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Open Access Article
1 - Investigation and analysis of the formation of the Shiraz school in painting and its effectsThis school in the architecture of Shiraz city
Mohammad Varasteh ٍElham DehghaniThe Shiraz school of painting is a type of painting and book design that emerged during the Al-Inju period with the support of powerful and wealthy art educators and reached its peak during the Timurid era. Since architecture is always a reflection of the culture and ar MoreThe Shiraz school of painting is a type of painting and book design that emerged during the Al-Inju period with the support of powerful and wealthy art educators and reached its peak during the Timurid era. Since architecture is always a reflection of the culture and art of that period in every period of history, and the transformations that took place in other areas of life and art were proportional to it, therefore, dealing with the historical and artistic background of the city in a situation It seems necessary to improve the quality of contemporary architecture. One of the important features of the Shiraz school is stage design, creating a balance between text and image, book design, and the use of small engravings. The artists of this school represented all the elements of Iranian thought and belief in the text and general intellectual and cultural context of the Islamic society of their time. In this regard, in this research, the researcher has tried to know as much as possible the principles and aesthetic values of Shiraz painting art and examines how it affects the architecture of Shiraz city. This research is of a descriptive-analytical type, which examines the painting of Shiraz and its relationship with the architecture of Shiraz through content analysis, and library and field methods were used to collect its materials, and by studying documents, historical books, texts Literature and observation have been used. The results of this research indicate the existence of works and evidences of the Shiraz School in the architecture of the old buildings of this city, such as the Narenjestan Garden and the Atiq Mosque, the evidences that state that the three texts of architecture, literature and paintings are connected to each other and complement each other's meaning. they do. Manuscript profile -
Open Access Article
2 - Sovereignty Over the Ra’āyā: Reflection of Safavid Ideology in “Man on a Composite Horse and Elephant” Paintings
Seddighe Nayefi asghar javani Mohammad Reza MoridiThe” Man on a composite horse and elephant” Paintings of Safavid belong to the world- composite paintings class that the scholars have acknowledged for emerging and abundance of them in the 16th / 10th century. Despite the attractiveness, those works faced s MoreThe” Man on a composite horse and elephant” Paintings of Safavid belong to the world- composite paintings class that the scholars have acknowledged for emerging and abundance of them in the 16th / 10th century. Despite the attractiveness, those works faced stagnation and changing concepts over the next following years. This research on the context of the theory of reflection attempts to explain the influence of society and the dominant ideology in the art works and analysis of the content of images and its adaptation to the Safavid society, the nature and function of the identity and function of the figurative compartments in those works and their role in society and the reflection of society on them. The most important achievements of this research are determining the present and absent groups in the community which is depicted in those works, extracting the main concept from encoding images including "Integrated and centralized governance" and "king as herder of ra’āyā", adjusting those concepts with the capabilities and defects of the ruling class ideology, having a critical look at the concepts and finally presenting reasons for the stagnation of their illustrations, such as reduction of the capacity of the early dynamic ideology and the wane of metaphors such as ”king as herder of ra’āyā”. Manuscript profile -
Open Access Article
3 - Visual Principles of Design in Islamic-Iranian Paintings and Visual Principles of Ibn al-Haytham’s Vision Theory; A Comparative Study
Parvaneh Delfani Esmael Bani ArdalanAccording to the model of European painting realism, the structure of perspective in Iranian painting is inexpertly described, while the ability of an Iranian painter to represent the world should be examined on the basis of other principles. The purpose of this researc MoreAccording to the model of European painting realism, the structure of perspective in Iranian painting is inexpertly described, while the ability of an Iranian painter to represent the world should be examined on the basis of other principles. The purpose of this research is to explain the reasons of avoidance from representation of perspective and visual geometry in the procedure of Persian Painting production, in comparison with visual principles resulted from Ibn al-Haytham’s vision theory as linear perspective.This research indicates that the visual principles resulted from vision theory of Ibn al-Haytham has a quantitative characteristic based on the geometry of sight. This geometrical structure as a linear perspective demonstrates a kind of subjective representation aligned with theoretical paradigm of science and ideology of Renaissance. The structure of perspective in Persian Painting, by contrast, doesn’t fit visual geometry; and it is a kind of objective representation according to which objects and visual world are depicted, regardless of subject’s view, from various viewpoints and are finally combined into the form of pure geometry structure and right angle view. This kind of angle of view, made possible by perceiving and interpreting the world hierarchically and independently of knowing subject in Islamic ideology, didn’t let the linear perspective techniques, which are resulted from a quantitative approach to study the procedure of visual sensation, to initiate and develop within inside Manuscript profile -
Open Access Article
4 - The Effect of Ibn al-Haytham’s Vision Theory on the Prevalence of Linear Perspective in the Renaissance Painting
Parvaneh Delfani Esmael Bani ArdalanLinear perspective provides a pattern to represent a space which relates to some of the rules of Vision Science. This type of perspective has become popular in Europe since 15th century on the basis of Ibn al- Haytham’s Vision Theory. According to a historical- An MoreLinear perspective provides a pattern to represent a space which relates to some of the rules of Vision Science. This type of perspective has become popular in Europe since 15th century on the basis of Ibn al- Haytham’s Vision Theory. According to a historical- Analytical research, the effects of this theory have been considered from two aspects: Firstly, the translation of the “Book of Optics” in Latin made it possible that European artists become familiar with Ibn al- Haytham’s Vision Theory. In this theory, he describes how image is created in the eye. Secondly, through transferring his dark room to Europe, the European artists were able to use it to transfer pictures exactly to the canvas. As a result of this acquaintance, linear perspective became prevalent in Europe. Moreover, it is technically and scientifically possible for artists to make pictures on the basis of the focus point of the observer, which is in fact his inverted vision cone. Manuscript profile -
Open Access Article
5 - Explanation of the Connection between the Existence of the Sky in the Architecture and Painting of the Safavid Period from the Perspective of Areas of Human Life
Seyyed Gholam Reza Islami zahraalsadat hosseiniFrom the moment of birth, human beings grow with the formation of their physical, physiological, and security needs, and then they are placed in the space of knowing the psychological realm and providing psychological and social security needs, as well as being respecte MoreFrom the moment of birth, human beings grow with the formation of their physical, physiological, and security needs, and then they are placed in the space of knowing the psychological realm and providing psychological and social security needs, as well as being respected and loved and loved. Due to the insufficient provision of these needs for human beings, he experiences the spiritual realm with the provision of respectful and self-fulfilling demands. All these areas and requirements are formed in an environment that is based on the two elements of earth and sky. However, being surrounded by the modern world, the contemporary man is influenced by self-made architectural space, which is led to mental and physical disease due to the elimination of natural elements such as the sky. Moreover, human needs are categorized based on the response to his physical, psychological, and spiritual aspects, which affect his activities according to the theory of thinkers. Also, the dependence of art on nature has caused people to express what they have learned from nature through art. In this regard, Iranians, who have had a special respect for nature from the past to the present, have been inspired by nature. According to Iranian mythology, the sky, as the father of nature, vast and glorious, has played a key role in shaping Iranian art. Iranian art from the past to the present, including stories and legends, poets, miniatures and paintings, music, carpets, shows the role of the sky in meeting human needs. On the other hand, the representation of the sky in the arts can prove its effect on the health of the human body and soul to emphasize the importance of the existence of the sky in the living space of human beings. In order to show the effect of the sky on the improvement of human life, two views have been applied, including Western and Islamic ones based on Maslow's view, and human areas, based on the Islamic view. Study of the existence of the sky in Iranian art and especially in painting and analyzing the meaning and concept of the sky in this art shows the special place of the sky in the body and mind of human beings and also considers the existence of the sky necessary to meet human vital needs. It should be noted that a large part of the image in blue or gold color shows the role of the sky in meeting the material, psychological and spiritual needs of human beings. By using the qualitative approach, a descriptive-analytical method, and logical reasoning, the present theoretical research studies, how to extend the sky appears in the prominent Safavid paintings as well as which humans aspects are considered based on the pieces of evidence , are from the published library sources and the graphic works (Shahnameh, Shah Tahmasebi and Khamseh Nezami). The results show the sky in the school of Isfahan causes meets spiritual needs in the Safavid era, flourishing spiritual arts in a way that motivates a man to communicate with the metaphysical world. Manuscript profile -
Open Access Article
6 - Visual reflections of child friendly urban space in 7-12 years old children's painting
Iman Ghalandarian Zahra younesiVisual reflections of child friendly urban space in 7-12 years old children's paintingUrban spaces have a unique role in fulfilling the social and individual needs of child and youth. Improving the quality of these spaces could be effective in health and increase physic MoreVisual reflections of child friendly urban space in 7-12 years old children's paintingUrban spaces have a unique role in fulfilling the social and individual needs of child and youth. Improving the quality of these spaces could be effective in health and increase physical strength, Strengthening social interactions, group correlations and increase creativity in children. In other hand painting is a path to acquire abilities and creativity for children. Generally the mental connections of children with urban spaces is sort of problems that exposed in their paintings due to inability of communicate and transfer the message correctly. So the purpose of this study is to identify the most effective indicators on child friendly urban spaces based on children’s painting. The research method is qualitative and the data is collected through survey research method. The statistical society of the study consist of 7 from 12 years old children in Mashhad ( The second greatest city In Iran) and the statistical sample is selected through the purposive non-random sampling model. For this purpose 70 paintings on urban spaces is painted by children and based on drawing- sketching model of cognitive map and analysed by MAXQDA software. By analyzing the research variables including used symbols and colours in the paintings optimal features of urban space is extracted from the children's perspective. The results shows safety and comfort with 17.89% of importance is most important features of child friendly urban space and appropriate access to green and natural spaces, recreational and entertaining zones, public spaces, appropriate public transportation system, access to essential facilities and services, existence of a non-polluting environment, attractive visual elements and possibility of children’s participation are next ratings. To reach this elements attention must be focused on safety, designing and locating of child-friendly urban spaces, In that way they feel safe and feel free to access green and natural spaces. In order to attract a child to urban space and increase his/her sense of satisfaction from spaces he/she must understand urban spaces and use them. In other words, a child could engage himself/herself in spaces when he/she understands it; understanding spaces happens when they feel safety. Surveys has shown that features of a child-friendly urban spaces and proper access to green and natural spaces, recreational and entertaining zones, public spaces, appropriate transportation system, basic amenities and services, pollution free environment. Attractive visual elements and children’s possibility of participation are the next children’s priorities. These features allow them to play in space as they get pleased. Creating artificial and natural spaces together, using sophisticated and simple supplies allow them to grow their creativity. In addition paying attention to playgrounds that is not just a park can help their grow and development.These features allow them to play in space as they get pleased. Creating artificial and natural spaces together, using sophisticated and simple supplies allow them to grow their creativity. In addition paying attention to playgrounds that is not just a park can help their grow and development.Keywords: Child, child’s painting. Urban space, child friendly city Manuscript profile -
Open Access Article
7 - The Representation of Architectural Space in Painting with a Layered Semiotic Approach (Case Study: Iran Darroudi artworks)
Ensieh Vali Siamak Panahi Manouchehr Foroutan Hossein ArdalaniInterdisciplinary studies linking art, philosophy, and theories of contemporary semiotics have opened a new path and vision to art explorations. The significance of meaning in artworks caused other disciplines to appear in art studies. This transformation implied that m MoreInterdisciplinary studies linking art, philosophy, and theories of contemporary semiotics have opened a new path and vision to art explorations. The significance of meaning in artworks caused other disciplines to appear in art studies. This transformation implied that meaning in artworks is not an objective and evident component, requiring interpretation and analysis. Meaning can be transferred between different artistic media. Studying the relationship between architecture and painting is considered an essential interdisciplinary field of research. Architectural space is a media manifesting as a painting in its interaction with the artist.These studies have raised a profound understanding of the artwork's meaning. In addition, providing a scientific knowledge of art has made them well known. Moreover, there is a need for interdisciplinary comprehension of art with social and human approaches. The present article aims to examine the role of architectural space in the creation of paintings with an emphasis on interdisciplinary studies. The main question is, "considering painting a text entailing semiotic codes, what semantic approaches to architectural space can affect it through profound exploration of the spatial layers, and how can a painting be read? ".The general justification of this article is to explain and describe the relationship between architecture and other types of art, especially painting.Although architectural structures and spaces are a combination of applied and functional approaches, they can be studied as artworks to yield an interactive synergy between their aesthetic and semantic layers concerning other subcategories of art, such as painting. Moreover, in the next step, the paper discusses the meaning layers of the space in artists' minds. When painting, the artist detaches from the real world, reaching a clearer understanding of the mind's reality through an experimental journey.This mental projection involves new manifestations of spatial visualization within the image.The article used a qualitative approach to research based on an interdisciplinary study of architecture and painting. In the first section, spatial codes are embedded in different layers according to the space approach; then, a theoretical framework is introduced based on layered semiotics to read the spatial implications of the case studied.Given the apparent representation of architectural space in Iran Darroudi's artworks, we have selected her paintings (Everlasting Marriage; Steadfastness; Stupor of the Plain and Thirst of Desert) and collected primary data using a library-survey method.The results showed that the architectural space, transformed into a system of meaningful places for the artist, can be manifested in the painting as spatial codes. The painter expresses her idea of the urban space in spatial signs in the form of isotopia, heterotopia, or utopia, which can be read in syntagmatic layers.In the textual and media layers, the physical reading of space is matched with the architectural typology method. In a principled correlation, spatial approaches are decoded in the code and text layer. Finally, spatial-phenomenological relations are identified from the painter's existential space in the intertextuality-coding layer. These may be read in textual, intertextuality, and coding layers, as well as semiotics, phenomenology, and typology. Manuscript profile -
Open Access Article
8 - Architectural Language of Persian Paintings (Survey of Persian Paintings as Historical Documents of Iranian Islamic Architecture)
Manouchehr Foroutan The documents of Iranian Islamic architecture especially visual documents are few and diffuse. However these documents were attended little. Considerable paintings of the Islamic era, especially Ilkhanid, Timurid and early Safavid period have remained that can be More The documents of Iranian Islamic architecture especially visual documents are few and diffuse. However these documents were attended little. Considerable paintings of the Islamic era, especially Ilkhanid, Timurid and early Safavid period have remained that can be evaluated and searched. This study, wants to show how Persian paintings (Miniature) as historical documents can be used for cognition Iranian Islamic architecture. What ways can be used for analysis them? What kinds of historical data can be apprehended and how validity them to be assessed? For answering these questions, "language" of Persian paintings must were understood. The research based on historical method. For understanding language of Persian painting applied three strategies: History of architectural representation was evaluated and tow ways of representation of architecture in painting were obtained. Expressive features of Persian paintings were reviewed. Therefore, Persian paintings that represented well-known buildings were compared whit the building. For example three paintings from Nezami's quintuplet poem (khamse) were selected and compared by Taq-e-Bostan and also three Persian painting that were represented Mecca. Persian paintings were compared whit samples of extant Iranian and other Islamic architecture. For example, representation of house in a Persian painting was evaluated. In each of parts a case was evaluated. Cases review process include: dating represented architecture and dating Persian painting; evaluating validity of the painting as historical document; attention to features manuscript; evaluating purports of text and determining the general topics and themes; measure the degree of match with the reality of architecture by evidence; comparing the Persian painting and contemporaneous extant architecture or other Persian paintings same version or school; detecting architectural elements and details in painting, rereading represented architecture and interpreting it. Finally, expressive features Persian paintings in representation of Iranian architecture are presented. Briefly Persian paintings features in the expression of Islamic architecture include: the use of multiple simultaneous isometric perspective; illustrating simultaneously inside and outside the space; imaging asynchronous events in an image; refer the three-dimensional two-dimensional; representing walls up to ceiling indoor; equal importance floor and wall display; components with respect to total of real space; independence scale of building and the human's scale; remove walls to see them back; reduce distances and compact show to space; choose the smallest component of architectural space for illustrating while maintaining a whole room due to limited spaces in the painting; display main elements and display some minor elements; use a virtual frame as metonymy of the inside and outside architecture. In addition, review showed that the difference representation (painting) and reality (building) in known buildings was significant. Referring to other texts (paintings and architecture) and compare those (intertextuality) by methods of historical semantics and symbolic show social meaning of the represented architecture. Using Persian paintings and relying on evidence in other fields can be readout architecture, to pay (for example a house of Ilkhanid period was readout). Persian paintings can be as "cognitive maps" to examine and review aspects of environmental psychology concepts such as "personal space", "proximity ", and "territorial behavior". Manuscript profile -
Open Access Article
9 - Designing an analytical model of children's tourism attitude towards social development through intangible assets
Mahdi Karoubi Mahmood Ziaee Zohre MohammadiTaking qualitative steps from an early idea to the final results, this study reached a model design. The study sought to discover the perceived motivations of travel and tourism for children through their perceived interests and benefits in their past best travels. The MoreTaking qualitative steps from an early idea to the final results, this study reached a model design. The study sought to discover the perceived motivations of travel and tourism for children through their perceived interests and benefits in their past best travels. The data collection method is a combination of children's thematic painting and a short interview about describing the painting in their own language. The paintings and the text of the interviews were analyzed with thematic content analysis. Children aged 9-12 years old girls and boys were studied in four areas of 1, 3, 4, and 12 in Tehran. Also, the sample was distributed in public and private schools in each district. Totally, 107 paintings were analyzed. The analytical model of children's drawing was designed and applied in a descriptive phase and three analytical phases. The analysis of children's paintings provides an insight into their perception and orientation towards tourism and is an innovative start for research with children. Manuscript profile -
Open Access Article
10 - Separation of alumina from the paint sludge of automotive industry by leaching method
Mostafa Khezri Fateme AbdollahPaint sludge of automotive industries, due to having heavy metals, unbaked polymers, organic andinorganic pollutants, has been classified as a hazardous waste. For this reason, its proper disposal isfaced with many problems. Various methods yet have been developed by th MorePaint sludge of automotive industries, due to having heavy metals, unbaked polymers, organic andinorganic pollutants, has been classified as a hazardous waste. For this reason, its proper disposal isfaced with many problems. Various methods yet have been developed by the great automobilecompanies of the world to reduce the environmental impacts of paint sludge. One of the effective aneconomical methods for reduction of pollution is separation of heavy metals from paint sludge. Thepresent study was carried out to investigate the pollution of paint sludge from automotive industry, toreduce its pollution to environmental standard levels, and to recover alumina from the paint sludgethrough leaching method. After XRD and XRF tests on paint sludge, it was found that the amount ofalumina is relatively high. Separation of alumina was considered because of its economic value andvarious applications in different industries. After utilizing the common separation methods, it wasrevealed that by optimizing the parameters such as temperature, sludge particle size, and sulfuric acidconcentration through the leaching method, about 70% of alumina can be recovered Manuscript profile -
Open Access Article
11 - Waste Minimization Management System in Paint Industries Case study: Rang Afarin Paint Factory
Jafar Nouri Leila Ramezani Reza Arjmandi Mostafa KhezriThere are significant amount of disposable wastes in paint industries which mostly are hazardouswastes. Problems such as high cost of wastes treatment, safe disposal, reducing and controlling theenvironmental pollutions caused the waste minimization be a super priority MoreThere are significant amount of disposable wastes in paint industries which mostly are hazardouswastes. Problems such as high cost of wastes treatment, safe disposal, reducing and controlling theenvironmental pollutions caused the waste minimization be a super priority in these industries. Theaim of this paper was case study of waste minimization management system in a paint factory.According to above items, sources of wastes in the factory identified and waste minimization optionsincluding Source reduction, Recycling, Recovery and Reuse of wastes were suggested.The wastage of raw materials, water and power were also studied and management approaches wereadvised. Providing a flow diagram as waste minimization management system for paint industries isthe most important achievement of this paper. Performed researches in this study showed that using ofsuggested waste minimization options and approaches in the plant would reduce consumption of rawmaterials up to 0.15% ,power up to 12%,water up to 15% and waste generation up to 20%.Thesefindings equal to saving 175 million Ir.Rials per year in operational costs. Thus implementation ofwaste minimization methods and techniques in industries is a cost effective process which results bothenvironment benefit and factory owners. Manuscript profile -
Open Access Article
12 - Pollutants of Painting Process in Automotive Industry "Case study: Paint Shop of Saipa Automotive Industry"
Seid Mostafa Khezri Azadeh Akhavan Bloorchian Seid Masoud Monavari Farideh AttabiProduced paint sludge of automotive Industry has heavy metals and because of this, has high pollutionpotential. Incorrect Disposal of paint sludge led to kinds of environmental pollution. The object of thisInvestigation was identification of main pollutants of paint slu MoreProduced paint sludge of automotive Industry has heavy metals and because of this, has high pollutionpotential. Incorrect Disposal of paint sludge led to kinds of environmental pollution. The object of thisInvestigation was identification of main pollutants of paint sludge that can be database to presentingprofitable economic solution for recycling of that. For identifying elements and concentration of paintsludge, various tests have been carried out. These tests contains: XRF3, XRD4 and DTA5.Results proved existing heavy metal elements like copper (1.5 gr/lit), zinc (13.09 gr/lit), Aluminum(58.76 gr/lit), Magnesium (23.004 gr/lit), Titanium (32.68 gr/lit), Vanadium (0.9 gr/lit) and etc.Comparing with environmental Standards showed that most kind of these elements are out of standardranges and are noticeable pollutant elements. These results show the necessity of gaining solution forrecycling of paint sludge. Then, more research about this case for deleting or decreasing pollutions issuggested Manuscript profile -
Open Access Article
13 - Components of the Expressionism School in the Novel of Hamnavayi-e Shabane-ye Orkestr-e Chubha
Mojtaba DastjerdiAt the beginning of the twentieth century, the human worldview is undergoing transformations under the influence of the First World War, and subsequently the art of this age is also transformed. Human in this era, the human being is the dying and the mutilation and the MoreAt the beginning of the twentieth century, the human worldview is undergoing transformations under the influence of the First World War, and subsequently the art of this age is also transformed. Human in this era, the human being is the dying and the mutilation and the anxiety in his being shadowed. This process in art is Expressionism, which, as an artistic school, represents the state of the art and presents works of art that reveal differences with the works of earlier periods. This article attempts to explore the components of Expressionism school in romania in Hamnavayi-e Shabane-ye Orkestr-e Chubha by Reza Qasemi using library resources and descriptive-analytic methods to help better understand the expressive aspects of the story. Introducing more of this work as a different model in Persian novels. The results show that the author is from factors such as expression of fear, psychological problems, confusion, faiths and beliefs, Romance and dealing with such puzzles as prediction, creating a crisis of identity, distortion of reality, seduction, emphasis on dismembering the form, and neglecting the rules of writing, and using some of these components of the teachings of the expressionism school which has been implicated in playwriting, and in particular the expressionist cinema of Germany; The fear of death, the use of the capacity of dark spaces and lighting, the disturbance of the narrator's personality by his shadow, and its consequences that lead to problems such as self-destruction and the identity crisis; In addition, the footprint of the writer's half-way to the expressionist painting is also evident in the novel, which has a special effect on Qasemi's work. Manuscript profile -
Open Access Article
14 - Explaining the mystical atmosphere of Sama and combining it with the art of modern painting
neda bassari aziz hojajjaji kaijough Arash MoshfeghiIn creating a harmony between the atmosphere of mysticism and art, as the seeker as an intuition believes in his own views; The artist will also face such a situation in creating a novel work, and this success also requires achieving a fixed and beloved truth, which in MoreIn creating a harmony between the atmosphere of mysticism and art, as the seeker as an intuition believes in his own views; The artist will also face such a situation in creating a novel work, and this success also requires achieving a fixed and beloved truth, which in the creation of the work of art, the truth that has emerged in this field, has been manifested in the form of a painting. The refinement of the mystical concept of hearing and its morphology in the aesthetic elements of color and painting becomes more expressive when it deals with its combined course with modern painting, and this opportunity, which has been written in a descriptive-analytical method; It takes aesthetics to the point where a more practical axis can be presented. This research, with ideation mixed with the author's imagination and with the guidance of a painter to role his new thoughts and ideas, has been exhibited for the first time along with images that are the creation of the author's creative mind. The ultimate goal of this research is to claim that the artist painter can combine one of the traditions of conduct (hearing) which he has taken from Salaf painters; To depict nature by referring to the appearances of nature symbolically and by mixing religious colors, along with a mystical view of the origin and origin. Manuscript profile -
Open Access Article
15 - Optimal Design of a Novel Two-Branch Spray Painting Robot for Prescribed Process Space
Meisam Vahabi Majid Ahi -
Open Access Article
16 - The effect of therapeutic painting and play therapy on the creativity and behavioral problems of elementary school elementary school students
Syavash SHeykhalizadehThe purpose of this study was to investigate the effect of therapeutic painting and play therapy on the creativity and behavioral problems of elementary school students in Tabriz. This was a quasi-experimental design with pre-test and post-test design with control group MoreThe purpose of this study was to investigate the effect of therapeutic painting and play therapy on the creativity and behavioral problems of elementary school students in Tabriz. This was a quasi-experimental design with pre-test and post-test design with control group. The statistical population of this study was all students of primary school boys in Tabriz in the academic year of 2018-2019. Multi-stage random cluster sampling was used to select the sample. First, 4 districts were selected from the districts of Tabriz, and from the schools of that district, three primary schools were randomly selected, and from each of the three schools, 1 class was randomly selected, and then from knowledge. The selected school students were randomly assigned to 45 students in 3 groups, the first experimental painting (15 subjects), the second experimental group of experimental play therapy (15 subjects) and control (15 subjects). The subjects of the first experimental group underwent painting therapy for 10 sessions and the second experimental group underwent therapy for 10 sessions and did not receive any training in front of the control group. Research questionnaires including Creativity Scale (Abedi, 1993) and Behavioral Problems Scale (Rutter, 1976) were selected. Data were analyzed using multivariate analysis of covariance and post-test. The results of this study showed that painting and therapeutic games have an effect on creativity and behavioral problems of students. Also, the results of post hoc test showed that painting therapy has a greater effect on creativity and game therapy on students' behavioral problems. According to the results, painting therapy and play therapy have been effective in improving creativity and reducing students' behavioral problems. As a result, it seems necessary to create the necessary grounds for holding painting therapy and play therapy sessions in schools, which can be effective in improving the psychological and educational status of these students. Manuscript profile -
Open Access Article
17 - A Comparative Study of the Wall_Paintings of Imamzadehs and Churches in Isfahan.
Ailreza Mohamadi Milasi Farnoosh HedayatAfter moving Armenians to Isfahan, Shah Abbas I ordered to build churches for them so that they would adhere to the urban life in Isfahan. These churches, which were initially formed with the help of Iranian architects, had an Iranian taste. Most of the researchers who MoreAfter moving Armenians to Isfahan, Shah Abbas I ordered to build churches for them so that they would adhere to the urban life in Isfahan. These churches, which were initially formed with the help of Iranian architects, had an Iranian taste. Most of the researchers who have written about the churches of Isfahan's New Jolfa have relied on the fact that the architecture of Isfahan's churches is Iranian. The main goal of this article is to compare the paintings of Imamzadehs and churches in Isfahan, remained from late Qajar era, in terms of theme, structure, image and relationship with the environment. The research question is “what effect did the painting of churches have on the wall paintings of Imamzadehs in the late Qajar era?” This study is library and field-based to collect the data, descriptive-analytical and comparative in terms of methodology. It attempts to find the similarities and differences of the tone and shape of the wall paintings of the churches and imamzadehs of Isfahan as one of the manifestations of sacred art in terms of concept and expression according to the characteristics related to their roles. The findings of the research show that the subject of Imamzadeh's paintings are pictorial narratives of the favorite themes of Iranian Shia people. The blessed images of the Prophet Muhammad, the Imams, the visual narration of the Ashura incident, are all clear examples of the interests and beliefs of every Muslim who enters a place like Imamzadeh. The subject of the paintings on the walls of the New Jolfa churches in Isfahan is generally the sufferings of Christ and his relatives and other religious traditions mixed with people's beliefs. In the imamzadehs of Isfahan, the religious stories and sufferings of the imams have been depicted mixed with folk beliefs, and the composition, colors and icons have been influenced by the churches. The execution of painting and the work materials of the painters have been almost common in both. Despite the similarities, the painting of churches has been a state art in a sense, but none of the creators of imamzadeh wall paintings were related to the ruling class, and this issue is very influential in the execution and richness of the work. Manuscript profile -
Open Access Article
18 - Revisiting Identity and the Formation of the Third Space in Contemporary Art of Isfahan, with an Emphasis on the Theory of the Third Space by Homi Bhabha (Case Study: Works by Hossein Tahvilian, Mohammad Khalili, Seyed Mahmoud Hosseini, and Mehdi Hamedi)
Seyed Mahmood Hosseini Dehmiri Hossein Tahvilian Mohammad KhaliliThe art of painting in Isfahan has a historical background dating back to cave dwellings in this region, playing a significant role in the evolution of Iranian painting and maintaining its structure throughout governmental changes. Isfahan's geographical location, situa MoreThe art of painting in Isfahan has a historical background dating back to cave dwellings in this region, playing a significant role in the evolution of Iranian painting and maintaining its structure throughout governmental changes. Isfahan's geographical location, situated in the center of Iran, has provided Iranian artists with the opportunity to engage with both Eastern and Western transformations. This characteristic, coupled with the migration and establishment of art universities in Iran, has had a profound impact on cultural and artistic relationships, leading to innovative movements in contemporary Isfahan painting. Drawing on the concept of hybridity and the third space, Homi Bhabha effectively describes the formation of this space in postcolonial critique and emphasizes its significance in generating new cultural and artistic interactions. One of the key factors contributing to the creation of such a space in contemporary Isfahan painting is the presence of migrant artists and graduates from art universities in other cities who have contributed to the emergence of a new visual space in Isfahan's art scene. This article aims to review the identity and formation of the third space in contemporary painting in Isfahan, with a focus on Homi Bhabha's theory. The central question of this research is: What impact have immigrant artists had on the reinterpretation of identity and the formation of the third space in Isfahan's contemporary painting? The research methodology employed is primarily a combination of a fundamental-applicative approach in terms of its objective and a descriptive-analytical approach in terms of its nature. The sampling method utilized is purposeful, involving the selection of four artists who have studied both in Tehran and in universities and schools in Isfahan, particularly in the field of painting. The research findings demonstrate that immigrant artists in Isfahan have successfully contributed to the creation of a new intercultural space within the city, closely aligning with Homi Bhabha's conceptualization of the third space. Manuscript profile -
Open Access Article
19 - The Event of Qadir Khom and Theological Aspects in Safavid Paintings
mahnaz shaystefarFrom 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 part MoreFrom 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) Manuscript profile -
Open Access Article
20 - The Mystical Symbol of Light and Color in Gothic Paintings and Architecture
Peyman Alizadeh oskooii Ismail BaniArdalan Kamran Afshar mohajer Mohamad reza Sharifzadeh Mohamad javad SafianMysticism entails insight in the Absolute, insight in his names, traits, and expressions. All names of Allah, such as Jamil, Badie, Mosavar, etc. are tied with art and aesthetics. Color is the expression of pluralism in unity. Light, per se, is a symbol of unity b MoreMysticism entails insight in the Absolute, insight in his names, traits, and expressions. All names of Allah, such as Jamil, Badie, Mosavar, etc. are tied with art and aesthetics. Color is the expression of pluralism in unity. Light, per se, is a symbol of unity but it is embodied by color and color acts as a media for expression and emergence of light. Colors signify a specific meaning in the realm of art. For instance, green implies a divine mystical state but white is the symbol of Absoluteness. Goethic architecture seeks to create mysterious spaces through a combination of lights, shadows, and bright colors, so that the sacredness of that space is immadiately perceived. Present study attempts to examine the application of light and color in Goethic architecture and paintings. It is of descriptive-analytical type. Data is gathered through inductive reasoning and librarian method. Research findings show that Goethic architecture and painting imbued with religious concepts makes an attempt to embody God embeded in mysterious spaces through a combination of lights and colors. Manuscript profile -
Open Access Article
21 - Analysis of Abdolsamad's allegorical paintings in Shahnameh
Effat Mohammadi Nayyer TahoriAllegory is one of the most prominent rhetorical styles in Persian literature of Iran and it can be said that allegory is also considered a method of storytelling and narration that includes a non-fiction theme with a cover of narrative elements and gives it a narrative MoreAllegory is one of the most prominent rhetorical styles in Persian literature of Iran and it can be said that allegory is also considered a method of storytelling and narration that includes a non-fiction theme with a cover of narrative elements and gives it a narrative form. Abdolsamad's paintings, which in the beginning were directly used and taken from the traditions of Iranian painting and the Tabriz school, have gradually tended towards a kind of realism, and his recent works indicate a powerful realistic approach. The purpose of this study is to analyze the allegorical drawings of Abdolsamad in Shahnameh. The method of this descriptive-analytical research and a number of drawings in the style of Iran and India have been studied. The results showed that despite the presence of artists such as Abdolsamad, the Gurkhani school was invented and reached maturity and prosperity. The use of allegory has played a role and has taken into account the specific rules and traditions of painting. Manuscript profile -
Open Access Article
22 - Surveying Social Status Of Women According To Veil Alteration Process In Safavid Paintings
عابد Taghavi S. M. MousaviPresent research studied women social role and status in Safavid era on the basis of veil alteration process through descriptive-historical analysis approach. This paper administrated historical sources and comparative method. The results indicated that women veil in Sa MorePresent research studied women social role and status in Safavid era on the basis of veil alteration process through descriptive-historical analysis approach. This paper administrated historical sources and comparative method. The results indicated that women veil in Safavid era was considered as a part of social class identity. It was defined according to Shah Inclination and imposed as a norm for the women in imperial court, while others social classes’ women worn veil according to their religious and ethics beliefs. They had prospered liberty in veil wearing selection compared to other women. Manuscript profile -
Open Access Article
23 - Synthesis and Application of Heterocyclic as ultraviolet Absorbers
Mahdieh Entezari Ebtesam Tohidi nejad Aida Hafezi Mostafa Afrasiabi -
Open Access Article
24 - Investigating the use of TiO2 and TiO2 microparticles waterproofed with nanotechnology in epoxy paint composite coatings on X52 steel
Amir Kazemi Ahmad Menshi Mehdi BoroujerdniaIn this research, two types of composite coatings based on epoxy paint reinforced by TiO2 nano and micro particles and TiO2 particles hydrophobicized by polysiloxane were prepared separately with concentrations of 1, 2, 3, 4 and 5% by weight to improve the properties of MoreIn this research, two types of composite coatings based on epoxy paint reinforced by TiO2 nano and micro particles and TiO2 particles hydrophobicized by polysiloxane were prepared separately with concentrations of 1, 2, 3, 4 and 5% by weight to improve the properties of epoxy paint. and in order to investigate their behavior, they were applied on API 5L X52 steel and then their properties were investigated by conducting corrosion and wear tests. The thickness of the coatings was checked by a digital thickness gauge. The corrosion resistance behavior of the coatings was evaluated using the polarization method in 3.5% NaCl solution. The results of the corrosion test showed that by adding and increasing the concentration of reinforcing particles in the coatings, the corrosion resistance was improved, and also the composite coating of epoxy paint with 5% by weight of the hydrophobic TiO2 reinforcement showed better corrosion resistance than other samples. A scanning electron microscope (SEM) equipped with EDX was used to examine the morphological properties of the surface. In order to check the dispersion of micro particles in the field of coating, Map analysis was taken from the samples. The results obtained from Map analysis have shown the appropriate and uniform distribution of hydrophobic particles in the field of epoxy coating. The wear resistance of the coatings was performed by the bullet test machine on the disc. The results of the abrasion test showed that by adding and increasing the concentration of reinforcing particles in the coating, the abrasion resistance of the coating increased, but by comparing the epoxy composite samples, it was found that the hydrophobicity of the reinforcing particles had no effect on the abrasion resistance. Manuscript profile -
Open Access Article
25 - Effectiveness of Music and Painting Training on Increasing Creativity and Reducing Aggression and in Preschool Pupils in Hamedan city
Mina Boroujerdi Hasan Asadzadeh Masod Hejazi Gholam Hossein Entesar FoumanyObjective: Considering the high prevalence of aggression in preschool and the important role of creativity and the negative effect in this period The aim of present research is to determine the effectiveness of music and painting training on increasing creativity and MoreObjective: Considering the high prevalence of aggression in preschool and the important role of creativity and the negative effect in this period The aim of present research is to determine the effectiveness of music and painting training on increasing creativity and reducing aggression in preschool students in Hamedan. Methods: This research is quasi- experimental with Pre-test and post-test with control group design. The statistical populations under this study consisted of all pre-school students in Hamedan in 1965-96 (N = 14366). The sample size was 30 students of preschool girl (15) and boy (15) who were selected by random sampling method and randomly assigned to two groups of control and test. The experimental group were trained for painting instruction for 10 sessions, and the control group did not receive any training. The data collection tool was questionnaire of 43 questions about preschool children aggression and Torrance creative thinking scale.The data was analyzed through statistical tests variance and multivariate covariance, Findings: The results of covariance analysis also showed that painting training significantly affected aggression (p < 0/001) and creativity p < 0/001) of preschool students. And music training significantly affected aggression (p < 0/001) and creativity p < 0/001) of preschool students. However, there was no significant difference between painting teaching and music teaching in decreasing aggression and increasing creativity. Discussion :Painting and music training through expressing thoughts and feelings and enhancing flexural and fluidity skills has reduced aggression and improved creativity in preschool children. As a result, it can be used as an effective teaching method for preschool children Manuscript profile -
Open Access Article
26 - Investigating the roll of synectics teaching pattern on art creativity and its differences between girls and boys
Beheshteh Nioosha Azar Pakdaman Zahra Ovaysi Background: Synectics teaching pattern is a method which motivates learners to create and present new and creative ideas .This method gives one the opportunity to study possible means for expressing one`s self and utilize new methods for s More Background: Synectics teaching pattern is a method which motivates learners to create and present new and creative ideas .This method gives one the opportunity to study possible means for expressing one`s self and utilize new methods for solving problems. Purpose: The present research was designed to study the roll of synectics teaching pattern on creativity and academic performance of the fourth grade primary school art students. Method: For this purpose 60 students (30 girls and 30 boys) of fourth grade primary school in Tehran were selected. This research was a quasi-experiment with pretest and post test with control group in both genders, which the experimental groups were selected by accessible sampling and control groups were selected randomly. For gathering information, Torrance`s creativity test (form B) were used. Data of this research analyzed by use of ANCOVA, and independent t test. Result (s): Results showed that synectics teaching pattern is effective on creativity and Academic performance of female and male students in painting. Also the synectics teaching pattern did not differ significantly on creativity components of Torrance test including: fluency, flexibility, originality, elaboration in boys and girls. Of course even though creativity scores of girls in art were more than boys, but this increase were about the same in two genders. Conclusion: .Synetics is a suitable method for developing Art creativity but it affects both genders equally. Manuscript profile -
Open Access Article
27 - Evaluation the Effectiveness of Painting Therapy to Creativity and Social Maturity of 4-6-Year-Old Kids
Mandana Rokni Ali Zadeh Mohamadi Shokouh NavabinejadAbstract Background: Due to the importance of creativity and social maturity and since one of the growth backgrounds in childhood is painting, it can be used for improvement of creativity and children relationships. Purpose: The main aim of this study is evaluation the MoreAbstract Background: Due to the importance of creativity and social maturity and since one of the growth backgrounds in childhood is painting, it can be used for improvement of creativity and children relationships. Purpose: The main aim of this study is evaluation the effectiveness of painting therapy to creativity and social maturity of 4-6 year old kids. Method: The method in this study is semi-experimental and sampling has been done randomly. 30 children were replaced in experimental and control groups. Both groups received Torrance Test of Creativity and Vinland Test of Social Maturity. After performing 12 sessions of group painting therapy on experimental group, creativity and social maturity of both groups were determined again. Results: The results showed that painting therapy has meaningful effect on creativity (originality, fluency, flexibility) and social maturity of 4-6 year old kids (P ≤ 0.05). Conclusion: Painting therapy is an attractive approach on improvement of creativity (originality, fluency, flexibility) and social maturity of 4-6 year old kids. Manuscript profile -
Open Access Article
28 - The Effectiveness of Painting Therapy on Self-Efficacy and Quality of Life of Female Students with Reading Disorder
Leila Mansouri Somayeh Roshannia Fereidoun ShakibaniaPurpose: The present study was conducted to investigate the effectiveness of painting therapy on self-efficacy and quality of life of female students with reading disorders. Methodology: The research method of this study is a semi-experimental type of pre-test-post-te MorePurpose: The present study was conducted to investigate the effectiveness of painting therapy on self-efficacy and quality of life of female students with reading disorders. Methodology: The research method of this study is a semi-experimental type of pre-test-post-test with the control group. The statistical population of this study consisted of all female fifth- and sixth-grade elementary school students in Khoram Abad city in the academic year of 2021-2022. Then 30 people with reading disorder were selected through random multi-stage cluster sampling and were assigned randomly to two groups (15 people in each group). The experimental groups received painting therapy for eight 60-minute sessions. The instruments used in this study were the self-efficacy questionnaire (Sherer et al, 1982) and the quality of life questionnaires )Ware et al, 1996). The data was done using covariance analysis tests. Finding: The results showed a significant increase in painting therapy on the self-efficacy of the subjects in the experimental group (p<0/001), but no significant effect was observed on the quality of life (p<0/63). Conclusion: Based on the result we can say that painting therapy is an effective way in improving self-efficacy in students with reading disorders. Keywords: Painting therapy, Self-efficacy, Quality of Life, Reading Disorders. Manuscript profile -
Open Access Article
29 - A Comparative Study of the Paintings in Kuh-e Khwaja with the Wall Paintings in Doura-Europos
Faezeh Rezaei Elham Vosough BabaeiThe region in Kuhe-e Khwaja located in Sistan, and the one in Doura-Europos located in modern Syria are outstanding regions from the painting point of view in Parthian Empire period; the art was never seen in Iran before the Parthian Empire. This paper tends to provide MoreThe region in Kuhe-e Khwaja located in Sistan, and the one in Doura-Europos located in modern Syria are outstanding regions from the painting point of view in Parthian Empire period; the art was never seen in Iran before the Parthian Empire. This paper tends to provide a comparative study of the wall paintings in Kuhe-e Khwaja and the ones in Doura-Europos focusing on the artistic methods, motifs and the contents utilized in the wall paintings in the two regions while also comparing with the other archeological objects belonging to Parthian Empire. The results showed that despite differences, especially the ones concerning characters and religious contents in Doura paintings, similarities could be found between the paintings in the two regions in artistic methods like full-faced pictures, outlining, perspective, and in painting contents such as using older styles and models like hunting and levee all having their roots in Iranian local arts. Manuscript profile -
Open Access Article
30 - Comparative Investigation of Achaemenid Wall Paintings of Shaour Palace
Fatemeh MohseniThe historic-artistic and comparative probe accomplished on two pieces of painting on a clay layer belonging to Achaemenid period, which had been kept in a room in Susa Castle demonstrated that these two pieces were the two first paintings obtained from the Achaemenid p MoreThe historic-artistic and comparative probe accomplished on two pieces of painting on a clay layer belonging to Achaemenid period, which had been kept in a room in Susa Castle demonstrated that these two pieces were the two first paintings obtained from the Achaemenid period that have been created on the clay wall. In order to attain the essence of the paintings and their content, investigation about the figure's details was first done and, then it referred to the figures' relationship. The outcome of the study is to recognize and identify the figures and the subject matters of the pictures as well. Manuscript profile -
Open Access Article
31 - Description and Analysis of ZafarAbad Petroglyph, Dehgolan, Kurdistan
Jamshid Samadi Bagejan Ali BehniaRock motifs and engravings can be considered as the oldest artistic effects and manifestation of the human society. It is estimated that the history and background of the existence of this rock art refer to more than thirty thousand years ago in the Zagros Mountains and MoreRock motifs and engravings can be considered as the oldest artistic effects and manifestation of the human society. It is estimated that the history and background of the existence of this rock art refer to more than thirty thousand years ago in the Zagros Mountains and it has also a long history in Iran. The plain of Dehgolan located in among the Mountains has always attracted various ethnic groups because of enjoying the proper environmental conditions throughout history and has always provided a suitable environment and conditions from the earliest days for living and continuity of the human life. Existence of many archeological works including Zafar Abad petroglyphs carved into the rock surface and the ancient rocky hills related to the different historical periods including the prehistoric times are evidences of this claim. Although it generally seems too difficult to determine the date of these rock engravings and motifs, the quality and the method of these rock engravings and motifs in Zafar Abad Hills and also the animals carved on these rocks make them more probable to be related to the prehistoric rock engravings and motifs based on their similarities. However, finding the pottery works related to the Parthian Era along with these motifs and engravings has doubted the assumption of attributing them to the prehistoric times. This report is an attempt to have a survey on the description and illustration of these rock engravings and motifs based on some field studies done in this area. Its purpose is to introduce an ancient masterpiece which has received less attention because of being far away and not being accessible easily. These rock engravings and motifs have been located in the southwestern slopes of a cliff in Zafar Abad and in the southeastern part of Kurdistan Province and the northeast of Dehgolan in the slopes of a mountain known as Mount Sheida. These rock engravings and motifs are the scenes of hunting animals such as antelope and deer by some people riding horses. Manuscript profile -
Open Access Article
32 - Revisision of Geographical Scope of Godin III Pottery Sequence in Centeral Zagros
Khodakaram MazaheriMonochrome painted pottery tradition of Godin III is one of the most important pottery traditions in Bronze age of Iran that continue more than one millennium and cover throughout of west and southwest of Iran geographical scope. In this study that had done with aim of MoreMonochrome painted pottery tradition of Godin III is one of the most important pottery traditions in Bronze age of Iran that continue more than one millennium and cover throughout of west and southwest of Iran geographical scope. In this study that had done with aim of study of the geographical scope of consecutive stages of Godin III pottery tradition, we distinguished that this kind of pottery tradition in beginning of its appearance and simultaneous with Godin III:6 / Susa IVA, spread in throughout central Zagros geographical scope, as in this phase, have the most spread area of distribution, moreover this phase pottery have clear relations with contemporary monochrome painted pottery tradition in Fars area, from methodology point. In other hand, a small quantity of this phase pottery was fund in Al–Hiba, ancient Lagash. We face with different situation, after end of the Godin III:6 phase. In the northern districts of distribution domain including the east of the Kuh-i Garin, eastern Pish-i Kuh and about western Pish-i Kuh, the continuous stages of the pottery tradition of Godin III, without dealing with any specific problem, have gone on until the end of this period. However, southern districts which include Pusht-i Kuh, Khuzestan and some of southern Pish-i Kuh valleys, faced different situation, so that during each of Godin's III phases in southern districts dealt with specific situation. Manuscript profile -
Open Access Article
33 - Achaemenid Period Pottery Culture in Northeast Anatolia (A Case Study of Achaemenid Painted Pottery in Kars City Museum, Turkey)
Leyla Afshari Sorayya AfshariEastern Anatolian pottery of the Achaemenid Period is quite different from its predecessor Urartian pottery - in techniques and forms. With the collapse of the Urartian Kingdom and the spread of Achaemenids in Anatolia, we can speak of a newly developing pottery c MoreEastern Anatolian pottery of the Achaemenid Period is quite different from its predecessor Urartian pottery - in techniques and forms. With the collapse of the Urartian Kingdom and the spread of Achaemenids in Anatolia, we can speak of a newly developing pottery culture. The monochrome, glossy red slipped pottery of Urartu was replaced by monochrome and polychrome painted pottery in miscellaneous forms. After the collapse of the Urartian Kingdom, the culture of Eastern Anatolia was gradually changed and over time, the old culture, developed by the official state, disappeared. This process did not occur instantaneously. Rather, it appears that a couple of centuries were needed for such a reshaping. Historically, Urartian influence still exists in the early phase of the Late Iron Age, which coincides with the Median dominance period. This phase is considered to be associated with a post-Urartian/Median period, which can be placed among the painted wares of Urartu and the Late Iron Age. Within the scope of this study, we succeeded in coming to certain conclusions concerning ceramic finds, which were obtained from the excavation sites in the region where architecture could not have been sufficiently examined. In the post-Urartian/Median phase, manufacturing with red-colored paste, influenced by Urartu, continues. While certain continuity also persists among the shapes, the prototype examples of double-handled metal vases, developed in the Achaemenid period, appear as a novelty. Firstly, our current study considers the pottery of the Achaemenid Period, which was discovered by archaeologists in the excavations and surface surveys of the Northeastern Anatolia Achaemenid Region. Secondly, This study will generally analyze the painted pottery of the Achaemenid period that is preserved at Kars Museum, taking into account the excavation and surface surveys of the Northeastern Anatolia Region. Manuscript profile -
Open Access Article
34 - Aesthetics and investigation of mystical aspects of paintings and motifs in Islamic civilization
Leila Mahmoudi Chalbatan -
Open Access Article
35 - representing the concept of space in Iranian expressionist paintings
Parichehr Moafi Ghafari simon Ayvazian sheida khansariThe artistic developments of the early 20th century in art history are generally called "Expressionist", which is the beginning and decline of this movement between 1910 and 1925. Expressionism is a kind of exaggeration in colors and shapes, a way free from na MoreThe artistic developments of the early 20th century in art history are generally called "Expressionist", which is the beginning and decline of this movement between 1910 and 1925. Expressionism is a kind of exaggeration in colors and shapes, a way free from naturalism that wanted to express emotional states as clearly and explicitly as possible. The main goal of this school was to show human emotions, especially fear, hatred, love, and anxiety, in which the artist uses strong colors, crooked shapes, and rough lines to induce her intense emotions. Expressionism is not only one of the most important and influential currents in today's societies; Rather, it is a global movement that includes various fields such as literature, philosophy, social and political sciences, architecture, music, painting, and cinema. Since painting and architecture as two identical categories have been continuously present throughout history in sync with each other and influenced by each other, naturally, the influence of these two arts from the expressionism movement can be the goal of this research. In this research, the method of collecting information from the library and field type and the interpretation-historical method will be used which, historical interpretation is a process during which past events are described, analyzed, evaluated, explained, and the researcher bases interpretation on primary [primary] and secondary [scientific] historical sources, and finally, evidence, contexts, perspectives, and reference frames are analyzed. the expressionism movement in the Pahlavi period is investigated, which also asks the question, what is the effect of the art movement of expressionism on the architecture and painting of the Pahlavi period. The answer is: which itself leads to the emergence of the common components of expressionist painting and architecture of that period, and from the commonality of the two, it explains the framework of intellectual developments in that period for the reader; This topic itself can be influential in connecting modernist paintings and contemporary architecture of the Pahlavi period. The theoretical and formal principles of this architectural style are based on the two foundations of the modern era and the place - the land of Iran - these two fundamental pillars are shown parallel to each other in the physical composition of the building. Although modern art is often referred to as works produced in a certain period in Europe and the United States, art historians have tried to find the concept of "new" and "contemporary" art in works from other parts of the world. And it should be noted that "modern art" and "contemporary art" are not synonymous. In the 20th century, Iranian society saw many changes from a political and social point of view, and these changes can be seen among Iranian artists in the form of works that were different from traditional Iranian paintings. Modernization in Iranian society in this period led artists to present results that, although they were linked to Iran's tradition and past, contained new forms and methods experienced by modernist European and American artists. The formation of the pioneers of modern art did not only mean the victory of the supporters of modernism against their opponents, but it was also able to provide positive aspects for Iranian art in the international arena. Although modernism is a fluid concept, the moment of its birth is somewhat clear, but the moment of its decline is unclear. The results of the research show that what is known as expressionist painting in Iran does not seem to be a superficial understanding of the essence of expressionist painting; In Iranian examples, where architectural spaces were created to have social and cultural effects with the help of painting, Imitation can be seen in the first and second generation of modernist Iranian painters Also, architectural space creation in Iranian paintings that expressionist painters include two divisions in terms of architectural space creation, wanted or not. The first group includes painters who depend on form in all painting components, and the second group includes painters who imitated other painters. However, more than half a century has passed since the official beginning of the modern art movement in Iran. A movement that tried to harmonize with world art and went through many hardships and has been continued by contemporary artists. Manuscript profile -
Open Access Article
36 - Portraiture; Evidence of Sanctions and their Criticism
abdoolrasool ahmadianLooking at the historical course of the ruling form, we come to the conclusion that this profession has been paid more attention in religious matters such as idolatry than in Islamic jurisprudence. Painting and sculpture  MoreLooking at the historical course of the ruling form, we come to the conclusion that this profession has been paid more attention in religious matters such as idolatry than in Islamic jurisprudence. Painting and sculpture need to be re-read in the present age. Regarding the sculpture and painting of lifeless images, there is no difference between the jurists in the permission to create and maintain them; however, some jurists consider it haram to take pictures and images of living beings, as well as the existing sculpture and statue of living beings.What is important is to discuss the reasons forthis view. After discussing the arguments of those who believe in sanctity, it became clear that there is no explicit verse in the Holy Quran about sanctity, and both the reasons for consensus and the news are incomplete, because in short, the mentioned consensus is evidence-based and unreliable. Citation is either flawed in terms of document or in terms of signification. Manuscript profile -
Open Access Article
37 - Biological Removal of Zinc from Automotive Hazardous Paint Sludge: a comparison between an endogenous Pseudomonas aeruginosa isolateand Acidithiobacillus thiooxidans PTCC1692
Fatemeh Honarjooy Barkusaraey Roya Mafigolami Gholam KhayatiResearch on the hazardous waste of paint sludge is mostly focused on recovering the sludge and pollution control with methods such as solidification. This research aimed to study the comparison of biological removal of zinc from paint sludge using a native Pseudomonas a MoreResearch on the hazardous waste of paint sludge is mostly focused on recovering the sludge and pollution control with methods such as solidification. This research aimed to study the comparison of biological removal of zinc from paint sludge using a native Pseudomonas aeruginosa strain and Acidithiobacillus thiooxidans PTCC 1692. Samples of water-based paint sludge were collected under aseptic conditions. Isolation of endogenous strains was performed in the Bushnell-Haas (BH) medium from paint sludge, and A. thiooxidans PTCC 1692 was cultured in the medium 119. Optimization of the process parameters for the biological removal of zinc was performed using the design of the experimental (DOE) method for both organisms. The results showed that A. thiooxidans is capable of biological removal of zinc with a higher pulp density and with a more extended bioleaching period. The results of the chemical analysis show the removal of zinc metal by 57.76% compared to P. aeruginosa by 36.39%, and, the removal of other metals such as Cr, Ni, Pb, and Cd were observed in the residual sludge from the process. Energy Disperse X-ray analysis (EDX) showed the more favorable effect of this bacterium in reducing heavy metals. Manuscript profile -
Open Access Article
38 - Analysis of the Confrontation of Post-Revolutionary Wall Painting Discourses in Tehran (1979-2019)
ali mobasherzadegan zahra ghasemi Malihe ShianiWithout exaggeration, the phenomenon of the Islamic Revolution in 1978 has been one of the most important factors affecting the biological field of Iranian society. Mural painting grew and expanded as a boiling point of politics with the public sphere at the time of the MoreWithout exaggeration, the phenomenon of the Islamic Revolution in 1978 has been one of the most important factors affecting the biological field of Iranian society. Mural painting grew and expanded as a boiling point of politics with the public sphere at the time of the revolution. This period is like a turning point in the political history of Iran, the recognition of which can be the key to understanding how contemporary political and social currents are formed. Due to the relevance of the subject and the extraordinary ability of Laclau and Mouffe's theory of discourse in the analysis of socio-political affairs and phenomena, the researcher has chosen this theory as his theoretical and methodological framework, and the innovation of such research is that by using This theory, by basing the murals in the context of their emergence as texts that are the products of discourse, has sought to answer the question of how the political discourses of the revolution evolved into the stabilizing discourse of war and then according to each The period of rule of various signs has been added or reduced to the central sign of the revolution. In this regard, how the socio-political developments of the revolution and post-revolution in the murals have been the subject of this research. Examining and analyzing the central signs in the forty years of the establishment of the Islamic Republic, it became clear that the discourse of the revolution during the transition to the discourse of war and then the transition to the period of stabilization under the influence of sociology-political factors and shifting power relations with fundamental changes in world representation. Manuscript profile -
Open Access Article
39 - Car paint thickness control using artificial neural network and regression method
J Jassbi M Alborzi F Ghoreshi -
Open Access Article
40 - Policies on Non-Oil Export of the Islamic Republic of Iran in the Age of Globalization (With Emphasis on Paintings)
Tooran Taghdimi Asghar Moshabaki Isfahani Reza Salehi Amiri Mehrdad Navabakhsh -
Open Access Article
41 - Violence in Iranian Paintings of Battle Scenes: A Study Based on Slavoj Žižek's Ideas
Sārā o-Sādat nouri Ashraf-o-Sādat MousavilarIn the Iranian belief, battle has a long history and fighting has always been one of the most important challenges facing Iranian heroes. This challenge has first been presented with constant struggle between good and evil and then has been represented in different form MoreIn the Iranian belief, battle has a long history and fighting has always been one of the most important challenges facing Iranian heroes. This challenge has first been presented with constant struggle between good and evil and then has been represented in different forms in different periods of Iranian art. The contemporary Western thinker, Slavoj Žižek discusses violence in his books and articles and reveals its hidden aspects. By using analytical-comparative method, the present research, first, tries to answer the following question: In Iranian painting, how and with what concepts is violence portrayed? Then, we examine Žižek’s view on violence and compare his view with Iranian paintings. The article compares three examples of Ferdowsi's Shāhnāmeh paintings with the theory of mythical violence and considers the ideas of Žižek and Walter Benjamin. The findings show that the theory of mythical violence can be compared with Iranian paintings and can be used as a way to critique Iranian art. Manuscript profile -
Open Access Article
42 - Effect of pH on Separation of Solid Content from Paint Contained Wastewater by a Coagulant-flocculant Compound
Mojtaba Semnani Rahbar Eskandar Alipour Reza Eskandari Sedighi Safoora Sajad Marzieh mohamadiani -
Open Access Article
43 - The Correlation of Blood Xylene Levels and Neurological Disorders among Informal Car Painters
Arie Kurnianto Tri Martiana Nemeskéri Zsolt István Ágoston Soedjajadi Keman -
Open Access Article
44 - Corrosion evaluation of industrial inorganic base coating on reinforcement by electrochemical impedance spectroscopy
Yadollah Yaghobinejad Abdollah Afshar Abolghasem DolatiIn this study, the effect of several industrial protective coatings such as alkyd base primer, zinc rich primer and polyamide primer coatings in compassion with the surface paints comprising alkyd, polyamide and polyamine were investigated. For evaluating corrosion and MoreIn this study, the effect of several industrial protective coatings such as alkyd base primer, zinc rich primer and polyamide primer coatings in compassion with the surface paints comprising alkyd, polyamide and polyamine were investigated. For evaluating corrosion and durability of concrete properties, strength of mixture, electrochemical impedance spectroscopy (EIS) and pull of test was accomplished. The outcomes significantly demonstrated EIS method performs an excellent response to corrosion analysis of coating upon the rebar. Beside, in harsh media the two parts of isocyanide-acrylic coating with a surface resistance approximately 7.3 GΩ.cm2 shows the best manner. In this study, the effect of several industrial protective coatings such as alkyd base primer, zinc rich primer and polyamide primer coatings in compassion with the surface paints comprising alkyd, polyamide and polyamine were investigated. For evaluating corrosion and durability of concrete properties, strength of mixture, electrochemical impedance spectroscopy (EIS) and pull of test was accomplished. The outcomes significantly demonstrated EIS method performs an excellent response to corrosion analysis of coating upon the rebar. Beside, in harsh media the two parts of isocyanide-acrylic coating with a surface resistance approximately 7.3 GΩ.cm2 shows the best manner Manuscript profile -
Open Access Article
45 - Intertextual Analysis of Sacred Defense Paintings
nayere mobinipour mohammadali khabari Mohammadreza SharifzadehTo read a text, you need previous and contemporary texts, and no text is independent of its predecessors. Since every work of art is a text, a painting can also be considered a text. Due to the appropriateness of Gerard Genet's intertextual theory with the subject, it h MoreTo read a text, you need previous and contemporary texts, and no text is independent of its predecessors. Since every work of art is a text, a painting can also be considered a text. Due to the appropriateness of Gerard Genet's intertextual theory with the subject, it has been used as a theoretical framework. The painting of the Holy Defense has its own semantic and aesthetic system that is different from each other. Tastes both in the production and in the acceptance of works of art change depending on the social transformation that has taken place in terms of the structural nature of the work under study. This article intends to answer the questions of how the painting of the Holy Defense was able to represent this subject through text and image and convey it to the audience and how to describe it in the form of aesthetics. The method is fundamental in terms of purpose and based on historical, descriptive and analytical methods in terms of nature. Considering the study of sacred defense paintings and semantics and the reproduction of the sacred concept of war by paintings (texts) and how the concept of sacred warfare is reproduced by images and their role in the reproduction and desecration of war is presented as the final result. Manuscript profile -
Open Access Article
46 - Discourse Analysys of Holy Defense Painting
nayere mobinipour Mohammadreza Sharifzadeh mohammadali khabariHaving a profound effect on the process of the formation of post-war currents, the painting of war has emerged in a particular discourse context. In this paper, both text and context are studied. Due to the exceptional subject matter and ability of Laclau and Chant MoreHaving a profound effect on the process of the formation of post-war currents, the painting of war has emerged in a particular discourse context. In this paper, both text and context are studied. Due to the exceptional subject matter and ability of Laclau and Chantal Mouffe’s theory of discourse in explaining all socio-political phenomena, this theory has been considered as a theoretical framework and the paintings of holy defense and their representations of war and the production of new discourse have been discussed. Since paintings are an important source of representation of the state of war, a number of artists' works during the holy defense were subsequently analyzed by discourse and read text and context through selected samples of war and postwar paintings. The war and post-war paintings constitute this research data, and several samples are selected from. The selection was based on discourse analysis and textual analysis and purposive sampling was used to choose the statistical society. The following research indicates that the concepts of guardianship, martyrdom, martyr, defense, resistance, jihad, etc. in Iranian culture mixed with Islamic culture have been considered sacred in the war and reestablished by discourse. Referring to these concepts and elements, the mythical symbols in the images, reestablishing of the concept “holy”, and the central signification of some of the key artists’ works in these two periods became apparent in this research. The discourse of the revolution painting is encountered with that of war under the influence of socio-political factors and the shift of relations’ power with fundamental changes in the way in which the war is represented Manuscript profile -
Open Access Article
47 - The Impact of Political Developments on Contemporary Iranian Painting with Emphasis on the Political Teachings of the Islamic Revolution
shahnaz Alipuri moradi Soheila dizgeliThe purpose of this study was to investigate the impact of the Islamic Revolution on contemporary Iranian painting. Art as a part of human life has always undergone changes. The changes that have influenced the external factors in their context and of which these factor MoreThe purpose of this study was to investigate the impact of the Islamic Revolution on contemporary Iranian painting. Art as a part of human life has always undergone changes. The changes that have influenced the external factors in their context and of which these factors are influenced, of course, seem to have been most of these external factors that weigh heavily on the artist and the artist and are his means of arousal. This research is an attempt to identify the various influential factors whose origins in politics in the context of contemporary Iranian history and at specific points in time that have created artistic movements. According to the findings of the present study, it can be said that what has been the focus of art throughout the history of this field is the social factors, and these social factors are more influenced by political developments and politicians are the main actors in this scene. . Thus, the Islamic Revolution has influenced the contemporary factors of the above mentioned contemporary painting in Iran. As you can see, this effect is quite evident in the works created. The turning point of the influence of the Islamic Revolution on contemporary paintings is the imposing war that had all the paintings and paintings created with the colors and scents of the goals of the revolution. Then there was a great change in the paintings created in the seventies. Manuscript profile -
Open Access Article
48 - The Study on the “Fire Ordeal of Siavosh’s Paintings” Based on the Genette’s Trannstextuality
فاطمه ماه وانAbstract According to Genette’s theory Shahnameh is a hypotext and its pictures and drawings are considered as hypertext. Now this question arises that under what circumstances hypertexts of drawings are in accordance with hypotext of Shahnameh and in what MoreAbstract According to Genette’s theory Shahnameh is a hypotext and its pictures and drawings are considered as hypertext. Now this question arises that under what circumstances hypertexts of drawings are in accordance with hypotext of Shahnameh and in what circumstances they undergo transformation and change. To answer these questions comparative and semiotic approach are applied to both Shahnameh and its drawings. The tale of fire trial of Siavash which is the most popular and frequent scenes portrayed in the tradition of Persian paintings is chosen. The present article deals with the role of intertextual relationship between Shahnameh and its pictures in production of its paintings and the study seeks to examine and express how the narrative text had been transformed into a pictorial version. The study deals with the following questions: From the standpoint of intertextual relationship to what extent the painting of Siavash’s fire trial shows direct reference to the text? To what extent the narrative in terms of images undergo changes or rather stay intact? The research method is as follows: First the narrative is studied in terms of interpreting the symbolism of the main elements, then comparative approach is applied to the image version of the narrative. Finally employing Genette’s transtextuality theory, the paintings are analyzed from two perspectives to verify whether or not modifications had taken place in the process of transition of the theme from the text to the image. The purpose of the article is to provide a practical example to express how the theory of transtextuality lends itself to the body of Persian art studies. Manuscript profile -
Open Access Article
49 - Artistic and literary analysis of dream in the text and the painting of the tale “Tus sees Siavash in a dream” from the perspective of criticism of imagination devised by Gaston Bachelard
hamideh hormati Roya Rezapour MogaddamArtistic and literary analysis of dream in the text and the painting of the tale “Tus sees Siavash in a dream” from the perspective of criticism of imagination devised by Gaston Bachelard *Hamideh Hormati Assistant Professor, Persian Literature, Fa MoreArtistic and literary analysis of dream in the text and the painting of the tale “Tus sees Siavash in a dream” from the perspective of criticism of imagination devised by Gaston Bachelard *Hamideh Hormati Assistant Professor, Persian Literature, Faculty member, Islamic Art University, Tabriz, Iran **Roya Rezapour Moghadam Faculty member, Faculty of Islamic Art, Islamic Art University, Tabriz, Iran Date of reception: 96/8/27 Date of acceptance: 97/10/19 Abstract Gaston Bachelard, epistemologist, critic, philosopher, recognized as the prime structuralists of France had pioneered a new style of criticism based on the analysis and interpretation of artistic and literary images. Having based his criticism on the four elements, he believed a great deal in material imagination of the poet and its connection with the unconscious and phenomenological issues. From his epistemological perspective, dream and poetic imagination through the four elements and in terms of mythological archetypes for obvious and obscure reasons find material manifestations. In order to accept the literary role as well as invoking the feelings of the audience dreams appear with dual images. Analysis and interpretation of the material imagination and this duality respectively unravels the mystery of the text. The tale of “Tus sees Siavash in a dream” is one of the ten narratives in shahnameh which was painted beautifully in Shah Tahmasb’s Shahnameh as a unique example of portraying dream world of the poet be materialized in the Persian painting. This article is an attempt to represent the ancient connection between literature and art, painting in particular from the view point of material imagination using Bachelard’s ideas regarding poet’s imagination and its correspondence with the painting only to determine the standpoint of four elements in Ferdowsi’s imagination and how they found expression in terms of words and images, also to reveal to what extent they correspond with Bachelard’s criticism of imagination in poetry and painting. According to the findings it can be said that the poet and the painter had made use of Bachelard’s material imagination and dialectic duality in creation of their works. * . hormati@tabriziau.ac.ir ** . rezapour@tabrizau.ac.ir Manuscript profile -
Open Access Article
50 - The description and the study of Rostam’s array in Shahnameh, Paris manuscript 953HG
Nafiseh Zamani Farzane FarrokhfarAbstract Rostam, reputed as one who wears a talismanic tiger skin is a preeminent legendary hero in the Shahnameh of Ferdowsi. Ferdowsi dresses him with an armor called Babre Bayan, and a hat made from the skin of the white demon according to the epic narratives in the MoreAbstract Rostam, reputed as one who wears a talismanic tiger skin is a preeminent legendary hero in the Shahnameh of Ferdowsi. Ferdowsi dresses him with an armor called Babre Bayan, and a hat made from the skin of the white demon according to the epic narratives in the west. Therefore this array becomes Rostam’s pictorial identity seen in most illustrated editions of Shahnmeh. Among the illustrated copies, Paris manuscript 953 belonging to the second school in Tabriz and Gazvin in the Safavid period is regarded a suitable source for the purpose of this article since it displays clear pictures of Rostam’s garments. Since cultural symbols in myths are represented in the art works this research is a step taken to identify and find the origin of the symbols and in this way one can also determine to what extent historical pictures correspond with the mythic symbols. This article raises the question that to what extent the illustrator of the Paris edition used clothing to portray Rostam as a legendary epic figure? According to the studies conducted it was verified that the illustrator of the Paris 953 edition had been well informed of the Shahnameh text, and under the influence of narrative imagery in portraying Rostam in battle, had profited from the clothing in order to induce the mythic character of Rostam while remaining loyal to the customary example of this time that is the Safavid era. This point must be emphasized that the artist of the tenth century due to the existence of appropriate artistic and scientific opportunities and the ability to access the illustrated editions of preceding centuries was cultivated in a milieu where he could express his artistic talents by using clothing with utmost care in such a way to portray Rostam’s massive extraordinary strength in Shahnameh 953. Manuscript profile -
Open Access Article
51 - The study of epic aspects in the dramatic art of illustrated storytelling “Parda Khwani”
Majid FadaeiAbstract Recitation is a kind of epic storytelling using screens on which are displayed illustrated scenes drawn from epic, mythological, and religious stories. Putting together three elements of speech, picture, and performance made this art to be counted as the MoreAbstract Recitation is a kind of epic storytelling using screens on which are displayed illustrated scenes drawn from epic, mythological, and religious stories. Putting together three elements of speech, picture, and performance made this art to be counted as the most influential and dramatic form of epic storytelling in between the traditional Iranian arts. However despite possessing unique characteristics, by comparison to other Persian arts recitation has not been studied thoroughly. This article is an attempt to deal with the recitation origins of this dramatic art of illustrated storytelling and the manner of its performance, and also examine its epic aspects. The results obtained show that its history and origin goes back to the period before Islam in particular to the time that Mani, the Persian painter prophet emerged. After Islam and in particular in Safavid era recitation received ample attention and this art was developed since due to retaining epic aspects, it was assumed as a unifying art. Based on the researches, this epic aspect of this ancient art were drawn from Ferdowsi’s Shahnameh narrative and religious epics, being the main source for naqqals’ narratives. The epic present in the narrative conveyed epic aspect to the other two chief components of the recitation that is painting and performance in such a way that one can name recitation the epic art of illustrated recitation. Manuscript profile -
Open Access Article
52 - Intercultural Shahnameh: A study of the illustrated version of the Great Ilkhanid Shahnameh
Fatemeh MahvanAbstractThe Great Ilkhanid Shahnameh is one of the masterpieces of the Mongol era in Tabriz school. This illustrated manuscript well expresses the visual narration of the Ilkhanid kings and artistic relations of that time. This study examines these illustrat MoreAbstractThe Great Ilkhanid Shahnameh is one of the masterpieces of the Mongol era in Tabriz school. This illustrated manuscript well expresses the visual narration of the Ilkhanid kings and artistic relations of that time. This study examines these illustrations from the perspective of visual features to show how Iraninan and Far Eastern art were intertwined in this work. This connection is quite evident in the display of chinese mongolian portraits and the manner of illustrating nature (tree, mountain, cloud). Moreover other illustrated features in this version such as the symbolic Farr of kings, picturing the battle scenes and mourning rituals are also examined. In some cases the paintings are compared with their counterparts in Jamee al Tavarikh both belong to the same era using the same style. The results show that the artistic style of many cultures are intermingled in the illustrations of the Great Ilkhanid Shahnameh. On one hand the influence of the Chinese painting in depicting portraits and scenary is evident and on the other hand Mongolian culture dominates the paintings. Moreover the theme of the illustrations is rooted in the paintings of the ancient Iran. One can even find traces of influence of the fartetched art such as Byzantine art in this work. Therefore this version of Shahnameh can be regarded as an intercultural Shahnameh which blends many cultural traditions such as Mongolian, Chinese, old Persian, and Byzantine into one unified copy. Manuscript profile -
Open Access Article
53 - The comparative study of the Indian Garuda with Simorgh in Persian Miniatures (Safavid era)
Zahra Mohseni Abolghasem Dadvar Seyyed Ali Asghar MirfattahEver since antiquity Iran and India were considered as rich ancient civilizations and their common cultural origin was the reason to leave behind symbols, signs and mysteries alike for later generations. The study of these common cultural characteristics by way of MoreEver since antiquity Iran and India were considered as rich ancient civilizations and their common cultural origin was the reason to leave behind symbols, signs and mysteries alike for later generations. The study of these common cultural characteristics by way of search for the surviving symbols from those golden era help to unveil mysteries hidden in the labyrinth of history. In Persian paintings after Islam, the striking image of a bird is seen. Aesthetically speaking this is a massive bird with gigantic wings and beautiful colors in the heart of nature called Simorgh, a major mythological motif clearly manifested in our poetry and literary culture of our past. Similarly Garuda in Indian literary tradition is the counterpart of Simorgh famous as “king of birds” is considered as one of the Gods of animal origin, flies faster than the wind and serves as the mount of Vishnu respected greatly by the Hindus. The image of Simorgh and Garuda are among the most beautiful images masterly employed in the embellishments of many works in the Islamic art particularly in paintings of the Safavid period. The purpose of this article is to explain the symbolic roles of these two birds in their respective cultures and then make a comparative study using a descriptive method to show their impact in the miniatures of the Safavid period. Manuscript profile -
Open Access Article
54 - The study of symbolic imagery of Farr (In connection with the images in Shahnameh)
Fatemeh Mahvan Mohammad Jafar Yahaghi Farzad GhaemiMotifs used in Shahnameh’s imagery are on one hand in connection with the textual sign systems and on the other hand are of a nature belonging to the visual sign system. An example from this dual system of textual-visual kind is seen in the visual motifs of heaven MoreMotifs used in Shahnameh’s imagery are on one hand in connection with the textual sign systems and on the other hand are of a nature belonging to the visual sign system. An example from this dual system of textual-visual kind is seen in the visual motifs of heavenly concept of farr. In textual system, Kiani Farr refers to Shah’s legitimacy. Researches made in this regard generally describe the concept of Farr, and deal with its application in Shahnameh and ancient texts. The emphasis of these works is mostly on the semantic aspect of Farr. This essay however attempts to study the concept of Farr from another approach. Looking for its meaning among the images to find out how the visual artists depicted the concept of Farr. Thus the attempt is made in this article to seek and find symbolic imagery in between the images in Shahnameh, rock reliefs, and images depicted in banners. For this reason apart from the textual sources, one made use of visual sources as well. Studying the images illustrate that Farr is manifested in form of three motifs of light, bird and crown. These three motifs each has different manifestations dealt with in detail in this study. The purpose of this research is to find the symbols of Farr by inspection of visual sources. Manuscript profile -
Open Access Article
55 - Kaabol’s Shahnameh of the Safavi era
Mahmoud TavoosiDespite the fact that hundreds of manuscripts of shahnameh have been investigated by the scholars, yet sometimes quite accidently mystery is unveiled from an abandoned and forsaken copy only to bewilder the eager artists and literary figures. Of such works, is a complet MoreDespite the fact that hundreds of manuscripts of shahnameh have been investigated by the scholars, yet sometimes quite accidently mystery is unveiled from an abandoned and forsaken copy only to bewilder the eager artists and literary figures. Of such works, is a complete Shahnameh, illustrated and gilded with beautiful calligraphy produced by the calligrapher Abdul Razzagh Ghazvini and with the artistic collaboration of other infamous painters in the year 1044 Hijra found in Ghazvin’s Darossaltaneh. This invaluable manuscript is currently kept in the national archive of Kabul, in Afghanistan and has not yet been introduced to the artistic and literary circles. The purpose of this article is to introduce this artistic work for the first time. Manuscript profile -
Open Access Article
56 - Semiotic Analysis of style in three illustrations of Shahnameh entitled “ Bahram kills a dragon”
Anahita Moghbeli Behnaz PayamaniAbstract Semiotics is concerned with the study of sign systems in social life. Semiotic theories are quite functional in the domain of analyzing artistic and pictorial works. In analysis of a visual text and style of works of art, semiotics MoreAbstract Semiotics is concerned with the study of sign systems in social life. Semiotic theories are quite functional in the domain of analyzing artistic and pictorial works. In analysis of a visual text and style of works of art, semiotics approach shades of meanings of a text. Artistic creation objectifies beauty and in Persian painter’s view the realm of beauty is synonymous with the ideal world. Space in Persian painting is a manifestation of the divine space and the artist in expressing it does not use a realistic language since his language is a language of sign and symbol. The purpose of this article is the comparative study of three paintings with the common title of “Bahram Gur kills a dragon” in three Shahnamehs, Sultan Abu Saeid (dated 730 HG), Shiraz School Shahnameh (dated 771 HG Kept at Top Kopi museum in Istanbul), and Mashhad-Qazvin School Shahnameh (dated 988 HG) respectively using semiotic and stylistic approach. First theideal world and its influence and reflection on the illustrations are discussed, then symbolic signs, figures and profiles in them are studied and in between, implicit meanings of dragon and theme of dragon killing are analyzed. Also Bahram’s character in myth and history are dealt with. The nature of this research is comparative, descriptive, and analytic. The outcome of the study shows that although the painter in portraying the original poetry is faithful, meanwhile he has not been a mere follower of the text but with choosing a selected part of the poem, he mingles it with imagination and artistic traditional values of his own era and in this way he presents his own creative portrayal of these themes Manuscript profile
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