Papers by Mahnaz Shayestehfar
Motaleat-e Tatbighi-e Honar, 2021
Mitteilungen der Deutschen Gesellschaft für Neurologie "Wichtiges Anliegen ist mir, dass sich die... more Mitteilungen der Deutschen Gesellschaft für Neurologie "Wichtiges Anliegen ist mir, dass sich die DGN den Geist einer frischen Fachgesellschaft bewahrt" Ein Gespräch mit dem ehemaligen DGN-Geschäftsführer, Dr. Thomas Thiekötter, und seinem Nachfolger, David Friedrich-Schmidt 8 Für David Friedrich-Schmidt sind die großen Zukunftsthemen der DGN neben der Digitalisierung z. B. die Geschlechtergerechtigkeit, Nachwuchsförderung oder auch die Angebote der DGN für Pflegende und Angehörige anderer in der Neurologie tätigen Gesundheitsberufe © DGN/Claudius Pflug Seit 2020 haben Sie Erfahrungen mit der Durchführung von Online-Kongressen gesammelt. Bleibt die Digitalisierung auch ein Bestandteil zukünftiger Kongresse, selbst wenn Corona eines Tages Geschichte sein sollte? David Friedrich-Schmidt: Ich habe da eine klare Meinung: Hybrid ist gekommen, um zu bleiben. Selbst wenn wieder Präsenzformate uneingeschränkt möglich sind, sollten wir Livestreams, Webcasts und die Online-Teilnahme an sich anbieten, sodass man sich auch im Nachgang und zeitlich unabhängig einzelne Vorträge oder ganze Sessions anschauen kann. Denn das ist das, was die Teilnehmenden wollen. Wir haben auch nach diesem Jahr eine umfangreiche Evaluation gemacht-noch ist die Auswertung nicht komplett abgeschlossen, aber was sich bereits jetzt klar abzeichnet, ist der Wunsch nach einem solchen Hybridformat, auch weil dadurch das Dilemma der Parallelstruktur umgangen wird. Vor Ort müssen die Besucherinnen und Besucher immer auswählen, man kann schließlich nicht zeitgleich in mehreren Vortragssälen sitzen. Mit den Inhalten im Netz muss nun keiner mehr etwas verpassen und kann theoretisch 100 % des gesamten Kongressprogramms anschauen. Das entspannt und schafft Raum für anderes. Denn ein zweiter Wunsch, der von vielen an uns herangetragen wurde, war, mehr Zeit für Diskussionen und Networking während des Kongresses zu haben. Es sind gerade diese persönlichen Begegnungen und Gespräche, die als besonders wichtig empfunden werden. Wir werden den nächsten Kongress daher entsprechend diesen Wünschen umgestalten. Wir werden mehr Freiräume zum Netzwerken schaffen, nicht mehr 17 oder mehr Säle parallel bespielen, nur noch maximal fünf, denn wir können in den digitalen Raum ausweichen und viele Inhalte auch ausschließlich als Webcasts anbieten. Mehr im Vordergrund stehen ganz klar Gespräche und kollegialer Austausch. Das Hybridformat bietet also ganz neue Möglichkeiten der Kongressgestaltung, die wir nutzen möchten. Außerdem erreichen wir damit mehr Interessierte als mit einem reinen Präsenzkongress, denn es liegt auf der Hand, dass nicht alle Neurologinnen und Neurologen einer Klinik oder Praxis zum Kongress fahren können. Mit Hybrid erreichen wir einfach mehr. Ob vor Ort, online oder in einer Mischung aus beiden-alle werden daran partizipieren können. 8 Dr. Thomas Thiekötter hat die DGN in den zwölf Jahren seiner Geschäfts führertätigkeit zu einer modernen Fachgesellschaft ausgebaut
هنر اسلامی, 2016
Illustration of historical and religious scenes is of high significance in Islamic versions of Ir... more Illustration of historical and religious scenes is of high significance in Islamic versions of Iran's illustration; different features have been manifested in these pictures during different periods of art. In Moghul era, because of the kings' tendency toward Christianity and Christian factors, influences of byzantine painting was observed in the illustrations; but what is clearly evident with the Il-khans era is the strong influence of Chinese art, particularly the Yuan and Sung period, on Mughal painting. One could claim that Il-khans is the period of conflicting elements of Chinese, Iranian, Byzantine, and Arabic art. On the other hand, illustration of Islamic historical scenes became common in the books during Il-khans period, the period when Islam became the formal religion. As an instance, in the second volume of the manuscript version of Jameá- al-Tawarikh, written by Rashid-al-Din Fazl-allah (the minister to Ghazan Khan), one can see the presence of some descriptions...
Design Engineering, 2021
Il-Khanid seals and coins are a type of seal featuring figurative patterns typically characterize... more Il-Khanid seals and coins are a type of seal featuring figurative patterns typically characterized by the Rectangular style of Kufic script, the absence of figures, extensive use of calligraphy, geometric, and abstract patterns. Although it is based on the Persian seal-carving tradition, the Īl-Khānids seals and coins exhibit various elements from the Chinese seals (印章), and also similar in their style to the Mongolian writing systems. While the Silk Road, the central path for trade and economic purposes, brought together China and Persia, the two nations had strong influences regarding culture, tradition, and religion, and Persian art has applied many Chinese artistic elements, particularly in the art of seal making. Indeed, the historical evidence suggests that the Mongolian Empire employed the Chinese seals (印章) throughout their territory, stretching from China to Persia. The intercultural influences through the Silk Road seem to be well-rooted in Central Asia, and for the first ...
The art of carpet weaving has undergone changes during the course of history. This ancient art ha... more The art of carpet weaving has undergone changes during the course of history. This ancient art has gradually found its place among other branches of art due to its artistic and consumer characteristics. The art of carpet weaving has heavily influenced other fields like painting for its elegant ornamentation. This paper will elaborate on the widespread relations between Persian and Italian art during 8-11/1417 centuries; hence, the influence of the ornamentation of Persian rugs on Italian painting will be analyzed. There are several questions to which this paper seeks to answer throughout the article. 1What were the cultural, political and trading backgrounds of the import of Persian rugs to Italy during 14 -17 centuries? 2What are the common patterns of Persian rugs reflected in Italian paintings? The data were competed through available historical documents and images.
The International Journal of Humanities, 2010
The art of carpet weaving has undergone changes during the course of history. This ancient art ha... more The art of carpet weaving has undergone changes during the course of history. This ancient art has gradually found its place among other branches of art due to its artistic and consumer characteristics. The art of carpet weaving has heavily influenced other fields like painting for its elegant ornamentation. This paper will elaborate on the widespread relations between Persian and Italian art during 8-11/1417 centuries; hence, the influence of the ornamentation of Persian rugs on Italian painting will be analyzed. There are several questions to which this paper seeks to answer throughout the article. 1- What were the cultural, political and trading backgrounds of the import of Persian rugs to Italy during 14 th -17 th centuries? 2- What are the common patterns of Persian rugs reflected in Italian paintings? The data were competed through available historical documents and images.
Symbolism as one of the tools of pictorial expression and transmission of concepts has brought ma... more Symbolism as one of the tools of pictorial expression and transmission of concepts has brought many works of Iranian painting closer in form and meaning. On the other hand, the use of symbol is also considered as one of the literary arrays. In the process of composing, what attracts the poet's sensation, emotion and imagination more is the creation and the space and scope of nature. Iranian artist creates in a symbolic atmosphere; Taking advantage of the valuable context of Persian poetry and literature, the Iranian painter has not sought to represent tangible nature, but to represent symbolic effects. Manouchehri Damghani and Molana Mohammad Jalaluddin Balkhi (Shams) are among the most prominent poets describing nature in Persian literature. The present study seeks to analyze the symbolic effects of nature in poetry and painting in the fourth and seventh centuries AH with a descriptive and analytical method. The research findings demonstrate that the use of lexical range in the...
Goya Revista De Arte, 2003
Este articulo esta dedicado al estudio de los instrumentos musicales persas en la epoca timurida ... more Este articulo esta dedicado al estudio de los instrumentos musicales persas en la epoca timurida segun se representan en una serie de miniaturas del siglo XV. Comienza con una explicacion sobre el sistema de clasificacion habitual de los instrumentos musicales, asi como con una breve descripcion de los instrumentos comunes en ese periodo de acuerdo con algunos importantes tratados musicales. Luego, se realiza un esfuerzo para localizar ilustraciones de instrumentos musicales en algunas miniaturas timuridas. Finalmente, se intenta comparar los datos que se derivan de las fuentes, tanto organologicas como iconograficas, para conseguir una mejor comprension de la morfologia y la funcion de los instrumentos musicales que se suponen prevalecieron en la epoca timurida
Islamic perspectives relating to business, arts, culture and communication, 2015
The art of brocade weaving has a long history in Iran and has had a worldwide fame on its flouris... more The art of brocade weaving has a long history in Iran and has had a worldwide fame on its flourishing and prosperity ages. According to some written and historical documents, weaving brocade in Iran was highly fashionable from the Achaemenid Empire to the Sassanid dynasty, so that a plenty of pieces were used for decorating the palaces and churches all over the world. Entering Islam, brocade weaving has experienced lots of vicissitudes but could go on, and during the Safavid Age, the art met a revival by supporting the artists and developing several workspaces. According to the historians, the art of brocade weaving is developed in the Malay Peninsula by trading, migration, and political marriages, since the fifteenth century. The Malay cloth is made with different names and various designs, some of which share numerous similarities with the Iranian brocade textiles. The methodology is comparative-analytic, and the sources are documents and field reports.
This paper is devoted to a study of Persian musical instruments in the Timurid era as depicted in... more This paper is devoted to a study of Persian musical instruments in the Timurid era as depicted in a number of the 15th century miniature paintings. It begins with a discussion of the usual system of classification of musical instruments as well as a brief description of the common musical instruments in that period according to some extant musical treatises. Then an effort is made to locate illustrations of musical instruments in some Timurid miniature paintings. Finally, an attempt is made to compare the data derived from both organological and iconographical sources in order to get a better understanding of the morphology and the function of the musical instruments, which were supposed to be prevalent in the Timurid epoch.
Islamic Art Studies, 2020
Abstractː
Symbolism as one of the tools of pictorial expression and transmission of concepts has... more Abstractː
Symbolism as one of the tools of pictorial expression and transmission of concepts has brought many works of Iranian painting closer in form and meaning. On the other hand, the use of symbol is also considered as one of the literary arrays. In the process of composing, what attracts the poet's sensation, emotion and imagination more is the creation and the space and scope of nature. Iranian artist creates in a symbolic atmosphere; Taking advantage of the valuable context of Persian poetry and literature, the Iranian painter has not sought to represent tangible nature, but to represent symbolic effects. Manouchehri Damghani and Molana Mohammad Jalaluddin Balkhi (Shams) are among the most prominent poets describing nature in Persian literature. The present study seeks to analyze the symbolic effects of nature in poetry and painting in the fourth and seventh centuries AH with a descriptive and analytical method. The research findings demonstrate that the use of lexical range in the poems of Manouchehri and Rumi shows that their poetic world is a green world filled with symbols resembling nature. The symbolism of nature depiction is beautifully visible in the poetry of these two poets and the painting of the fourth and seventh centuries AH. The invention and use of symbolic elements in Iranian painting in the mentioned centuries does not bear an independent form, but an evolutionary process in form and content based on Persian poetry and literature of this period with poets such as Manouchehri and Rumi and under the influence of naturalistic imagery influenced from Chinese art.
Research aims:
1. Recognition of the symbolic effects of nature in Iranian poetry and painting with emphasis on the poems of Manouchehri Damghani and Ghazals of Shams.
2. Comparison of the elements of nature from the point of view of Manouchehri (mere naturalist) and Rumi (Shams).
Research questions:
1. What is the place of the use of symbolism in the poems of Manouchehri and Rumi and in the paintings of the fourth and seventh centuries AH?
2. How did Manouchehri Damghani and Rumi acknowledged nature in their poems?
Keywordsː
Symbolism Nature Poetry Painting Manouchehri Rumi
Erfan Islami, 2020
Abstractː
From the point of view of Shiites and Shiite commentators, the event of Qadir Khom and ... more Abstractː
From the point of view of Shiites and Shiite commentators, the event of Qadir Khom and the announcement of the succession of Imam Ali (PBUH) by the Holy Prophet (PBUH) is one of the greatest historical events of the beginning of Islam and beholds a special position particularly to substantiate the legitimacy of Amir al-Momenin (PBUH). Among the explanations of the hadith and the narration of Qadir Khom many references have been made to the verses revealed by God in this regard, including the verse of “Tabliq” and the verse of “Akmal”. This event has received exceptional responses due to its prominence and position among Shiites in various fields of art, society, politics and also in the daily life of Muslims. In the meantime, Islamic-Iranian painting has provided the painters with an opportunity to portray and display various stories and themes, specifically sacred and religious themes. Qadir Khom is one of the themes that has been written and illustrated by the order of Shiite and religious rulers and supporters. Most of the paintings obtained from this subject belong to the Safavid manuscripts that follow a unique Shiite approach. Such artworks include the works of Al-Baqiyah, Habib al-Sir, Fal-nameh, the works of Al-Muzaffar, Ahsan al-Kabar, Rozat al-Safa, the attack of Heydari, and the paintings of Master Farshchian. Most of the handwritten drawings from this copy display the event with almost the same description and interpretation of the Qadir hadith in Dasht-e Farakh, nevertheless a number of the drawings behold diverse symbols and concepts; furthermore, they demonstrate the dignity of the Imam's guardianship according to the hadiths, narrations and verses of the holy Qur'an. This article, considering the dignity and status of Imam Ali's (PBUH) guardianship has explained and examined the event of Qadir Khomin the paintings and samples obtained.
Research Objectives:
1- Recognizing the dignity and position of Imam Ali (PBUH) in the holy Qur'an and its manifestation in art.
2- Examining Qadir Khom narration in the works of Islamic painting.
Research Questions:
1- How many works and manuscripts and with what perspective have depicted the Qadir Khom incident?
2- In what form and approach have such paintings expressed the narration of Ghadir and the guardianship of Imam Ali (PBUH)
Keywordsː
Qadir Khom, Imam Ali (PBUH), Velayat, Safavid painting.
Historical Sciences Studies, 2021
The lithographic religious books as one of the most prevalent books in the Qajar period, are clos... more The lithographic religious books as one of the most prevalent books in the Qajar period, are closely related to the public culture and also influenced other artworks. In this regard, the present study aims to review the impacts of Ashura paintings of one of the most effective lithographic books (i.e., Judi collection) on the tilework of Tekyeh Moaven al-Molk. Methodology: This analytical-descriptive study utilizes a documentary-library method involving the study of lithographic manuscripts available in the National Library of I.R.Iran along with the tilework of Tekyeh Moaven al-Molk with the theme of Ashura. Conclusion: Ashura paintings on the Tekyeh Moaven al-Molk tiles have been inspired by lithographic images found in such books as Toofan Al-Beka’, Asrar Al-Shahada, Majalis Al-Muttaghin, and Judy Collection. This inspiration is seen more in Judi Collection than in other lithographic books. This inspiration is evident not only in the subject matter but also in the design styles. The similarities include the same elements in the selection of scenes and figures, religious and historical narrations, visual presentations, layout, and lines of shapes and interior surfaces. The background is more important in tilework and the presence of women is remarkable in the paintings of the building’s tiles. Indeed, the quantity of women in the paintings of the Judi collection is more than in other manuscripts. The concepts of resistance, the superiority of good over evil, and the companions of uwliya (saint figures) are significant in these works.
History Of Islam and Iran, 2021
Among the most precious Iranian lithographic books from the Qajar period is Kulliyat-e Joodi, who... more Among the most precious Iranian lithographic books from the Qajar period is Kulliyat-e Joodi, whose illustrations stand out in their depiction of the women present at the Battle of Karbala. With a focus on Zaynab bint Ali (peace of God be upon her), this study analyses those of the book’s illustrations that are centered on the women of the Battle of Karbala. It also explores the themes surrounding the event, as well as the thematic and visual qualities of the illustrations. The study asks: “How are the accounts and themes of the Battle of Karbala rendered in the illustrations? And how are the religious significance and outfit of Zaynab (p) and the other women of the Battle of Karbala shown in the different Manuscripts of the book?”
The findings of this descriptive-analytical desk research helped identify the illustrators of some of the Kulliat-e Joodi Manuscripts whose illustrators were originally unspecified. Many of the studied artworks were not completely faithful to the accepted Islamic historical accounts, with the artist having taken creative liberties with the source text.
To show the religious significance of Zaynab (p), the illustrations make her the focus of the scenes and distinguish her with visual elements of holiness. She also notably appears in three different outfits across the artworks. Notions such as the strength of character, support, patience, and grief are highlighted using different artistic tactics.
Keywordsː
Qajar, lithographic illustrations, Kulliyat-e Joodi, Zaynab bint Ali (p), Ashura, Islamic historical accounts.
Main Subjectsː
History of developments in the Islamic world Research Methods
Islamic Art, 2021
The art of painting is the manifestation of national and religious ideas. Muslim artists in diver... more The art of painting is the manifestation of national and religious ideas. Muslim artists in diverse lands have reflected many common moral and religious themes; in the interim, due to cultural, religious ties and wars between nations that led to the conquest of lands, the paintings and illustrations of the Safavid and Ottoman illustrated manuscripts of the fifteenth to seventeenth /ninth to eleventh centuries highly influenced each other and many common concepts including religious, literary, mystical and historical themes are found in their illustrated versions. Therefore, considering the characteristics of the paintings of the Safavid and Ottoman periods, the hypothesis of this research is that despite the relationship between cultures and the common political and social changes of both empires, significant effects are considered. The present research is a qualitative content analysis and the method of data collection is accomplished via the library method.
The findings of this research display that the paintings of the Safavid and Ottoman empires are similar in a number of features, however they are diverse in terms of method, style and context. In addition, the prominent visual features in the paintings of each era were influenced by the culture and religion of the society of that time and reflect the cultural and religious situation of that period despite their variances.
Journal of Language and Linguistic Studies, 2022
This research analyzes the colors of the illustrations of Imam Ali (peace be upon him) in Khavara... more This research analyzes the colors of the illustrations of Imam Ali (peace be upon him) in Khavaran-nama based on the views of 'Ala' al-Dawla Simnani. The remarkable approach of Muslim sages and mystics to "color", ended up to subtle meanings and delicate concepts of this artistic element that can be seen in Iranian-Islamic arts, including Iranian painting. Ala Al-Dowleh Semnani is one of the most important Iranian mystics who has mystical reflection and attention to color and has used colors a lot in his Nourieh treatise which describes the journey and behavior of seekers. Khavaran-nama is one of the valuable works in the history of Iranian painting, which includes the admirable paintings of a painter named Farhad. Considering that Khavaran-nama has a theme for all Shiites, it seems that the painter has also benefited from mystical concepts. Therefore, in this study, the researcher seeks to answer the question that 1. Has the views (Opinions) of Ala Al-Dawla Simnani had an effect on the use of Imam Ali pictorial color illustrations in the Khavaran-nama? By examining the opinions of Ala Al-Dawla Simnani regarding color, he tries to show the mystical representation of color in the pictorial drawings of Imam Ali (peace must be upon him) in Khavaran-nama. The research method is descriptive-analytical and the method of collecting materials is a library collection. Farhad, by using distinctive and bright colors, has used them in the service of the core meaning, and according to the Shiite theme, it can be said that referring to Shiite and mystical sources of color has been very probable.
Journal of History of Islam and Iran, 2022
Among the most precious Iranian lithographic books from the Qajar period is
Kulliyat-e Joodi, wh... more Among the most precious Iranian lithographic books from the Qajar period is
Kulliyat-e Joodi, whose illustrations stand out in their depiction of the women
present at the Battle of Karbala. With a focus on Zaynab bint Ali (peace of God be
upon her), this study analyses those of the book’s illustrations that are centered on
the women of the Battle of Karbala. It also explores the themes surrounding the
event, as well as the thematic and visual qualities of the illustrations. The study asks:
“How are the accounts and themes of the Battle of Karbala rendered in the
illustrations? And how are the religious significance and outfit of Zaynab (p) and the
other women of the Battle of Karbala shown in the different Manuscripts of the
book?”
The findings of this descriptive-analytical desk research helped identify the
illustrators of some of the Kulliat-e Joodi Manuscripts whose illustrators were
originally unspecified. Many of the studied artworks were not completely faithful to
the accepted Islamic historical accounts, with the artist having taken creative
liberties with the source text.
To show the religious significance of Zaynab (p), the illustrations make her the
focus of the scenes and distinguish her with visual elements of holiness. She also
notably appears in three different outfits across the artworks. Notions such as the
strength of character, support, patience, and grief are highlighted using different
artistic tactics.
Design Engineering, 2021
Il-Khanid seals and coins are a type of seal featuring figurative patterns typically characterize... more Il-Khanid seals and coins are a type of seal featuring figurative patterns typically characterized by the Rectangular style of Kufic script, the absence of figures, extensive use of calligraphy, geometric, and abstract patterns. Although it is based on the Persian seal carving tradition, the Īl-Khānids seals and coins exhibit various elements from the Chinese seals (印章), and also similar in their style to the Mongolian writing systems. While the Silk Road, the central path for trade and economic purposes, brought together China and Persia, the two nations had strong influences regarding culture, tradition, and religion, and Persian art has applied many Chinese artistic elements, particularly in the art of seal making. Indeed, the historical evidence suggests that the Mongolian Empire employed the Chinese seals (印章) throughout their territory, stretching from China to Persia. The intercultural influences through the Silk Road seem to be well-rooted in Central Asia, and for the first time, Chinese culture is seen abundantly in the Īl-Khānids seal history, as well as the Rectangular style of Kufic script on the seals and coins, influenced by the Uighur script. This paper uses an interdisciplinary approach to analyse the Chinese and the Īl-Khānids seals and coins to survey transmission of the Chinese tradition through Silk Road cultural exchanges.
The results show that there exists a strong possibility that the manner in which the writing of Arabic characters in the Rectangular Kufic writing system was inserted at the top to the bottom unexpectedly followed the style of Mongolian words.
The Journal of PalArch's Journal of Archaeology of Egypt/ Egyptology, 2021
Cultural relations between Persia and China grew even closer after the Mongol conquest of both co... more Cultural relations between Persia and China grew even closer after the Mongol conquest of both countries in the 13th century, when the Īl-Khānids came to power. Mongol rulers were also affected by Chinese art and cultural heritage; it then transferred to Iran by political, commercial, and then cultural relations. So they prepared the conditions for mutual artistic inspirations, especially in painting. Since the illustrated Persian paintings clearly demonstrate foreign influences, including the culture of different nations, significantly China's cultural impact on Iran, the need for this investigation becomes more apparent in the period.
The aim of this study is to analyze and describe the manifestation of landscape in the Chinese and the Īl-Khānids paintings and focuses on the study of the similarities and differences of these styles and symbols. For this purpose, two main elements have to be investigated: the elements of Natural landscape in Chinese and Persian paintings in the Yuan and Song/ Īl-Khānids eras and the transmission of similar features. The authors suggest that the Cultural Adaptation Process is both creativity and genius development factor and a factor in the art social integration; for that reason, it has an importance. The result shows there were two ways to convey the style and techniques of Chinese landscape painting. One way is to copy blindly, and another way is a combination of deformed elements and derivation of indigenous features in paintings. Chinese's myriad cultural influences have led to a wide array of the new style paintings in the Īl-Khānid Mongols eras, but the creativity of the Persian artists was also involved in creating the new and eclectic style as well.
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Papers by Mahnaz Shayestehfar
Symbolism as one of the tools of pictorial expression and transmission of concepts has brought many works of Iranian painting closer in form and meaning. On the other hand, the use of symbol is also considered as one of the literary arrays. In the process of composing, what attracts the poet's sensation, emotion and imagination more is the creation and the space and scope of nature. Iranian artist creates in a symbolic atmosphere; Taking advantage of the valuable context of Persian poetry and literature, the Iranian painter has not sought to represent tangible nature, but to represent symbolic effects. Manouchehri Damghani and Molana Mohammad Jalaluddin Balkhi (Shams) are among the most prominent poets describing nature in Persian literature. The present study seeks to analyze the symbolic effects of nature in poetry and painting in the fourth and seventh centuries AH with a descriptive and analytical method. The research findings demonstrate that the use of lexical range in the poems of Manouchehri and Rumi shows that their poetic world is a green world filled with symbols resembling nature. The symbolism of nature depiction is beautifully visible in the poetry of these two poets and the painting of the fourth and seventh centuries AH. The invention and use of symbolic elements in Iranian painting in the mentioned centuries does not bear an independent form, but an evolutionary process in form and content based on Persian poetry and literature of this period with poets such as Manouchehri and Rumi and under the influence of naturalistic imagery influenced from Chinese art.
Research aims:
1. Recognition of the symbolic effects of nature in Iranian poetry and painting with emphasis on the poems of Manouchehri Damghani and Ghazals of Shams.
2. Comparison of the elements of nature from the point of view of Manouchehri (mere naturalist) and Rumi (Shams).
Research questions:
1. What is the place of the use of symbolism in the poems of Manouchehri and Rumi and in the paintings of the fourth and seventh centuries AH?
2. How did Manouchehri Damghani and Rumi acknowledged nature in their poems?
Keywordsː
Symbolism Nature Poetry Painting Manouchehri Rumi
From the point of view of Shiites and Shiite commentators, the event of Qadir Khom and the announcement of the succession of Imam Ali (PBUH) by the Holy Prophet (PBUH) is one of the greatest historical events of the beginning of Islam and beholds a special position particularly to substantiate the legitimacy of Amir al-Momenin (PBUH). Among the explanations of the hadith and the narration of Qadir Khom many references have been made to the verses revealed by God in this regard, including the verse of “Tabliq” and the verse of “Akmal”. This event has received exceptional responses due to its prominence and position among Shiites in various fields of art, society, politics and also in the daily life of Muslims. In the meantime, Islamic-Iranian painting has provided the painters with an opportunity to portray and display various stories and themes, specifically sacred and religious themes. Qadir Khom is one of the themes that has been written and illustrated by the order of Shiite and religious rulers and supporters. Most of the paintings obtained from this subject belong to the Safavid manuscripts that follow a unique Shiite approach. Such artworks include the works of Al-Baqiyah, Habib al-Sir, Fal-nameh, the works of Al-Muzaffar, Ahsan al-Kabar, Rozat al-Safa, the attack of Heydari, and the paintings of Master Farshchian. Most of the handwritten drawings from this copy display the event with almost the same description and interpretation of the Qadir hadith in Dasht-e Farakh, nevertheless a number of the drawings behold diverse symbols and concepts; furthermore, they demonstrate the dignity of the Imam's guardianship according to the hadiths, narrations and verses of the holy Qur'an. This article, considering the dignity and status of Imam Ali's (PBUH) guardianship has explained and examined the event of Qadir Khomin the paintings and samples obtained.
Research Objectives:
1- Recognizing the dignity and position of Imam Ali (PBUH) in the holy Qur'an and its manifestation in art.
2- Examining Qadir Khom narration in the works of Islamic painting.
Research Questions:
1- How many works and manuscripts and with what perspective have depicted the Qadir Khom incident?
2- In what form and approach have such paintings expressed the narration of Ghadir and the guardianship of Imam Ali (PBUH)
Keywordsː
Qadir Khom, Imam Ali (PBUH), Velayat, Safavid painting.
The findings of this descriptive-analytical desk research helped identify the illustrators of some of the Kulliat-e Joodi Manuscripts whose illustrators were originally unspecified. Many of the studied artworks were not completely faithful to the accepted Islamic historical accounts, with the artist having taken creative liberties with the source text.
To show the religious significance of Zaynab (p), the illustrations make her the focus of the scenes and distinguish her with visual elements of holiness. She also notably appears in three different outfits across the artworks. Notions such as the strength of character, support, patience, and grief are highlighted using different artistic tactics.
Keywordsː
Qajar, lithographic illustrations, Kulliyat-e Joodi, Zaynab bint Ali (p), Ashura, Islamic historical accounts.
Main Subjectsː
History of developments in the Islamic world Research Methods
The findings of this research display that the paintings of the Safavid and Ottoman empires are similar in a number of features, however they are diverse in terms of method, style and context. In addition, the prominent visual features in the paintings of each era were influenced by the culture and religion of the society of that time and reflect the cultural and religious situation of that period despite their variances.
Kulliyat-e Joodi, whose illustrations stand out in their depiction of the women
present at the Battle of Karbala. With a focus on Zaynab bint Ali (peace of God be
upon her), this study analyses those of the book’s illustrations that are centered on
the women of the Battle of Karbala. It also explores the themes surrounding the
event, as well as the thematic and visual qualities of the illustrations. The study asks:
“How are the accounts and themes of the Battle of Karbala rendered in the
illustrations? And how are the religious significance and outfit of Zaynab (p) and the
other women of the Battle of Karbala shown in the different Manuscripts of the
book?”
The findings of this descriptive-analytical desk research helped identify the
illustrators of some of the Kulliat-e Joodi Manuscripts whose illustrators were
originally unspecified. Many of the studied artworks were not completely faithful to
the accepted Islamic historical accounts, with the artist having taken creative
liberties with the source text.
To show the religious significance of Zaynab (p), the illustrations make her the
focus of the scenes and distinguish her with visual elements of holiness. She also
notably appears in three different outfits across the artworks. Notions such as the
strength of character, support, patience, and grief are highlighted using different
artistic tactics.
The results show that there exists a strong possibility that the manner in which the writing of Arabic characters in the Rectangular Kufic writing system was inserted at the top to the bottom unexpectedly followed the style of Mongolian words.
The aim of this study is to analyze and describe the manifestation of landscape in the Chinese and the Īl-Khānids paintings and focuses on the study of the similarities and differences of these styles and symbols. For this purpose, two main elements have to be investigated: the elements of Natural landscape in Chinese and Persian paintings in the Yuan and Song/ Īl-Khānids eras and the transmission of similar features. The authors suggest that the Cultural Adaptation Process is both creativity and genius development factor and a factor in the art social integration; for that reason, it has an importance. The result shows there were two ways to convey the style and techniques of Chinese landscape painting. One way is to copy blindly, and another way is a combination of deformed elements and derivation of indigenous features in paintings. Chinese's myriad cultural influences have led to a wide array of the new style paintings in the Īl-Khānid Mongols eras, but the creativity of the Persian artists was also involved in creating the new and eclectic style as well.
Symbolism as one of the tools of pictorial expression and transmission of concepts has brought many works of Iranian painting closer in form and meaning. On the other hand, the use of symbol is also considered as one of the literary arrays. In the process of composing, what attracts the poet's sensation, emotion and imagination more is the creation and the space and scope of nature. Iranian artist creates in a symbolic atmosphere; Taking advantage of the valuable context of Persian poetry and literature, the Iranian painter has not sought to represent tangible nature, but to represent symbolic effects. Manouchehri Damghani and Molana Mohammad Jalaluddin Balkhi (Shams) are among the most prominent poets describing nature in Persian literature. The present study seeks to analyze the symbolic effects of nature in poetry and painting in the fourth and seventh centuries AH with a descriptive and analytical method. The research findings demonstrate that the use of lexical range in the poems of Manouchehri and Rumi shows that their poetic world is a green world filled with symbols resembling nature. The symbolism of nature depiction is beautifully visible in the poetry of these two poets and the painting of the fourth and seventh centuries AH. The invention and use of symbolic elements in Iranian painting in the mentioned centuries does not bear an independent form, but an evolutionary process in form and content based on Persian poetry and literature of this period with poets such as Manouchehri and Rumi and under the influence of naturalistic imagery influenced from Chinese art.
Research aims:
1. Recognition of the symbolic effects of nature in Iranian poetry and painting with emphasis on the poems of Manouchehri Damghani and Ghazals of Shams.
2. Comparison of the elements of nature from the point of view of Manouchehri (mere naturalist) and Rumi (Shams).
Research questions:
1. What is the place of the use of symbolism in the poems of Manouchehri and Rumi and in the paintings of the fourth and seventh centuries AH?
2. How did Manouchehri Damghani and Rumi acknowledged nature in their poems?
Keywordsː
Symbolism Nature Poetry Painting Manouchehri Rumi
From the point of view of Shiites and Shiite commentators, the event of Qadir Khom and the announcement of the succession of Imam Ali (PBUH) by the Holy Prophet (PBUH) is one of the greatest historical events of the beginning of Islam and beholds a special position particularly to substantiate the legitimacy of Amir al-Momenin (PBUH). Among the explanations of the hadith and the narration of Qadir Khom many references have been made to the verses revealed by God in this regard, including the verse of “Tabliq” and the verse of “Akmal”. This event has received exceptional responses due to its prominence and position among Shiites in various fields of art, society, politics and also in the daily life of Muslims. In the meantime, Islamic-Iranian painting has provided the painters with an opportunity to portray and display various stories and themes, specifically sacred and religious themes. Qadir Khom is one of the themes that has been written and illustrated by the order of Shiite and religious rulers and supporters. Most of the paintings obtained from this subject belong to the Safavid manuscripts that follow a unique Shiite approach. Such artworks include the works of Al-Baqiyah, Habib al-Sir, Fal-nameh, the works of Al-Muzaffar, Ahsan al-Kabar, Rozat al-Safa, the attack of Heydari, and the paintings of Master Farshchian. Most of the handwritten drawings from this copy display the event with almost the same description and interpretation of the Qadir hadith in Dasht-e Farakh, nevertheless a number of the drawings behold diverse symbols and concepts; furthermore, they demonstrate the dignity of the Imam's guardianship according to the hadiths, narrations and verses of the holy Qur'an. This article, considering the dignity and status of Imam Ali's (PBUH) guardianship has explained and examined the event of Qadir Khomin the paintings and samples obtained.
Research Objectives:
1- Recognizing the dignity and position of Imam Ali (PBUH) in the holy Qur'an and its manifestation in art.
2- Examining Qadir Khom narration in the works of Islamic painting.
Research Questions:
1- How many works and manuscripts and with what perspective have depicted the Qadir Khom incident?
2- In what form and approach have such paintings expressed the narration of Ghadir and the guardianship of Imam Ali (PBUH)
Keywordsː
Qadir Khom, Imam Ali (PBUH), Velayat, Safavid painting.
The findings of this descriptive-analytical desk research helped identify the illustrators of some of the Kulliat-e Joodi Manuscripts whose illustrators were originally unspecified. Many of the studied artworks were not completely faithful to the accepted Islamic historical accounts, with the artist having taken creative liberties with the source text.
To show the religious significance of Zaynab (p), the illustrations make her the focus of the scenes and distinguish her with visual elements of holiness. She also notably appears in three different outfits across the artworks. Notions such as the strength of character, support, patience, and grief are highlighted using different artistic tactics.
Keywordsː
Qajar, lithographic illustrations, Kulliyat-e Joodi, Zaynab bint Ali (p), Ashura, Islamic historical accounts.
Main Subjectsː
History of developments in the Islamic world Research Methods
The findings of this research display that the paintings of the Safavid and Ottoman empires are similar in a number of features, however they are diverse in terms of method, style and context. In addition, the prominent visual features in the paintings of each era were influenced by the culture and religion of the society of that time and reflect the cultural and religious situation of that period despite their variances.
Kulliyat-e Joodi, whose illustrations stand out in their depiction of the women
present at the Battle of Karbala. With a focus on Zaynab bint Ali (peace of God be
upon her), this study analyses those of the book’s illustrations that are centered on
the women of the Battle of Karbala. It also explores the themes surrounding the
event, as well as the thematic and visual qualities of the illustrations. The study asks:
“How are the accounts and themes of the Battle of Karbala rendered in the
illustrations? And how are the religious significance and outfit of Zaynab (p) and the
other women of the Battle of Karbala shown in the different Manuscripts of the
book?”
The findings of this descriptive-analytical desk research helped identify the
illustrators of some of the Kulliat-e Joodi Manuscripts whose illustrators were
originally unspecified. Many of the studied artworks were not completely faithful to
the accepted Islamic historical accounts, with the artist having taken creative
liberties with the source text.
To show the religious significance of Zaynab (p), the illustrations make her the
focus of the scenes and distinguish her with visual elements of holiness. She also
notably appears in three different outfits across the artworks. Notions such as the
strength of character, support, patience, and grief are highlighted using different
artistic tactics.
The results show that there exists a strong possibility that the manner in which the writing of Arabic characters in the Rectangular Kufic writing system was inserted at the top to the bottom unexpectedly followed the style of Mongolian words.
The aim of this study is to analyze and describe the manifestation of landscape in the Chinese and the Īl-Khānids paintings and focuses on the study of the similarities and differences of these styles and symbols. For this purpose, two main elements have to be investigated: the elements of Natural landscape in Chinese and Persian paintings in the Yuan and Song/ Īl-Khānids eras and the transmission of similar features. The authors suggest that the Cultural Adaptation Process is both creativity and genius development factor and a factor in the art social integration; for that reason, it has an importance. The result shows there were two ways to convey the style and techniques of Chinese landscape painting. One way is to copy blindly, and another way is a combination of deformed elements and derivation of indigenous features in paintings. Chinese's myriad cultural influences have led to a wide array of the new style paintings in the Īl-Khānid Mongols eras, but the creativity of the Persian artists was also involved in creating the new and eclectic style as well.