Research Paper
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Sayed Mahdi Khatami; Somayyeh Haghroosta
Abstract
The Umayyad period is one of the most important historical periods in the early Islamic era because of its vast geographical area. The Umayyad conquered Eastern Roman influenced by ancient Greek and Roman art, before the advent of Islam. Therefore, Umayyad urban planning was affected by architectural ...
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The Umayyad period is one of the most important historical periods in the early Islamic era because of its vast geographical area. The Umayyad conquered Eastern Roman influenced by ancient Greek and Roman art, before the advent of Islam. Therefore, Umayyad urban planning was affected by architectural and urban styles of Eastern Rome. At the same time, Islam had its influence on its architecture. This article aims to analyze urban structures of this period and examines two cities of Ramla (a new city built by Muslims) and Damascus (a city transformed by Muslims) as two major cases. The research method of this article is based on documentary examination and descriptive-interpretive analysis of various texts that have been analyzed by using qualitative strategies. The results of the study indicate that Muslims in the Levant created a kind of adaptive urbanization. It means that they often did not make major changes in conquered cities, and only adapted the urban elements to their needs.
Research Paper
Niloofar Mayeli borjlooe; nahid jafari dehkordi; shahriyar shadigo; seyedeh Maryam Jazayeri
Abstract
In this study, interdisciplinary approach was used to analyze Ardaviraf's poems and illustrations from the Manchester Library of England. By considering the study body of Indian culture and art as well as the two different sign systems of verbal and image text, intertextuality was explained and intertextuality ...
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In this study, interdisciplinary approach was used to analyze Ardaviraf's poems and illustrations from the Manchester Library of England. By considering the study body of Indian culture and art as well as the two different sign systems of verbal and image text, intertextuality was explained and intertextuality was defined according to the study body of the present study. For the study of the statistical sample consisting of 7 pictures on the subject of guilty women with the aim of examining the important components of the verbal and visual text and the recognition of the manuscripts of this manuscript, the data were collected using books, articles and internet data.In the first step, the textual and textual conditions of Indian Persians are analyzed. After explaining the verbal text, the visual text is examined and the important and effective components between the verbal text and the visual text are revealedVerbal text and image text belonged to two different times and places, so intertextuality was intercultural and India's influence on the paintings was evident. Time and place and action were the same in both texts and intertextuality was explicit and textual. An image dominated the verbal text
Research Paper
Mahmood Vatankhah Khaneghah; Seyyed Aboutorab Ahmadpanah; Mahnaz Shayestehfar
Abstract
In the mystical view of Islamic arts, letters hold a unique place and have various semantic aspects. "Vav" originates from the system of mystical and Sufic symbols and has consequently been represented as a motif in artworks from different cultures, at various levels of semantic significance. Among the ...
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In the mystical view of Islamic arts, letters hold a unique place and have various semantic aspects. "Vav" originates from the system of mystical and Sufic symbols and has consequently been represented as a motif in artworks from different cultures, at various levels of semantic significance. Among the works of Turkish-Islamic culture, the Vav letter has been extensively portrayed since the 12th century AH. This is largely due to the dominance of Sufic and mystic discourse at the time in Anatolian cultural geography. Through applying Pierce's semiotic method to this historical-analytical investigation and using a purposeful sampling procedure, semantic meanings of the letter Vav motif have been categorized. In addition, several samples of art from different fields have been used to demonstrate its prevalence and multiplicity. Thus, as well as studying the semiotic aspects of the iconic, indexical, and symbolic levels of the letter Vav, the roots and reasons for its popularity in Turkish-Islamic culture are also examined. Based on the results of this study, this calligraphic motif of the letter Vav in Turkish-Islamic cultural contexts has polysemic meanings and contains various meanings related to the mystical and Sufi ideas of Islamic calligraphy.
Research Paper
Maryam kamyar; Maryam zarekhalili; Seyed Aboutorab Ahmadpanah
Abstract
“Tiraz” is a Persian word that originally is given to the textile which is decorated either by embroidery or woven inscription. The presence of inscription gave this types of textile a capacity of political propaganda. The inscriptions of Tiraz itself is a valuable documentation which reflect ...
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“Tiraz” is a Persian word that originally is given to the textile which is decorated either by embroidery or woven inscription. The presence of inscription gave this types of textile a capacity of political propaganda. The inscriptions of Tiraz itself is a valuable documentation which reflect the political-religious life of the Islamic era. This article aimed to study the media appropriateness of "Tiraz" and "literature" by study the relationship "motif" in Ray Tiraz and Central Asia collection. Many of the known Ale-Buyid silk textile were found in ancient city of Ray. The Ray city is located on the Silk road and play the rule of connecting the west and the east parts of this road. In this paper, the geometric order and divisions of Ray textiles and Central Asia are analyzed. The geometric system of these styles are: Number of lines, Line spacing, The relationship between the width and height of the inscription. The Tiraz inscriptions in the studied were linear, curved, polygonal and in combination with the pattern.Question of this research: How to transfer the geometry of Iranian textile patterns along the Silk Road and how to arrange the lines And what geometric principles are used in scaling This research in benefited of a descriptive-analytical and historical approach. The results show that a precise pattern such as radical 2 proportions was used to organize and combine text and images. This pattern was transmitted along the Silk Road to Central Asia and was seen in Central Asian fabrics.
Research Paper
mansour mehrnegar; Maryam Ebrahimi; Pejman Dadkhah
Abstract
Although the rituals of Zartosht and Buddha have common points in their teachings and beliefs, they differ from each other in religious culture, especially in the worldview on human orientation. As in Zoroastrian thought, man is called to monotheism and is in the position after God as his representative ...
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Although the rituals of Zartosht and Buddha have common points in their teachings and beliefs, they differ from each other in religious culture, especially in the worldview on human orientation. As in Zoroastrian thought, man is called to monotheism and is in the position after God as his representative on earth. However, in Buddhism, man himself is the central subject of religion and he himself is able to reach the level of divinity, that is, the level of perfection. Accordingly, the present study, which has been done in a descriptive-analytical and comparative style and relying on library sources, case by case study the structure of the two places of worship - holy fire temple and stupa in the two ancient civilizations of Iran and India to answer this question: What are the characteristics of the Zoroastrian and Buddhist ideas crystallized in the body and architectural space to emphasize their sacredness? The results indicate that because the view of Zoroastrianism on mankind is optimistic and realistic in the direction of his survival, growth and movement, so the fire temple is always built on a high, introverted and without any decorations. However, due to the wave of human annihilation and non-existence in Buddhism, the location of the stupa is on a flat surface and has been constructed extroverted and with abundant decorations of physical symbols. However, both buildings have similarities in the main elements of the design and plan due to their ritual influences from each other.
Research Paper
Habib Sheikhi; Mohammad Soltanifar; Afsaneh mozaffari
Abstract
The main purpose of this study is to identify and rank the components of cultural diplomacy in Iranian cinema. The present research is applied in terms of research purpose and descriptive-survey research in terms of research topic and questions. Data collection tool included a questionnaire based on ...
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The main purpose of this study is to identify and rank the components of cultural diplomacy in Iranian cinema. The present research is applied in terms of research purpose and descriptive-survey research in terms of research topic and questions. Data collection tool included a questionnaire based on pairwise comparisons which was graded on an hourly scale. The statistical population studied in this study consisted of experts and experts in the field of cinema and diplomacy. Snowball sampling method was used to select the sample. In the first stage, 21 indicators were identified from the perspective of experts using the Delphi technique. Then, using hierarchical analysis technique, the main dimensions of cultural diplomacy were ranked. The results showed that according to the experts, religious identity with a normalized weight of 0.360 is in the first priority. Cultural dimension Cultural diplomacy with a normalized weight of 0.306 is in the second priority. The technical dimension of cultural diplomacy with a normalized weight of 0.152 is in the third priority. The political dimension of cultural diplomacy with a normalized weight of 0.111 is in the fourth priority. National identity with a normalized weight of 0.071 is in the fifth priority. Due to the incompatibility rate of 0.05 in this ranking, there is complete compatibility between the pairwise comparison of the models.
Research Paper
Tahmoras Normohammadi shalke; Alireza Sadeghi; Mostafa GHaderi
Abstract
AbstractThis article has been done with the purpose of "identifying the representative symbols of Talesh ethnic culture". The method used in this article is a qualitative approach, an interview method with an inductive qualitative content analysis bot technique. The field of research in this article ...
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AbstractThis article has been done with the purpose of "identifying the representative symbols of Talesh ethnic culture". The method used in this article is a qualitative approach, an interview method with an inductive qualitative content analysis bot technique. The field of research in this article includes all researchers in the field of Talesh ethnic culture, 16 researchers were selected by snowball sampling method for individual semi-structured interviews, face-to-face, and face-to-face with a duration of 30 to 60 minutes. The data collected from the interviews were analyzed using three-stage coding (open, central, and selective). The obtained findings showed; Native architecture, Taleshi language, handicrafts, local clothing, household tools, food culture, popular culture, economy, land, population, cultural authenticity, customs, women's value, land type, music, historical appearance, can be symbols that can be used to create culture. Talesh people should be given formal and informal education to the children of the new generation and people from other ethnic groups, to preserve Talesh culture and peaceful communication with other ethnic groups.
Research Paper
marjan Barat Targhi; mehdi mohammadzadeh
Abstract
Haft Peykar (aka Bahramnameh) is the fourth narrative of the Khamsa written by the classic Persian poet Nizami Ganjavi. These stories happen during seven nights on seven planets, showing Bahram with seven princesses. Each night Bahram spends his time with a different princess who tells him a story, followed ...
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Haft Peykar (aka Bahramnameh) is the fourth narrative of the Khamsa written by the classic Persian poet Nizami Ganjavi. These stories happen during seven nights on seven planets, showing Bahram with seven princesses. Each night Bahram spends his time with a different princess who tells him a story, followed by an intercourse. This paper focuses on the fourth story known as Gonbad-e Sorkh (The Red Planet) which is based on the themes of love and sacrifice. It aims to portray the hero’s movement and its compatibility with the so-called “hero’s journey” (aka the “monomyth”); a common pattern discovered by the American mythologist Joseph Campbell in the mid-twentieth century, based on the analyses of old tales, myths and epics of different cultures. This article, moreover, adopts a descriptive-analytical method in accordance with the three parts (including seventeen stages) of the hero’s journey in order to analyse the character’s movement and his obstacles. The results show that Gonbad-e Sorkh matches the monomyth pattern, excluding the third part known as “return”. The main character, accordingly, begins his journey when he falls in love with a princess, and strengthens his goal of marrying her with the idea of saving the lives of many young men who would die throughout their deadly journeys of reaching her. He finally gains his ethical goal and becomes a just saviour that can be considered an example of hero in Persian romantic literature.
Research Paper
Maryam Nemat Tavousi
Abstract
Painted-screen storytelling has been derived from dramatic storytelling or Naqqaali which has used to be performed throughout Iran from ancient times. Its specific structure is applying a painted-screen to which the reciter refers from time to time during his performance. The main purpose of this research ...
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Painted-screen storytelling has been derived from dramatic storytelling or Naqqaali which has used to be performed throughout Iran from ancient times. Its specific structure is applying a painted-screen to which the reciter refers from time to time during his performance. The main purpose of this research is revealing the evolution path of religious painted-screen from the very beginning till the end result: a painted-screen with so many scenes. It seems storytelling scrolls (Tomar) and Shabih-khani (Ta’ziyeh) play a very important role in final form and the content of these painted-screens. Like scrolls, every painted screen is comprised from a main story and so many minor stories. But the minor stories in painted-screen do not have organic relationship. It is reciter who refers to the main story (painted at the middle of the painted-screen) On the other hand, the main story and lots of minor stories in every painted-screen have been borrowed from Shbih-khani. Besides, at the heart of the religious painted-screen there are big holy figures that can be seen vividly by audience all the time. This means whether the reciter tell the story of Karbal or not, the audience feel the presence of key religious figure during time.
Research Paper
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Faranak Jahangard; Tayebeh Golestani
Abstract
The structure and content of the story of "Bahima and Bakeh" in Mahabhart have many similarities with the story of "Zahak" in Shahnameh. In both stories, the exposed protagonist kills humans for food. People make a pact with him, provided he does not harm anyone, to prepare his daily food and send it ...
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The structure and content of the story of "Bahima and Bakeh" in Mahabhart have many similarities with the story of "Zahak" in Shahnameh. In both stories, the exposed protagonist kills humans for food. People make a pact with him, provided he does not harm anyone, to prepare his daily food and send it to him. Eventually one of the people designated as the anti-hero's food (or one of his relatives) attacks the hero and destroys him. In this article, the main lines of the two stories will be studied by comparative method and their similarities and differences will be analyzed. The boldness of the similarities indicates a common origin or adaptation of one another; Which can be reminiscent of the coexistence of Indo-Iranians in ancient times. It is natural to see inevitable differences between the two stories. For example, the original and precise links that appear in Iranian myth, including the type of symbols and their connection with each other, are not seen in the Indian text. In addition, the place of each of the stories in the epic narrative, as the main story or sub-story - which itself can indicate its importance - shows that this type of rebellion against the enemy is more important to Iranians. Has been a comment. In fact, although there are many similarities in the original narration, its more accurate processing in the Shahnameh shows the originality of this narration among Iranians.
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