Nazar Research CenterJournal of Art and Civilization of the Orient2345-6612103620220622A Study of the “Woman” Icon on the Seals of the Sassanid PeriodA Study of the “Woman” Icon on the Seals of the Sassanid Period51415279810.22034/jaco.2022.329473.1233FARosaBehvandM.A. Student of Art Research (Virtual), College of Fine Arts, University of Tehran, Iran.0000-0002-1238-5433Journal Article20220216This article studies the icon of women on the seals of the Sassanid period. In various parts of Iran, seals with various human (mostly male), plant, animal, and mixed motifs have long been used. Female icons were not common on seals, and a limited number of different examples of seals decorated with female motifs have been found from ancient Iran, especially the Sassanid era. This article studies the cause of the use of the role of women seen on some seals and examines the position of women in the society and government of the Sassanid era and its relationship with Anahita (goddess of water). Therefore, this study uses a descriptive-analytical method, and the data was collected through library research and articles on websites. Findings show that the presence of women on the seals of the Sassanid era shows the high and worthwhile position of women in this era. The woman is depicted not only in the form of queens and court women and beside main male characters, but also in some cases is alone and represents Anahita (symbol of love and fertility). In other cases, women are depicted with the child or in the role of wife or bride. The elegance of the depiction and the accuracy in representing the face, gender, and feminine ornaments, as well as writing the name of the queen on some seals, are the prominent features of these designs.<br />Findings show that the presence of women on the seals of the Sassanid era, shows the high and worthy position of women in this era. The role of the woman appears not only in the form of a queen and a central figure alongside the man and the king, but in some cases as a lone and symbol of Anahita. In other cases, it is seen with the child, or in the role of spouse and in marriage ceremonies. In all cases, the elegance of the design and the accuracy in representing the features of the face, gender and the use of ornaments and the writing of the name of the woman-queen on some seals, are the prominent features of these designs.This article studies the icon of women on the seals of the Sassanid period. In various parts of Iran, seals with various human (mostly male), plant, animal, and mixed motifs have long been used. Female icons were not common on seals, and a limited number of different examples of seals decorated with female motifs have been found from ancient Iran, especially the Sassanid era. This article studies the cause of the use of the role of women seen on some seals and examines the position of women in the society and government of the Sassanid era and its relationship with Anahita (goddess of water). Therefore, this study uses a descriptive-analytical method, and the data was collected through library research and articles on websites. Findings show that the presence of women on the seals of the Sassanid era shows the high and worthwhile position of women in this era. The woman is depicted not only in the form of queens and court women and beside main male characters, but also in some cases is alone and represents Anahita (symbol of love and fertility). In other cases, women are depicted with the child or in the role of wife or bride. The elegance of the depiction and the accuracy in representing the face, gender, and feminine ornaments, as well as writing the name of the queen on some seals, are the prominent features of these designs.<br />Findings show that the presence of women on the seals of the Sassanid era, shows the high and worthy position of women in this era. The role of the woman appears not only in the form of a queen and a central figure alongside the man and the king, but in some cases as a lone and symbol of Anahita. In other cases, it is seen with the child, or in the role of spouse and in marriage ceremonies. In all cases, the elegance of the design and the accuracy in representing the features of the face, gender and the use of ornaments and the writing of the name of the woman-queen on some seals, are the prominent features of these designs.http://www.jaco-sj.com/article_152798_abf2aee01e28675967f4ef1b72e8f4f4.pdfNazar Research CenterJournal of Art and Civilization of the Orient2345-6612103620220622Structural Comparison of Mohammad Ibrahim Ibn Mohammad Nasir Qomi’s Naskh and Hafiz Osman Effendi’s Naskh
(Based on the Layl Surah of Quran Calligraphy Style)Structural Comparison of Mohammad Ibrahim Ibn Mohammad Nasir Qomi’s Naskh and Hafiz Osman Effendi’s Naskh
(Based on the Layl Surah of Quran Calligraphy Style)152415053410.22034/jaco.2022.336051.1242FAKhashayarGhazi ZadehAssistant Professor in Art Faculty, Shahed University, Tehran, Iran.DelaramKardar TehranMaster of Codicology, Independent Researcher, Mashhad, Iran.0000-0001-5867-6327AliKarimiPh.D. Student in Art Studies, Art Faculty, Shahed University, Tehran, Iran.Journal Article20220404Naskh script is quite common in writing and calligraphy in Islamic countries. Iran and the Ottoman Empire have been two important territories in which the use of Naskh, and there are many texts with this type of script in the libraries and museums of the two countries. However, there are some differences between Iranian Naskh and Ottoman Naskh in a special historical period by studying more carefully the stylistics of this kind of script.
Ahmad Neyrizi, the outstanding Naskh calligrapher, turned it into an independent style called “Iranian Naskh”. In this research, a comparative study of two Qurans by two prominent calligraphers of these two styles is presented to introduce the Iranian Naskh before Neyrizi from the Ottoman Empire, and some characteristics are mentioned. The main purpose of the research is to become familiar with the stylistics of these two items to distinguish them from each other. Therefore, the following questions can be asked:
What are the features of the style of writing the Iranian Naskh and the Ottoman Naskh before Neyrizi?What are the similarities and differences between the styles of Mohammad Ibrahim Qomi and Hafiz Osman Effendi?
The data for this descriptive-comparative study was gathered using a library method, and the writings of the two calligraphers were digitally analyzed. Examining the images of the Quranic versions of these two calligraphers showed that the Iranian Naskh is different from the Ottoman one, and to distinguish these two methods, the characteristics such as the angle of vertical letters in comparison to the horizontal position, the slope of the position in combinations, the slope in tilde and intensified signs, the proportions between diacritics and the size of the teeth have been presented.
Naskh script is quite common in writing and calligraphy in Islamic countries. Iran and the Ottoman Empire have been two important territories in which the use of Naskh, and there are many texts with this type of script in the libraries and museums of the two countries. However, there are some differences between Iranian Naskh and Ottoman Naskh in a special historical period by studying more carefully the stylistics of this kind of script.
Ahmad Neyrizi, the outstanding Naskh calligrapher, turned it into an independent style called “Iranian Naskh”. In this research, a comparative study of two Qurans by two prominent calligraphers of these two styles is presented to introduce the Iranian Naskh before Neyrizi from the Ottoman Empire, and some characteristics are mentioned. The main purpose of the research is to become familiar with the stylistics of these two items to distinguish them from each other. Therefore, the following questions can be asked:
What are the features of the style of writing the Iranian Naskh and the Ottoman Naskh before Neyrizi?What are the similarities and differences between the styles of Mohammad Ibrahim Qomi and Hafiz Osman Effendi?
The data for this descriptive-comparative study was gathered using a library method, and the writings of the two calligraphers were digitally analyzed. Examining the images of the Quranic versions of these two calligraphers showed that the Iranian Naskh is different from the Ottoman one, and to distinguish these two methods, the characteristics such as the angle of vertical letters in comparison to the horizontal position, the slope of the position in combinations, the slope in tilde and intensified signs, the proportions between diacritics and the size of the teeth have been presented.
http://www.jaco-sj.com/article_150534_6835795797a9990627be38cde838532f.pdfNazar Research CenterJournal of Art and Civilization of the Orient2345-6612103620220622Oak; A Heritage, a CultureOak; A Heritage, a Culture253415280310.22034/jaco.2022.342339.1244FASomayeSabouriM.A. in Landscape Architecture, Faculty of Fine Arts, University of Tehran, Iran.ShohrehJavadiAssistant Professor of Advance Studies of Art, Facully of Arts, University of Tehran, Iran.Journal Article20220514In human life history, tribes and nations have considered a sacred and mythical position for natural elements such as plants for some reasons, especially religious beliefs. Therefore, the sacred plants have found their way into people’s culture and art in a way that flowers, fruit, and symbolic trees have been present in the Iranian decorations and motifs for a long time ago and continue to be in the Islamic Art. In ancient Iran which was the habitat of so many plants, the oak as an ancient heritage has been so closely interwoven with the material and spiritual life of the inhabitants of Zagros, including the people of Kohgiluye and Boyer-Ahmad. It has become the symbol of their land. Therefore, the current study aims to analyze this motif, its concept, and the importance of the oak’s position from the past until now. The research method is descriptive-analytical, and the data has been gathered using bibliographic documents and field reports. The findings indicate that the use of the oak motif, beyond its decorative aspects, has had a symbolic and religious application and is interwoven with the culture of Zagros’ inhabitants so much that it has affected their culture, livelihood, customs, and oral literature. In other words, it is rooted in the mythical-ritual beliefs of this land. The symbols are related to sturdiness, uprightness, stability, and victory.
In human life history, tribes and nations have considered a sacred and mythical position for natural elements such as plants for some reasons, especially religious beliefs. Therefore, the sacred plants have found their way into people’s culture and art in a way that flowers, fruit, and symbolic trees have been present in the Iranian decorations and motifs for a long time ago and continue to be in the Islamic Art. In ancient Iran which was the habitat of so many plants, the oak as an ancient heritage has been so closely interwoven with the material and spiritual life of the inhabitants of Zagros, including the people of Kohgiluye and Boyer-Ahmad. It has become the symbol of their land. Therefore, the current study aims to analyze this motif, its concept, and the importance of the oak’s position from the past until now. The research method is descriptive-analytical, and the data has been gathered using bibliographic documents and field reports. The findings indicate that the use of the oak motif, beyond its decorative aspects, has had a symbolic and religious application and is interwoven with the culture of Zagros’ inhabitants so much that it has affected their culture, livelihood, customs, and oral literature. In other words, it is rooted in the mythical-ritual beliefs of this land. The symbols are related to sturdiness, uprightness, stability, and victory.
http://www.jaco-sj.com/article_152803_419de9bdd2de531e72fc7ac7c6091e93.pdfNazar Research CenterJournal of Art and Civilization of the Orient2345-6612103620220622A Sociological Analysis of the Play, “The Story of Bichareh Zadeh” using the Destruction Approach to the New Middle Class and the Constitutional Revolution in IranA Sociological Analysis of the Play, “The Story of Bichareh Zadeh” using the Destruction Approach to the New Middle Class and the Constitutional Revolution in Iran354215279910.22034/jaco.2022.332627.1237FAHamedShakouriPh.D. in Art Research, Shahed University, Tehran, Iran.Journal Article20220305According to Goldmann's theory of formative constructivism, works of art are meaningful responses to their time and are the result of the emergence of a class and the attainment of its members as a whole and the highest possible consciousness. The play The Poor Story was written at the end of the constitutional period and in which the structures that the intellectual class sought to create are being destroyed. The constitution has lost its meaning and the real fighters have rejected their way, and others have changed their color with a history of tyranny and call themselves constitutionalists. Hence, this play, different from the early plays of the constitutional era, presents a new idea, structure and tone of its time, which can be examined by sociological description. This research has been done in a descriptive-analytical method and has used library resources to try to provide a sociological reading of the play by looking at the social structures of its time. Examining the play in two layers of description and description, it is clear that this play narrates a declining structure. The hero's heartbreak leads to tragedy. In the ne
According to Goldman’s theory of genetic constructivism, works of art are meaningful responses to their time and the result of the emergence of a class and the attainment of coherent totality and the maximum possible consciousness by its members. The play “The Story of Bichareh Zadeh” was written at the end of the constitutional period, in which the structures that the intellectual class sought to create were being destroyed. Mashrouteh has lost its meaning and rejected its real fighters and others with a history of tyranny disguised and calling themselves constitutionalists. Hence, this play is written differently from the early plays of the constitutional era, with a new structure and tone. This research is descriptive-analytical and the library resources were used to provide a sociological reading of the play in the social structures of its time. Examining the play in two layers of comprehension and explication shows that this play narrates a declining structure. Therefore, in the opening scene, like in the previous plays, it has a style of comedy and social criticism, but as it goes on, it finds a bitter and sad tone, and, in the end, the hero reaches a tragic fall. In the new structure of this play, the intellectual class and the intellectual idea itself are seriously criticized. Because the real constitutionalists have disappeared or changed their course, all the just structures and popular institutions in Iran have failed. Hence, at the end of this play, both the constitution and the intellectual class will be destroyed.
w structure that this paper presents, the intellectual class and the intellectual idea itself are seriously criticized. Because the real constitutionalists have disappeared or changed their course, and all the just structures and popular institutions in Iran have failed. Hence, with the end of this play, both the constitution and the intellectual class will be destroyed.According to Goldmann's theory of formative constructivism, works of art are meaningful responses to their time and are the result of the emergence of a class and the attainment of its members as a whole and the highest possible consciousness. The play The Poor Story was written at the end of the constitutional period and in which the structures that the intellectual class sought to create are being destroyed. The constitution has lost its meaning and the real fighters have rejected their way, and others have changed their color with a history of tyranny and call themselves constitutionalists. Hence, this play, different from the early plays of the constitutional era, presents a new idea, structure and tone of its time, which can be examined by sociological description. This research has been done in a descriptive-analytical method and has used library resources to try to provide a sociological reading of the play by looking at the social structures of its time. Examining the play in two layers of description and description, it is clear that this play narrates a declining structure. The hero's heartbreak leads to tragedy. In the ne
According to Goldman’s theory of genetic constructivism, works of art are meaningful responses to their time and the result of the emergence of a class and the attainment of coherent totality and the maximum possible consciousness by its members. The play “The Story of Bichareh Zadeh” was written at the end of the constitutional period, in which the structures that the intellectual class sought to create were being destroyed. Mashrouteh has lost its meaning and rejected its real fighters and others with a history of tyranny disguised and calling themselves constitutionalists. Hence, this play is written differently from the early plays of the constitutional era, with a new structure and tone. This research is descriptive-analytical and the library resources were used to provide a sociological reading of the play in the social structures of its time. Examining the play in two layers of comprehension and explication shows that this play narrates a declining structure. Therefore, in the opening scene, like in the previous plays, it has a style of comedy and social criticism, but as it goes on, it finds a bitter and sad tone, and, in the end, the hero reaches a tragic fall. In the new structure of this play, the intellectual class and the intellectual idea itself are seriously criticized. Because the real constitutionalists have disappeared or changed their course, all the just structures and popular institutions in Iran have failed. Hence, at the end of this play, both the constitution and the intellectual class will be destroyed.
w structure that this paper presents, the intellectual class and the intellectual idea itself are seriously criticized. Because the real constitutionalists have disappeared or changed their course, and all the just structures and popular institutions in Iran have failed. Hence, with the end of this play, both the constitution and the intellectual class will be destroyed.http://www.jaco-sj.com/article_152799_75627b6efe2a2a2f62ada9ff26f235aa.pdfNazar Research CenterJournal of Art and Civilization of the Orient2345-6612103620220622Documentation of the Changes of Shahrestan, the Oldest Bridge in Isfahan, Based on Descriptive and Visual Documents, Using Augmented Reality TechnologyDocumentation of the Changes of Shahrestan, the Oldest Bridge in Isfahan, Based on Descriptive and Visual Documents, Using Augmented Reality Technology435415280210.22034/jaco.2022.334482.1241FANeda SadatAbdellahiMaster of Urban Heritage Conservation, Department of Architectural & Urban Conservation, Faculty of Architectural & Urban Planning, Iran University of Science & Technology, Tehran, Iran.0000-0001-9003-3903NimaValibeigAssociate Professor, Department of Architectural & Urban Conservation, Faculty of Conservation, Art University of Isfahan, Isfahan, Iran.0000-0002-7562-0701Journal Article20220316Augmented reality technology (AR) has provided many opportunities for researchers. AR has been used to reconstruct historical buildings that have been destroyed or have lost their original forms. Shahrestan Bridge, the oldest bridge in Isfahan, Iran, has had substantial changes in its form and function over the years. AR can reveal the original form of this building to visitors. This method can also acquaint visitors with the changes in the bridge over time. Purpose of the study: This study reveals the original form and function of this bridge by analyzing the available descriptive and visual historical documents for the first time. Also, identifying the locations of the main buildings around the bridge have been considered in this study. This article is based on library research and field study. First, descriptive documents were studied and visual documents were scrutinized, and then the 3D model was recreated based on the documents. We have represented the original form of the bridge and designed an AR apparatus for displaying it to the general public on site. We have also identified the location of the architecture surrounding the bridge. Our study revealed that the arched spans of the bridge have gone through very few changes while the customs house and buildings near it have gone through major changes.Augmented reality technology (AR) has provided many opportunities for researchers. AR has been used to reconstruct historical buildings that have been destroyed or have lost their original forms. Shahrestan Bridge, the oldest bridge in Isfahan, Iran, has had substantial changes in its form and function over the years. AR can reveal the original form of this building to visitors. This method can also acquaint visitors with the changes in the bridge over time. Purpose of the study: This study reveals the original form and function of this bridge by analyzing the available descriptive and visual historical documents for the first time. Also, identifying the locations of the main buildings around the bridge have been considered in this study. This article is based on library research and field study. First, descriptive documents were studied and visual documents were scrutinized, and then the 3D model was recreated based on the documents. We have represented the original form of the bridge and designed an AR apparatus for displaying it to the general public on site. We have also identified the location of the architecture surrounding the bridge. Our study revealed that the arched spans of the bridge have gone through very few changes while the customs house and buildings near it have gone through major changes.http://www.jaco-sj.com/article_152802_973b0cf106c7657745cc95769d2a8959.pdfNazar Research CenterJournal of Art and Civilization of the Orient2345-6612103620220622Tradition Vs Modernity in the Mosques of Pakistan RevisitedTradition Vs Modernity in the Mosques of Pakistan Revisited557015280110.22034/jaco.2022.345490.1246FAMaryamMajidiPh.D. in Architecture, Department of Architecture, South Branch, Islamic Azad University, NAZAR Research Center, Tehran, Iran.0000-0002-8802-5688Journal Article20220603Mosques unquestionably reflect the most significant aspect of religious architecture in the Islamic world. Shortly after the emergence of Islam, it was quickly embraced by numerous nations and had a profound impact on every aspect of people’s social and private lives. After the presence of Muslims, the Indian subcontinent was among the communities that were strongly influenced by Islam and its architecture changed. The purpose of this study is to examine the structure of traditional and contemporary mosques in Pakistan from a typological perspective to answer the following questions: a) what is the typology of traditional and contemporary mosques in Pakistan? b) How do traditional and modern architectural styles manifest themselves in the mosques? For this purpose, based on bibliographic resources, traditional mosques were identified and then five important mosques in Pakistan reflecting different traditional styles were selected. Similarly, five contemporary mosques and their characteristics were studied. Then, using an analytical-descriptive method, each case study was scrutinized, and the characteristics of each style were presented. Finally, through a comparative study, the features of traditionalism and modernism in the mosques of this country were investigated. The results showed that the architecture of Pakistani mosques underwent many changes in the transition from traditionalism to modernism, and the architectural styles of their mosques were subject to changes since the attitude and way of thinking of their architects were influenced by Western architecture. The traditional mosques of this country have two types of courtyards: a Shabestan with a courtyard and a four-iwan courtyard. Its modern mosques are of four types: formalist, purist, eclectic, and local. Moreover, it seems that contemporary Pakistani architects seek a new interpretation of the architectural elements of traditional mosques in the modern world. However, in most cases, they have not succeeded in this area and their architecture has completely separated tradition from modernity.Mosques unquestionably reflect the most significant aspect of religious architecture in the Islamic world. Shortly after the emergence of Islam, it was quickly embraced by numerous nations and had a profound impact on every aspect of people’s social and private lives. After the presence of Muslims, the Indian subcontinent was among the communities that were strongly influenced by Islam and its architecture changed. The purpose of this study is to examine the structure of traditional and contemporary mosques in Pakistan from a typological perspective to answer the following questions: a) what is the typology of traditional and contemporary mosques in Pakistan? b) How do traditional and modern architectural styles manifest themselves in the mosques? For this purpose, based on bibliographic resources, traditional mosques were identified and then five important mosques in Pakistan reflecting different traditional styles were selected. Similarly, five contemporary mosques and their characteristics were studied. Then, using an analytical-descriptive method, each case study was scrutinized, and the characteristics of each style were presented. Finally, through a comparative study, the features of traditionalism and modernism in the mosques of this country were investigated. The results showed that the architecture of Pakistani mosques underwent many changes in the transition from traditionalism to modernism, and the architectural styles of their mosques were subject to changes since the attitude and way of thinking of their architects were influenced by Western architecture. The traditional mosques of this country have two types of courtyards: a Shabestan with a courtyard and a four-iwan courtyard. Its modern mosques are of four types: formalist, purist, eclectic, and local. Moreover, it seems that contemporary Pakistani architects seek a new interpretation of the architectural elements of traditional mosques in the modern world. However, in most cases, they have not succeeded in this area and their architecture has completely separated tradition from modernity.http://www.jaco-sj.com/article_152801_4c74b2e41b722fa19d06455bb3821e02.pdf