Art
Leila Ghaffari; Jamal Arabzadeh
Abstract
The present book, entitled Qajar Portraits, in the form of a handbook by Julian Raby, a researcher in the field of Islamic Art and former director of the Freer and Sackler Gallery in Washington, was published in continuation of the "Qajar Royal Paintings" exhibition which was held in London in 1999. ...
Read More
The present book, entitled Qajar Portraits, in the form of a handbook by Julian Raby, a researcher in the field of Islamic Art and former director of the Freer and Sackler Gallery in Washington, was published in continuation of the "Qajar Royal Paintings" exhibition which was held in London in 1999. The author's purpose in writing this book, in addition to introducing the 43 works displayed in the exhibition, is the visual analysis of these works in a socio-historical context. The period intended by Raby in this book is not the whole of the Qajar age, but a century of it, including the beginning of the reign of Fath Ali Shah until the end of the reign of Nasser al-Din Shah (1213-1313 AH). Because from the author's point of view, these two kings had a special place in the development of Visual Arts, or in other words, the Image in the Qajar age. In this study, we also intend to review the method of presenting and examining the visual works mentioned in this book, identify the mental pattern used by Raby in classifying and introducing them, and based on that, his approach to analyze the Visual Arts of the Qajar age, whose works are often created in the context of the artistic main stream of that time, named Royal Portraiture.
Art
Leila Ghaffari; Jamal Arabzadeh
Abstract
The cultural identity of a society is influenced by many factors, including religion, customs, art, and especially architecture. Moreover, the practical aspect of architecture in human life has made it important in the formation of civilizations such as Islam. The objective appearance of this civilization ...
Read More
The cultural identity of a society is influenced by many factors, including religion, customs, art, and especially architecture. Moreover, the practical aspect of architecture in human life has made it important in the formation of civilizations such as Islam. The objective appearance of this civilization in the form of valuable artistic structures is due to the knowledge and skill of prominent architects like Sinan. Therefore, to get acquainted with architects and their unique perspectives, studying of remain historical cited texts is considerable. Due to Sinan's special place in the development of Ottoman architecture, as well as Islamic architecture, exploring the texts related to him, especially what was said by Sinan, is fruitful. Regarding this article, the Persian translation of his two valuable treatises in the form of the book "Tezkiretü'l-Bünyan and Tezkiretü'l-Ebniye: Mimar Sinan Memories" has been reviewed. So, after presenting formic characteristics of the book, historical aspects of pre-modern architecture and architects of Islamic world, the life and works of Sinan, his Biography, his treatise’s introduction and finally a comparison between them and a similar text, Risale-yi Mimariye are discussed; Hence this comparison will be effective in better understanding the thoughts of the architects of that time, especially Sinan.
Art
Leila Ghaffari; Davoud Ranjbaran
Abstract
Mitsukuni Yoshida, a former professor and director of Kyoto University, is one of the Japanese researchers in the field of Persian Pottery studies who has traveled to various historical and archeological sites in Iran and also Hormoz Island in the 1960s. He has written his findings on the history and ...
Read More
Mitsukuni Yoshida, a former professor and director of Kyoto University, is one of the Japanese researchers in the field of Persian Pottery studies who has traveled to various historical and archeological sites in Iran and also Hormoz Island in the 1960s. He has written his findings on the history and techniques of creating Persian Pottery in the form of a book entitled In Search of Persian Pottery. In this article, by reviewing the present book as a worthwhile source in the field of Persian Pottery History, the author's perception of the evolution of this ancient art and the type of his encounter with the category of stylistics Persian Pottery has been reviewed. On this basis, Yoshida's view was not only to describe his observations of Persian Pottery, but also to study the stylistics and works of Persian Pottery in terms of recognizing their cultural and linguistic origins. Considering his membership in the Japan Anthropological Institute, his treatment of the anthropological aspects of the art of Pottery in this work is not far off. Also, the role of cultural commonalities of the Oriental countries in shaping his attitude towards Pottery and Persian Pottery as an Oriental researcher is important.
Art
Leila Ghaffari; Jamal Arabzadeh
Abstract
From ancient times to the present, the concept of Representation is one of the intrinsic components of Art, and it is considered as an essential element in human definition and perception of Art. Generally, Representation is embodied as the idea of Similarity of artwork, with the real world, which ultimately ...
Read More
From ancient times to the present, the concept of Representation is one of the intrinsic components of Art, and it is considered as an essential element in human definition and perception of Art. Generally, Representation is embodied as the idea of Similarity of artwork, with the real world, which ultimately becomes a transcript of nature. According to Eva Baer, author of the book The Human Figure in Islamic Art, the concept of Representation in different Islamic periods was not the same as what would be meant today. In this book, the author sets different criteria in the Visual Representation of human, and considers their sources in the cultural and indigenous characteristics of original societies. While she has benefited from ethnic-national classification and the diachronic approach, in order to present the process of Visual Representation of Human in Islamic Art. As in this article, after the formal and methodological review of the book, it will be tried to analyze the concept of Visual Representation of Human in Islamic Art based on the chapters of the present book. Also, according to the appropriate cases, the author’s point of view in this context will be criticized and reviewed by referring to the examples and stories of other Islamic literary and artistic treatise.
