دانشگاه سوره رهپویه هنرهای صناعی 2821-0352 5 3 2025 11 22 Comparison of Mural Painting and Miniature of Isfahan School (Case Study: Isfahan Ali QāPū Palace) مطالعه تطبیقی دیوارنگاری و نگاره‌های نسخه‌های خطی مکتب اصفهان (مورد پژوهشی: کاخ عالی‌قاپو اصفهان) 7 20 734633 10.22034/rac.2026.2068064.1145 FA هادی ابوذری کارشناسی ارشد نقاشی، دانشکده هنر، دانشگاه بین‌المللی سوره، تهران، ایران. 0000-0002-8882-6506 بیژن اربابی استادیار گروه فرش، دانشکده هنرهای کاربردی، دانشگاه هنر ایران، تهران، ایران. 0009-0004-2480-4529 Journal Article 2025 07 09 The tradition of miniature painting, known as Negārgari in Persian dictionaries, plays a crucial role in Iran's visual culture and has long been regarded as a foundational pillar of Persian artistic expression. As one of the oldest and most enduring forms of Iranian visual and traditional art, miniature painting has historically functioned not only as an aesthetic endeavor but also as a vehicle for intellectual, spiritual, and literary transmission. In the broader context of Persianate art, it is often revered as the "mother of arts" due to its sophisticated integration of narrative, myth, design, and symbolic meaning. This art form, throughout the dynamic and often turbulent history of Iran, evolved through two principal trajectories: the manuscript illustration tradition, which adorned illuminated books and handwritten texts, and monumental mural painting, which embellished the interior walls of significant architectural structures. Both forms reached a particularly vibrant stage of development during the Safavid period (1501–1722), especially within the framework of the Isfahan School, which emerged as a leading center for artistic innovation and synthesis in early modern Iran. This research investigates the relationship between these two major artistic expressions, miniature painting and wall painting, through a comparative case study focusing on the murals of Ālī Qāpū Palace and the illustrated manuscripts produced under the Isfahan School. The main objective is to assess the degree of mutual influence between these two visual traditions while also exploring the impact of Western artistic elements on their stylistic and conceptual formation. By adopting a descriptive-analytical approach and relying on both field observations and library-based sources, this study provides a nuanced evaluation of how the socio-political, religious, and cultural contexts of the Safavid era shaped the evolution of these visual forms. A selection of key illustrated manuscripts representative of the Isfahan School was used as the core comparative corpus. These include the Shahnameh preserved in the Chester Beatty Library (996–1006 AH), the Shahnameh of Shah Abbas from the Spencer Collection (1023 AH), a Mantiq al-Tayr manuscript attributed to the period of Shah Abbas I, a Gulistan of Sa'di dated 1024 AH, a copy of Jāmiʿ al-Tawārīkh associated with the reign of Shah Abbas II and held in Golestan Palace, and a late Shahnameh produced during the declining years of the Safavid dynasty under Shah Sultan Hussein (Metropolitan Museum). These were studied alongside selected mural panels and decorative wall paintings from Ālī Qāpū Palace, with particular attention to iconographic motifs, compositional structure, formal elements, and narrative content. The study's findings reveal both continuities and ruptures between the two media. While miniature paintings remained closely linked to literary texts and maintained a format optimized for private viewing and aristocratic patronage, mural paintings—especially those at Ālī Qāpū—moved toward a more public, performative, and often secular aesthetic. The murals of Ālī Qāpū exhibit subjects such as musical gatherings, feasts, female figures, and Europeanized interiors, indicating a distinct shift in both content and function. These images reflect the growing importance of courtly entertainment, the increasing visibility of women in visual culture, and the subtle incorporation of Western norms—likely facilitated through Armenian merchants, diplomatic exchanges, and the missionary presence in New Julfa. Stylistically, although both art forms share a foundation in Persian aesthetics, mural painting began to deviate from traditional conventions during the late Safavid period. The use of chiaroscuro (light-and-shadow modeling), linear and atmospheric perspective, naturalistic anatomy, and European dress codes all suggest the influence of Western artistic vocabularies. Such elements are more prominently seen in the single-leaf (tak-pardeh) painting format, which flourished independently of manuscript production and is considered a transitional form between classical miniature and later Qajar portraiture. The mural works of Ālī Qāpū thus show stronger affinities with this single-sheet genre than with manuscript miniatures in the strict sense. Therefore, this research proposes that while manuscript illustration and wall painting coexisted and even overlapped in the Isfahan School, they represent divergent artistic trajectories shaped by differing material, functional, and ideological contexts. The palace murals were not simply enlarged transpositions of book miniatures; rather, they constituted a distinct visual language, responsive to architectural space, changing patronage systems, and new aesthetic expectations. This distinction challenges prevailing assumptions in Iranian art history that tend to overemphasize the unity or continuity between artistic media and underscores the need for more context-sensitive approaches to the study of Persian visual culture. Ultimately, the murals of Ālī Qāpū should be interpreted not merely as decorative supplements to architecture, nor as direct extensions of manuscript traditions, but as autonomous artistic productions shaped by Safavid court culture, urban cosmopolitanism, and cross-cultural artistic exchange. In light of these findings, the study repositions Ālī Qāpū's murals within the broader narrative of Persian art history as key markers of both continuity and transformation at the crossroads of tradition and modernity. نگارگری در فرهنگ ایران، به‌عنوان یکی از شاخه‌های هنرهای تصویری، دارای جایگاهی بنیادی است و همواره به عنوان هنر مادر در میان دیگر هنرهای صناعی شناخته شده است. این هنر، در طول تاریخ ایران، به دو شیوه‌ اجرا و توسعه یافته است: نخست، در قالب نگاره‌های نسخه‌ای که برای تزئین صفحات کتاب‌های نفیس و دست‌نوشته‌های خطی به کار می‌رفته‌اند؛ و دوم، به صورت دیوارنگاره‌هایی که روی سطح داخلی بناهای معماری شاخص ترسیم شده‌اند. دوره‌ی صفویه، به‌خصوص در چارچوب مکتب اصفهان، زمینه‌ای مستحکم برای شکوفایی بی‌سابقه هر دو گونه‌ی هنری فراهم آورد، به گونه‌ای که امکان بررسی وجوه اشتراک، تمایز و تأثیرگذاری‌های متقابل میان این دو شاخه‌ی مهم فراهم شد. پژوهش حاضر، با رویکرد توصیفی- تحلیلی و استفاده از منابع کتابخانه‌ای و مشاهدههای میدانی، به مقایسه‌ی تطبیقی میان دیوارنگاره‌های کاخ عالی‌قاپو و نگاره‌های نسخ خطی مکتب اصفهان می‌پردازد. هدف اصلی، واکاوی میزان تأثیرپذیری این دو از یکدیگر و بررسی مؤلفه‌های هنر غربی در شکل‌گیری آنها است. یافته‌ها نشان می‌دهد که با وجود اشتراکهای بنیادین، این دو مسیر هنری روندهای مستقلی را طی کرده‌اند. نگاره‌های نسخ خطی، ادامه‌ی نگارگری مکاتب تبریز و قزوین بودند، در حالی که دیوارنگاره‌های عالی‌قاپو، به ویژه در اواخر دوره صفوی، با نگاره‌های تک‌ورقی شباهت بیشتری دارند؛ آثاری که تحت تأثیر فضای اجتماعی جدید و کاهش حمایت‌های درباری تولید شدند. عناصر بصری همچون سایه‌روشن، عمق‌نمایی، پیکره‌پردازی واقع‌گرایانه و پوشش‌های فرنگی، نشانه‌هایی از تأثیر هنر غربی‌اند که در هر دو گونه قابل مشاهده‌اند. بنابراین، اینطور به نظر میرسد دیوارنگاره‌ها بیشتر در امتداد نگاره‌های تک‌ورقی قرار می‌گیرند.

https://rac.soore.ac.ir/article_734633_6ded7794439d09f94b9fefcc35ec4503.pdf

دانشگاه سوره رهپویه هنرهای صناعی 2821-0352 5 3 2025 11 22 An investigation into the use of artworks related to amulets and talismans preserved in The Aga Khan Museum of Islamic Art, Toronto بررسی کاربرد آثار هنری مرتبط با تعویذ و طلسم محفوظ در موزه هنراسلامی آقاخان تورنتو 21 36 734656 10.22034/rac.2026.2057780.1122 FA الهام حسنوند دکترای مدیریت فرهنگی دانشگاه آزاد اسلامی، تهران، ایران. 0009-0001-6640-9955 Journal Article 2025 04 13 Art objects and human artifacts have various uses over the millennia. In addition to their daily or decorative uses, human artifacts have also been used in other ways, such as a means of communicating with superhuman and celestial forces, or forces that intervene in human destiny, and for the purpose of gaining trust and seeking goodness, healing, and health from these forces; as well as warding off evil, calamity, and misfortune. These beliefs are rooted in the culture, myths, and rituals of various ethnic groups. In fact, the function of these objects and artifacts has been used as talismans and amulets. These works, most of which are also considered masterpieces of Islamic art, have spread throughout different cultures around the world. The world’s major museums house a collection of these works. One of these places is the Aga Khan Museum of Islamic Art in Toronto. This museum is important in that it houses a variety of works of Islamic art that can present research topics with different approaches. One of the important topics that can be examined, analyzed, and reflected on in some of the works of this museum is objects that have been used as talismans and amulets and have been formed and made based on the religious beliefs of Muslims (and the religious roots of their predecessors). In fact, the function of these objects and hand-made artifacts has been used as talismans and amulets. The purpose of this research is to answer these questions: What is the diversity of works related to talismans and amulets stored in the Aga Khan Museum like and what concepts and uses did they have in terms of belief and artistic creativity? The use of these works has been functionally seeking goodness and healing, seeking divine help, and warding off calamity. In terms of form and aesthetics, because they have been associated with God, Imams, and religious beliefs, an attempt has been made to use the desired perfection and various artistic methods in their creation. The research method is descriptive-analytical and in some cases it has been adapted to similar works in other museums. The method of collecting information is library. Given the research topic and application of selected objects kept in the Aga Khan Museum of Islamic Art that are related to talismans and amulets, it is necessary to be familiar with the concepts of talismans and amulets and the beliefs associated with them, because the purpose of making these objects is in the realm of individual and religious beliefs and beliefs. A talisman is any object that has the power to protect, as well as attract good and supportive forces and repel evil forces, calamities and afflictions. Granting this power to objects is based on the religious and cultural beliefs of each people and nation. All cultures have manifestations of these objects and artistic-applied works. In Islamic culture and civilization, these objects also have many uses, and in addition to preserving the beliefs of their predecessors, Islamic beliefs have also been added to them. These works are generally inscribed or engraved with Quranic inscriptions, sayings and hadiths of the infallible prophets and imams, religious narrations, and special and symbolic signs. Many Muslims believe that any man-made object bearing the word God (Allah) in any way, either alone or in combination with other words, protects and protects whoever reads, touches, or sees it. In fact, the word of God itself has the power to ward off evil and demons. These protective objects are often known and used as amulets, talismans, or charms. Their surfaces can be covered with prayers, symbols, numbers, and decorative designs, and they can be carried or placed in a special place. Some amulets are worn as healing garments or as battle gear. The most effective amulets, charms and talismans are written with prayers that carry the Asma al-Husna or names of Allah and the Prophet Muhammad (PBUH) and the Ahl al-Bayt and the Infallibles (PBUH); the ninety-nine names of Allah, verses from the Quran, and the sayings of the Prophet (PBUH) have become texts that are taken as good omens. Talismans that contain inscriptions with the names of prophets and religious figures have the power to protect an individual or family. The use of a talisman is in fact a magical and enchantment act, and in the magical worldview, the need for a magical act increases when a misfortune or illness and disaster occurs, or in its positive view, a good purpose such as healing or good wishes is urgently needed in its application. Therefore, talismans and amulets can have three main uses, namely: warding off calamity and evil; attracting positive and good forces; fulfilling human needs and desires. Talismans and amulets, whether in the form of primitive construction (with natural objects, such as special stones, plants or animals, etc.) or in the form of man-made objects and artifacts, have been created based on magic, sorcery, and the beliefs of different ethnic groups and cultures. In the Islamic era, religious beliefs and belief in the grace and divine vision of imams and religious leaders overcame magical beliefs and diminished them. In this regard, works were created in which various arts were used to enhance quality and beauty in order to attract the attention of believers and people who sought them and, on the other hand, to cause greater influence and influence of divine and extraterrestrial forces. Another important reason for the quality construction of these objects was their customers. Of course, it should also be noted that in terms of respect and value, as well as the effectiveness of prayers and the fulfillment of desires, it is certainly necessary to write Quranic verses, divine names, prayers, hadiths, and the words of prophets and imams on objects of high quality. This has led to the creation of excellent works of art and artistic masterpieces that are now kept in private collections and major museums in the world, including the Aga Khan Museum of Islamic Art. The function of the talismanic works of the Aga Khan Museum has been to seek goodness and healing, seek divine help, and ward off calamity. In terms of form and beauty, efforts have been made to use the desired perfection and various artistic methods such as pottery, metalwork, textiles, calligraphy, painting, gilding, etc. in their creation. The talismanic examples in the Aga Khan Museum have similar cases in other museums, which can help to better understand the construction and use of these works from a historical, cultural, and religious perspective. By examining and comparing these works with each other, it is observed that their use is based on a common thought and belief, which is to attract the forces of good and healing and repel the forces of evil, calamity, and misfortune, both individually and collectively. اشیاء هنری و دست‌ساخته‌های انسان در طی هزاره‌ها دارای کاربردهای مختلفی بوده است. دست‌ساخته‌ها، علاوه بر استفاده‌های روزمره زندگی یا تزیینی در مواردی دیگری هم مداخله داشته‌اند مواردی که می‌توان از آنها به عنوان واسطه‌ برقراری ارتباط با نیروهای مافوق بشری و آسمانی، یا نیروهای مداخله‌گر در سرنوشت انسان، و به هدف جلب اعتماد و طلب خیر، شفا و سلامتی از این نیروها؛ همچنین دفع شر و بلا و مصیبت، یاد کرد. این باورها در فرهنگ اسطوره‌‌ای و آیین اقوام مختلف ریشه دارند. در واقع، عملکرد این اشیاء و مصنوعات دستی، به عنوان طلسم و تعویذ کاربرد داشته‌اند. این آثار -که اغلبِ آنها به عنوان شاهکارهای هنراسلامی نیز محسوب می‌شوند- در فرهنگ‌های مختلف جهان گسترده شده‌اند. موزه‌های بزرگ دنیا، مجموعه‌ای از این آثار را در خود جای داده‌اند. یکی از این مکان‌ها، موزه هنر اسلامی آقاخان تورنتو است. هدف از این تحقیق پاسخ به این سوالات است: تنوع آثار مرتبط با طلسم و تعویذ محفوظ در موزه آقاخان چگونه است و به لحاظ اعتقادی و خلاقیت هنری دارای چه مفاهیم و کاریردی بوده‌اند؟ استفاده از این آثار به لحاظ کارکردی طلب خیر و شفا و استمداد الهی و دفع بلا بوده‌ است. به دلیل اینکه آنها با خداوند، امامان و باورهای مذهبی در ارتباط هستند، به لحاظ فرم و زییایی نیز در ساخت آنها سعی شده که از کمال مطلوب و شیوه‌های مختلف هنری استفاده گردد. روش تحقیق توصیفی- تحلیلی بوده و در مواردی با آثار مشابه در سایر موزه‌ها نیز تطبیق داده شده است. روش گردآوری اطلاعات کتابخانه‌ای است.

https://rac.soore.ac.ir/article_734656_183882b66d4db7bc6fc6e668fcce9d95.pdf

دانشگاه سوره رهپویه هنرهای صناعی 2821-0352 5 3 2025 11 22 Visual and Symbolic Analysis of Geometric Motifs in Iranian Glass Art (4th–5th Centuries AH) تحلیل بصری و نمادین نقوش هندسی در شیشه‎گری ایران (سده‌های ‎ 4-5ه.ق) 37 56 734740 10.22034/rac.2026.2068199.1144 FA نگار شادمان کارشناسی ارشد پژوهش در هنر شیشه ایران، دانشکده هنرهای صناعی، دانشگاه هنر اسلامی تبریز، تبریز، ایران. معصومه زمانی سعدآبادی گروه مطالعات عالی هنر، دانشکده هنرهای تجسمی، دانشگاه تهران، تهران، ایران. 0000-0002-1203-2398 Journal Article 2025 07 16 The 4th and 5th centuries AH (10th-11th centuries CE) represent a pivotal era in the history of Islamic art in Iran. Marked by the rise of independent local dynasties such as the Samanids and Buyids, this period witnessed a flourishing of the arts and sciences, with glassmaking no exception. Glass production was a prominent craft during the Islamic era, practiced throughout the 4th and 5th centuries AH. Among the decorative elements adorning the glass artifacts of this period, geometric patterns hold a distinguished position, offering not only aesthetic appeal but also symbolic meaning. A symbol is considered one of the tools of knowledge, the oldest and most fundamental method of expression, an instrument that reveals concepts that cannot be articulated in any other way. Symbols are not only universal but have also endured through the ages and survive to this day. The history of art shows that anything can acquire symbolic significance: abstract forms such as numbers and geometry, the triangle, the square, the circle, and so on. In reality, the entire universe is a potential symbol. Titus Burckhardt was one of the most prominent representatives of the Traditionalist school, emphasizing the importance of perennial wisdom and the metaphysical roots of art and civilization. Burckhardt suggests that Islamic artists view art as revealing the inherent beauty within objects, a beauty originating from God, which the artist merely unveils and manifests. He believed that traditional art, especially Islamic art, is not merely an expression of superficial aesthetics but a manifestation of spiritual truths and the divine order, as he held that Islamic art has its roots in the spirit of Islam. Specifically, geometric motifs, whose presence is so powerfully established and affirmed in Islamic art, flow from the abstract, theoretical contemplation to which Islam gives attention. In the visual order, there is no better symbol than regular geometric patterns for expressing the complexity and internal ambiguities of “Ahadiyya” (Absolute Unity) and the concepts of “Unity in Multiplicity” and “Multiplicity in Unity.” Existing research predominantly addresses Islamic glassmaking broadly, focuses on later periods, or concentrates on other materials, such as ceramics and metalwork. Consequently, a structured analysis of the diversity, evolution, and underlying meanings of geometric patterns within this specific period of Iranian glassmaking constitutes a significant research gap. This deficiency has led to a lack of a comprehensive understanding of the application of geometry as a visual language in the decorative arts of glassware during that era. Identifying the unique characteristics of geometric patterns from this period and their role in shaping the visual identity of Iranian glass art requires independent, in-depth investigation. Therefore, this research aims to analyze and categorize the geometric patterns employed in glass artifacts excavated and preserved from the 4th and 5th centuries AH. It seeks to elucidate the aesthetic, symbolic, and cultural significance of these patterns within their historical and artistic context. The primary objective of this study is to examine and analyze the geometric patterns in Iranian glass artifacts from the aforementioned centuries, addressing the following research questions: What are the principal types of geometric patterns used in the glassware of this period, and what are their formal characteristics? What is the aesthetic and symbolic significance of these patterns within the broader context of Islamic art in Iran? To achieve these aims, information was gathered through library and field research, employing a descriptive-analytical methodology. The study’s statistical population comprises Iranian glass artifacts featuring geometric patterns from the 4th-5th centuries AH, sourced from specialized glass literature and collections housed in the Abgineh Museum of Tehran. From this population, 49 works were purposefully selected for their geometric patterns and subjected to qualitative analysis. The findings indicate that the geometric patterns used in Iranian glass artifacts include regular motifs such as circles, squares, rhombuses, triangles, ellipses, and pentagons, with circular motifs being the most frequent. Additionally, composite patterns incorporating combinations such as circle-square, circle-triangle, circle-ellipse, circle-rhombus, rhombus-square, and ellipse-square were employed, each carrying distinct meanings. The analysis revealed that circular patterns are the most prevalent, appearing on 33 artifacts, followed by pentagonal (7), rhombus (6), ellipse (4), square (3), and triangle (2). Furthermore, the research demonstrates that these patterns were meticulously designed with a high degree of geometric precision, often exhibiting symmetrical compositions. These motifs transcended mere decoration, reflecting mystical and cosmic concepts, as well as principles of symmetry, repetition, order, balance, texture, dynamism, and transformation, in contrast to stability and solidity, and embodying the prevailing Islamic worldview of the time. The study also found that artisans of this period successfully created unique works by integrating glassmaking techniques with intricate geometric designs. Consequently, the geometric patterns in the glassware of this era are not only artistically significant but also possess intellectual and philosophical dimensions, establishing them as a profound element of the visual and spiritual identity of Iranian Islamic art. هنر شیشه‌گری در ایران، به ویژه در دوران اسلامی، از جایگاه ویژه‌ای برخوردار بوده و آثار برجای‌مانده از این دوره، گنجینه‌ای ارزشمند از نوآوری‌های هنر شیشه را به نمایش می‌گذارد. در میان عناصر تزئینی این آثار، نقوش هندسی جایگاه محوری دارند و به دلیل ماهیت انتزاعی و ساختارمند خود، بازتاب‌دهنده‌ی اندیشه‌ها، جهان‌بینی و پیشرفت‌های علمی و هنری آن زمان محسوب می‌شوند. با وجود اهمیت نقوش هندسی در هنر اسلامی و جایگاه شیشه‌گری ایران در این دوره، مطالعات جامع و متمرکزی که به تحلیل عمیق و طبقه‌بندی دقیق این نقوش در آثار شیشه‌ای سده‎های چهارم و پنجم هجری قمری بپردازد، اندک است. لذا هدف پژوهش حاضر بررسی و تحلیل بصری و نمادین نقوش هندسی آثار شیشه‎ای ایران در قرون مذکور در راستای پاسخ به این پرسش است که؛ انواع اصلی نقوش هندسی به کار رفته در شیشه‌های این دوره کدامند و چه ویژگی‌های فرمی دارند؟ اهمیت زیبایی‌شناختی و نمادین این نقوش در بستر هنر اسلامی ایران چیست؟ در این راستا اطلاعات به شیوه کتابخانه‎ای و میدانی گردآوری و با روش توصیفی-تحلیلی مورد بررسی قرار گرفته است. نتایج حاکی از آن است که دایره، مربع، مثلث، لوزی، پنج ضلعی، بیضی و تلفیقی از اشکال مزبور بر روی آثار شیشه‎ای مورد مطالعه نقش بسته که علاوه‎بر جنبه تزئینی بازتابی از مفاهیم عرفانی، کیهانی، تقارن، تکرار، نظم، تعادل، بافت، اصل پویایی و تحول در برابر اصل ثبات و استحکام و نگاه جهان بینی اسلامی آن زمان است.

https://rac.soore.ac.ir/article_734740_61aed95aff247936b654fecd5f97ed8e.pdf

دانشگاه سوره رهپویه هنرهای صناعی 2821-0352 5 3 2025 11 22 An Analytical Study of the Decorative Features of Wooden Doors and Cenotaphs in the Imamzadehs of Tehran Province بررسی تزیینات دَرها و صندوق هایِ چوبیِ امام‌زاده‌هایِ استان تهران 57 78 734741 10.22034/rac.2026.2060108.1131 FA سیده نرگس حسینی کارشناسی‌ارشد هنر اسلامی، گروه آموزشی مطالعات عالی هنر، دانشکده هنر، دانشگاه بین‌المللی سوره، تهران، ایران 0009-0001-0317-0895 علیرضا شیخی گروه صنایع دستی، دانشکده هنرهای کاربردی، دانشگاه هنر ایران، تهران، ایران. 0000-0002-7315-4516 Journal Article 2025 05 08 The advent of Islam in Iran profoundly reshaped the nation's cultural and artistic landscape. As Islamic beliefs took root, Iranian artists gradually integrated religious themes into existing artistic traditions, seeking to express devotion to the Ahl al-Bayt and to ensure that their works remained spiritually and culturally significant. This development is most vividly reflected in the architectural and artistic heritage of holy shrines and Imamzadehs, which serve as repositories of Iranian-Islamic artistic identity. Among the various artistic elements in these sacred spaces, wooden artifacts hold a uniquely important place. These include carved wooden cenotaphs, inlaid doors, ceilings, windows, trusses, railings, Qur'an lecterns, tomb enclosures, and supporting columns. These works were created not only as structural components but also as spiritual canvases adorned with vegetal motifs such as Islimi and Khatayi, and inscriptions including Qur'anic verses, supplications, poetic praises, and epigraphs naming artists or donors. The stylistic features of these pieces vary according to historical periods and regional artistic traditions. Doors and thresholds held deep cultural and symbolic significance in Iran. Historically, monumental and ornate doors were integral parts of cities, palaces, and mosques, symbolizing hospitality, generosity, and reverence. Among Imamzadehs, wooden cenotaphs are especially noteworthy. Crafted by master artisans over the centuries of Islam, they reflect profound respect for the buried holy figures and express the artisans' devotion to the Prophet's descendants. The region that includes modern-day Tehran has long held religious importance due to the presence of prominent scholars and Alavi Seyyeds. Consequently, many holy sites were built there, resulting in a rich yet vulnerable artistic heritage. According to the Endowment Organization of Tehran Province, there are 332 Imamzadehs, of which only 25 were initially identified as containing valuable wooden artifacts. Field research revealed that many wooden doors and cenotaphs have been stolen or removed for protection and are now stored in the provincial warehouse. This situation underscores the necessity of systematic documentation and preservation. This research focuses specifically on identifying and studying remaining wooden doors and cenotaphs in shrines across Tehran Province, covering a broad geographical area including Shemiranat, Rey, Varamin, Shahriar, Damavand, Firuzkuh, and other regions. The study is carried out in three stages: first, categorizing artifacts by location and historical period; second, visually and thematically analyzing inscriptions and motifs; and third, determining carving styles and construction techniques characteristic of each era and region. Following initial documentation, the study analyzes decorative motifs, inscriptions, and carving styles in detail. One primary goal is to identify woodcarving masters by deciphering inscriptions, thereby creating a comprehensive record of artisans and their works. Wood, due to its availability and workability, has always held a key place in Iranian art and architecture. However, its vulnerability to climate and physical wear makes preservation essential. Wooden artifacts also carry deep cultural meaning, reflecting local beliefs and artistic traditions. Although previous studies have discussed Iranian woodcarving in general, Tehran Province's religious wooden works have not been systematically examined. This research, therefore, fills a significant academic gap by presenting a content-based classification, analyzing carved motifs, and introducing indigenous woodcarving styles specific to Tehran. It also aims to guide future researchers and to help preserve Iranian-Islamic artistic heritage. The central question of this study is: how can the wooden artifacts of Tehran's Imamzadehs be classified, and what distinctive ornamental features do they possess? Existing literature demonstrates that no unified classification has yet been developed for these works, and attention has been limited to well-known examples. Tehran's turbulent history, marked by military invasions and the migration of Seyyeds to remote regions, explains the difficulties encountered in previous fieldwork and the scarcity of comprehensive studies. Comparative analysis shows noticeable regional variation. For example, carved wooden works from Firuzkuh differ stylistically from those found in Tehran or Damavand. Such differences reflect local cultural identities and historical developments. These stylistic variations serve as markers for identifying artistic influences and can help assess relationships between local styles and broader Iranian artistic traditions. Historical transitions also contributed to stylistic change. After the Safavid period, especially during the Qajar and Pahlavi eras, ornamentation became simpler, though certain forms, such as Qajar inlay work, maintained exceptional refinement. Overall, Tehran's wooden artifacts represent two main stylistic categories: rural-traditional ornamentation rooted in local culture, and styles shaped by broader historical and cultural shifts. The works documented in this research, spanning from the late Seljuk to the end of the Pahlavi period, reflect a dynamic artistic tradition shaped by both continuity and transformation. In conclusion, this research provides comprehensive historical, stylistic, and technical documentation of wooden doors and cenotaphs in the Imamzadehs of Tehran Province. It highlights the significance of these artifacts in Iranian-Islamic art, emphasizes the urgent need for preservation, and lays a scholarly foundation for further study. By cataloging regional styles and identifying master woodcarvers, the study contributes to Iran's cultural memory and supports future efforts to protect and revive traditional woodcarving arts. استان تهران به سبب موقعیت جغرافیایی و نزدیکی به شهر تاریخی ری، از گذشته میزبان سادات و عالمان دینی بوده و به یکی از مهم‌ترین مراکز شکل‌گیری باورهای‌شیعی در ایران تبدیل شده‌است. حضور این افراد موجب احداث بناهای مذهبی متعدد گردید که با آثار هنری متفاوتی آراسته شده‌اند. این آثار هنری مزین به آیات قرآن، احادیث، نقوش‌اسلیمی و گره‌چینی بوده که جلوه‌ای معنوی و ارزشمند به بناهای مذهبی بخشیده‌اند. هدف این نوشتار توصیف و دسته‌بندی آثارچوبی امام‌زادگان استان‌تهران است تا جامعه‌آماری از آثارمنبت، خاتم و مشبک ارائه دهد. از این رو در پی پاسخ بدین پرسش است که آثارچوبی امامزاده های تهران چگونه قابل دسته‌بندی بوده و تزیینات آن چیست؟‌ روش تحقیق، توصیفی-تحلیلی بوده و شیوه گردآوری اطلاعات، کتاب‌خانه‌ای، اسنادی و میدانی است و تمامی عکس‌ها توسط نگارندگان عکاسی شده‌است. این استان با ۳۳۲ امام‌زاده‌، دارای۲۵امام‌زاده‌ با آثارچوبی بوده که در مجموع۵۶ اثرچوبی شامل۱۱صندوق‌منبت، دو صندوق‌خاتم، دو صندوق‌مشبک، شش دَرمنبت، شش دَرخاتم و سه دَرمشبک است. همچنین۲۶ دَر و صندوق بدون تزیین وجود دارد. با توجه به هدف پژوهش پس از معرفی آثار و توصیف تزیینات، در دو جدول متفاوت تمامی آثار دسته‌بندی شده و تاریخ ساخت آنها به تفکیک موقعیت جغرافیایی مشخص شده‌است. از بین شهرهای مورد مطالعه در این پژوهش شهر تهران با ۱۸اثر چوبی دارای۱۴در چوبی و چهار صندوق منبت چوبی است. بیشترین تعداد صندوق‌های منبت مربوط به قرن هشت و نُه هجری و بیشترین تعداد دَرها مربوط به درهای‌خاتم دوره‌ناصری است. همچنین قلم ‌نستعلیق و ثلث بیشترین تکرار را در بین آثار داشته‌است.

https://rac.soore.ac.ir/article_734741_a6e744aa067ed41b7a9366f47a72d531.pdf

دانشگاه سوره رهپویه هنرهای صناعی 2821-0352 5 3 2025 11 22 The Technical Text as Art Object: An Analysis of the Artisanal Aspects of Qajar Photography Manuscripts متن فنی به مثابه اثر هنری: واکاوی جنبه‌های صناعی نسخ خطی آموزش عکاسی قاجار 79 91 734742 10.22034/rac.2026.2077095.1157 FA مرتضی صدیقی‌فرد استادیار گروه عکاسی، دانشکده هنر، دانشگاه بین‌المللی سوره، تهران، ایران. 0000-0001-6729-1365 مهدی مقیم نژاد استادیار گروه عکاسی، دانشکده هنرهای تجسمی، دانشگاه هنر، تهران، ایران. 0009-0001-9501-2172 Journal Article 2025 07 29 The Qajar dynasty in Iran represents a period of profound transition, defined by an intense encounter with European modernity, technology, and science. This era witnessed the introduction of the telegraph, the printing press, and modern educational institutions like the Dar al-Funun. Among the most impactful technologies introduced was photography, which arrived in Iran barely three years after its official invention in France. It was immediately embraced by the court, particularly by Naser al-Din Shah, who made it a royal hobby and a tool of statecraft. This new technology, however, required a new form of technical literature to explain its complex chemical processes. This necessity emerged within a culture that possessed one of the world's most sophisticated and ancient scribal and book-art traditions. This study investigates the unique body of texts produced to meet this need: the photography education manuscripts of the Qajar period. It situates these objects at the precise intersection of emerging technology and ancient craft, examining them not for their chemical content, but as physical artifacts of the Qajar book arts. The central problem this research addresses is the scholarly gap concerning the formal, artistic, and craft-based nature of Qajar photography manuals. They have been treated as transparent vessels for technical information, rather than as artifacts of sana'i (industrial arts) in their own right. This study, therefore, asks: How were these highly technical, "modern" texts physically produced within the traditional Qajar scribal workshop? Was a text on chemistry treated with the same artistic regard as a manuscript of poetry? Moreover, what can their physical form tell us about their intended function, audience, and status? To answer this, a qualitative, descriptive-analytical methodology was employed. The research involved a comprehensive archival and library survey to identify the complete corpus of these texts. Each manuscript was then examined (either physically or through high-resolution surrogates) to document its codicological data: dimensions, materials (paper, ink, binding), paleography (script style and scribal identification), and artistic features (illumination, rulings, illustration). This formal data was then analyzed and contextualized within the known practices of Qajar book production. The most significant and widely circulated text from this corpus is unquestionably the Ketab-e Aks (Book of Photography), authored in 1863 by Mahalati, a chemistry professor at the Dar al-Funun, by direct order of Naser al-Din Shah. While previous research had noted approximately five copies of this work, this study's archival investigation successfully identified 8 previously undocumented copies, bringing the total number of known exemplars to 13. This discovery provides a unique dataset for comparative analysis. This corpus of 13 copies reveals a fascinating diversity. It includes: a copy dated 1279 AH, scribed by Seyyed Kazem Tabataba'i and presented to the prince Yamin al-Dowleh (Zell-e Soltan); a copy from 1280 AH presented to E'tezad al-Saltaneh; a copy by the professional scribe Mohammad Ali Tehrani (1285 AH) that features a gilt-illuminated heading, a rare decorative feature; and a copy scribed in 1293 AH by the renowned Qajar calligrapher Sheikh Mohammad Baqer Golpayegani. This variation confirms the text's importance and its circulation among the highest levels of the Qajar elite and bureaucracy. Analysis of the 14 manuscript traditions, particularly the 13 Mahalati copies, reveals that their physical form was dictated entirely by function and audience, not by subject matter. The most critical finding relates to calligraphy. The Mahalati textbook, a formal scientific text from the Dar al-Funun, predominantly uses the highly legible Naskh script (7 of 13 copies). This choice, consistent with Naskh's traditional use in significant religious and scientific texts such as the Qur'an, suggests that photography was considered a formal and esteemed science. In stark contrast, nearly all other photography texts—which were often personal translations, authors' private copies (like Larijani's), or brief technical notes (like the one attributed to Naser al-Din Shah )—were penned in the faster, more quotidian Nastaliq or Shekasteh-Nastaliq scripts. The second significant finding concerns the book arts. The vast majority of these manuscripts are aesthetically austere, lacking the illuminations, intricate rulings, and decorative bindings characteristic of Qajar literary manuscripts. Most are bound in simple leather or cardboard and written on European paper. Decoration is often limited to simple red ink for titles. The exceptions, however, prove the rule. The few highly decorated copies, such as the aforementioned gilt-headed Mahalati or the Elm-e Akasi by Sani al-Saltaneh (written for the Shah with multi-colored rulings and a green velvet binding), were clearly identified as "presentation copies". Their artistic value depended on their patron (the King), not on their subject. Finally, despite the visual nature of photography, illustrations are almost absent. The Resaleh-ye Photography manuscript uniquely features colored images, likely collaged from foreign sources, suggesting that photography was conceived and taught as a textual, chemical process rather than a visual art. This research concludes that Qajar photography manuscripts are not a homogenous group but a functionally diverse collection. Their physical forms—from script to decoration—acted as precise markers of their intended use. The study differentiates between: 1) formal scientific textbooks, characterized by the Naskh script; 2) personal or practical notes, characterized by Nastaliq; and 3) luxury presentation copies, defined by their decorative bindings and illumination. This study is the first to provide this codicological framework and, in doing so, discovered new primary sources for this field. These findings demonstrate that even a revolutionary modern technology was immediately assimilated into the established, centuries-old hierarchies of the Persian scribal tradition. This tradition, however, was on the precipice of change. The last known Naskh-script copy of the Mahalati text is dated 1294 AH. One year later, in 1295 AH, the first lithographed manuals appeared. This precise chronology marks the symbolic and practical moment when the press replaced the scribe, and the era of the Qajar photography manuscript came to an end. پژوهش حاضر با رویکردی نسخه‌شناسانه به واکاوی نسخ خطی آموزش عکاسی باقی‌مانده از دوران قاجار به‌مثابه یک اثر هنری می‌پردازد. این رساله‌ها که در پی ورود فناوری عکاسی به ایران و در پاسخ به نیازهای آموزشی دربار ناصری و دارالفنون تدوین شدند، در نقطه‌ی تلاقی سنت کتاب‌آرایی ایرانی و فناوری مدرن غربی قرار می‌گیرند. این پژوهش با روش توصیفی-تحلیلی و شیوه‌ی گردآوری کتابخانه‌ای-اسنادی، نخست پیکره‌ی متون خطی آموزش عکاسی را شناسایی و دسته‌بندی نموده است. در این فرایند، با رهگیری نسخه‌ها در مراکز اسنادی، ۸ نسخه‌ی تازه‌یاب (عمدتاً از کتاب عکس محلاتی) برای نخستین بار شناسایی و مطالعه شدند. یافته‌های کلیدی پژوهش نشان می‌دهد که جنبه‌های صناعی و هنری این نسخه‌ها، نه یکپارچه، بلکه مستقیماً تابع کارکرد متن و جایگاه مخاطب آن بوده است. مهم‌ترین یافته، تمایز کارکردی در انتخاب «خط» است؛ کتاب عکس محلاتی، به دلیل ماهیت متن علمی، اغلب به خط خوانای نسخ (قلم رایج متون علمی و دینی) کتابت شده است. در مقابل، سایر رساله‌ها که ماهیت کاربردی، یادداشت شخصی یا ترجمه‌ی اولیه داشته‌اند، عمدتاً به خطوط رایج‌تر روزمره، یعنی نستعلیق و شکسته، نگاشته شده‌اند. افزون بر این، برخلاف سنت کتاب‌آرایی فاخر قاجار، سطح تزئینات در این آثار فنی بسیار اندک است و به عناوین شنگرف محدود می‌شود. موارد معدودِ مزین، مانند کتاب علم عکاسی صنیع‌السلطنه، نه نسخه‌های کاربردی، بلکه آثاری پیشکشی بوده‌اند که جهت اهدا به شاه تهیه می‌شدند. در نهایت، غیاب تقریباً کاملِ تصویرسازی در این متونِ ذاتاً بصری، مؤید آن است که عکاسی در ابتدا به‌عنوان یک دانش متنی و شیمیایی ادراک می‌شد.

https://rac.soore.ac.ir/article_734742_fa257f5ab208bbf297e1f6fbc866ce77.pdf

دانشگاه سوره رهپویه هنرهای صناعی 2821-0352 5 3 2025 11 22 Morphology of the Motif of the Strange Beast with One Horn (Kolin) and Its Analysis in the Tash'īr (Marginal Figural Illumination) of Khamsa of Nizami ریخت‌شناسی زیستی نقش مایه کولین در تشعیرهای خمسۀ طهماسبی 93 104 734743 10.22034/rac.2026.2056005.1120 FA سید محمد میرشفیعی استادیار دانشکده هنرهای صناعی، دانشگاه هنر اسلامی تبریز، ایران. نسیم غیبی دانشجوی دکتری هنرهای اسلامی، دانشکده هنرهای صناعی، دانشگاه هنر اسلامی‌تبریز، ایران، 0009-0004-6480-7409 میرمحمدرضا آخرت خواه کارشناسی‌ارشد‌ نقاشی‌ایرانی، دانشکده هنرهای‌تجسمی، دانشگاه‌هنر‌اسلامی‌تبریز، ایران 0009-0008-2520-8664 Journal Article 2025 03 17 In the context of traditional Iranian art, we encounter the depiction of a mythical creature known as the unicorn, which, after the legendary creatures Simurgh and the dragon, has been widely represented. In the hierarchy of mythical animals in Chinese mythology, following the Qin dynasty, the Qilin is ranked third in power, after the dragon and the phoenix. In Iranian art, the initial designs of this creature emerged and became popular during the Timurid and Safavid periods. Among the most prominent representations of this motif are the illustrations found in the Khamsa of Nizami, which this research aims to explore and analyze. To identify this imaginary creature, its form has been compared and contrasted with examples from natural history (both extinct and extant) and mythological history. The morphology of this fantastical creature most closely resembles that of animals in natural history, such as the giraffe and the rhinoceros. The Qilin is an abstract conception of ancient extinct animals of Central Asia, such as the rhinoceros and the giraffe, including Elasmotherium, Iranotherium, and Sivatherium. In the illustrations of the Khamsa of Nizami, the head of this creature is depicted as a dragon's head, and its skin is often adorned with spots, stripes, or left plain. The authors suggest that the motif of this unicorn-like creature is a metaphorical representation derived from ancestral and human origin stories, abstracted from its natural and ancient counterpart, the Iranian rhinoceros (Iranotherium). The Qilin (Kylin/Kirin) motif, despite its significant visual presence in Persianate arts, remains one of the least identified and least analyzed hybrid creatures in Iranian manuscript illumination. Although the Qilin is broadly associated with East Asian visual and literary traditions, its adaptation in the Persian context—particularly in the lavish margins (tash'ir) of the Khamsa of Shah Tahmasbi—presents a unique morphological configuration that differs notably from its Chinese antecedents. This study offers a comprehensive morphological and bio-anatomical examination of the Qilin motif as it appears in the Shah Tahmasbi Khamsa, seeking to uncover its potential zoological inspirations and reconstruct the historical, cultural, and biological logic behind its formation in Safavid visual culture. Employing a descriptive–analytical methodology grounded in biological morphology, this research investigates the anatomical structures, body proportions, head formation, horn shape, dermal patterns, and behavioral signifiers of the Qilin motif in the manuscript's tash'ir illustrations. The analysis is based on high-resolution comparisons of the Qilin figures with a range of extant and extinct species, including the Asian rhinoceros, the giraffe, and its prehistoric ancestor Sivatherium, the legendary Siberian rhinoceros Elasmotherium, and the fossil remains of Iranotherium, discovered in the Maragheh fossil beds. Through this cross-disciplinary approach—drawing from paleontology, animal morphology, art history, and comparative iconography—the study aims to determine which real or mythical creatures most closely resemble the Safavid Qilin and to what extent the motif reflects inherited cultural memory, fossil encounters, artistic imagination, or a synthesis of these forces. The findings demonstrate that the Safavid Qilin diverges significantly from the Chinese Qilin, which traditionally symbolizes prosperity, cosmic order, and benevolent rulership, and is visually associated with deer-like or ox-like bodies, dragon heads, and flamboyant, flame-like appendages. In the Iranian tradition, however, the Qilin appears structurally heavier, more grounded, and more zoologically plausible. It possesses a robust herbivorous body, cloven hooves, a dragon-like head, and a central frontal horn. Its skin appears in three recurring categories—plain, striped, or spotted—suggesting variations derived from observational memory rather than purely ornamental design. These characteristics collectively position the Iranian version of the Qilin closer to prehistoric megafauna than to mythical Chinese imagery. A particularly compelling match emerges between the Qilin and prehistoric rhinocerotids, especially Elasmotherium and Iranotherium. Elasmotherium, often referred to as the "Siberian unicorn," possessed a massive frontal horn, a large skull, and a body size comparable to a mammoth. Its long coexistence with early human communities suggests that it may have entered oral traditions as a terrifying yet majestic one-horned creature. Meanwhile, the Iranotherium, whose fossil remains were recently recovered in the Maragheh region of northwestern Iran, provides a geographically plausible source of inspiration for ancient Iranian artists. Paleontological research indicates that Iranotherium was one of the largest rhinoceros species of its time, with a heavy body and cranial features that could easily inspire the stylized depictions in Persian manuscript illuminations. The study further explores and rejects specific popular associations. For example, while Western scholarship sometimes equates the Qilin with the unicorn, there is limited morphological compatibility between the two. The unicorn of European medieval lore is essentially equine, slender, and symbolically tied to purity and chastity—attributes incompatible with the robust, semi-draconic Iranian Qilin. Similarly, although the giraffe has historically been associated with the Qilin in East Asia—most notably after Zheng He's voyages, when giraffes were presented to the Ming court—the elongated neck and delicate frame of the modern giraffe do not correspond well with the more compact and muscular Safavid representations. Only the prehistoric Sivatherium, a massive relative of the giraffe with dual cranial ossicones and a powerful body, exhibits partial overlap, though even this resemblance remains secondary to that of rhinocerotids. The research also analyzes the iconographic role of the Qilin within the Khamsa's illumination program. The creature appears primarily in the manuscript's margins, engaged in dynamic compositions such as combat scenes and predatory chases, or simply as isolated figures intertwined with vegetal arabesques. The flames rendered beneath its limbs, a hallmark of Persian composite creatures, emphasize its supernatural vitality rather than its zoological deficits. Its repeated appearance—more frequent than many other mythical animals—suggests not only aesthetic value but also symbolic importance within the Safavid artistic imagination. Here, the Qilin may have served as an emblem of power, cosmic protection, and controlled savagery—qualities admired and idealized in the royal Safavid patronage context. By systematically comparing anatomical structures across species, the study identifies a strong network of bio-cultural correspondences. The Qilin's cloven hooves align with herbivores such as cattle or giraffids; its robust torso aligns with rhinoceroses; its horn placement matches Elasmotherium and occasionally the ossicone pattern of giraffids; its dermal textures resemble spotted or striped megafauna; and its dragon-like head reflects a hybridization between observed animal forms and established Persian cosmological imagery. Together, these elements produce a creature that is scientifically grounded, culturally symbolic, and visually coherent. Ultimately, the study concludes that the Qilin in the Shah Tahmasbi Khamsa is not an invention of pure fantasy, but rather a biologically and culturally informed synthesis of prehistoric memory, artistic stylization, and trans-regional iconographic exchange. The morphological parallels between the illustrated Qilin and extinct rhinocerotids, reinforced by paleontological discoveries in Iran, strongly indicate that the creature likely originated from ancestral encounters with now-extinct megafauna, whose physical remains may have survived long enough to influence cultural imagination and artistic representation. The presence of this motif in Safavid art thus reflects a deep visual memory rooted in natural history, filtered through aesthetic conventions, and transformed into a symbolically resonant mythical being. This study contributes to broader scholarship by highlighting how Persian manuscript illumination integrates empirical observation with mythopoetic vision. It underscores the need for interdisciplinary approaches—particularly between art history and paleobiology—to decode hybrid creatures in Islamic art. Moreover, the findings open pathways for reevaluating other fantastical motifs in Persianate visual culture, suggesting that many such forms may encode long-forgotten ecological knowledge or fossil-based cultural memory. در میان نقوش تزیینی جانوری در هنر ایران، به‌ویژه در نسخۀ خمسۀ طهماسبی، با نقش‌مایه‌ای خیالی مواجه می‌شویم که به صورت جانوری چهارپا با سری اژدهاگونه و شاخی منفرد بر پیشانی، بازنمایی شده است. هدف پژوهش، تحلیل ساختار فیزیکی و زیستی نقش کولین بر اساس اصول ریخت‌شناسی جانوری و بررسی بازتاب آن در خمسه طهماسبی و نیز تحلیل گرفت و گیر های جانور با رویکردی توصیفی- تحلیلی است. داده‌های پژوهش از تشعیرهای خمسه گردآوری شده و با نمونه‌هایی همچون کرگدن آسیایی، زرافه، الاسموتریوم، سیناتریوم و ایرانوتریوم تطبیق یافته است. سوالات عبارتند از: ساختار کالبدی کولین با کدام‌یک از جانوران تاریخی، طبیعی یا اسطوره‌ای بیشترین هم‌خوانی را دارد؟ ویژگی‌های مورفولوژیکی آن چگونه با جانوران واقعی چون زرافه، کرگدن یا گاو وحشی مطابقت می‌یابد؟ نتایج حاکی از آن است که کولین بیشترین قرابت ریختی را با گونه‌های باستانی کرگدن (به‌ویژه ایرانوتریوم) دارد و بازنمایی آن در هنر ایران، نه صرفاً تخیلی، بلکه حاصل نوعی ادراک زیست‌انگارانه از فسیل‌ها و روایت‌های کهن از جانوران ناپیداست. این تحلیل می‌تواند، سهم تجربه زیستی و حافظه فرهنگی را در خلق تصاویر اسطوره‌ای آشکار سازد.

https://rac.soore.ac.ir/article_734743_a6053b4e377e295e6e46b5e2f988262d.pdf