The Swastika was used on many of Iran's monuments dating from pre-Islamic and post-Islamic times.... more The Swastika was used on many of Iran's monuments dating from pre-Islamic and post-Islamic times. It cannot be said that the Swastika sign has always had only one meaning, for if it was so, it would lose its mystery and become merely a word. In addition to being a beautiful image with deep and prominent notions, the Swastika is a key element in the art and creation of various pleasing motifs, especially in Islamic art. It appeared on the pre-Islamic Iranian artworks and remained visible on those of the Islamic era, indicating an inextricable link between the visual presentation and the past. Therefore, this research, which is an applied research of the qualitative approach, investigates the Swastika array in the Gonbad-e-Sorkh Mausoleum or Red Dome in Maragheh and analyses this sign printed in brick from a symbolic point of view. The results show that the Swastika is associated with the deceased soul in the tomb buildings and the reason for its creation must be related to this spiritual relationship.
is located 22 km of Piranshahr city in northwestern Iran. This site with about 400 square meters ... more is located 22 km of Piranshahr city in northwestern Iran. This site with about 400 square meters of land area is located on a natural mound. The first excavation season of the site was created as a stratigraphic trench to determine the sequence status of the cultural layers of this site. The results of the excavation in this site led to the identification of three cultural periods including: Barkmaran I belonging to the Bronze Age, which is known as the pottery of Hassan Ali. Barkmaran II belongs to the first millennium BC with pale goldenrod-colored pottery and Barkmaran III belongs to the Islamic period which has been used as a cemetery. Regarding the excavation of the stratigraphic trench, the first settlement in this hill can be considered to belong to the Bronze Age, and is known for its colorful pottery which is more commonly known as the culture of Hassan Ali or Nineveh V. The excavation results of the first season of this site have an important place in presenting the chronology of Lavin River basin. Rezumatꓽ Barkamran Tepe se află la 22 km de orașul Piranshahr în nordvestul Iranului. Acest sit cu o suprafață de aproximativ 400 de metri pătrați este situat pe o movilă naturală. În primul sezon de săpături a fost realizat un sondaj stratigrafic pentru a determina secvența straturilor culturale ale acestui sit. Rezultatele săpăturilor din acest sit au condus la identificarea a trei perioade culturale printre care: Barkmaran I aparținând epocii bronzului, care este cunoscut sub numele de ceramica lui Hassan Ali. Barkmaran II aparține primului mileniu î.Hr. cu ceramică de culoarea vergea de aur pal, iar Barkmaran III aparține perioadei islamice care a fost folosită ca cimitir. În ceea ce privește sondajul stratigrafic, prima așezare din acest sit poate fi considerată ca aparținând epocii bronzului și este cunoscută pentru ceramica sa colorată, cunoscută mai frecvent sub numele de cultura lui Hassan Ali sau Ninive al V-lea. Rezultatele săpăturii din primul sezon al acestui sit au o contribuție importantă la cunoașterea cronologiei bazinului râului Lavin.
One of the main topics of discussion of philosophy is the link between the perceptible world and ... more One of the main topics of discussion of philosophy is the link between the perceptible world and heavenly world 2 and mosques are a place when religious beliefs in the form of symbols that display the link between art and religion. Since the beginning of creation, temples have been crucially significant and that is why they have led to emergence of the most advanced techniques in architecture. In fact, mosques have created the sacred art and this type of art is based on allegories and exemplifications and is built upon pantheism. This ultimately has led to creation of the philosophy of unity in diversity and diversity in unity in all Islamic aspects which is manifested in many works of art. The present study aims to recognize the architectural ornaments of Asnaq mosque and their association with the dominant philosophical thinking. The question that rises here is that: in which elements of Asnaq mosque have the sacred notions and spiritual identities been manifested? In this article, by referring to written historical sources and by using the field study method and a descriptive-analytical approach, it has been attempted to initially review the architectural ornaments of Asnaq mosque and then to philosophically decode these ornaments and symbols. This article also aims to establish a connection between philosophy and art in Asnaq mosque. Ultimately, the result obtained from this research will show that manifestation of god in nature is the origin of Islamic art and architectural ornaments of Asnaq mosque are indicative of the oneness of god.
The northwestern region of Iran has an important place in the archaeological studies of the Iron ... more The northwestern region of Iran has an important place in the archaeological studies of the Iron Age of Iran, eastern Turkey and the southern Caucasus. In this geographic zone, several Iron Age necropolises have been investigated until the present moment, one of the most important of them being the Sarand necropolis. The archaeological excavations here led to the discovery of 36 tombs belonging to the Iron Age. The graves in this cemetery are rectangular stone chambers with single or multiple burials. In some of them, secondary and disturbed graves are also present. The burial status in association with the gender of the dead shows great variability and often there is direct correlation between the biological sex of the individual and the grave goods. Our study focuses on one of the graves of this rich cemetery following a descriptive-analytical approach by comparison to other key sites of the Iron Age of Iran and the Republic of Azerbaijan. The results of this study indicate a cultural similarity between this particular necropolis and other Iron Age cemeteries in Iran and Azerbaijan.
Research objectives: The main purpose of this article is to study the Quranic inscription of the ... more Research objectives: The main purpose of this article is to study the Quranic inscription of the Imamzadeh Ma'sum Temple in Maragheh. This inscription shows the evolution of religious beliefs during the Ilkhanid period in Iran which started from the seventh century AH and continued until the eighth century AH. The main religions of the Ilkhanid rulers were Buddhism and Christianity, but they gradually adopted Islam as the official religion of government. The influence of the process of conversion has left traces in some of the inscriptions of this period. Another purpose of this study is to introduce the Imamzadeh Ma'sum temple as one of the Buddhist temples in Iran. Research materials: In this study, the authors have used two methods, namely field research and library surveys. Regarding the first method, the temple of Imamzadeh Ma'sum was examined. Regarding the second method, the historical sources of the Ilkhanid period, such as the Jami' al-tawarikh of Khajeh Rashid al-Din Faḍlullah Hamadani, were used. These works refers to the situation of Buddhists in Iran during the Ilkhanid period (i.e. the seventh century AH). Results and novelty of the research: The results of the authors' research in this article have demonstrated that the temple of Imamzadeh Ma'sum of Maragheh was one of the Buddhist temples in Iran. This Buddhist temple was changed to an Islamic mosque after the conversion of Ghazan Khan in 694 AH. The surviving Qur'anic inscription inside the building refers to the victory of Islam over Buddhism.
Kratkiye Soobshcheniya Instituta Arkheologii, 2020
Maragheh, located in the northwestern geographical area of Iran, is one of the important areas in... more Maragheh, located in the northwestern geographical area of Iran, is one of the important areas in the studies of Islamic period of Iran. The name of the city has been mentioned many times in various historical sources and is most often referred to as the seat of the Azerbaijani state. But information on its history and background is very limited, because it has been so far neglected from an archeological point of view. Only few historical and archeological studies have generally addressed the status of formation and sequence of its historical periods. This article presents the results of new archaeological excavations and study, the purpose of this research is mainly attempted to provide a detailed chronology of the status of residence and settlement in the central part of the city by presenting a detailed stratigraphy of cultural materials of different historical eras and adapting them to historical events. The results, obtained in archaeological studies of the historical context of the city, show that the settlement in this part of the city has been started without interruption since the beginning of Islam.
Kratkiye Soobshcheniya Instituta Arkheologii, 2020
Tombstones have great importance in belief and artistic areas due to their close connection with ... more Tombstones have great importance in belief and artistic areas due to their close connection with human beliefs. Meshkinshahr’s city was selected as the studied area because of its location in a particular geographical area and its proximity to the Safavid religious capital (Ardabil) as well as its richness in terms of Islamic gravestones and lack of adequate studies in this area. Among the cemeteries of this city, the cemetery of Ounar was investigated due to presence of the main type of graves and various symbolic motifs. The purpose of this study was to identify typology, analyze the used symbolic designs or signs, particularly, paintings assigned to the Shiite religion, and chronologize the gravestones. This research has been conducted through field surveys and library studies based on the descriptive-analytical approach. The conducted studies have shown that the chronology of most graves is related to the Safavid period and the most common motifs are associated with religious traditions. The prayer of the Great Salat and the stylized three-leaf palm image is the symbol of Imam Hussein’s tomb which was common in the Safavid era (the 16th – mid-18th centuries).
International Journal of Arts and Technology, 2019
The Saljuqs were originally nomadic tribes and nomadic Turkmen from Kyrgyz regions of Central Asi... more The Saljuqs were originally nomadic tribes and nomadic Turkmen from Kyrgyz regions of Central Asia. In the early 11th century, the Saljuqs began their reign by seizing a major part of Transoxiana. The Saljuqid is one of the most important eras in Islamic-Iranian civilisation in which different fine arts reached an unprecedented apogee of flourishing in the history of Iran. The remaining objects from this period show that metalworking was highly developed. Similar to previous eras, silver and gold were rarely used in the Saljuqid era because of religious bans. Silver and gold were used for plating less valuable metals such as bronze and brass. The aim of this article is to examine the forms, themes, and metals used in the Saljuqid era and to investigate the innovations made by two artistic movements, namely, Khorasan and Mosul. Some of the most important art and crafts schools, especially metalworking, of this era were Khorasan and Mosul. This article is based on bibliographic research with an analytical-descriptive approach. First the themes are analysed, followed by a study of the symbols, and finally an analysis of the intention behind them.
International Journal of Arts and Technology, 2020
Decorating earthenware as a manifestation of artistic creativity and aesthetic sense and reflecti... more Decorating earthenware as a manifestation of artistic creativity and aesthetic sense and reflecting the potter's perception of the environment and the system of existence has long been a mysterious form of attention. One of the favourite motifs of Iranian potter for decorating earthenware has been the motif of birds, which was rooted in ancient Iranian culture, myths and rituals. In this paper, using a library method, a descriptive-analytical, and comparative approach, and by looking at the symbolism of the bird's motif, the potter's purpose of selecting bird motifs and their relation to the beliefs of the people of this land are identified. The question is, what are the themes of these motifs and how do they evolve? The evolution of bird motifs shows that it has been developed from a beginner style in a continuous, slow process, and at times we see the collapse of a broad artistic style.
The Swastika was used on many of Iran's monuments dating from pre-Islamic and post-Islamic times.... more The Swastika was used on many of Iran's monuments dating from pre-Islamic and post-Islamic times. It cannot be said that the Swastika sign has always had only one meaning, for if it was so, it would lose its mystery and become merely a word. In addition to being a beautiful image with deep and prominent notions, the Swastika is a key element in the art and creation of various pleasing motifs, especially in Islamic art. It appeared on the pre-Islamic Iranian artworks and remained visible on those of the Islamic era, indicating an inextricable link between the visual presentation and the past. Therefore, this research, which is an applied research of the qualitative approach, investigates the Swastika array in the Gonbad-e-Sorkh Mausoleum or Red Dome in Maragheh and analyses this sign printed in brick from a symbolic point of view. The results show that the Swastika is associated with the deceased soul in the tomb buildings and the reason for its creation must be related to this spiritual relationship.
ANASTASIS. Research in Medieval Culture and Art, 2020
Rock architecture has a long history in Iran and all over the world, and many climatic, defensive... more Rock architecture has a long history in Iran and all over the world, and many climatic, defensive, cultural factors have led to the emergence of architectural examples of this type. The chronology and usage of these works have always been discussed after the discovery of the rock works from Western Iran from the 19 th century onwards. On the one hand, it can be said that the creators of these works have left a rather vague footprint of their time, making difficult the possibility of offering accurate and precise chronology and explaining usage for researchers and interested readers. On the other hand, due to the lack of knowledge and awareness of the beliefs of ancient people, some scholars have been mistaken in explaining the use and even the chronology of these works and sometimes, they presented different uses and chronologies for these works. Accordingly, such a mistake was made by a number of researchers in the city of Maragheh while explaining the use of Gowijeh Qaleh's rock tomb by the use of water storage. For this purpose, this article examined Gowijeh Qaleh's rock-cut tomb from an analytical perspective. Therefore, this work can be more confidently considered as a part of the first millennium BC, and it is referred to the culture of Urartu.
ANASTASIS. Research in Medieval Culture and Art, 2019
The construction of tombs in the era of Islamic architecture is usually considered as being a man... more The construction of tombs in the era of Islamic architecture is usually considered as being a manifestation of beliefs and rituals related to the honoring of the dead, along with other religious buildings, including mosques. The various structural methods of the tombs have been influenced by varied cultural and material factors. However, contrasting opinions and votes have been allocated to the issue of tombs laws in Islamic jurisprudence. At any rate, a foregone conclusion is that the presence of a large number of these buildings in many Islamic countries emphasises their special position in the Islamic society. Different types of Islamic decorative arts can be studied in accordance with the importance of the most beautiful historical domes of Iran, namely Kabood and Ghafarieh domes. This research is based on the study of some applied elements, such as tiling (Kashi Kari) and brickwork, as well as some of the architectural elements in the domes of Maragheh, like polo, which have not been observed in other Iranian buildings.
The story of Ismail’s Sacrifice by the Prophet Abraham, taken from the Quran and biblical verses,... more The story of Ismail’s Sacrifice by the Prophet Abraham, taken from the Quran and biblical verses, has been interpreted in many ways by narrators, performers, Christian and Muslim storytellers, and has also been represented by the visual artists in countless images. ‘Qisas al Anbiya’ was one of the books that illustrated this story during the Safavian period. The main purpose of this article is to examine the interpretations, images and implications specific to Islamic and Christian artists, in relation to their different attitudes, education and historical roots, and finally to determine the relevant visual representations and conduct a comparative study of them.
The Swastika was used on many of Iran's monuments dating from pre-Islamic and post-Islamic times.... more The Swastika was used on many of Iran's monuments dating from pre-Islamic and post-Islamic times. It cannot be said that the Swastika sign has always had only one meaning, for if it was so, it would lose its mystery and become merely a word. In addition to being a beautiful image with deep and prominent notions, the Swastika is a key element in the art and creation of various pleasing motifs, especially in Islamic art. It appeared on the pre-Islamic Iranian artworks and remained visible on those of the Islamic era, indicating an inextricable link between the visual presentation and the past. Therefore, this research, which is an applied research of the qualitative approach, investigates the Swastika array in the Gonbad-e-Sorkh Mausoleum or Red Dome in Maragheh and analyses this sign printed in brick from a symbolic point of view. The results show that the Swastika is associated with the deceased soul in the tomb buildings and the reason for its creation must be related to this spiritual relationship.
is located 22 km of Piranshahr city in northwestern Iran. This site with about 400 square meters ... more is located 22 km of Piranshahr city in northwestern Iran. This site with about 400 square meters of land area is located on a natural mound. The first excavation season of the site was created as a stratigraphic trench to determine the sequence status of the cultural layers of this site. The results of the excavation in this site led to the identification of three cultural periods including: Barkmaran I belonging to the Bronze Age, which is known as the pottery of Hassan Ali. Barkmaran II belongs to the first millennium BC with pale goldenrod-colored pottery and Barkmaran III belongs to the Islamic period which has been used as a cemetery. Regarding the excavation of the stratigraphic trench, the first settlement in this hill can be considered to belong to the Bronze Age, and is known for its colorful pottery which is more commonly known as the culture of Hassan Ali or Nineveh V. The excavation results of the first season of this site have an important place in presenting the chronology of Lavin River basin. Rezumatꓽ Barkamran Tepe se află la 22 km de orașul Piranshahr în nordvestul Iranului. Acest sit cu o suprafață de aproximativ 400 de metri pătrați este situat pe o movilă naturală. În primul sezon de săpături a fost realizat un sondaj stratigrafic pentru a determina secvența straturilor culturale ale acestui sit. Rezultatele săpăturilor din acest sit au condus la identificarea a trei perioade culturale printre care: Barkmaran I aparținând epocii bronzului, care este cunoscut sub numele de ceramica lui Hassan Ali. Barkmaran II aparține primului mileniu î.Hr. cu ceramică de culoarea vergea de aur pal, iar Barkmaran III aparține perioadei islamice care a fost folosită ca cimitir. În ceea ce privește sondajul stratigrafic, prima așezare din acest sit poate fi considerată ca aparținând epocii bronzului și este cunoscută pentru ceramica sa colorată, cunoscută mai frecvent sub numele de cultura lui Hassan Ali sau Ninive al V-lea. Rezultatele săpăturii din primul sezon al acestui sit au o contribuție importantă la cunoașterea cronologiei bazinului râului Lavin.
One of the main topics of discussion of philosophy is the link between the perceptible world and ... more One of the main topics of discussion of philosophy is the link between the perceptible world and heavenly world 2 and mosques are a place when religious beliefs in the form of symbols that display the link between art and religion. Since the beginning of creation, temples have been crucially significant and that is why they have led to emergence of the most advanced techniques in architecture. In fact, mosques have created the sacred art and this type of art is based on allegories and exemplifications and is built upon pantheism. This ultimately has led to creation of the philosophy of unity in diversity and diversity in unity in all Islamic aspects which is manifested in many works of art. The present study aims to recognize the architectural ornaments of Asnaq mosque and their association with the dominant philosophical thinking. The question that rises here is that: in which elements of Asnaq mosque have the sacred notions and spiritual identities been manifested? In this article, by referring to written historical sources and by using the field study method and a descriptive-analytical approach, it has been attempted to initially review the architectural ornaments of Asnaq mosque and then to philosophically decode these ornaments and symbols. This article also aims to establish a connection between philosophy and art in Asnaq mosque. Ultimately, the result obtained from this research will show that manifestation of god in nature is the origin of Islamic art and architectural ornaments of Asnaq mosque are indicative of the oneness of god.
The northwestern region of Iran has an important place in the archaeological studies of the Iron ... more The northwestern region of Iran has an important place in the archaeological studies of the Iron Age of Iran, eastern Turkey and the southern Caucasus. In this geographic zone, several Iron Age necropolises have been investigated until the present moment, one of the most important of them being the Sarand necropolis. The archaeological excavations here led to the discovery of 36 tombs belonging to the Iron Age. The graves in this cemetery are rectangular stone chambers with single or multiple burials. In some of them, secondary and disturbed graves are also present. The burial status in association with the gender of the dead shows great variability and often there is direct correlation between the biological sex of the individual and the grave goods. Our study focuses on one of the graves of this rich cemetery following a descriptive-analytical approach by comparison to other key sites of the Iron Age of Iran and the Republic of Azerbaijan. The results of this study indicate a cultural similarity between this particular necropolis and other Iron Age cemeteries in Iran and Azerbaijan.
Research objectives: The main purpose of this article is to study the Quranic inscription of the ... more Research objectives: The main purpose of this article is to study the Quranic inscription of the Imamzadeh Ma'sum Temple in Maragheh. This inscription shows the evolution of religious beliefs during the Ilkhanid period in Iran which started from the seventh century AH and continued until the eighth century AH. The main religions of the Ilkhanid rulers were Buddhism and Christianity, but they gradually adopted Islam as the official religion of government. The influence of the process of conversion has left traces in some of the inscriptions of this period. Another purpose of this study is to introduce the Imamzadeh Ma'sum temple as one of the Buddhist temples in Iran. Research materials: In this study, the authors have used two methods, namely field research and library surveys. Regarding the first method, the temple of Imamzadeh Ma'sum was examined. Regarding the second method, the historical sources of the Ilkhanid period, such as the Jami' al-tawarikh of Khajeh Rashid al-Din Faḍlullah Hamadani, were used. These works refers to the situation of Buddhists in Iran during the Ilkhanid period (i.e. the seventh century AH). Results and novelty of the research: The results of the authors' research in this article have demonstrated that the temple of Imamzadeh Ma'sum of Maragheh was one of the Buddhist temples in Iran. This Buddhist temple was changed to an Islamic mosque after the conversion of Ghazan Khan in 694 AH. The surviving Qur'anic inscription inside the building refers to the victory of Islam over Buddhism.
Kratkiye Soobshcheniya Instituta Arkheologii, 2020
Maragheh, located in the northwestern geographical area of Iran, is one of the important areas in... more Maragheh, located in the northwestern geographical area of Iran, is one of the important areas in the studies of Islamic period of Iran. The name of the city has been mentioned many times in various historical sources and is most often referred to as the seat of the Azerbaijani state. But information on its history and background is very limited, because it has been so far neglected from an archeological point of view. Only few historical and archeological studies have generally addressed the status of formation and sequence of its historical periods. This article presents the results of new archaeological excavations and study, the purpose of this research is mainly attempted to provide a detailed chronology of the status of residence and settlement in the central part of the city by presenting a detailed stratigraphy of cultural materials of different historical eras and adapting them to historical events. The results, obtained in archaeological studies of the historical context of the city, show that the settlement in this part of the city has been started without interruption since the beginning of Islam.
Kratkiye Soobshcheniya Instituta Arkheologii, 2020
Tombstones have great importance in belief and artistic areas due to their close connection with ... more Tombstones have great importance in belief and artistic areas due to their close connection with human beliefs. Meshkinshahr’s city was selected as the studied area because of its location in a particular geographical area and its proximity to the Safavid religious capital (Ardabil) as well as its richness in terms of Islamic gravestones and lack of adequate studies in this area. Among the cemeteries of this city, the cemetery of Ounar was investigated due to presence of the main type of graves and various symbolic motifs. The purpose of this study was to identify typology, analyze the used symbolic designs or signs, particularly, paintings assigned to the Shiite religion, and chronologize the gravestones. This research has been conducted through field surveys and library studies based on the descriptive-analytical approach. The conducted studies have shown that the chronology of most graves is related to the Safavid period and the most common motifs are associated with religious traditions. The prayer of the Great Salat and the stylized three-leaf palm image is the symbol of Imam Hussein’s tomb which was common in the Safavid era (the 16th – mid-18th centuries).
International Journal of Arts and Technology, 2019
The Saljuqs were originally nomadic tribes and nomadic Turkmen from Kyrgyz regions of Central Asi... more The Saljuqs were originally nomadic tribes and nomadic Turkmen from Kyrgyz regions of Central Asia. In the early 11th century, the Saljuqs began their reign by seizing a major part of Transoxiana. The Saljuqid is one of the most important eras in Islamic-Iranian civilisation in which different fine arts reached an unprecedented apogee of flourishing in the history of Iran. The remaining objects from this period show that metalworking was highly developed. Similar to previous eras, silver and gold were rarely used in the Saljuqid era because of religious bans. Silver and gold were used for plating less valuable metals such as bronze and brass. The aim of this article is to examine the forms, themes, and metals used in the Saljuqid era and to investigate the innovations made by two artistic movements, namely, Khorasan and Mosul. Some of the most important art and crafts schools, especially metalworking, of this era were Khorasan and Mosul. This article is based on bibliographic research with an analytical-descriptive approach. First the themes are analysed, followed by a study of the symbols, and finally an analysis of the intention behind them.
International Journal of Arts and Technology, 2020
Decorating earthenware as a manifestation of artistic creativity and aesthetic sense and reflecti... more Decorating earthenware as a manifestation of artistic creativity and aesthetic sense and reflecting the potter's perception of the environment and the system of existence has long been a mysterious form of attention. One of the favourite motifs of Iranian potter for decorating earthenware has been the motif of birds, which was rooted in ancient Iranian culture, myths and rituals. In this paper, using a library method, a descriptive-analytical, and comparative approach, and by looking at the symbolism of the bird's motif, the potter's purpose of selecting bird motifs and their relation to the beliefs of the people of this land are identified. The question is, what are the themes of these motifs and how do they evolve? The evolution of bird motifs shows that it has been developed from a beginner style in a continuous, slow process, and at times we see the collapse of a broad artistic style.
The Swastika was used on many of Iran's monuments dating from pre-Islamic and post-Islamic times.... more The Swastika was used on many of Iran's monuments dating from pre-Islamic and post-Islamic times. It cannot be said that the Swastika sign has always had only one meaning, for if it was so, it would lose its mystery and become merely a word. In addition to being a beautiful image with deep and prominent notions, the Swastika is a key element in the art and creation of various pleasing motifs, especially in Islamic art. It appeared on the pre-Islamic Iranian artworks and remained visible on those of the Islamic era, indicating an inextricable link between the visual presentation and the past. Therefore, this research, which is an applied research of the qualitative approach, investigates the Swastika array in the Gonbad-e-Sorkh Mausoleum or Red Dome in Maragheh and analyses this sign printed in brick from a symbolic point of view. The results show that the Swastika is associated with the deceased soul in the tomb buildings and the reason for its creation must be related to this spiritual relationship.
ANASTASIS. Research in Medieval Culture and Art, 2020
Rock architecture has a long history in Iran and all over the world, and many climatic, defensive... more Rock architecture has a long history in Iran and all over the world, and many climatic, defensive, cultural factors have led to the emergence of architectural examples of this type. The chronology and usage of these works have always been discussed after the discovery of the rock works from Western Iran from the 19 th century onwards. On the one hand, it can be said that the creators of these works have left a rather vague footprint of their time, making difficult the possibility of offering accurate and precise chronology and explaining usage for researchers and interested readers. On the other hand, due to the lack of knowledge and awareness of the beliefs of ancient people, some scholars have been mistaken in explaining the use and even the chronology of these works and sometimes, they presented different uses and chronologies for these works. Accordingly, such a mistake was made by a number of researchers in the city of Maragheh while explaining the use of Gowijeh Qaleh's rock tomb by the use of water storage. For this purpose, this article examined Gowijeh Qaleh's rock-cut tomb from an analytical perspective. Therefore, this work can be more confidently considered as a part of the first millennium BC, and it is referred to the culture of Urartu.
ANASTASIS. Research in Medieval Culture and Art, 2019
The construction of tombs in the era of Islamic architecture is usually considered as being a man... more The construction of tombs in the era of Islamic architecture is usually considered as being a manifestation of beliefs and rituals related to the honoring of the dead, along with other religious buildings, including mosques. The various structural methods of the tombs have been influenced by varied cultural and material factors. However, contrasting opinions and votes have been allocated to the issue of tombs laws in Islamic jurisprudence. At any rate, a foregone conclusion is that the presence of a large number of these buildings in many Islamic countries emphasises their special position in the Islamic society. Different types of Islamic decorative arts can be studied in accordance with the importance of the most beautiful historical domes of Iran, namely Kabood and Ghafarieh domes. This research is based on the study of some applied elements, such as tiling (Kashi Kari) and brickwork, as well as some of the architectural elements in the domes of Maragheh, like polo, which have not been observed in other Iranian buildings.
The story of Ismail’s Sacrifice by the Prophet Abraham, taken from the Quran and biblical verses,... more The story of Ismail’s Sacrifice by the Prophet Abraham, taken from the Quran and biblical verses, has been interpreted in many ways by narrators, performers, Christian and Muslim storytellers, and has also been represented by the visual artists in countless images. ‘Qisas al Anbiya’ was one of the books that illustrated this story during the Safavian period. The main purpose of this article is to examine the interpretations, images and implications specific to Islamic and Christian artists, in relation to their different attitudes, education and historical roots, and finally to determine the relevant visual representations and conduct a comparative study of them.
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artists, in relation to their different attitudes, education and historical roots, and finally to determine the relevant visual representations and conduct a comparative study of them.
artists, in relation to their different attitudes, education and historical roots, and finally to determine the relevant visual representations and conduct a comparative study of them.