A Reflection on Manifestations of Power in the Representation of Assyrian and Neo-Assyrian Gardens on the Basis of Inscriptions and Friezes from the 12th Century to the 7th Century BC
Hamide
Abarghouei Fard
Ph.D Candidate in Landscape Architecture, Faculty of Architcute, University of Theran, Iran.
author
Parichehr
Saboonchi
Ph.D Candidate in Landscape Architecture, Faculty of Architcute, University of Theran, Iran.
author
Heshmatollah
Motedayen
Associate professor, Faculty of Architcute, University of Theran, Iran.
author
text
article
2021
per
By reviewing the role of cultural components and currents of thoughts in the formation of physical and functional specifications of the garden – in a geographical context –, we can acquire a more comprehensive image of the culture of the people who have constructed them. The role of the power component in the formation of the Assyrian and neo-Assyrian civilization is manifested in the usage of friezes in gardens as a tool for presenting the royal power on the walls of their palaces. The relationship between power as a cause of formation of royal gardens (the “why” of it) and their presentation in the representation of the garden (the “how” of it) is indicative of the specific functional and physical traits of the garden in this era of our history. This view considers garden-centered friezes as imperialistic and political statement and promotes “power” as a cultural principle in the Assyrian and neo-Assyrian civilization. The present study aims to review the overall pattern of Assyrian and neo-Assyrian royal gardens with an emphasis on its political dimensions. Manifestation of such issue in the construction of the gardens of the Mesopotamia region, as a representation of the royal power in the representation of the gardens has yet to be studied in a comprehensive way in the form of an independent research with an emphasis on all its dimensions. The method of the present study is a qualitative historic analysis of content and the required information has been collected using a library method by referring to accessible primary information resources such as friezes, inscriptions and Assyrian literary texts and secondary information resources and available books. Representation of the royal garden as a natural-cultural phenomenon in the Assyrian and neo-Assyrian friezes has been done with the purpose of showing the civil and the military power of the king and implying his supernatural and extraterrestrial power. This is an indication of the focus on the power factor as a main field of garden’s representation which emphasizes three levels, namely representation of the act of creation in the construction of the garden, designed and artificial landscaping and presentation of non-local components and elements and their impact on the ideology and cultural belief regarding the god-like power of the king and his political acceptability and qualification. Such a form of representation illustrates an overall pattern of the royal garden beyond mere geometry and anatomy, in the form of common qualities such as its ritual-related and ceremonial aspect, artificiality and extraordinary innovation and its imitative and illustrative aspects.
Journal of Art and Civilization of the Orient
Nazar Research Center
2345-6612
9
v.
31
no.
2021
5
17
http://www.jaco-sj.com/article_128650_bc9d90b62dc48f180363a1caa946806c.pdf
dx.doi.org/10.22034/jaco.2020.249323.1171
An Analytic Introduction to the Pre- Urartian Period in the Southern Karadagh, the Northwest of Iranian Plateau,
the Case Study: the Rural District of Uch’hāchā
Bahram
Ajorloo
Associate Professor, Department of Archaeology, Applied Arts, Tabriz Islamic Art University, Iran.
author
Arash
Tirandaz-Lalehzari
The hed of archaeological expedition the Qaradagh, Tabriz,, Iran.
author
text
article
2021
per
The cultural sequence, chronology, and archaeological landscape of the geographical distribution of the prehistoric cultures in the peripheral territories of the eastern and northern Urmia Lake regions have not been the focus of any inclusive studies. The basic question of present investigation is the geographical distribution of the Iron Age remains in the Uch’hāchā rural district of Southern Karadagh, the northwest of Iranian plateau. Typologically and chronologically, such remains are the fortified sites and graveyards fall within the Iron Age I-II (pre- Urartian period) c. 1500-800 BC. The grave types are megalith triliths and simple cists and the Caucasian Kurgans. The pre- Urartian settlements have not yet been recognized in the 1650 – 2500m a. b. s. l. The geographical distributions of the Iron Age I-II sites were affected by the mountain landforms. Noticeably, the Iron Age fortified settlements indicate to pastoral- nomad peoples adopted their life in this steppe land. Such a semi- arid and rough mountain land, contrary to Mesopotamia, has no geographical potential for the formation of urban way of life and multi layers archaeological sites, as mounds. In addition to the transhumance and pastoral- nomad way of life adopted in the pastures of Karadagh and Karabakh, the metallurgical subsistence based on copper and iron mines in the Karadagh, is another theory proposed by the authors. Such a theory should be examined by the methods of archaeological sciences and later archaeological expeditions. The expansion of the realm of Urartian kingdom in this region should be analyzed and understood based on the subsistence desirement and motivations.
Journal of Art and Civilization of the Orient
Nazar Research Center
2345-6612
9
v.
31
no.
2021
17
32
http://www.jaco-sj.com/article_128652_817d9d46cb70b8f4a0918dfb71f7ccb4.pdf
dx.doi.org/10.22034/jaco.2020.249601.1172
Analysis of the Ironic Implications of the Visual Elements of Color in Hafez’s Poems
Reza
Rafiei Rad
Ph. D student, Islamic Arts, Tabriz Islamic Art University, Tabriz, Iran.
author
text
article
2021
per
Although colors in their physical form are only a reflection of a certain wavelength, they have become a means of expressing emotions, descriptions, imaginations, codes, and symbols in human culture. In the western and eastern perspectives, many sources have been written to study the semantic meanings of color, but unfortunately, in the Iranian-Islamic civilization, despite a large number of mystical and literary texts, not much attention has been paid to this issue. Colors have been used in Persian literature, both in poetry and prose, with various forms and concepts. Which do not conform to the principles of Johannes Itten or Kandinsky et al. From this perspective, Hafez’s poetry is a remarkable example due to its literary and spiritual richness. The question is, what functions of color does Hafez’s poetry have, considering its unique characteristics in the field of form and meaning? What is the semantic range of the ironic functions of color in his poems? this research, with a descriptive-analytical method that has been done through the collection and classification of colors in Hafez’s poems, concluded that the colors in Hafez’s poetry, either ironically or non-figuratively Ironically, they are present. Hafez has also created ironic meanings with a special irony style, combining colors with other words, such as “black slogan”, “black eye”, “black dot”. Hafez’s most use of colors is as an allusion to an adjective. The main and important finding of this research is that Hafez has used the visual element of color in its inherent meaning and not in combination with other words metaphorically. In the expressions “black combs”, “crooked black”, “after black should not be colored”, “white face”, respectively, black allusion to “violet” (irony of the name), “hair style” (irony) He used “noun”, “the essence of everything” (irony of relation) and “divine names and attributes” (irony of adjective), which confirms Hafiz’s visual knowledge in the field of color principles.
Journal of Art and Civilization of the Orient
Nazar Research Center
2345-6612
9
v.
31
no.
2021
31
40
http://www.jaco-sj.com/article_128649_5041b171345a676bfd898f4155271544.pdf
dx.doi.org/10.22034/jaco.2020.239122.1164
Study on the Description of Architect in the Haft Peykar of Nizâmî
Ali
Asadpour
Ph. D Architecture. , Department of Interior Architecture, Shiraz University of Arts, Shiraz, Iran.
author
Shahabeddin
Sadeghi
M.A. in Architecture, Shiraz University of Arts, Shiraz, Iran.
author
text
article
2021
per
Due to the lack of Persian resources to understand architecture and the architect in the history of Iran, it is necessary to turn to literature. In the meantime, NizâmîGanjavi’s poems from the early twelfth century are an important and significant source. The purpose of this study is to recognize the description of the architect in the Haft Peykar of Nizâmî, which is one of the most important Persian literary works. In this research, the names and emblems of architects, moral characteristics, and attributes representing their skills and abilities have been studied. To do this, in a qualitative strategy using content analysis, the desired verses are identified and first, the attributes of each architect are extracted. Then, by combining common attributes in a category, a large group is formed that represents the common characteristics. The research findings revealed the names of three architects named “Sinmár”, “Shida” and “Russian Princess”. The frequency of all of them in the narration shows that each is somehow related. Sinmár is a skillful roman master and is best known for his engineering and astronomy. Shida, a trainee of Simnár, has been most prominent in the arts and crafts. The temperament and moral character of the Russian Princess, Banoo-ye-Hesari is described more in the Haft Peykar. Finally, it can be said that the architect’s description in Nizâmî thought shows a kind of comprehensiveness that is skilled in both geometric and land measuring and construction techniques, as well as in astronomy. Besides, the architect has been subtle and delicate in artistic matters. Every architect has benefited from these attributes according to the position and role in the Haft Peykar narration.
Journal of Art and Civilization of the Orient
Nazar Research Center
2345-6612
9
v.
31
no.
2021
41
50
http://www.jaco-sj.com/article_128651_7da05213f98fb466506e8f1923f6e570.pdf
dx.doi.org/10.22034/jaco.2021.270477.1183
Changing the Meaning in the Discourse of Contemporary Iranian Calligraphy from the Perspective of Critical Discourse Analysis
Hojjat
Amani
Ph.D in Analytical and Comparative History of Islamic Art, University of Tehran, Iran.
author
Hasan
Bolkhari Ghahi
Professor, Ph. D in Islamic Studies, Philosophy of Art, University of Tehran, Iran.
author
Sedaqat
Jabari
Professor, Ph.D in Art Research, University of Tehran, Iran.
author
text
article
2021
per
AbstractIranian Islamic calligraphy, which has the support of divine theology, cultural heritage, wisdom, mysticism, and literature, has changed its meaning in the face of modernism and rival discourses in transmitting meaning among social actors, especially contemporary artists with calligraphic tendencies. In some cases, it has been separated from its function and dignity and has become a trivial and vulgar element. This study seeks to find important and influential factors affecting and changing the meaning. Protecting the concepts and high values of calligraphy as an element emanating from the heart of Islamic civilization with a multidimensional critical discourse analysis approach indicates this research’s necessity. Statistical Society based on the objectives of this study, we selected well-known artists employing Islamic calligraphy style. Therefore, it seems that one of the most important factors in addition to modernism is the commercialization of some of these works for sale in art markets. It is assumed that the flourishing of art markets in the region and applying the views of foreign art theorists in changing the meaning of calligraphy towards foreign goals is not ineffective.This study aims to use post-colonial studies, especially the Resistance element. This research utilizes the critical discourse analysis method.The results show that as much as society and artists distance themselves from customary and religious values and traditions and are superficial, they will stay away from understanding the meaning of Islamic calligraphy, which is the product of Islamic discourse will be subject to sales markets.
Journal of Art and Civilization of the Orient
Nazar Research Center
2345-6612
9
v.
31
no.
2021
51
62
http://www.jaco-sj.com/article_128653_ba200b66127990f0d4094cacb9abdfb2.pdf
dx.doi.org/10.22034/jaco.2021.266825.1180
Image Changes in the Works of the First and Second Generations of Painters of the Revolution in the Decades 1991 and 2001
Sara
Amini
M. A. Studend in History of Art of the Islamic, Faculty of Fine Arts, University of Tehran, Iran.
author
Morteza
Asadi
Assistant Professor and Faculty Member, Department of Painting, Faculty of Arts, Shahed University, Tehran, Iran.
author
text
article
2021
per
This researchexamines the works of the first and second-generation painters of the revolution in the 1991s and 2001sto compare the process of change of these works from the second decade of the revolution (after the end of the Iraq-Iran war) to today; in this regard, after a brief introduction of four first-generation painters (Naser Palangi, Kazem Chalipa, Hossein Khosrojerdi, Habibollah Sadeghi) and three second-generation painters of the Revolution (Iraj Eskandari, Abdolhamid Ghadirian, Mostafa Goodarzi),we match their paintings in the mentioned periods. The data collection method is library and field with interview tools and their analysis has been done qualitatively. Also, the purpose of the research is to study the trend of modernism in the works of the first and second generation of painters of the revolution and the tendency to westernart and also to study the change of approach and visual expression in the works of the second and third decades after the revolution.
Journal of Art and Civilization of the Orient
Nazar Research Center
2345-6612
9
v.
31
no.
2021
63
74
http://www.jaco-sj.com/article_128654_7c6553ff4b6106e92b18b88a9b27c845.pdf
dx.doi.org/10.22034/jaco.2021.271319.1186