناسی ارشد صنایع دستی، دانشکده هنرهای کاربردی، دانشگا ه هنر ایران، تهران، ایران. علیرضا شیخی دانشیار گروه صنایع دستی، دانشکده هنرهای کاربردی، دانشگاه هنر ایران، تهران، ایران 0000-0002-7315-4516 Journal Article 2024 11 01 Zomudgari (metalwork craftsmanship) is considered one of the prominent arts in the history of Iranian metalworking, with metal fittings installed on old doors and windows being products of past zomudgar artisans. The city of Quchan exhibits a significant variety in the metal fittings attached to wooden doors. Given the quality of these works and the limited availability of resources, this study aims to classify the metal fittings of historical building doors. It seeks to answer the question: What types of metal fittings are found on the wooden doors of Quchan, and what messages do their motifs convey? The research is descriptive-analytical and applied, with data collected through documentary and, in particular, field studies. Thirty-five knockers from historical buildings in Quchan and targeted villages, including the old textures of Imamqoli, Bish Aqaj, Durbadam, Shahr-e Kohneh, and Yadak, were identified. Among the buildings, 32 doors belonged to private residences, three to mosques, two to the Imamzadeh Sultan Ibrahim shrine, one to the Quchan Anthropology Museum, and two to private collections in Quchan that included knockers. A review of the research findings indicates that doors in different settings, such as Imamzadeh shrines, due to their religious significance and function, feature larger, more robust, and more intricately decorated fittings compared to residential doors. Mosques, located in the central city neighborhoods, also have more numerous and valuable fittings. Some doors are wider and taller than others, requiring various types of aesthetically pleasing steel fittings to enhance their strength, while residential doors are generally smaller. In most cases, knockers were installed on residential buildings to alert occupants of visitors, but in public places, knockers are typically ring-shaped and used for securing doors. Differences between residential and public building doors include door dimensions, decorations, and the quality of fittings. The variety in the overall form and motifs of knockers, sub-knocker platelets, studs, and other fittings reflects the ingenuity and expertise of the artisans in their craft. Men’s knockers, in terms of shape, are hammer-like or rectangular prisms, with greater volume, diameter, and weight compared to women’s knockers, producing a deeper sound and typically installed on the right door leaf. Straight and intersecting parallel lines were observed on the surface of these knockers. Knocker forms can be divided into several general categories: the first includes simple knockers with minimal decoration and no relief or indentation, subdivided into those with a round or cubic anvil. The second group consists of simple hammer-shaped knockers with platelets. The third group features a simplified bird form, with partridges and pigeons found in all mountainous valleys, particularly in the northern mountains. Teals are found in the valleys of Zubaran, Yadak, and Babakamar, and Indian partridges are found in the mountains of Aqkamar and Asalmeh Bajgiran. The fourth category includes knockers with minimal, simple decoration and figurative forms. Finally, knockers shaped like reptiles, such as dragons, exhibit considerable variety. Women’s knockers are forged iron pieces, lighter than men’s knockers, typically featuring two protrusions and greater visual beauty. These produce a higher-pitched sound and are installed on the left door leaf. Women’s knocker forms can be categorized as heart-shaped, dragon-like, teardrop-shaped, ring-shaped, or with a central protrusion. The first group consists of simple ring-shaped knockers without specific decoration. The second group is teardrop-shaped, with a more elongated form compared to ring-shaped knockers. The third group includes cypress or almond-shaped cypress knockers. One reason for the inspiration behind these knockers is the presence of Quchan’s forests, which include the main species of juniper (mountain cypress). The dragon-shaped knockers, which are rare and fewer in number, feature decorations such as dragon-like heads on both sides. The final knocker type, known as “dast-e delbar” (lover’s hand), became common among Shiites in many countries after the advent of Islam. The variety in platelets is also notable, typically appearing as circular, oval, cypress-shaped, simple, or perforated. Crown platelets exhibit diverse shapes and decorative crenellations on their outer edges, including semicircular crenellations, Abbasid flower motifs, or axe-like designs. The platelet surface provides the best canvas for artistic expression and decorative techniques such as engraving, latticework, and relief work. Their decorations often include parallel or intersecting lines, dotting, and, in rare cases, motifs such as Abbasid tulips, clover flowers, four-petal flowers, and animal or bird motifs. Among the forms observed in women’s knockers and their sub-platelets are cypress trees, depicted in two styles: elongated cypress and almond-shaped cypress. Some sources describe the cypress as a symbol of Mithra, the deity of kindness. The cypress, with its head reaching the sky and its roots bound to the earth, acts as a mediator, connecting the earth and the sky. Due to its long lifespan and evergreen nature, it is considered the “tree of life” among many cultures. The use of this motif and decorative form in the architecture-related decorations of the studied villages is closely tied to their natural surroundings. For example, a cypress tree in Bish Aqaj village holds special sanctity, with people tying threads to it as a form of supplication. Studs are identifiable in six types: regular polyhedral studs, plain and bordered hemispheres, solar studs with considerable variety, platelet-to-door connectors, and almond-shaped studs. The study examines the remnants of Zomudgari art applied to the wooden doors of Quchan and its villages. The presence of motifs such as the cross, swastika, cypress tree, sun, and arabesque and animal motifs, like the dragon, in these works reflects the beliefs and inspirations drawn from the local culture and environment, conveying concepts such as health, immortality, prosperity, happiness, and the fulfillment of wishes. The dragon motif was used to ward off evil, while the horseshoe symbolized wishes for good fortune and happiness. زمودگری از هنرهای برجسته در تاریخ فلزکاری ایران محسوب می‌شود که الصاقات فلزی نصب‌شده روی دَر و پنجره‌های قدیمی، مربوط به ساخت زمودگران در ایام گذشته است. شهرستان قوچان در آثار فلزی الصاق‌شده بر دَرهای چوبی، تنوع قابل ملاحظه‌ای دارد. با توجه به کیفیت آثار و فقدان منابع کافی، این پژوهش کوشیده شده است تا به گونه‌شناسی آثار فلزی دَرهای بناها تاریخی بپردازد و به دنبال پاسخ بدین پرسش است که گونه‌های الصاقات فلزی دَرهای چوبی شهرستان قوچان چیست؟ و نقوش آن حاوی چه پیامی است؟ ماهیت پژوهش توصیفی_تحلیلی و کاربردی و شیوه گردآوری اطلاعات اسنادی و به‌ویژه میدانی است. نتایج نشان می‌دهد که از میان یراق‌آلاتی که روی درهای بناها قوچان نصب‌شده‌اند، کوبه و پولک زیر کوبه، دارای تنوع بیشتری نسبت به سایر الصاقات است. مشبک‌کاری و قلم‌زنی، دو شیوه تزئین این الصاقات هستند. نقوش چلیپا، گل و مرغ و بته، خطوط مواج، متقاطع و موازی بیشتر دیده شد. کنگره‌های مثلثی و پیکانی تأکیدی بر نقش خورشید؛ اژدها دافع نیروهای شر؛ درختان سرو نشان درخت زندگی و جاودانگی، نعل اسب به دفع چشم زخم و خوش یمنی تأکید دارد. می‌توان بیان کرد الصاقات نصب‌شده علاوه‌بر ویژگی‌های کاربردی، به طلسمی در جهت تعویذ و آرزو ساخته شده است.

https://rac.soore.ac.ir/article_729841_1aec5846066e609f14129752857046a0.pdf

دانشگاه سوره رهپویه هنرهای صناعی 2821-0352 4 4 2025 03 18 Narrative Analysis of the Adhkar of the Ascension of the Prophet Mohammad ﷺ in the British Museum's Khamsa Nizami, number Or.6810 روایت‌شناسی اذکار نگاره معراج پیامبر اکرم ﴿ﷺ﴾‌ در خمسه نظامی موزه بریتانیا، به شماره Or.6810 43 59 730764 10.22034/rac.2025.2051745.1114 FA فاطمه غلامی هوجقان دانش‌آموخته دکتری تخصصی تاریخ تطبیقی و تحلیلی هنر اسلامی، گروه مطالعات عالی هنر، دانشکدگان هنرهای زیبا، دانشگاه تهران، ایران 0000-0002-6249-1568 حسن بلخاری قهی استاد تمام گروه مطالعات عالی هنر، دانشکده هنرهای تجسمی، دانشکدگان هنرهای زیبا، دانشگاه تهران، ایران 0000-0002-7927-5116 مینا صدری دانشیار گروه نقاشی و مجسمه سازی، دانشکده هنرهای تجسمی، دانشکدگان هنرهای زیبا، دانشگاه تهران، ایران 0009-0005-6120-0422 Journal Article 2024 08 17 The Khamseh Nizami preserved in the British Museum is one of the most important manuscripts of the Timurid period. This manuscript is of great importance due to the presence of illustrations attributed to Behzad or under his supervision, and the richness of the content of “the Ascension of the Prophet Mohammad” from Nizami Ganjavi’s perspective is also an additional reason. The objectives of this research are to identify the relationship between the Quranic inscriptions and the remembrances (adhkar) inspired by them, and to explore their connection to the overall narrative of the manuscript, which has been largely neglected so far. The present research aims to provide reliable and authoritative answers to the following two questions: First, what is the relationship between the calligraphic inscriptions and the remembrances (adhkar) in the manuscript? Second- For what reasons did the artist refrain from writing the exact verses of the Holy Quran and use the remembrances(adhkar) inspired by the Quran? The present research is qualitative and has analyzed the manuscript in question with a descriptive-analytical and interpretive approach. The target population of the present research was selected non-randomly from among the illustrations of the manuscript in question. It is as if the primary function of calligraphy in Islamic art is often to remind us of God’s presence; this is the primary and fundamental purpose of this art, and it is observed that it has maintained this function in painting as well. The artist has employed a nominal sentence that is free from the constraints of time and place, acknowledging the oneness of God Almighty and the messengership, the truthfulness of the promise, and the faithfulness of the beloved Prophet of Islam ﷺ. The timelessness and placelessness of the sentences engraved on the curtain of the House of God, apart from the simplicity of the sentence, which makes it easy for the audience to read it and the ease of writing it on the narrow strip of the Kaaba curtain by the artist, can indicate that by choosing a simple, explicit, and of course timeless and placeless phrase, the artist extends the oneness of God Almighty and the messengership, the truthfulness of the promise, and the faithfulness of the beloved Prophet of Islam ﷺ to all places and times. In this painting, Mirak has avoided using the verses of the Holy Quran directly, which may be because the artist has depicted the Grand Mosque and the House of God, which are manifestations of God Almighty’s presence. He did not see the need to depict divine verses because he had depicted a significant event in which the only person present was the Prophet Muhammad (ﷺ), who had complete theoretical and practical knowledge of all aspects. He has considered this event to be free from any proof. The results of the research indicate that by incorporating verses and admonitions into the painting, the artist creates a visual reminder whose warning aspect remains intact as long as the painting exists. On the other hand, the artist does not only want a mere relationship between the divine names and the audience, but also seeks to place God at the center of his audience’s attention and to encourage his audience not to have a purely verbal aspect of remembrance, but to turn to God with all their being and have a living and existential relationship with God. In summary, it can be suggested that Mirak’s choice of a “bird’s-eye view” for illustrating the Mi’raj event places the audience in a focused central position. By depicting the Kaaba from above, viewers can simultaneously “observe” the scene of the Mi’raj and “read” the inscriptions on the Kaaba’s curtain. This duality of “visual-textual” elements establishes an existential connection between God and the audience. The declarative phrase “La ilaha illa Allah” inscribed on the Kaaba curtain signifies a focal point centered on God, complemented by the Prophet’s (peace be upon him) depiction as “Sadiq al-Waad al-Ameen,” a truthful and trustworthy messenger of divine revelation (the Qur’an). This phrase conveys not merely text but an overarching divine perspective toward the narration of the Mi’raj. Additionally, the artist may have purposefully included specific symbolic details, such as a ring on the Prophet’s finger, to introduce intentional gaps in the visual narrative. These gaps prompt viewers to engage in “additional reading,” interpreting the ring as a metaphor for the Prophet’s (peace be upon him) role as the “Seal of Wilayah.” As noted earlier in research, unraveling hidden visual puzzles embedded in such artworks was among the leisure activities of the Timurid court. It is therefore plausible that details such as a 180-degree shift in the architectural depiction of Masjid al-Haram, the omission of the word “Al-Malik” from the curtain inscriptions of the Kaaba, and the inclusion of the ring were deliberately crafted as “visual mysteries.” These elements invited audiences to solve them through interpretive insight, fostering contemplation, memory retention, and moral reflection, an educational aspect embedded within these artistic creations. خمسه نظامی محفوظ در موزه بریتانیا یکی از مهم‌ترین نسخ خطی دوره تیموری است. این نسخه به دلیل وجود نگاره‌هایی منتسب به بهزاد و یا تحت نظارت او از اهمیت فراوانی برخوردار بوده و پرمایه بودن مضمون معراج از زبان نظامی گنجوی نیز مزید بر علت است. اهداف این پژوهش شناسایی ارتباط میان کتیبه‌های قرآنی و اذکار ملهم از آن با کلیّت داستان نگاره است، که تاکنون مغفول مانده است. پژوهش حاضر درصدد است به دو سؤال زیر پاسخ‌هایی در حد امکان و توان دهد: اول- چه ارتباطی میان کتیبه‌های خوشنویسی اذکار موجود در نگاره وجود دارد؟ دوم- هنرمند بنا به چه دلایلی از نوشتن عین آیات قرآن کریم صرف‌نظر کرده‌ و بیشتر از اذکار ملهم از قرآن بهره برده است؟ تحقیق حاضر به صورت کیفی بوده و با رویکرد توصیفی ـ تحلیلی و تفسیری نگاره مورد نظر را واکاوی کرده است. جامعه هدف پژوهش حاضر به صورت غیرتصادفی از میان نگاره‌های نسخه مزبور انتخاب شده است. نتایج پژوهش حاکی از آن است که هنرمند با ترسیم آیات و اذکار در نگاره به ذکری تصویری دست می‌یازد که وجه تنبّه آن تا زمانِ وجود نگاره پابرجاست. از سویی دیگر هنرمند تنها رابطۀ صرفِ اسماء الهی و مخاطب را نمی‌خواهد بلکه مترصد است تا خدا در کانون توجه مخاطبش قرار دهد و مخاطب خود را ترغیب کند که ذکرش جنبۀ صرفاً لفظی نداشته و با تمام وجود به خدا رو کرده و رابطه‌ای زنده و وجودی با خداوند داشته باشد. هنرمند در آرمان‌گرایانه‌ترین حالتِ ممکن در صدد است تا مخاطبش نسبت به خدا، دلشوره و اشتیاق پیدا‌کرده و در درون خود حالت وجودی خاصی نسبت به خدا یافته و از این‌رو آغازگر و ایجادکنندۀ رابطه‌ای زنده و وجودی میان خداوند و مخاطبِ اثر باشد و این مهم کارکرد اصلی آیات و اذکار موجود در نگارگری ایرانی است.

https://rac.soore.ac.ir/article_730764_f96b42e76f03f486498185af0ff4e7eb.pdf

دانشگاه سوره رهپویه هنرهای صناعی 2821-0352 4 4 2025 03 18 The Self-Actualization of Kamal ud-Din Behzad's Personality Based on the Humanism Theory of Abraham Maslow خودشکوفایی شخصیت کمال الدین بهزاد براساس نظریۀ انسان‌گرایی «آبراهام مزلو» 59 71 730946 10.22034/rac.2025.2058683.1125 FA سجاد فطرتی کارشناسی ارشد پژوهش هنر، دانشکدۀ هنرهای تجسمی، دانشگاه هنر اسلامی تبریز، تبریز، ایران. 0009-0005-8144-8425 حمیده حرمتی دانشیار زبان و ادبیات فارسی، دانشکده چند رسانهای، دانشگاه هنر اسلامی تبریز، تبریز، ایران. 0009-0000-4291-2321 Journal Article 2024 12 09 Artistic inquiries that engage with various disciplines, such as psychology, represent a significant and increasingly relevant approach in contemporary research. By examining the interplay between art and psychology, we can uncover the motivations and emotional landscapes that artists navigate, providing insights into their creative journeys. Among the many branches of psychology, personality psychology is particularly intriguing yet somewhat overlooked in the study of artists and their works. By delving into the intricacies of an artist’s personality, researchers can uncover the deeper motivations that shape their artistry. One pivotal framework within personality psychology is Abraham Maslow’s concept of self-actualization. Maslow sought to identify the defining traits of individuals who embody personal growth and fulfillment. He proposed that self-actualized individuals possess certain characteristics, such as autonomy, creativity, problem-solving abilities, and a strong sense of purpose. These traits are essential for understanding how artists navigate their creative journeys and how they connect with broader existential themes. Kamal ud-Din Behzad, a master painter of the Timurid and Safavid periods, serves as an intriguing subject for study from this psychological perspective. His works are not only visually stunning but also rich in narrative, reflecting the complexities of the human experience. Behzad’s artistry provides a unique opportunity to explore the intersection of personality psychology and artistic expression. This research aims to explore the self-actualizing characteristics of Kamal ud-Din Behzad through the lens of Maslow’s humanistic theory. The central question guiding this inquiry is: How can examining the traits of self-actualization in Behzad’s personality enhance our understanding of this influential figure? To answer this question, the research employs a descriptive-analytical methodology, utilizing library-based data collection methods to gather relevant information about Behzad’s life and artistic contributions. The study’s population includes 20 artworks attributed to him, from which eight targeted samples have been purposefully selected for in-depth analysis. Data analysis is conducted through an inductive reasoning approach, allowing researchers to draw insights and conclusions based on the evidence gathered from the artworks and the historical context in which they were produced. Despite the significance of examining Behzad’s personality through the lens of humanistic psychology, this perspective has not been vigorously explored in scholarly literature, highlighting an important academic gap. The findings of this research indicate that Kamal ud-Din Behzad embodies ten out of the thirteen characteristics associated with self-actualized individuals as identified by Maslow. Kamal ud-Din Behzad exhibits ten of Maslow’s thirteen characteristics of self-actualized individuals, making him a significant example of self-actualization in the arts and a reflection of personal growth and creative expression. Several key characteristics were observed in Behzad illustrate his self-actualization. First, he demonstrates a profound understanding of reality, which is reflected in his works that often depict the intricate interplay of human emotions and societal narratives. His art demonstrates a keen focus on the everyday concerns of humanity, transcending mere aesthetics to engage with deeper issues of existence and identity. Moreover, Behzad exhibits an appreciation for the phenomena of the world through a naturalistic lens. His ability to capture the beauty and complexity of life enriches the thematic depth of his artworks, allowing viewers to connect with the essence of human experience. This naturalistic approach reflects a broader understanding of the world, suggesting that the artist is deeply engaged with the realities of their time. Additionally, Behzad’s empathetic perception, coupled with a natural acceptance of himself and others, underscores the humanistic qualities that define self-actualization. His empathy is not only evident in his interactions with others but is also mirrored in the emotional depth of his artworks. This connection fosters an intimate relationship between the artist and the viewer, creating a shared space for reflection and understanding. Behzad’s spontaneity and simplicity in artistic expression resonate with viewers, allowing them to engage with the emotional and psychological layers of his work. The clarity and directness of his visual narratives invite audiences to explore their own emotions and experiences, reinforcing the therapeutic potential of art. Furthermore, Behzad’s deep expertise in mysticism aligns with the societal emphasis on spirituality during his time. This connection enriches the thematic depth of his artworks, allowing for multiple interpretations and encouraging viewers to explore the spiritual dimensions of existence. His works often reflect a synthesis of artistic mastery and spiritual insight, making them significant not only in aesthetic terms but also in their philosophical implications. Moreover, Behzad maintained significant interpersonal connections with prominent figures of his era, displaying a democratic personality by acknowledging various members of society in his artistic representations. This aspect of his work highlights not only his artistic skill but also his awareness of social dynamics and human relationships. This holistic approach to understanding Kamal ud-Din Behzad not only elevates his status as an artist but also contributes to a broader discourse on the relationship between psychology and artistic expression. By examining the traits of self-actualization in Behzad’s personality, we gain deeper insights into the nature of artistic creativity and the enduring impact of his work on cultural and psychological landscapes. نظریۀ شخصیت خودشکوفای آبراهام مزلو روان‌شناس آمریکایی به روش خود سعی در شناخت ویژگی‌های انسان کمال‌یافته دارد. کمال‌الدین بهزاد به عنوان یکی از استادان سرآمد نقاشی دورۀ تیموری و صفوی است که قابلیت مطالعه از این منظر را دارد. هدف این پژوهش شناخت ویژگی‌های خودشکوفای شخصیت کمال‌الدین بهزاد با رویکرد به نظریۀ انسان‌گرایی آبراهام مزلو است. سؤال اصلی مقاله حاضر این است که: بررسی ویژگی‌های خودشکوفایی در شخصیت بهزاد چگونه می‌تواند ما را به شناخت ابعاد دیگری از این شخصیت راهنما باشد؟ این پژوهش به صورت توصیفی ـ تحلیلی و شیوۀ جمع‌آوری اطلاعات کتابخانه‌ای و فیش‌برداری از منابع اصلی تألیف شده است. جامعۀ آماری شامل 20 نگاره از آثار بهزاد است که از میان آنها، 8 نگاره برای مطالعه به صورت هدفمند با توجه به ارتباط آثار بهزاد و نظریۀ حاضر گزینش شده‌اند. تجزیه‌وتحلیل داده‌ها به روش استدلال استقرایی صورت گرفته است. نتایج پژوهش نشان می‌دهد که بهزاد ده ویژگی از سیزده ویژگی افراد خودشکوفای مزلو را دارد که همین امر می‌تواند او را مصداقی از انسان خودشکوفا معرفی نماید. ویژگی‌هایی چون درک کامل از واقعیت در آثار خود، مسئلۀ مداری نسبت به مسائل روزمره انسان‌ها، قدرشناسی نسبت به پدیده‌های جهان با توجه به طبیعت‌گرایی، ادراک همدردی، قبول خود و دیگران به‌طور طبیعی، خودانگیزی ساده و طبیعی، خبرگی در تصوف به علت توجه جامعۀ به عرفان، داشتن پیوندهای میان فردی با افراد مشهور دوران خود، شخصیت مردم‌‌سالارانه، توجه به افراد مختلف جامعۀ در آثار بهزاد که برخی از این ویژگی‌ها به صورت واحد و برخی دیگر به شکل ادغام یافته در بیان تصویری به کار گرفته شده‌اند.

https://rac.soore.ac.ir/article_730946_4fba25bf6951aa31baeb75e00b0d2d72.pdf

دانشگاه سوره رهپویه هنرهای صناعی 2821-0352 4 4 2025 03 18 Visual Representation of a Verse from the Holy Qur'an in the Painting "Camel War" by Kamal Ud-Din Behzad بازنمایی دیداری آیه‌ای از قرآن کریم در نگاره «جنگ شتران» کمال‌الدین بهزاد 73 86 730947 10.22034/rac.2025.2055026.1119 FA فرانک کبیری استادیار، گروه صنایع دستی، دانشکده هنر و علوم انسانی، دانشگاه شهرکرد، شهر کرد، ایران. Journal Article 2024 09 12 Kamal al-Din Behzad, an Iranian painter, was the foremost of all painters in the 9th and 10th centuries AH (After Hijra/Islamic Calendar). He held positions in the courts of the Timurid, Safavid, and Shaybanid kings and was the most prominent of his contemporaries in terms of innovation in painting style. The painting “The Battle of the Camels,” also known as “The Conflict of the Camels,” “Two Camels Fighting with Servants,” or “The Dark and Light Side of the World,” is one of the artist’s works housed in the Golestan Palace Library. According to the inscription in the painting, the work dates back to the year 1071 AH and belongs to Behzad’s old age, over 70 years old. This article, employing a descriptive-analytical method, aims to identify the hidden visual and content layers in Behzad’s painting “The Battle of the Camels” and seeks to answer the question: How has Behzad represented the noble verse inscribed in the inscription of “The Battle of the Camels”? The study sample was consciously selected, and the data collection method was library-based. The findings, based on documentary studies, show that all the visual elements in this painting, with a unique composition, are directly related to the concept in the inscription. The text is taken from verse 17 of Surah Al-Ghashiyah, which recommends contemplating the creation of the camel. The camel is a remarkable creation of God, whose power and endurance among other animals are genuinely remarkable. In Islamic culture, it is a symbol of beauty, hard work, humility, repentance, and self-respect. Behzad depicts the camels in the center as the leading actors of the composition, and this visual representation is deeply related to Behzad’s intellectual and Sufi transformations in the last years of his life. کمال‌الدین بهزاد، نقاش ایرانی است که در سده‌های نهم و دهم هجری، کمال‌الدین بهزاد، نقاش چیره‌دست ایرانی است که در سده‌های نهم و دهم هجری زیست می‌کرده است. وی در بارگاه پادشاهان و امیران تیموری، صفوی و شیبانیان، صاحب‌منصب و از نظر نوآفرینی در سبک نقاشی، برجسته‌ترینِ هم‌نوعانش بود. نگاره «جنگ شتران»، «نزاع شتران» یا «دو شتر در حال جنگ با خادمان» یا «وجه تاریک و روشن جهان»، یکی از آثار این نقاش است که در کتابخانه کاخ گلستان نگهداری می‌شود. بر اساس کتیبه مندرج در این نقاشی، زمان خلق این اثر به سال 1071 هجری می‌رسد و به سن بالای 70 سالگی بهزاد تعلق دارد. این مقاله با روش توصیفی ـ تحلیلی و با هدف شناسایی لایه‌های پنهان تصویری و محتوایی در نگاره «جنگ شتران» بهزاد، تلاش دارد به این پرسش پاسخ دهد که «آیه شریفه مندرج در کتیبۀ اثر «جنگ شتران»، چگونه توسط بهزاد بازنمایی شده است؟». نمونه مطالعاتی، به صورت آگاهانه انتخاب و روش گردآوری داده‌ها، کتابخانه‌ای بوده است. یافته‌ها بر مبنای مطالعات اسنادی نشان می‌دهد که تمامی عناصر تصویری موجود در این نگاره با ترکیب‌بندی بی‌نظیر، در ارتباط مستقیم با مفهوم موجود در کتیبه بوده است. این متن برگرفته از آیه 17 سوره غاشیه در مورد توصیه به اندیشه در آفرینش شتر بوده است. شتر مخلوق شگفت‌انگیز خداوند است که قدرت و استقامت وی در میان سایر حیوانات در آستانه معجزه بوده و در فرهنگ اسلامی نماد زیبایی، سخت‌کوشی، تواضع، توبه و عزت‌نفس است و بهزاد، شتران را در مرکز به عنوان بازیگران اصلی ترکیب به تصویر می‌کشد و این بازنمایی تصویری، با تحولات فکری و صوفیانه بهزاد در واپسین سال‌های زندگی وی ارتباط عمیقی دارد.

https://rac.soore.ac.ir/article_730947_4f7f57f1b75ad4dc39c267a48eb11788.pdf

دانشگاه سوره رهپویه هنرهای صناعی 2821-0352 4 4 2025 03 18 Application of Gerard Genette's Theories in Intertextual Analysis of Ali Akbar Sadeghi's Works with René Magritte مطالعه تطبیقی آثاری از علی‌اکبر صادقی و رنه ماگریت با رویکرد ژنت 87 94 730961 10.22034/rac.2025.2047055.1103 FA عاطفه گروسی دانشجوی دکتری هنرهای اسلامی، دانشکده هنر و معماری، دانشگاه تربیت مدرس، تهران، ایران. 0009-0000-0048-4277 محمدکاظم حسنوند دانشیار گروه نقاشی، دانشکدۀ هنر و معماری، دانشگاه تربیت مدرس، تهران، ایران. Journal Article 2024 08 04 Intertextuality, a common term in literary and linguistic theories, was first proposed by Julia Kristeva, who is most closely associated with the views of structuralists and poststructuralists, as a method to study how literary texts are constructed and their interrelationships. Together, it has attracted the attention of researchers for the analysis and comparison of literary texts and works of art. The theory of intertextuality is based on the fact that a text, whether literary or non-literary, has a close relationship with other contemporary texts or texts from previous centuries, and is not independent. Gérard Genette is one of the most influential researchers in this field because he was able to define a specialized system for analyzing the meanings of texts, thereby bringing the theory of intertextual relations of texts out of the purely theoretical realm and making it practical. Genette’s field of study includes open structuralism, poststructuralism, and semiotics. The approach of Genette’s poly-textuality is to examine the relationship between two literary texts, so that the poly-text is not an interpretation of the pretext. With this definition, each text gains the ability to adapt to similar texts, presenting a new perspective on the different cultural and literary links to the audience. All arts can be studied and deciphered in an intertextual and trans-textual relationship with other works. In the post-modern period, it is not possible to discuss the originality and unity of a work of art, whether it is a painting or a novel, because all works of art are obviously composed of bits and pieces of pre-existing art. Hyper-textuality is the fifth type of genetic trans-textuality, and trans-textuality is a tendency that combines intertextuality and textuality, with two sides: one side includes new content that the author writes based on their personal thoughts. At the same time, the other retains the previously written content. On the other hand, it is based on the previously written content, and from here, the conflict between the over-text and the pretext emerges. Therefore, most of the text is re-reading the pretext, and the reader must place themselves between these two aspects and pay attention to both of them in order to better understand a work. In this research, an attempt is made to provide a complete description of Genette’s trans-textuality. By leveraging the multifaceted nature of this theory, the similarities between the works of Ali Akbar Sadeghi and René Magritte are examined, along with the effectiveness of their application in Sadeghi’s works, which will also be explored. Ali-Akbar Sadeghi has been described as a “philosopher-painter” because he created his works based on the truth and reality of the outside world, as well as on his own internal conflicts and thoughts. Due to the influence of Western thought, Sadeghi has effectively combined Iranian painting techniques with Western painting, retaining the Eastern spirit as his signature in all his works. He himself emphasized the integration of his works with Western surrealism, Eastern mysticism, and imagination. The research method employed is descriptive-analytical, utilizing Genette’s concept of multi-textuality to analyze samples of the works of Ali-Akbar Sadeghi and René Magritte. Based on the obtained results, it can be acknowledged that Ali-Akbar Sadeghi, known as one of the contemporary artists of the pseudo-surrealist style in Iran, has incorporated many elements characteristic of Magritte’s works, a prominent artist in the Western surrealist style. Implicitly or explicitly, in his works, he has employed an Iranian approach by incorporating elements of national culture. The use of common pictorial elements, the repetition of subjects, and the method of combining images and placing elements within the image next to each other are among the similarities between the works of both artists. Sadeghi and Magritte have utilized signs to reveal the hidden layers of meaning in their work. The dialogue that begins with these signs in the text of the painting illustrates the impact and effect of color and other elements on the emotional load conveyed to the audience. Sadeghi has transformed the meaning of the image through subtle manipulations of texture, distance, and composition, as well as by adding or removing elements in the textual content, infusing his paintings with the spirit of Eastern and Iranian culture. While both Sadeghi and Magritte employ elements such as image inversion, face covering, and natural motifs (like clouds, trees, flowers, and apples), Sadeghi’s work distinguishes itself by incorporating Iranian symbols, including floral and geometric patterns, as well as traditional clothing. علی‌اکبر صادقی از پیشگامان هنر نوگرا و صاحبنام در سبک سوررئالیسم ایران است. باتوجه به مضامین آثار صادقی که پیچیده و عجیب به نظر می‌رسد و نیز تکنیکی که وی برای تصویرسازی این مضامین به کار گرفته است، از این منظر قابل مقایسه با آثار هنرمند غربی رنه مگریت می‌باشد که وی یکی از برجسته‌ترین نمایندگان سوررئالیسم محسوب می‌گردد و همین امر نیز سبب به وجود آمدن اشتراکاتی در برخی از آثار این دو هنرمند شده است. در این پژوهش سعی بر آن است تا شرح کاملی از ترامتنیت ژنتی ارائه و سپس با بهره‌مندی از بیش‌متنیت این نظریه، شباهت‌های آثار علی‌اکبر صادقی و رنه مگریت مورد تحلیل قرار گیرد. شیوه پژوهش توصیفی-تحلیلی بوده و با استفاده از بیش‌متنیت ژنتی به مطالعه و تحلیل نمونه‌هایی از آثار علی‌اکبر صادقی و رنه مگریت پرداخته است. بر اساس نتایج به دست آمده می‌توان اذعان نمود که علی‌اکبر صادقی که از هنرمندان معاصر و سبک شبه سوررئالیسم در ایران شناخته می‌شود، بسیاری از عناصری که در آثار مگریت ـ از هنرمندان برجسته در سبک سوررئالیسم غربی ـ مورد استفاده قرار گرفته، به صورت ضمنی یا صریح در آثار خود به شکلی ایرانی و آمیخته با فرهنگ بهره جسته است.

https://rac.soore.ac.ir/article_730961_75cb76a5ecea9b485cb83edfc38dd73d.pdf