The article is a research about Iranian furniture, from Seljuqs to the end of Zands and thevbeginning of Qajars. It aimed to introduce different kinds of Iranian furniture and considering the art of making them. The research is a developing research and in terms of the More
The article is a research about Iranian furniture, from Seljuqs to the end of Zands and thevbeginning of Qajars. It aimed to introduce different kinds of Iranian furniture and considering the art of making them. The research is a developing research and in terms of the nature is qualitative and heuristic. Data collection was done through library studies and extensive field research. Although the remaining works of the 5th century AH show a continuation of the Sassanid style, it seems that this old style did not last long due to the changes in beliefs and society and so a new method has been followed in Islamic era. This Iranian art has undergone an evolutionary process during this period and is influenced by Islamic concepts and also the culture of other nations of conquered lands in its form and decoration.
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In Holy Quran (68:42) one of the characteristics of the Day of Judgment hasbeen described as “the day when the leg shall be bared” which is a metaphorfor removing the veil of Glory; and subsequently the humiliation of creaturesare shown by general command fo More
In Holy Quran (68:42) one of the characteristics of the Day of Judgment hasbeen described as “the day when the leg shall be bared” which is a metaphorfor removing the veil of Glory; and subsequently the humiliation of creaturesare shown by general command for prostration. In this research, by takingadvantage of mystical principles and traditional commentaries, fourpropounded questions about these verses (68:42-43) are responded: thegenerality of this command; benefit and sagacity of prostration, polytheists’disability, and whose presence to prostrate. By referring to the HadithTahawwol (a tradition about God's self-transmutation at the Resurrection)-upon which Ibn al-Arabī’s theory of Ilāh ul-Motaghid were developed- andthe other traditions mentioned under these verses by other commentators,author comes to the conclusion that the interpretation of “the leg shall bebared” is associated with divine theophany in the form of Perfect Man.According to Hadith Tahawwol, God reveals Himself to each group ofpeople, but they keep on denying Him until He transmutes Himself intoa form that has the mark which they recognize. However, the Day ofJudgment is the field where monotheists are detached from others. Hence, aparticular theophany is needed by which monotheists start prostrating andothers fail to do so. Concerning the fact that in Shiite tradition the phrase “sāqal-ʻarsh” has been interpreted as the meeting place of the light of oneness(Tawhīd) and the Mohammadian light, and “Kashf sāq” has been interpretedas the authority and guardianship of Shiite Imams, and with regard to what isnarrated in Bukhari’s Sahih one can interprete the verse as the epiphany ofuniversal guardianship. Therefore, prostration in the Day of Judgment beforethis Truth is like angles’ bowing down to man.
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As an important feature of Neo-Assyrian palatial architecture the palaces’ plan shows a unique pattern in situation of the spaces sharing in function. The pattern makes possible to identify the defined spaces such as outer court, inner court, residences, service s More
As an important feature of Neo-Assyrian palatial architecture the palaces’ plan shows a unique pattern in situation of the spaces sharing in function. The pattern makes possible to identify the defined spaces such as outer court, inner court, residences, service spaces, and throne hall in the first view. The throne hall of Neo-Assyrian palaces is considered as the most important space of the royal complex. Therefore, the throne hall benefits from the most facilities and decorations and situated in the most suitable place in the complex. Due to the attributes of throne hall it is possible to recognize the special space in the Neo-Assyrian royal complex using archaeological method and spatial analysis.
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Abstract
Theme creation and poetic interpretation are of the most significant features of Farsi poetry. The poet, In this device, creates relationship between the remote and apparently non-related elements which by similaritie More
Abstract
Theme creation and poetic interpretation are of the most significant features of Farsi poetry. The poet, In this device, creates relationship between the remote and apparently non-related elements which by similarities, proximities , conflicts, participation in the function, homogeneity and literal agreement are attained. In the lifetime of Abdorrahman Jaami, there was not a new specific style in Persian poetry and the literary works of that period indicate the imitation of the great previous literary men. However, Jaami has created new themes with fluent inditements in his valuable work " The Seven Thrones " or The Haft Owrang which have not yet been investigated. The present article analyzes the theme creation with fluent inditement (calligraphy) in the first Mathnavi of the Seven Thrones (selselatozzahab) from Jaami. They are exquisite themes that , in Jaami's world of poetry are inconsistent elements in the expression of imagination, beautiful themes are created . Having provided a theoretical framework, the verses of this Mathnawi have been analyzed in descriptive- analytic method.
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Motifs 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 More
Motifs 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.
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