Shahid Chamran University of Ahvaz
In collaboration with:
The Iranian Society of Visual Art
Paykareh
2322-4622
2588-6789
9
19
2020
05
21
Adaptation of the use of plant motifs in Armenian miniatures and Iranian paintings
1
10
EN
Reza
Rafiei Rad
0000-0003-1670-1541
Faculty of Islamic Arts, Tabriz Islamic Art University, Tabriz, Iran
r.rafieirad@tabriziau.ac.ir
10.22055/pyk.2020.15722
<strong>Abstract</strong> <br /><strong>Problem definition:</strong>With the invention of the Armenian calligraphy, the visual language of the Armenian miniature underwent significant changes as manifested in the schools of Vaspurakan, Cilicia, Hayek, Ney, Crimea, Goldsor and Dato. One of the Armenian miniature’s characteristics is the abundant and diverse use of plant motifs to decorate the religious texts such as the Bible, Jashots, Sharakan as well as other books related to the medicine, history and similar topics. From the fifth century onward, with the division of Armenia into western and eastern parts under the governance of Iran and Byzantium, cultural and artistic commonalities were emerged between Iran and the Caucasus. According to what has happened, the question is how many plant motifs are depicted in the Armenian miniatures and what are its similaritieswith Iranian painting? <br /><strong>Objective:</strong> Better understanding of Iranian and Armenian motifs, their similarities and differences. <br /><strong>Research Method:</strong> The current research is a comparative study whose findings are presented in a descriptive-analytical manner. The sources of this research include the library and information taken from internet sites. <br /><strong>Results:</strong> The current study indicated that the plant motifs are present in the Armenian miniatures in five ways, including: the role of the plant to exactly illustrate the text, role of the plant to describe the narrative, summarized and geometric role of the plant to fill the void, role of the plant as a symbol and the use of its abstract role for the aesthetic purposes. The present investigation also showed that there are similarities between the Armenian and Iranian miniatures in four forms of the plant motifs illustration. However, the third form, namely the geometric summarization of the plant motifs form with the aim of brevity, is not visible in the Iranian miniatures.
Armenian miniature,plant motifs,Vaspurakan,Symbol
https://paykareh.scu.ac.ir/article_15722.html
https://paykareh.scu.ac.ir/article_15722_35dbb9c93829b4b93ebb350a71d11a9b.pdf
Shahid Chamran University of Ahvaz
In collaboration with:
The Iranian Society of Visual Art
Paykareh
2322-4622
2588-6789
9
19
2020
05
21
The symbolic position of the rooster in Iranian culture and art based on pottery, metal and textiles
11
17
EN
Amir Hossein
Chitsazian
Associate Professor, Faculty of Architecture and Art, Kashan University, Kashan, Iran
chitsazian@kashanu.ac.ir
Forouzan
Davoudi
Faculty of Architecture and Art, Kashan University, Kashan, Iran
forouzan.davoudi@yahoo.com
10.22055/pyk.2020.15723
<strong>Problem definition:</strong>The rooster, this extraordinary and beautiful bird, plays a major role in the beliefs of the Iranian people, due to its faith foundations and symbolic concepts. This deep connection has transformed the rooster into a sacred and cosmic bird. The objective features and behavioral style of this bird have caused many artists to use it as a basis for making their artworks and to express their thoughts via an ironic and mysterious language. Emphasizing the motif of rooster in pottery, metal and textiles within the pre-Islamic and Islamic periods, the present study investigates the application of this symbol and reasons for its importance in the Iranian art. <br /><strong>Objective:</strong> The rooster motif in pottery, metal and textiles of the pre-Islamic and Islamic periods and the expression of its symbolic concepts. <br /><strong>Research Method:</strong> The present study has been conducted in a historical-analytical manner and the required information has been collected through searching in library and museum sources. <br /><strong>Results:</strong> According to the studies conducted in the field of Islamic arts, while referring to the stories and narratives, especially the references made to the story of the Ascension of the Prophet, the sanctity of this throne bird has been emphasized as well. The reflection of the rooster image in ancient Iran has been based upon the written sources of this period, especially the Avesta and the ancient Iranians highly valued and cherished this bird. The application of the rooster motif relies on the aesthetic themes and symbolic concepts. This has caused the motif of this bird to be regarded in the Iranian artworks.
Symbol,rooster,ancient Iran,Iran of the Islamic period
https://paykareh.scu.ac.ir/article_15723.html
https://paykareh.scu.ac.ir/article_15723_c6b818ad1369cc1ef4a9cc2857a9e33e.pdf
Shahid Chamran University of Ahvaz
In collaboration with:
The Iranian Society of Visual Art
Paykareh
2322-4622
2588-6789
9
19
2000
03
23
The symbolism of green color in Iranian-Islamic culture and art
18
29
EN
kazem
danesh
Phd.Faculty of Islamic Arts, Tabriz Islamic Art University, Tabriz, Iran.
k.danesh@tabriziau.ac.ir
mohammad
khazai
0000-0001-8829-6253
Prof.Department of Graphics, Faculty of Art, Tarbiat Modares University, Tehran, Iran.
khazaiem@modares.ac.ir
10.22055/pyk.2020.15725
<strong>Problem definition</strong>: Colored symbols are one of the most prominent signs affecting the human beings psyche. Colors have special meanings in relation to the nature, culture, religious beliefs and life experiences. However, they are affected by the temporal and geographical locations, thought, culture, politics, religion and traditions of the people. Artists and poets have also used colored symbols to make their poetic and mental images tangible and to explain inexpressible concepts. The audience can achieve the thoughts and emotions of the artist as well as the subject and theme of the work through analyzing the colors in an artwork. The present study seeks to answer the question that what is the symbolic expression of green color in Iranian culture and art? <br /><strong>Objective:</strong> The purpose of this study is to investigate the symbols of green color and analyze the concepts behind it in Iranian-Islamic culture and art and finally acquire better knowledge of Iranian symbolic concepts. <br /><strong>Research Method:</strong> The current research has been conducted on a descriptive-analytical manner and comparative methods have been employed for the data analysis. The required information has been collected through searching in the library and internet sources <br /><strong>Results:</strong> The green color in Mithraic thought and ritual is sometimes considered as a symbol of sky, moon and water and sometimes that of justice and angel. It was also a symbol of the peasantry in the class system of pre-Islamic society. This color in Islamic thought is also considered as a symbol of heaven and heavenly beings, prophets and imams while being as a stage of mystical behavior in mysticism and Sufism. Nature, faith, wisdom, youth and vitality, etc. are other symbols of the green color.
green color,Symbol,Iranian-Islamic culture and art
https://paykareh.scu.ac.ir/article_15725.html
https://paykareh.scu.ac.ir/article_15725_92ce7db5d0703aa721db845c7a2d0f03.pdf
Shahid Chamran University of Ahvaz
In collaboration with:
The Iranian Society of Visual Art
Paykareh
2322-4622
2588-6789
9
19
2020
05
21
A comparative study of the metal candlestick images in the paintings of Shahnameh of Shah Tahmasb and similar examples of Islamic periods (Seljuk, Ilkhanid, Timurid and Safavid periods)
30
41
EN
Sahar
Zekavat
0000-0001-7488-6527
MSc Islamic Art, Faculty of Arts, Shahed University, Tehran, Iran
zekavatsahar@gmail.com
10.22055/pyk.2020.15880
<strong>Problem definition</strong>: Metal candlestick is one of the most widely used accessory for providing lighting and one of the common tools of the past periods whose images are abundantly depicted in the Shahnameh’s paintings and the display of these objects has always been of interest to the artists. The present study aims to investigate the general characteristics of the candlestick images in the paintings of Shahnameh of Shah Tahmasb and explore the commonalities and differences between these images and examples of handmade and metal candlesticks of the Islamic period, especially in the "Seljuk", "Ilkhanid", "Timurid" and "Safavid" periods. The present study will finally answer the question that the candlestick image in the paintings of Shahnameh of Shah Tahmasb is more similar to the handmade works of which of the studied periods. <br /><strong>Objective:</strong> To identify the style and context of objects and elements of Iranian paintings in order to perceive the mental influences of ancient Iranian artists in their lifetime <br /><strong>Research Method:</strong> The research data has been collected in the library-documentary form and investigated using descriptive-analytical method and a comparative approach. The present samples were taken using purposive sampling method and from 18 types of candlesticks associated with different periods of the Iranian government, 2 have been selected from the Seljuk, 10 from Ilkhanid and Timurid and 6 from Safavid periods. Also, the statistical population of the examined paintings includes 174 drawings in the Shahnameh of Shah Tahmasb, published by the Academy of Arts, of which the images of 4 candlesticks have been identified in 4 ones. <br /><strong>Results:</strong> The results indicated that the candlestick samples of the Shahnameh paintings do not resemble the metal handmade ones belonging to the Safavid period and there are many differences between the images and samples of this period. The candlestick samples of Safavid period are cylindrical, but other ones have a polygonal base. The general characteristics of these candlesticks are more similar to the hand-made ones belonging to the Seljuk, Ilkhanid and Timurid periods.
metal candlestick,Shahnameh of Tahmasbi,Seljuk,Ilkhanid,Timurid,Safavid
https://paykareh.scu.ac.ir/article_15880.html
https://paykareh.scu.ac.ir/article_15880_66051f009e58f453b05f8ebf537d0653.pdf
Shahid Chamran University of Ahvaz
In collaboration with:
The Iranian Society of Visual Art
Paykareh
2322-4622
2588-6789
9
19
2020
05
21
Investigating the effect of visual qualities of the environment on murals
42
55
EN
malihe
kashir
Master of Visual Arts Faculty, Tehran University, Iran
m.kashiry@yahoo.com
Asghar
Kafshchian Moghadam
Associate Professor of Visual Arts Faculty, Tehran University, Iran
kafshchi@ut.ac.ir
10.22055/pyk.2020.15951
<strong>Problem definition</strong>: The wall painting comes in conjunction with the three components of the visual audience, the architecture and the environment. Among these factors, the environment has a decisive role in the design and creation of wall effect, because the most important aspect of the distinction of wall painting from its other forms, is the formation influenced by the conditions and characteristics of the environment. The environment surrounding the work as a visual collection involves various factors and qualities that have a direct and indirect influence on the wall painting and plays a decisive role. so the leading research seeks to answer the visual quality of the environment in relation to the mural painting, and how these visual qualities impact on wall murals in the urban landscape. <br /><strong>Objective:</strong> the present article has been written regarding with the aim of explaining the effect of visual qualities of the environment as one of the ways of improving the quality of wall paintings in the field of urban arts. <br /><strong>Research Method:</strong> The present study was conducted using a descriptive-analytical method and the library collection method was also used. <br /><strong>Results:</strong> The visual qualities of environmental conditions including the Climatic Conditions of the Environment, Cultural and Identity Conditions of the Environment, Geographical Location of the Environment, Governing Color Space and Light Conditions Governing the Environment, visual features of environment each has their own capabilities and limitations each has its own capabilities and constraints, and depending on the environment and the walls, there will be significant effects on the design and implementation of the wall paintings. Therefore, studying the visual qualities of the environment, while achieving the artist's ability to integrate into the space of the work and making them more productive, creates a coherent and harmonious atmosphere and, Hence, in general, recognizing them makes a unified and coordinated space moreover achieving environment capabilities and consequently it will lead to more suitable mural. Hence, wall painting, while preserving the essential elements of the artistic wall paintings, it can be considered a function of the governing environment of the wall and its visual qualities.
Wall Painting,Mural,Visual Qualities of Environment,Urban Landscape,Environmental Artwork
https://paykareh.scu.ac.ir/article_15951.html
https://paykareh.scu.ac.ir/article_15951_9c91fde0ce3ac943574fa51d43906f18.pdf
Shahid Chamran University of Ahvaz
In collaboration with:
The Iranian Society of Visual Art
Paykareh
2322-4622
2588-6789
9
19
2020
05
21
The need to use partition walls in the urban wall painting
56
66
EN
Asghar
Kafshchian Moghadam
Associate Professor of Visual Arts Faculty, Tehran University, Iran.
kafshchi@ut.ac.ir
Karim
Alahkhani
Faculty of Art and Architecture Saba, Shahid Bahonar University of Kerman, Kerman, Iran.
alahkhani@yahoo.com
10.22055/pyk.2020.15972
<strong>Problem definition:</strong> Wall painting as an ancient media can play an essential role in the improvement and purposefulness of the urban space by taking the advantage of the technology growth as well as the expressive capabilities of new materials. Meanwhile, the development of creative methods in designing the partition walls as a basis for the harmonious murals with the environment and the governing architecture, requires conducting a comprehensive study on the necessity of using these structures in the urban wall paintings as a visual interface (mural) between the body of the city and the citizens. Given this necessity, the urban partition walls and how to implement them in the urban space are the main subjects of the present research. <br /><strong>Objective:</strong> The present study aims to recognize the urban partition wall painting in order to develop these spaces in the urban environment. <br /><strong>Research Method:</strong> This research is a qualitative and practical one in terms of the purpose, which is presented in a descriptive-analytical manner with reference to the library resources and images, some of which have been prepared based on the field survey. <br /><strong>Results:</strong> The urban partition wall supposed to be a wall being independent of the architecture and environment while it is dependent on it, qualitatively. The history of the walls originated from the ancient and indigenous climates and cultures of different regions, such as the primitive life of tribes and even current nomads.. The need for these walls in today’s life comes from the advancement of technology and industry in the urban life.
City,urban art,Wall Painting,Partition wall
https://paykareh.scu.ac.ir/article_15972.html
https://paykareh.scu.ac.ir/article_15972_30cd0f653bb7a15647a571b463135e1b.pdf