Shahid Chamran University of Ahvaz
In collaboration with:
The Iranian Society of Visual Art
Paykareh
2322-4622
2588-6789
10
23
2021
05
22
The place of the human in the paintings of Mohammad Siahghalam and Hieronymus Bosch from Freud’s point of view
1
11
EN
Azam
Vahidi
Faculty of Visual Arts, Campus of Fine Arts, University of Tehran, Tehran, Iran
vahidi.azam60@gmail.com
10.22055/pyk.2021.16876
<strong>Problem Definition:</strong> The discussion of the place of the human in the paintings painted by wonder painters can be a window to better understand the spirit and mood of painters as well as the audience of their time from a psychological point of view. In the present study, an attempt has been made to address this issue from the perspective of Sigmund Freud in the paintings of Mohammad Siahghalam and Hieronymus Bosch, who are considered to be among the wonder painters of their time due to the depiction of strange forms.<br /><strong>Objective:</strong> The aim of the present study is to examine the human position from Freud’s point of view in the paintings of Hieronymus Bosch and Mohammad Siahghalam.<br /><strong>Research Method:</strong> The research has been conducted in a descriptive-analytical manner and data has been collected using library resources.<br /><strong>Results:</strong> Using Sigmund Freud’s theory of death and life instincts, results have been obtained regarding the role and place of the human in these works. Mohammad Siahghalam and Hieronymus Bosch were the wonder painters of the Eastern and Western worlds, respectively. The high aesthetic value of the works of Mohammad Siahghalam and Hieronymus Bosch as well as the critical, shrewd, and subtle view of everyday issues are rooted in their different thoughts and approaches.
Hieronymus Bosch,Mohammad Siahghalam,Grotesque,Sigmund Freud,the death instinct,life instinct
https://paykareh.scu.ac.ir/article_16876.html
https://paykareh.scu.ac.ir/article_16876_44b23ee7671b1fc83672c4574e3d9aaa.pdf
Shahid Chamran University of Ahvaz
In collaboration with:
The Iranian Society of Visual Art
Paykareh
2322-4622
2588-6789
10
23
2021
05
22
Investigation of the non-place concept in Iranian photography with a look at the works of Mohammad Ghazali and Mehran Mohajer
12
30
EN
Morteza
Sedighifard
0000-0001-6729-1365
Faculty of Visual Arts, University of Arts, Tehran, Iran
morteza.sedighifard@gmail.com
Nasrin
Larijani
Faculty of Architecture, University of Art, Tehran, Iran.
nasrinlarijani1374@gmail.com
10.22055/pyk.2021.16890
<strong>Problem definition:</strong> Non-place is a concept first introduced in 1992 by the French anthropologist Marc Augé. The present research seeks to investigate this concept in contemporary Iranian photography, using Augé’s theories. In this process, first, the non-place and factors of its origin are described and then the characteristics of the supermodernism era are discussed, by which it is explained how the non-place has been created in this age. In the following, the relationship between non-place and photography has been discussed and attempts have been made to investigate how non-place appeared after the modernism of photography in the works of movements such as modern geography. In addition, the works of two contemporary Iranian photographers, Mohammad Ghazali and Mehran Mohajer, have been studied and the way the concept of non-place is illustrated in the works of these photographers has been sought as well. <br /><strong>Objective:</strong> The aim of the present study is to understand the concept of non-place using Augé’s theories in the works of two contemporary Iranian photographers, Mohammad Ghazali and Mehran Mohajer. <br /><strong>Research Method:</strong> The required information has been collected via the library resources and presented in a descriptive-analytical manner. <br /><strong>Results:</strong> The representation methods of Mohajer and Ghazali indicate the non-place components and the space in their works reveals the geographical, anthropological and sociological relations. In order to represent the lack of identity, history and relationship in the non-place, the two photographers took measures such as temporary exposure through snapshots and happening photography, representing the distortion of collective identity in relation to the identity-making factor, replacing the relationship between an individual and object instead of people with each other and generalizing the creation of the work toward extremism in the individual authorities. In addition, it was found that by depicting the distorted details hidden in the general structure of the monument from the place, compared to the present, makes non-place.
Non-place,contemporary Iranian photography,Marc Augé,Mehran Mohajer,Mohammad Ghazali
https://paykareh.scu.ac.ir/article_16890.html
https://paykareh.scu.ac.ir/article_16890_2533cf312e626edef84224dd13fc8429.pdf
Shahid Chamran University of Ahvaz
In collaboration with:
The Iranian Society of Visual Art
Paykareh
2322-4622
2588-6789
10
23
2021
05
22
The Study of the Confrontation between the Immature Lover and the Mature Admirer in the Allegory of Salim Baghdadi’s Acquaintance with Majnun from Nizami’s Khamsah and an Illustrated Manuscript Belonging to 835 AH
31
45
EN
Parima
Mirlohi
0000-0001-8899-1352
Department of Higher Art Studies, Fine Arts Campus, University of Tehran, Tehran, Iran
tania.mirlohi@yahoo.com
Hassan
Bolkhari ghehi
. Department of Higher Art Studies, Fine Arts Campus, University of Tehran, Tehran, Iran
hasan.bolkhari@ut.ac.ir
10.22055/pyk.2021.16937
<strong>Problem Definition: </strong>While the predominant reliance of painting studies is only on visual analysis of the artworks, love is one of the important themes of Persian mysticism and literature and has had a wide expression in Iranian paintings. The present study is a comparative one between Nizami’s Khamsah and an illustrated manuscript in 835 AH related to the allegory of Salim Baghdadi’s acquaintance with Majnun, and the views of Ahmad Ghazali. Since it is not possible to vote for a realistic or mystical picture without considering the literary and mystical text, it has been attempted in this article to answer the question: To which allegory of Leyli and Majnun Masnavi of Nizami’s Khamsah does the painting of Salim Baghdadi’s acquaintance with Majnun from an illustrated manuscript in 835 AH refer to? and what is the interpretation of this allegory based on Islamic mysticism and what is the meaning of the mystical points mentioned in this allegory?<br /><strong>Objective:</strong> The aim of this study is to compare the aforementioned painting with Iranian Islamic literature and mysticism.<br /><strong>Research Method:</strong> The present study has been conducted using an interpretive-analytical method and research information has been collected through library resources.<br /><strong>Results:</strong> The main theme of the mentioned allegory is the difference between the beginning and the end of love. Since, historically, the closest mystic to the time of Nizami Ganjavi, who had comprehensive and complete comments on divine love, is Ahmad Ghazali and also due to the significant similarity between their thoughts regarding this love, the mystical aspect of the current study has been based on the book Savaneh-al-Oshagh (Lovers’ events). The present research first seeks to reach the opinion that the mentioned painting has a mystical aspect. In the next step, the allegory mentioned in this picture from Nizami’s Khamsah is interpreted based on the views of Ahmad Ghazali, and the difference between the moods of the lover in the beginning and the end of love is expressed.
Nizami’s Khmasah,Leyli,and Majnun,Iranian painting,divine love,Ahmad Ghazali
https://paykareh.scu.ac.ir/article_16937.html
https://paykareh.scu.ac.ir/article_16937_556031f93c6c0a196532eae64946dffb.pdf
Shahid Chamran University of Ahvaz
In collaboration with:
The Iranian Society of Visual Art
Paykareh
2322-4622
2588-6789
10
23
2021
05
22
An examination of the decorations of the wooden door of the tomb of four kings in Lahijan is available in the National Museum of Iran
46
59
EN
Mahsa
Tondro
Department of Graphic, Faculty of Art and Architecture, Tarbiat Modares University, Tehran, Iran
mahsatondro1993@gmail.com
10.22055/pyk.2021.16950
<br /><strong>Problem Definition:</strong> The wooden door of the tomb of four kings in Lahijan is one of the woodcarvings works available in the National Museum of Iran, which has a special value in terms of antiquity and beauty, as well as the inscriptions used in it. This door belongs to the Kiya dynasty that ruled in the northern regions of Iran at the same time as the Safavid period. Several prestigious artworks have been left from the Kiya period, including the woodcarving technique, one of which is the tomb of four kings of Lahijan and its ancient door. The present research seeks to answer the question of what are the motifs of the mentioned door and also the themes used in it and also identify the themes and contents of this historical work.<br /><strong>Objective:</strong> The aim of this research is to get acquainted with the Kiya’s art in the northern region of Iran and also to get acquainted with the visual and architectural elements of the region.<br /><strong>Research Method: </strong>The present study has been conducted based on the library resources and historical perspective in a descriptive-analytical manner.<br /><strong>Results:</strong> The plant motifs including arabesque and khatai have been used with remarkable elegance and variety in the decorations of the door of the tomb of four kings, all of which are the common motifs of the Safavid period. The most used line in inscriptions is the thuluth. Moreover, the themes of the inscriptions also include historical prayers and poetry. In general, by examining the characteristics of this work, it can be stated that the Kiaya government, like the Safavid rulers of their time, have perfectly considered the visual principles of the motifs.
Kiya,the tomb of four kings,wooden door,Shiite art,inscription
https://paykareh.scu.ac.ir/article_16950.html
https://paykareh.scu.ac.ir/article_16950_911bf363398252040f2d6031e6180ab3.pdf
Shahid Chamran University of Ahvaz
In collaboration with:
The Iranian Society of Visual Art
Paykareh
2322-4622
2588-6789
10
23
2021
05
22
Recognizing the Layering Wall Decorations of Safavid Palaces in Isfahan and its Regeneration for Newer Usages
60
74
EN
Mansour
Kolahkaj
ORCID: 0000-0001-84
Assistant Professor of Graphics, Faculty of Arts, Shahid Chamran University of Ahvaz, Ahvaz, Iran
mansor.kolahkaj@gmail.com
Nadia
Esfandiari gharabi
Departmen of Arts Research, Faculty of Arts, Shahid Chamran University of Ahvaz, Ahvaz, Iran
nadia_esf@yahoo.com
10.22055/pyk.2021.16958
<strong>Problem Definition:</strong> Layering is considered as a type of wall painting art in a number of architectural remains of structures related to the Safavid era particularly the palaces of Isfahan including Aliqapo, Chehelston, and Hasht Behesht. The article attempts to show the recognition of this art, implementation methods, and applications during its trial in decorative, applied, and new fields. For this intention, this art can be applied for newer purposes with the aid of implemented examples.<br /><strong>Objective:</strong> The aim of this research is to regenerate traditional Iranian art in novel fields in order to expand Iranian handicrafts.<br /><strong>Research Method:</strong> The present research is conducted qualitatively following a descriptive-analytical approach based on field studies such as photography, face-to-face interviews, and library resources.<br /><strong>Results:</strong> Layering long applied in the past along with decorations such as carving (Koshtehbori), mirror work, painting, and plastering in wall paintings is currently applied in newer fields such as interior decoration and decorative paintings. This method has been implemented to regenerate and continue the Iranian visual culture by taking into account the rank of designs and their usage in more recent fields. The authors have prototyped newer applications, such as making exquisite decorative packages and boxes and alike products.
Layering. Safavi. Isfahan. mural painting
https://paykareh.scu.ac.ir/article_16958.html
https://paykareh.scu.ac.ir/article_16958_6fdd16d41947b76c3bd125afe02aae1c.pdf
Shahid Chamran University of Ahvaz
In collaboration with:
The Iranian Society of Visual Art
Paykareh
2322-4622
2588-6789
10
23
2021
05
22
The visual analysis of the motifs of Tal Bakun pottery and their application in fabric design
75
94
EN
Mohammad
Afrough
Department of Carpet, Faculty of Arts, Arak University, Arak, Iran.
nashmine_1982@yahoo.com
Mansoureh
Bavanaji
Department of Illustration, Faculty of Arts, Fayz al-Islam Higher Education Institute of Khomeini Shahr, Isfahan, Iran.
mbavanati84@gmail.com
10.22055/pyk.2021.16959
<strong>Problem Definition:</strong> The wooden door of the tomb of four kings in Lahijan is one of the woodcarvings works available in the National Museum of Iran, which has a special value in terms of antiquity and beauty, as well as the inscriptions used in it. This door belongs to the Kiya dynasty that ruled in the northern regions of Iran at the same time as the Safavid period. Several prestigious artworks have been left from the Kiya period, including the woodcarving technique, one of which is the tomb of four kings of Lahijan and its ancient door. The present research seeks to answer the question of what are the motifs of the mentioned door and also the themes used in it and also identify the themes and contents of this historical work.<br /><strong>Objective:</strong> The aim of this research is to get acquainted with the Kiya’s art in the northern region of Iran and also to get acquainted with the visual and architectural elements of the region.<br /><strong>Research Method: </strong>The present study has been conducted based on the library resources and historical perspective in a descriptive-analytical manner.<br /><strong>Results:</strong> The plant motifs including arabesque and khatai have been used with remarkable elegance and variety in the decorations of the door of the tomb of four kings, all of which are the common motifs of the Safavid period. The most used line in inscriptions is the thuluth. Moreover, the themes of the inscriptions also include historical prayers and poetry. In general, by examining the characteristics of this work, it can be stated that the Kiaya government, like the Safavid rulers of their time, have perfectly considered the visual principles of the motifs
Kiya,the tomb of four kings,wooden door,Shiite art,inscription
https://paykareh.scu.ac.ir/article_16959.html
https://paykareh.scu.ac.ir/article_16959_480cc3f3098e1000019ec4e13cb1ecf3.pdf