دانشگاه سوره رهپویه هنرهای صناعی 2821-0352 5 2 2025 08 23 Comparing the Method of Preparing Primary Colors in the Indian Treatise Alvan Al-Sovar with the Iranian Treatise Golzar-e Safa تطبیق شیوه تهیه رنگ‌های پرکاربرد در رساله هندی الوان‌الصور با رساله‌ ایرانی گلزار صفا 7 20 734618 10.22034/rac.2025.2059406.1127 FA فاطمه بازیاری کارشناسی ارشد مطالعات هنر اسلامی، دانشکده هنر، دانشگاه بین‌المللی سوره، تهران، ایران 0009-0000-1450-2288 حمیدرضا قلیچ خانی دکتری تخصصی و مدرس گروه مطالعات عالی هنر، دانشکده هنر، دانشگاه بین‌المللی سوره، تهران، ایران. 0009-0001-2974-667X Journal Article 2025 04 06 Bookmaking, manuscript layout, and related techniques, as main characteristics and indicators of Islamic culture and civilization, have always been the focus of attention and study by researchers and enthusiasts. Encompassing diverse traditional crafts like dyeing, papermaking, and bookbinding, this technique represents an enduring legacy and crucial evidence of books’ value in Islamic culture and civilization. The art of manuscript layout has been practiced in many Islamic lands. One of these lands is the Indian subcontinent. The study and examination of the cultural and political relations between Iran and the sub- continent in various periods shows that the court of the Indian sultans, especially since the Safavid era, has always been receptive to Iranian artists, scholars, and writers, a matter that has resulted in the production of numerous worthy art works in the form of Persian Tazkiras and treatises in the fields of calligraphy and book layout. Among these treatises is Alvan-al-Sovar, written in the 13th century AH on the art of illustration and book layout by an Indian named Marhamat-Ali Heydari, alias Sarsabz, citing Mohammad Hanif Mosavvar. This treatise, written in broken Nastaliq script in Persian in the subcontinent, was edited by Mohammad Hossein Soleimani and published in 2016 by the Islamic Consultative Assembly Publications. The original version of this treatise is kept in the manuscript collection of the Astan Quds Razavi Library under number 42475. Alvan-al-Sovar is one of the most important treatises in the field of illustration and book layout, which in detail examines color production in Indian art and describes the method for making nearly one hundred colors in the subcontinent. The importance of study on this treatise lies in the fact that it was not only written by an Indian artist in a non-native language, namely Persian, in the subcontinent, but it is also considered as one of the most detailed first-hand texts that contains valuable technical information and some distinctive features in the field of manuscripts influenced by the Indian style as some of the points and information recorded in it cannot be found in other ancient treatises. This work shows to what extent the artists of the subcontinent were familiar with the Iranian language, literature, art, and culture, to the point that they wrote a specialized treatise and a work worthy and comparable to the treatises of Iranian artists and to the geography of Iran. Another important aspect of this treatise is that, unlike other treatises related to the field of book layout which are basically calligraphy treatises and after introducing the rules and principles of calligraphy, the basics and techniques of book layout are also discussed in them, while treatise Alvan-al-sovar is exclusively about the basics of bookmaking, color and colorization, and other techniques related to book layout. This research aims to compare the Indian treatise Alvan-al-sovar with the Iranian treatise Golzar-e Safa by Sirafi (950 AH), which, like its Indian counterpart, specifically and ex- clusively introduces and explains the techniques related to book layout. It seeks to study the similarities and differences in the standard artistic methods in the discussion of book layout between Indian and Iranian artists, and to determine the differences between the method of preparing the standard primary colors in the Alvan-al-Sovar treatise and in the Iranian treatise Golzar-e Safa by Sirafi. The answer to this question, along with details on the preparation of primary colors in the subcontinent, will significantly help identify artistic and cultural similarities and differences between Iran and India. This research is qualitative in its fundamental purpose and nature. It is carried out in a descriptive-analytical-comparative manner by comparing the text of the treatise Alvan-al-Sovar with that of the Iranian treatise Golzar-e Safa Sirafi. Data collection is through documentary studies and library resources, and the tools and methods used are based on observation and recording. According to the results of the research, the treatise Alvan-al-sovar differs mainly from the treatise Golzar-e Safa in the primary and basic material, auxiliary materials and binders, and the method of work at different stages. This treatise provides a comprehensive and meticulous account of the paint preparation process, detailing each stage with precision, including the specific times required to dissolve the materials at each step. Such an exhaustive and systematic approach stands in contrast to the Iranian treatise Golzar-e Safa, which, while valuable, lacks the same level of step-by-step elaboration in its description of paint preparation methods. Although there are some similarities in the preparation of standard primary colors between the two treatises, Alvan-al-Sovar and Golzar-e Safa, the Indian treatise Alvan-al-Sovar has fundamental differences with the Iranian treatise Gulzar Safa, mainly in terms of the primary and base materials, auxiliary materials, and binders, and the method of work in different stages. In Alvan-al-Sovar, in order to explain the method of preparing some important colors, including white and gold, the author has tried to mention all the important points related to the preparation of quality colors, and also explains in detail how to prepare the colors in different stages and the duration of dissolving the materials in each stage. In the treatise Gulzar Safa, not only are the stages of preparing the colors different, but the methods of preparing them are also not presented in such detail. Also, in Alvan al-Sovar, the author has tried to use precise weights, such as tank and mash, to measure materials or the ratio of combined materials. At the same time in the Iranian treatise Golzar-e Safa, this issue has been less considered, one of the reasons for which could be the difference in expressive capacities in prose and poetry formats in Persian, because in the prose format, the author enjoys freedom and breadth of field in using words and expressing vocabulary, while the poetry format has restrictions and the use of combinations and expressions in it is limited and follows specific rules. رساله الوان‌الصور (12-13 ه.ق) یکی از رسالات مهم حوزه کتاب‌آرایی بوده که در شبه‌قاره تألیف گردیده است. در این رساله دستورالعمل ساخت رنگ‌های مختلف به طور گسترده، اعم از رنگ‌های اصلی و ثانویه، رنگ برای کاغذ آهار و کاغذ خام بدون آهار در کنار سایر فنون نسخه‌آرایی مورد بحث می‌باشند. هدف این پژوهش آن بود که پس از بازخوانی ابواب مرتبط با دستور تهیه رنگ‌های پرکاربرد در رساله الوان‌الصور، به مقایسه این روش‌ها با موارد مشابه در رساله ایرانی گلزار صفا صیرفی (950ه.ق) بپردازد. رساله گلزار صفا نیز همچون رساله الوان‌الصور تنها به فنون کتاب‌آرایی می‌پردازد. این پژوهش با مقایسه رسالات کتاب‌آرایی در جغرافیای هند و ایران، در پی پاسخگویی به این پرسش بود: شیوه و روش تهیه رنگ‌های پرکاربرد مشترک به لحاظ لفظی در رساله هندی الوان‌الصور با رساله ایرانی گلزار صفا صیرفی چه تفاوت‌هایی دارد؟ این پژوهش به لحاظ هدف بنیادی و به لحاظ چیستی، کیفی بوده و به صورت توصیفی- تحلیلی- تطبیقی و با مقایسه متن رساله هندی الوان‌الصور با متن رساله ایرانی گلزار صفا انجام پذیرفت. مطابق با نتایج پژوهش، در تهیه رنگ‌ها، رساله الوان-الصور عمدتا از نظر ماده اصلی و پایه، مواد کمکی و بستمان و روش کار در مراحل مختلف با رساله گلزار صفا تفاوت‌هایی داشت. این رساله همچنین به تفصیل چگونگی تهیه رنگ در مراحل گوناگون و مدت زمان حل نمودن مواد در هر مرحله را نیز بیان داشته، در حالیکه در رساله ایرانی گلزار صفا شیوه تهیه رنگ‌ها با چنین جزییاتی ارائه نگردیده بود.

https://rac.soore.ac.ir/article_734618_a6e70d4e67e8ac9ab28bed618841e3c9.pdf

دانشگاه سوره رهپویه هنرهای صناعی 2821-0352 5 2 2025 08 23 Reading the Mystical Aspects of Light and Color in Master Mahmoud Farshchian's "The Protection Sanctum" and "Guarantor of the Gazelle", Based on the Opinions of Suhrawardi and Najm al-Din Kubra خوانش وجوه عرفانی نور و رنگ در دو اثر حریم حفاظت و ضامن آهوی استاد فرشچیان با تکیه بر آراء سهروردی و نجم الدین کبری 21 33 734619 10.22034/rac.2025.2061565.1133 FA سمیه پاک نیت کارشناس ارشد پژوهش هنر، دانشگاه آزاد اسلامی واحد تهران مرکزی، تهران، ایران. پژمان دادخواه استادیار موسسه آموزش عالی اقبال لاهوری، مشهد، ایران 0009-0003-6164-1071 Journal Article 2025 04 23 The noble and spiritual personality of Imam Rauf, Hazrat Saman al-Hajj, has been the focus of artistic creation and the cultivation of the taste of many of his devotees. The heart connection with that good Imam has always inspired the artists of Iran. Each of the artists, in any way, has expressed his romantic devotion and sincere attachment by creating works of art related to his dignity and rank. Architects and epigraphers, poets, painters, calligraphers, and several other artists have immortalized their names with artistic creations on the subject of "Imam-e Mehrabani". Suppose at some point, the possibility of uncovering the nature and process of artistic production of these works is provided, without a doubt. In that case, every artist will express the spiritual story and the origin of the influential personality of Imam Reza (peace be upon him) in his artistic work. Master Farshchian's heartfelt belief in the Imams, as well as the influence of his family's religious beliefs on him, has led this artist to create and bring to light remarkable works in this regard. This research examines and explains the concepts of light and color in two works by Mahmoud Farshchian, from the perspective of Islamic mysticism, in light of the ideas of Suhrawardi and Najm al-Din Kobra. The research method in this study falls into the descriptive-analytical category and is primarily purposeful. The method of collecting information is a library study. The question of this research: What spiritual concepts do light and color express in the two works of Master Farshchian's "The Sanctuary of Protection and the Guarantee of the Deer"? The results indicate the semantic correspondence between light and color in the two works under study, as well as the ideas of Suhrawardi and Najm al-Din Kobra. This topic examines the effects of mysticism and mystics' ideas on the artist's works, drawing on studies of the subject. The effect of the studies does not enter the artist's mind immediately; it comes during the work. In fact, mysticism, religious beliefs, and the artist's inner inspirations have influenced the creation of their works. The topic of Farrah's light, the world of imagination, and the light of lights in Suhrawardi's wisdom corresponds to the art of painting, and so does color in the ideas of Najm al-Din al-Kubri. He has always considered colored lights as signs of the manifestation of mystical states and the degree of transcendence of the human soul, and, according to his inner observations, he has listed various lights in a spiritual context. The miniature painting of Guarantor of the Gazelle (Zamen-e Ahoo), the work of Farshchian, a master of painting at the forefront of the art, combines form and meaning and was formed at the peak of the artist's feeling through its extraordinary technique. In the production of works of art, we have always witnessed works in which the power and mastery of technique prevailed. However, there was less of a sense of perception and a spiritual atmosphere resulting from the artist's own personality. Obviously, the contemplative audience, in the first step, seeks to identify with a certain amount of this sense and mood infused in the work of art. In the 6th and 7th centuries AH, Sheikh Shahabuddin Suhrawardi, Najm al-din Kobra, and Najm al-din Razi addressed the concepts of light and color in their belief in illumination. As the influence of these thoughts on the Iranian artist's work is well known, in his work the painter draws an imaginary world without shadows, drowned in light. The colors in the painting are not subservient to the colors of the material world; the narrator is of another world. Suhrawardi's wisdom was the foundation of the light-based institution in the Islamic world. Finally, his light wisdom led to a special attitude about the phenomenon of light and its composition with color in the opinions of "Najm al-din Kobra", "Najm al-din Razi", and "Ala al-Dawlah Semnani". According to Sohrawardi, all levels of existence, degrees of knowledge, beginning and end of the world, happiness and good fortune of man are among the developments of light, and all lights are manifestations of light. Every light manifests a lower light than itself, and the whole world arises from light and is composed of light. In this wisdom, light does not need to be defined and is more visible than anything, and it is inherently the appearance and manifestation of something else. Similarly, in the view of Najm al-din Kobra, who has always considered colored lights to be signs for the revelation of mystical states and the degree of exaltation of the human soul, according to his inner observations, he has listed various lights in a spiritual format, each of which begins to appear with a specific color. The views and opinions of these two mystics can be seen in the two reviewed works of Professor Farshchian, which can be meaningfully matched with the religious works of Professor Farshchian, according to the vision and mystical tendencies of Farshchian. اعتقادات قلبی و درونی استاد فرشچیان به ائمه باعث شده تا این هنرمند آثار شگرفی را در این راستا خلق و به منصه ظهور برساند. این پژوهش به بررسی مفهوم نور و رنگ در دو اثر محمود فرشچیان از منظر عرفان اسلامی در پرتو آراء سهروردی و نجم الدین کبری می باشد. پژوهش حاضر به لحاظ هدف بنیادی است و جهت نیل به اهداف از روش تحقیق توصیفی تحلیلی استفاده شده و اطلاعات ضروری و مورد نیاز به شیوه کتابخانه ای گردآوری شده است. این پژوهش به دنبال پاسخ به این پرسش است که نور و رنگ در دو اثر حریم حفاظ تو ضامن آهوی استاد فرشچیان بیانگر چیست؟ نتایج حاصله بیانگر تأثیرات عرفان اسلامی در دو اثر حریم حفاظت و ضامن آهوی استاد فرشچیان است. در تحلیل آثار مورد بررسی، و آراء و نظرات سهروردی و نجم‌الدین کبری در خصوص نور و رنگ قابل بازخوانی است. تأثیرات معنوی هنگام کار به هنرمند الهام شده و در واقع عقاید مذهبی، دریافت‌های قلبی و معنوی و الهامات درونی هنرمند در خلق این نگاره‌ها ثأثیر داشته است. .

https://rac.soore.ac.ir/article_734619_c338cf8613dadfc99dcf6a60f8b99c6c.pdf

دانشگاه سوره رهپویه هنرهای صناعی 2821-0352 5 2 2025 08 23 Identification and Analysis of Technological Weaving Components and Key Structural Patterns in the Design of Dargazin Carpets of Hamedan شناسایی و تحلیل مؤلفه‌های فن‌شناختیِ بافت و الگوهای ساختاریِ شاخص در طرح قالی‌های منطقه درگزین همدان 35 54 734620 10.22034/rac.2025.2066460.1142 FA سپهر قاسمی کارشناسی ارشد پژوهش فرش، مدرس مدعو گروه فرش، دانشکده هنر، دانشگاه اراک، اراک، ایران. 0009-0002-2940-6904 حجت اله رشادی مربی گروه فرش، دانشکده هنر، دانشگاه اراک، اراک، ایران. 0000-0001-9194-9876 Journal Article 2025 05 19 This study aims to identify and analyze the technical and structural components, as well as the dominant design patterns, in the handwoven carpets of the Dargazin region—encompassing the towns of Dargazin, Famenin, and Razan—in the northeast of Hamedan Province. Renowned as one of the oldest and most authentic centers of carpet weaving in Iran, this region offers a rich case for examining the continuity, adaptation, and technical characteristics of traditional weaving practices in a local context. Adopting a descriptive-analytical approach, this research is grounded in qualitative fieldwork and direct observation of 18 selected carpet samples attributed to the region. The study applies a systematic method of observation and visual coding to classify and interpret technical structures, weaving practices, and design schemas. The central research questions are: (1) What are the principal technical and structural features of carpets from the Dargazin region? and (2) What are the recurring design patterns and visual frameworks that define the structural composition of their motifs? Findings reveal a consistent set of technical characteristics across most samples, indicating a relatively stable and coherent regional weaving identity. These characteristics can be grouped into three main categories: tools and equipment, raw materials, and structural techniques. The dominant weaving tool today is the vertical metal loom, which has gradually replaced the traditional fixed wooden loom. While several older tools, such as the traditional beating combs (kerkit) and wool trimming knives (kork-gir), are now rare, they still exist in the collective memory and oral traditions of local weavers. Regarding materials and weaving techniques, the warp is typically made from S-twisted white cotton yarn, generally 15 to 24 plies. It is warped using a Turkish-style method conducted by the weavers themselves. Some recent examples incorporate a cotton-acrylic blend. The weft, also cotton or cotton-acrylic, varies between 12 and 18 plies. Symmetrical (Turkish) knots using hand-spun or machine-spun wool are standard. Most carpets are single-wefted—an important technical hallmark of the region's output—and the side bindings (shirazeh) are integrated wool cords dyed to match the borders. The lower ends of the carpets feature a kilim section, approximately 2–3 cm wide, woven in a tabby structure using cotton or cotton-acrylic threads. While the upper fringes are mostly unornamented, occasional examples display decorative knots. Finishing processes such as clipping, combing, and trimming are generally performed by the weaver. Dyeing is primarily chemical and is carried out in household settings or small-scale local workshops. Knot density ranges from 12 to 20 raj (rows per 7 cm), with 15–20 being the most frequent. Higher densities (30–35 raj) appear in a few commissioned pieces produced for merchants, which do not represent the common rural practice. Carpet sizes follow standard Iranian formats—e.g., pushti (70×104 cm), zar-o-nim (160×104 cm), panj-charki (70×130 cm), do-zar'i (208×120 cm), and six-meter rugs (200×300 cm). Qualitative assessment of the samples shows variation: 13 are of average quality, three are good, and two are relatively poor. These differences reflect socioeconomic contexts, weavers' skill levels, and production objectives. The study identifies four key axes of structural change in recent decades: (1) the introduction of cotton-acrylic yarns for warp and weft; (2) the replacement of natural dyes with chemical ones; (3) increased knot densities in response to market demands; and (4) the substitution of portable metal looms for traditional fixed wooden ones. Despite such adaptations, the region's technical identity remains largely intact, reflecting a nuanced form of modernization within the boundaries of local tradition. In parallel with technical elements, the research investigates design structures and recurring visual patterns. Dargazin carpets exhibit established compositional schemas, particularly in the arrangement of corner medallion (lachak-toranj) designs, borders, and field layouts. These recurring patterns demonstrate both traditional continuity and regional distinctiveness. Several designs—such as the "Sozan" motif—resemble the Pich-e Jowzan carpets of Malayer but are differentiated by their distinct placement of serrated leaf motifs and variations in density and symmetry. Further analysis reveals selective borrowing from neighboring carpet centers such as Lilihan and Farahan, particularly in more recent samples. These influences are not imitative but have been reinterpreted within the aesthetic and technical parameters of local weaving. Structural differences—such as lower knot counts and single-wefted construction—alter the visual expression of motifs, producing a course, more geometric aesthetic compared to the finer curvature of Lilihan carpets. The study also identifies instances of complex and multi-layered compositions inspired by Borchelu carpets, as in Sample No. 9. Despite appearing dense and continuous at first glance, a closer examination reveals a structured layout with a central medallion, paired floral vases along the vertical axis, and harmonized Khatai-style ornaments. In conclusion, the carpets of Dargazin reflect a hybrid weaving culture marked by structural stability, localized innovation, and adaptive interaction with regional influences. The technical and design features identified in this study may serve as a foundation for developing region-specific quality standards and contribute to the preservation and revitalization of the area's rich carpet-weaving heritage. شهرستان‌ های رزن، فامنین و درگزین در شمال ‌شرق استان همدان قرار دارند و قالی های این ناحیه در ادبیات فرش‌شناسی با عنوان «قالی‌های درگزین» شناخته می‌شوند. درگزین، به عنوان یکی از مراکز اصلی قالی‌بافی منطقه، از گذشته نقشی مهم در تولید فرش ایفا کرده است؛ هرچند این جایگاه در دهه‌های اخیر تضعیف شده است. قالی‌های این منطقه از ویژگی‌های فن‌شناختی و ساختاری خاصی برخوردارند که بازتاب‌دهنده سنت‌های بومی و هویت بافندگی محلی هستند. پژوهش حاضر با هدف شناسایی مؤلفه‌های فن‌شناختی و ساختاری، و تحلیل الگوهای شاخص طراحی در قالی‌های درگزین انجام شده است. روش پژوهش توصیفی-تحلیلی و از نظر هدف، بنیادی است. داده‌ها به شیوه کتابخانه‌ای و میدانی گردآوری و به صورت کیفی تحلیل شده‌اند. ابزار گردآوری شامل مصاحبه و کارت مشاهده ساخت‌یافته بوده و جامعه آماری شامل قالی‌های اصیل منطقه است که از میان آنها، 40 نمونه شناسایی و 18 تخته به‌طور دقیق بررسی شده‌اند. یافته‌ها نشان می‌دهد قالی‌های درگزین دارای ویژگی‌های فنی مشخصی هستند؛ از جمله دار عمودی فلزی، چله‌کشی و گره ترکی با پشم، تار و پود پنبه‌ای یا ترکیبی آکریلیک-پنبه‌ای، بافت نیم‌لول تک‌پود، شیرازه متصل پشمی، گلیم‎باف کرباسی و رج‌شمار بین 15 تا 20. در حوزه طرح، ساختارهای لچک‌ترنج، حاشیه‌های منسجم، و آرایش هدفمند نقش‌مایه‌ها بارز است. در برخی نمونه‌ها اقتباس‌هایی از نقشه‌های مراکز قالی‌بافی مجاور، همچون لیلیان مشاهده می‌شود که با حفظ خصیصه‌های بومی بازآفرینی شده‌اند. بافت درشت‌تر و انحناهای کمتر در خطوط و رنگ‌بندی روشن و متنوع این قالی‌ها را از نمونه‌های مشابه متمایز کرده و هویتی منحصربه‌فرد برای آنها پدید آورده است.

https://rac.soore.ac.ir/article_734620_28c3b31c88753d4aa20a7d5291af5a6f.pdf

دانشگاه سوره رهپویه هنرهای صناعی 2821-0352 5 2 2025 08 23 Exploring the Concept of Intuition in Gnostic and Mystic Language and Thought, and its Reflection on Art and the Artist جستجویِ مفهومِ شهود در زبانِ عرفانِ شرق و بازتابِ آن در هنر و هنرمندِ شرق 55 67 734621 10.22034/rac.2025.2062176.1143 FA طلایه رویایی استادیار پژوهشگاه میراث فرهنگی و گردشگری، تهران، ایران 0009-0004-0349-9334 Journal Article 2025 04 19 This article explores the concept of "intuition" in Eastern thought and its reflection in Eastern art and literature. The main questions of the article are: What are the temporal and spatial domains of intuitive art? How is intuitive art related to intuition? And how does intuition blur the boundaries between art and artist? Artistic inspiration, driven by intuition, is not merely a creative endeavor but a fundamental expression of human existence, serving as the wellspring from which the finest aspects of human life—namely, art—emerge. The role and significance of intuition in art, though not readily demonstrable through the methods of rational science, remain undeniable. The concept of intuition has never lost its enchanting and compelling appeal to artists and philosophers across cultures and eras. Indeed, even those thinkers who profess a belief in intuition have often been profoundly influenced by the philosophical traditions and perspectives originating in the East. Art of the Orient In this article, "Eastern art" does not merely refer to art within the geographical boundaries of the East, but rather to art rooted in Eastern thought and culture. This type of art is also known as "traditional art," "sacred art," and "religious art." Traditional art is art that has a direct connection with the universe, in which there is no distinction between religious and secular life. Primitive art is not meant as ignorant and savage art, but as original and pristine art that is a direct manifestation of the sacred, immaterial space. Artistic inspiration, driven by intuition, is not merely a creative endeavor but a fundamental expression of human existence, serving as the wellspring from which the finest aspects of human life—namely, art—emerge. The role and significance of intuition in art, though not readily demonstrable through the methods of rational science, remain undeniable. Rooted deeply in Eastern thought. This understanding aligns with Suhrawardi's insights, who viewed the "East" not merely as a latitudinal marker on a map but as an eternal spiritual dawn symbolizing enlightenment, wisdom, and a profound connection to the underlying realities of existence. Sleep, the Presence of Imagination: Eastern mysticism believes that wakefulness and sleep are not real boundaries, and that sleep can be a platform for receiving truth. Aziz al-Din Nasafi elucidates this concept in his mystical treatise, "The Perfect Man," suggesting that during sleep, the senses are effectively dismissed, allowing the inner self to gather and the mirror of the heart to become clear and receptive. In this state, the heart aligns with celestial influences, resembling two clear mirrors facing one another, capable of reflecting profound truths. Thus, sleep and imagination become spaces where truth can emerge and flourish, revealing the interconnectedness between one's inner being and the vast outer universe. Those who possess the qualities of the "perfect human" achieve this level of insight through dedicated self-purification, enabling them to interpret the subtle glimmers of truth through artistic sensibility and intuition. Artistic reception of the invisible world. Existential Unity The philosophy of Eastern thought, especially in Taoism, reduces phenomena to a great dream and denies the distinction between reality and dream. Chuang Tzu emphasizes that to perceive the truth, one must abandon conventional self-knowledge and enter a state of "primordial anxiety," in which everything can be transformed into something else. The Wisdom of Nothingness and Non-Distinction Knowledge in Eastern thought means abandoning the self and the disappearance of the knower, which eliminates contradictions and dualities (similar to the Indian concept of "Atman"). The philosophy of the unity of multiplicity, as in Lao Tzu's view, emphasizes the inherent relativity of everything and the birth of contradictions from different perspectives. Haiku: Haiku art is a manifestation of intuition in the form of unmediated images. Rational translations of these poems distort their pure and inner intuition. The "Eastern soul" is intuitive, and "intuition" is an attitude towards the mystery within the universe. Inner experiences are "flashes of illumination" and have no connection to concepts. The Artist as a Work of Art In the East, art is not separate from life and intuition. Intuition is art, and art is a part of everyday life. Art is ourselves and our existence, which finds a direct connection with the universe. The "Eastern human" and "Eastern art" are repeated in each of the limited images around them. It is in the course of these remembrance-like repetitions that intuition occurs. In the East, intuition is not only artistic creation, but also the viewing of that creation; it is intuition, it is connection, it is becoming part of the whole. The Eastern artist performs a meditation and enjoys himself in the process of creation, of repeating ancient assemblies and forms. For him, artistic creation is performed as a ritual, a ritual in which he gradually approaches the world of intuition and (vision). The "artist" himself becomes the "work of art." Conclusion: The term "Orient of Art" refers to art that belongs to the "Orient of Being" and the "Orient of Man." In the intuitive thoughts of Iranian mystics, dreams indicate a truth that is a vague reference and must be deciphered by someone who has a mirror-like heart. According to the doctrine of Chuang Tzu, truth, in the true sense of the word, is different from what reason considers to be truth. In haiku, the poet gives voice and word to his intuition. Art has a secret, and the secrets of life lie in the depths of every work of art. The artist does not find art from the outside; it blossoms from his inner being. "شهود" که خاستگاه آن عرفانِ شرقی است هرگز جاذبه‌یِ جادویی‌اش را برای هیچ هنرمند و فیلسوفی از دست نداده است. این مقاله به‌دنبال بررسی مفهومِ شهود در تفکرِ شرق و بازتاب آن در ادبیات و هنرِ شرق است، با پرسش‌هایی چون: حوزه‌هایِ زمانی و مکانیِ این هنر چیست؟ ارتباط آن با شهود چگونه است؟ و شهود به چه نحو مرزهایِ بین هنر و هنرمند را محو می‌کند؟ به این منظور با مشخص کردن محدوده‌هایِ مکانی و زمانیِ این تفکر و این هنر؛ به ردیابیِ مفهومِ شهود در اندیشه‌یِ عرفایِ ایرانی می‌پردازد که چطور از عبارات و اصطلاحاتی استفاده می‌کنند که کاملاً قابلِ تعمیم به شهودِ هنری هستند.سپس با بیانِ ویژگی‌هایِ مشترکِ شهود (رؤیت) از منظرهایِ گوناگون، به شهود در دائوئیسم می‌رسد که شناسایی با نوعی کشفِ حجاب و رهاییِ امور از زمان و بدونِ ‌کوشیدن به‌دست می‌آید، "یکدمی" یا "یک‌لحظه‌گیِ" نقاشی‌هایِ چینی و هایکوهایِ ژاپنی گویایِ همین بیداری ناگهانی است. در مشرقِ هنر، هنر در وجود تک تکِ تصاویرِ پیرامونِ انسان تکرار می‌شود و هنرمند در جریانِ تکرارِ مجالس و فرم‌هایِ قدیمی، نوعی مراقبه انجام می‌دهد.آفرینش، هم‌چون آیینی می‌شودکه او را رفته رفته به جهان شهود و رؤیت نزدیک می‌کند تا خود، اثرِ هنریِ خود‌ شود. هنرِ هنرمندِ شرقی، زندگی‌اش است. هنرمندی که شاید اثرِ هنری نداشته باشد.

https://rac.soore.ac.ir/article_734621_2ca1de0793314ea50593541d80ea591b.pdf

دانشگاه سوره رهپویه هنرهای صناعی 2821-0352 5 2 2025 08 23 A Trace of the Decorative Elements of the Orosi(Sash) Windows of the Takyeh Biglarbeygi in Kermanshah تتبعی در بن‌مایه‌های تزئینی ارسی تکیه بیگلربیگی کرمانشاه 69 80 734622 10.22034/rac.2025.2054460.1118 FA فرنوش شمیلی دانشیار گروه مطالعات نظری هنرهای تجسمی، دانشکده هنرهای تجسمی، دانشگاه هنر اسلامی تبریز، تبریز، ایران 0000-0001-7858-4120 پرستو عباسی کارشناسی ارشد رشته هنرهای صناعی، دانشکده هنرهای صناعی، دانشگاه هنر اسلامی تبریز، تبریز، ایران. Journal Article 2025 01 26 One of the prominent architectural features of the Qajar era is the Orosi, or sash window, which, in addition to its specific technical and practical features, also has remarkable visual beauty. Among these beauties, we can mention decorative motifs such as Islamic and Khatai ivy, as well as written and animal elements. This art has had a remarkable boom in Islamic lands, including Iran. One of Iran's historical monuments from the Qajar era is located in Kermanshah and features remarkable functional-decorative sashes. This building, known as Takyeh Biglarbeygi or Farash Bashi Mansion, dates back to the reign of Mozaffar al-Din Shah Qajar and was built by Abdullah Khan Farash Bashi, nicknamed Biglarbeygi, in the old part of Kermanshah. In this regard, the present article aims to recognize and explain the values and functional-decorative features of the sashes of this building, thereby preserving and passing them on to future generations. Therefore, in response to this necessity, a fundamental question arises: What visual characteristics do Takyeh Biglarbeygi's sash windows have? This research used a descriptive-analytical method, and its data, collected in a library and field setting, were analyzed qualitatively. The results of this investigation show that the sashes' surfaces are decorated with various knot patterns, and that plain and colored glass, as well as original combinations, have emerged. In this way, the harmony between these geometric networks and colored lights has created a pleasant beauty. Takyeh Biglarbeygi's sash windows, given the time of construction, like other sashes of the same period in the late Qajar and early Pahlavi periods, feature circular motifs in their decorations and have glass windows in four colors: red, blue, yellow, and green, as well as colorless glass. The study's sashes are opening, meaning they were used as both doors and windows. Eight sashes of the Biglerbeygi building are paired. Four of them are similar to each other. The frequency of 3-wing sashes is higher than that of 4-wing, 2-wing, and 1-wing sashes. Half of the sashes are made in this way. The frequency of sashes with semicircular pataqs with revolving motifs is also higher than that of simple sashes without decorations. Eight of the sashes are crescent pataqs, full of decorations and with borders in the Qavareh-e-Bari technique, and one case has elaborate decorations and a wide inscription, both decorated with Boteh-e-Jegheh motifs. The sashes also share a decorative solar motif. All the sashes made in the building are worked on the southern, northern, and western sides of the courtyard, and on the eastern side of the central courtyard, which is the location of the kitchen, storage room, and small rooms. There is no sash, and the openings are worked as simply as possible. The motifs have spread contagiously; in general, the variety of patterns in the pataq section is vast, and various designs, from circular and complex to simple, can be seen there. In general, the colorful shadows and lights of the sashes, along with the sense of peace, stillness, beauty, and stability created in this building, are among the features that give Takyeh Biglarbeygi's sash windows their distinctive identity. یکی از شاخصه‌های برجسته معماری در عصر قاجار ارسی‌ها هستند که علاوه‌بر ویژگی‌های فنی و کاربردی خاص، دارای زیبایی بصری قابل توجهی هستند. از جمله این زیبایی‌ها، می‌توان از بن‌مایه‌های تزئینی همچون پیچک‌های اسلیمی، ختایی، عناصر نوشتاری و حیوانی نام برد. این هنر رونق چشم‌گیری در سرزمین‌های اسلامی از جمله ایران داشته است. یکی از بناهای تاریخی ایران عصر قاجار در شهر کرمانشاه واقع است که دارای ارسی‌های کاربردی تزئینی چشم‌گیری می‌باشد. این بنا تحت عنوان تکیه بیگلربیگی یا عمارت فراش‌باشی، مربوط به دوران سلطنت مظفرالدین شاه قاجار است که توسط عبدالله خان فراش‌باشی، ملقب به بیگلربیگی، در بافت قدیم شهر کرمانشاه ساخته شده است. در این راستا نوشتار حاضر با هدف بازشناسی و تببین ارزش‌ها و خصایص کاربردی تزئینی ارسی‌های این بنا به منظور حفظ و انتقال آن به آیندگان به تحریر درآمده است. بنابراین در پاسخ به این ضرورت سؤال اساسی مطرح می‌شود: ارسی‌های تکیه بیگلربیگی واجد چه ویژگی‌های بصری هستند؟ این پژوهش به روش توصیفی تحلیلی انجام یافته است و داده‌های آن که به صورت کتابخانه‌ای و میدانی گردآوری شده‌اند، به شیوه کیفی مورد تحلیل قرار گرفته‌اند. برآیند این تفحص نشان می‌دهد، ارسی‌های مطالعاتی با نقوش گردان و هندسی و بن‌مایه‌های گیاهی و رنگ‌های سبز، قرمز، فیروزه‌ای و زرد مزین و ساخته شده‌اند. فراوانی ارسی‌های سه‌لنگه نسبت به سایر انواع و نیز فراوانی ارسی‌های دارای پاتاق نیم‌دایره‌ای با نقوش گردان نیز نسبت به ارسی‌های ساده بدون تزئینات بیشتر است. نقش‌مایه‌ها در قالب واگیره‌ای گسترش پیدا کرده‌اند؛ به‌طورکلی تنوع نقش در بخش پاتاق بسیار زیاد است و انواع نقوش از گردان و پیچیده تا ساده را می‌توان در آنها مشاهده کرد. اکثریت نقوش دارای بن‌مایۀ بصری، خورشیدی و اسلیمی هستند.

https://rac.soore.ac.ir/article_734622_dec3e6fbdddc899ed2d7430228494bb3.pdf

دانشگاه سوره رهپویه هنرهای صناعی 2821-0352 5 2 2025 08 23 The Material Imagination of Fire in the Painting "The Wedding of Homay and Homayun" by Junayd Based on "Gaston Bachelard's Theory" تخیل مادی آتش در نگاره «عروسی همای و همایون» اثر جنید برمبنای «نظریۀ گاستون باشلار» 81 90 734623 10.22034/rac.2025.2058647.1124 FA سجاد فطرتی کارشناسی ارشد پژوهش هنر، دانشکده هنرهای تجسمی، دانشگاه هنر اسلامی تبریز، تبریز، ایران. 0009-0005-8144-8425 کریم میرزایی استادیار، دانشکده هنرهای تجسمی، دانشگاه هنر اسلامی تبریز، تبریز، ایران. 0000-0002-0575-2266 پریسا احسانی کارشناسی ارشد، نقاشی ایرانی، دانشکده هنرهای اسلامی، دانشگاه هنر اسلامی تبریز، تبریز، ایران. 0009-0000-0284-1135 Journal Article 2025 03 15 The artwork "The Wedding of Humay and Humayun," created by the painter Junayd, is considered one of the prominent masterpieces in the history of Persian miniature painting. This work is rich in profound cultural symbols and meanings that have captivated artists, researchers, and scholars. Among the multiple elements in this artwork, fire stands out as a critical subject for examination. The goal of this study is to investigate the role of fire and its connection to human imagination in this artwork, focusing on the core question: How can the link between the element of fire and human imagination in this work be analyzed and explained using Gaston Bachelard's theory? This research adopts a descriptive-analytical approach and utilizes a phenomenological framework to examine the element of fire in the aforementioned artwork. The statistical population of this study includes four miniatures by Junayd that showcase various elements of art and imagination. However, "The Wedding of Humay and Humayun" was selected as the most suitable sample for analysis based on Bachelard's theoretical framework, given its thematic diversity and the prominent presence of fire. This selection allows a more detailed examination of the artwork's specific characteristics and provides a deeper understanding of the relationship between fire and human imagination. The data for this research were collected through library resources, including credible books and academic articles, as well as related analyses. The findings indicate that the element of fire in the miniature "The Wedding of Humay and Humayun" acts as a powerful symbol of love and life, revealing the deep emotional connections between the depicted characters. The presence of candles, designed with warm colors, evokes feelings of vitality, hope, and energy. In Iranian cultural traditions, fire has long been associated with new beginnings, transformation, and celebration. In the context of a wedding ceremony, fire assumes a sacred role, symbolizing the union of two lives and the joyful energy that accompanies such a significant event. The candle flames in this artwork not only provide light but also embody the emotions associated with love and the bond between the characters. Each flame can be seen as a manifestation of life itself, signifying passion, desire, and the promise of a shared future. Gaston Bachelard's theory of Material Imagination serves as a vital perspective for analyzing the significance of fire in this artwork. Bachelard posits that imagination is not merely an abstract faculty but can be rooted in the physical elements of the world around us. He emphasizes the importance of the four classical elements—water, air, fire, and earth—and their profound influence on human creativity and emotional experience. In "The Wedding of Humay and Humayun," fire acts as the catalyst for imagination. Its artistic representation transforms it into a material entity that incites deep emotions and reflections in the viewer. Bachelard argues that imagination, through these elemental representations, can access deeper layers of human experience, enabling a richer understanding of our emotions and desires. Bachelard's exploration critically informs the analysis of the 'phénoménologie de l'imagination' (phenomenology of imagination), specifically by showing how the flame's dynamic, flickering nature serves as a primal, archetypal image. This elemental engagement allows the viewer to partake in a spontaneous, poetic reverie, linking the artwork's static depiction to a dynamic, lived emotional reality. This methodological focus elevates the study from mere iconographic interpretation to an investigation of the artwork's affective resonance. The intricate designs and warm colors used to depict the candles further enhance their symbolic meaning. The use of vibrant reds, yellows, and oranges not only creates an appealing visual composition but also amplifies the emotional depth of the scene. Red, a symbol of love and passion, combined with the warmth of yellow and orange, generates an atmosphere of joy and celebration. Each candle, with its unique design, contributes to a collective narrative that underscores the importance of love and unity in human existence. The emotional connections portrayed through the element of fire in this artwork invite viewers to reflect on their own experiences of love, relationships, and the values that bind us together as human beings. The candles function as visual metaphors for the complexities of human emotions, illuminating the inherent joys and challenges in intimate connections. Furthermore, the cultural significance of fire in Iranian traditions adds another layer of meaning, emphasizing how art can both reflect and shape societal values. In conclusion, the analysis of the element of fire in "The Wedding of Humay and Humayun" reveals its profound role as a symbol of love, life, and emotional connection. By employing Bachelard's theory of Material Imagination, we can appreciate how fire transcends its visual representation to become a powerful vehicle for expressing the complexities of human experience. The presence of candles in this artwork not only enhances its aesthetic appeal but also serves as a reminder of the enduring nature of love and the importance of shared moments in our lives. This study contributes to a deeper understanding of the relationships between art, imagination, and natural elements in Iranian visual arts. نگاره «عروسی همای و همایون» اثر جنید، به ‌عنوان یکی از آثار بارز نگارگری ایرانی، دارای بار معنایی عمیق و نمادهای فرهنگی غنی است. این پژوهش به بررسی عنصر آتش و ارتباط آن با تخیل انسانی در این نگاره می‌پردازد. سوال اصلی پژوهش این است که چگونه می‌توان با استفاده از نظریۀ گاستون باشلار، پیوند میان عنصر آتش و تخیل انسانی را در این اثر تحلیل و تبیین کرد؟ این پژوهش توصیفی-تحلیلی است و براساس رویکرد پدیدارشناسانه به تحلیل عنصر آتش در نگاره مذکور می‌پردازد. جامعه آماری شامل چهار نگاره از آثار جنید است که در آن‌ها عناصر مختلف هنر و تخیل نمایان هستند. نگاره حاضر به ‌دلیل تنوع موضوعی و حضور برجسته عنصر آتش در آن، به‌ عنوان نمونه‌ای متناسب با چارچوب نظری باشلار برای تحلیل انتخاب شده است. داده‌ها از طریق منابع کتابخانه‌ای، شامل کتاب‌ها و مقالات علمی معتبر و تحلیل‌های مرتبط، جمع‌آوری شده‌اند. نتایج این پژوهش نشان می‌دهد که عنصر آتش در نگاره «عروسی همای و همایون» به عنوان نمادی از عشق و زندگی، ارتباطات عاطفی عمیق میان شخصیت‌ها را نمایان می‌سازد. وجود شمع‌ها با رنگ‌های گرم و طراحی‌های خاص، حس سرزندگی، امید و انرژی را به تصویر می‌کشد. این مطالعه به درک عمیق‌تری از پیوندهای میان هنر، تخیل و عناصر طبیعی در هنرهای بصری ایرانی کمک می‌کند. همچنین، تأکید می‌کند که آتش نه تنها یک عنصر بصری، بلکه ابزاری کارآمد برای بیان احساسات و آغازهای نوین در زندگی مشترک است که می‌تواند بیننده را به تفکر در مورد عشق، پیوندها و ارزش‌های انسانی سوق دهد.

https://rac.soore.ac.ir/article_734623_78a6301b49dc366f158647fc3884b9cb.pdf