Nazar Research Center Journal of Art and Civilization of the Orient 2345-6612 12 44 2024 06 21 Sarfarāz's Legacy of Iranistics Sarfarāz's Legacy of Iranistics 5 5 198774 10.22034/jaco.2024.198774 FA Bahram Ajorloo Ph.D. in Archaeology, Director of the International Project of Rabʿ-e Rashidi, Tabriz Islamic Art University, Tabriz, Iran. 0000-0003-1611-0258 Journal Article 2024 06 24 Historically, continuity and discontinuity of socio-cultural processes of the Iranian culture and civilization and its Iranian descents has always been one of the essential problems which should be approached in both Oriental studies and Iranistics. For instance, if one takes a look at the works of some pioneers in Iranistics, such as T. Nöldeke, E. G. Browne, B. G. Fragner and M. Qazwini, Iranistics has been left for linguistics and literary approaches, rather than historical one. The academic methodology of Iranistics, however, should be more supported by diverse disciplines. Of these, the archaeology of historic millennia of Iran should be marked. In this field, the innovative works of the late Ali Akbar Sarfarāz (1926-2024) seems noticeable as the archaeological reflection of the continuous lineage in the historical existence of Iran: Ali Akbar Kārgar Sarafrāz, nicknamed Sarfarāz, the pioneer Iranian field archaeologist, passed away on February 20, 2024. The years 1961-2001 should be noted as his flourishing years of career including the archaeological expeditions, management and academic activities in the Iranian ministry of art and culture, National Museum of Iran, Universities of Tehran and Tarbiatmodarres and finally the institutes of SAMT and NAZAR. Review of his professional career presents that the idea of Iran and enquiry on the historical processes relevant to the two millennia of Iranian heritage, from the Medes to the Ilkhanates, has been the main theme of his archaeological expeditions: The excavations of archaeological sites that each of them, in any way, present not only the name of Iran and its history-makers but indicate the continuity of historical and socio-cultural processes of Iranian culture and civilization as well as its people of Iranian descent: The fire temple of Nushijān Tepe in Malāyer, the Achaemenid palace of Cyrus the great in Borāzjān, the Achaemenid remnants in the Island of Khārk, Persian Gulf, the Mithraeum in Masjid-e Soleymān, the Sassanid bas-relives from Tang-e Chogān, the temple of Anahita in Bishāpur, the Seljukid Friday Mosque of Ardabil, the Ilkhanate observatory of Maragheh, Rab'-e Rashidi, the Arch of Alishah in Tabriz and the Grand Fire Temple of Āzargoshnasp in Azerbaijan and its Sassanid iwan of Khosrow which were rebuilt as the Ilkhanate palace of Ābāghā Khān. According to himself, the result of his 7000 days of work and life in deserts was the excavation of 16 archaeological sites, exploration of 32 others and finally registration of 430 heritage sites in the National List of Iranian Heritage; all of them from the Medes to the Ilkhanates. Additionally, Sarfarāz should be regarded as the pioneer of Ilkhanid archaeology of Iran (Ajorloo, 2009): Although the historical approach to the Ilkhanid period, which is the renaissance Age of Iranian culture, has been commenced by the master works of some academic figures, e.g. "The Problems of Ilkhanid Period" by the late M. Mortazavi (1962, 1979) the former head of Iranian studies in the University of Azerbaijan (today: Tabriz), but the archaeological excavations to the Ilkhanid key sites in Iran have been directed by A. A. Sarfarāz: Takht-e Soleymān (Kiāni & Sarfarāz, 1968), the Ilkhanid Observatory of Maragheh- by the order and financial support of University of Azerbaijan and contribution of the late P. Varjāvand (1987)- the southern Iwan of the Arch of Tabriz (Ajorloo & Mazhari, 2023) and finally Rab'-e Rashidi, 1979. These are four of six Ilkhanate key sites of Iran which include the archaeological materials from two problematic centuries of Iranian sioco-cultural and political developments: the Age of Khwāja Nair al-Din and the Age of Khwāja Rashid al-Din. During these two centuries Tabriz turned into the renaissance capital of Iranian art, culture and civilization. Meanwhile, "IRAN" is the most frequent word in historical and literary sources of this period. Historically, continuity and discontinuity of socio-cultural processes of the Iranian culture and civilization and its Iranian descents has always been one of the essential problems which should be approached in both Oriental studies and Iranistics. For instance, if one takes a look at the works of some pioneers in Iranistics, such as T. Nöldeke, E. G. Browne, B. G. Fragner and M. Qazwini, Iranistics has been left for linguistics and literary approaches, rather than historical one. The academic methodology of Iranistics, however, should be more supported by diverse disciplines. Of these, the archaeology of historic millennia of Iran should be marked. In this field, the innovative works of the late Ali Akbar Sarfarāz (1926-2024) seems noticeable as the archaeological reflection of the continuous lineage in the historical existence of Iran: Ali Akbar Kārgar Sarafrāz, nicknamed Sarfarāz, the pioneer Iranian field archaeologist, passed away on February 20, 2024. The years 1961-2001 should be noted as his flourishing years of career including the archaeological expeditions, management and academic activities in the Iranian ministry of art and culture, National Museum of Iran, Universities of Tehran and Tarbiatmodarres and finally the institutes of SAMT and NAZAR. Review of his professional career presents that the idea of Iran and enquiry on the historical processes relevant to the two millennia of Iranian heritage, from the Medes to the Ilkhanates, has been the main theme of his archaeological expeditions: The excavations of archaeological sites that each of them, in any way, present not only the name of Iran and its history-makers but indicate the continuity of historical and socio-cultural processes of Iranian culture and civilization as well as its people of Iranian descent: The fire temple of Nushijān Tepe in Malāyer, the Achaemenid palace of Cyrus the great in Borāzjān, the Achaemenid remnants in the Island of Khārk, Persian Gulf, the Mithraeum in Masjid-e Soleymān, the Sassanid bas-relives from Tang-e Chogān, the temple of Anahita in Bishāpur, the Seljukid Friday Mosque of Ardabil, the Ilkhanate observatory of Maragheh, Rab'-e Rashidi, the Arch of Alishah in Tabriz and the Grand Fire Temple of Āzargoshnasp in Azerbaijan and its Sassanid iwan of Khosrow which were rebuilt as the Ilkhanate palace of Ābāghā Khān. According to himself, the result of his 7000 days of work and life in deserts was the excavation of 16 archaeological sites, exploration of 32 others and finally registration of 430 heritage sites in the National List of Iranian Heritage; all of them from the Medes to the Ilkhanates. Additionally, Sarfarāz should be regarded as the pioneer of Ilkhanid archaeology of Iran (Ajorloo, 2009): Although the historical approach to the Ilkhanid period, which is the renaissance Age of Iranian culture, has been commenced by the master works of some academic figures, e.g. "The Problems of Ilkhanid Period" by the late M. Mortazavi (1962, 1979) the former head of Iranian studies in the University of Azerbaijan (today: Tabriz), but the archaeological excavations to the Ilkhanid key sites in Iran have been directed by A. A. Sarfarāz: Takht-e Soleymān (Kiāni & Sarfarāz, 1968), the Ilkhanid Observatory of Maragheh- by the order and financial support of University of Azerbaijan and contribution of the late P. Varjāvand (1987)- the southern Iwan of the Arch of Tabriz (Ajorloo & Mazhari, 2023) and finally Rab'-e Rashidi, 1979. These are four of six Ilkhanate key sites of Iran which include the archaeological materials from two problematic centuries of Iranian sioco-cultural and political developments: the Age of Khwāja Nair al-Din and the Age of Khwāja Rashid al-Din. During these two centuries Tabriz turned into the renaissance capital of Iranian art, culture and civilization. Meanwhile, "IRAN" is the most frequent word in historical and literary sources of this period.

http://www.jaco-sj.com/article_198774_385b3c0e13843b4689ecab5f1f01e574.pdf

Nazar Research Center Journal of Art and Civilization of the Orient 2345-6612 12 44 2024 07 01 A Comparison between the Structural Components of Women’s and Men’s Clothing Items with those in the Mural Paintings of Feasts in the Main Hall of Chehel Sotoon Palace, Isfahan, Safavid Period (907–1135 AH/1722-1501 AD) A Comparison between the Structural Components of Women’s and Men’s Clothing Items with those in the Mural Paintings of Feasts in the Main Hall of Chehel Sotoon Palace, Isfahan, Safavid Period (907–1135 AH/1722-1501 AD) 6 19 193746 10.22034/jaco.2024.406760.1333 FA Elaheh Panjehbashi Associate Professor, Department of Painting, Faculty of Art, Alzahra University, Tehran, Iran. 0000-0001-5631-8622 Fatemeh Makiabadi M.A. in Painting, Department of Painting, Faculty of Art, Alzahra University, Tehran, Iran. Journal Article 2023 07 19 In Iranian painting types, one of the issues related to culture is emphasizing the realistic representation of clothing in terms of visual perception. The Safavid era artists have painted brilliant murals in the main hall of the Chehel Sotoon Palace in Isfahan, in addition to the display of royal glory. Due to the executive policy and the presence of foreign ambassadors in Iran during this period, part of the written history in travelogues has been reflected in paintings and murals. The importance of Safavid clothing in historical studies and its lack of independent investigation shows the necessity of the current research. This research seeks to answer these questions: How do the murals of the main hall of Chehel Sotoon Palace depict the dress of the Safavid period? What are the similarities or differences between the clothes in the murals and the historical descriptions of the Safavid period? And how are the structural components of the murals of Chehel Sotoon Palace in comparison with the clothing of this period? This research attempts to examine the drawings of women’s and men’s clothes and compare them with the written sources of the Safavid period. It also examines the features of the artists of the Safavid period. It also attempts to make a connection between the mural art of the main hall and the art of this period with previous periods to reveal the logical course of clothing developments in this period. This research employed a comparative method. The methods of data collection included library-field and the qualitative method was used for data analysis. The examination of the murals of the main hall reveals the characteristics of the clothing of this period and provides a detailed representation of motifs. The function of these representations is derived from real examples of clothing in this period and can be adapted to written sources. The findings of the present research show that there is an alignment between the written texts and the images of the murals and these works are examples of visual documents about the study of Safavid period clothing. In Iranian painting types, one of the issues related to culture is emphasizing the realistic representation of clothing in terms of visual perception. The Safavid era artists have painted brilliant murals in the main hall of the Chehel Sotoon Palace in Isfahan, in addition to the display of royal glory. Due to the executive policy and the presence of foreign ambassadors in Iran during this period, part of the written history in travelogues has been reflected in paintings and murals. The importance of Safavid clothing in historical studies and its lack of independent investigation shows the necessity of the current research. This research seeks to answer these questions: How do the murals of the main hall of Chehel Sotoon Palace depict the dress of the Safavid period? What are the similarities or differences between the clothes in the murals and the historical descriptions of the Safavid period? And how are the structural components of the murals of Chehel Sotoon Palace in comparison with the clothing of this period? This research attempts to examine the drawings of women’s and men’s clothes and compare them with the written sources of the Safavid period. It also examines the features of the artists of the Safavid period. It also attempts to make a connection between the mural art of the main hall and the art of this period with previous periods to reveal the logical course of clothing developments in this period. This research employed a comparative method. The methods of data collection included library-field and the qualitative method was used for data analysis. The examination of the murals of the main hall reveals the characteristics of the clothing of this period and provides a detailed representation of motifs. The function of these representations is derived from real examples of clothing in this period and can be adapted to written sources. The findings of the present research show that there is an alignment between the written texts and the images of the murals and these works are examples of visual documents about the study of Safavid period clothing.

http://www.jaco-sj.com/article_193746_7bf78555f416f215b5233c6f1ec0d549.pdf

Nazar Research Center Journal of Art and Civilization of the Orient 2345-6612 12 44 2024 07 01 An Investigation of Wind-Powered Architecture in the ‘House of Fekri’ in Bandar Lengeh Port An Investigation of Wind-Powered Architecture in the ‘House of Fekri’ in Bandar Lengeh Port 20 29 193742 10.22034/jaco.2024.427260.1364 FA Saba Jafari M.A. Student in Landscape Architecture, Faculty of Architecture, College of Fine Arts, University of Tehran, Iran. 0009-0008-2245-1677 Journal Article 2023 11 27 The climatic design of a region contributes to its environmental comfort conditions. In regions with a special climate, this issue is of greater importance. Wind plays a very crucial role in the form of the city, the orientation and width of roads, the location of houses, and the type of housing in the region. In coastal areas, heat and humidity are two dominant climatic factors that are controlled by winds. Local people have tried to use the wind to balance the temperature. The ‘House of Fekri’ is one of the most prominent houses that has adopted the approach of using wind as a climatic element to achieve temperature comfort. In this house, various strategies have been used to create interaction between the wind and the spaces of the house. This study attempts to examine the impact of wind on the formation of wind-supported architecture and scrutinizes its application in Bandar Lengeh. The ‘House of Fekri’ has been investigated and analyzed. Studies and field observations show that in the vernacular architecture of Bandar Lenge, different strategies have been used to use winds in settlements, and the revival and updating of those strategies contribute to renewable energy in Bandar Lenge. This study employed field observation, library study, data interpretation, and intuitive reasoning to study the strategies used for applying wind-powered architecture in the ‘House of Fekri’ . The results of this research show that several basic components, such as geometry, level difference, definition of space based on a scale, and different applications, can be evaluated in the wind-powered architecture of the ‘House of Fekri’ . Climatic design aligned with the wind flow can be reflected in features such as the extroversion of external walls, introversion of internal spaces, changes in the shape and dimensions of the wind catcher and its compliance with the climate, the spaces placed in the direction of the wind, a level difference created in the house, and natural ventilation use. The climatic design of a region contributes to its environmental comfort conditions. In regions with a special climate, this issue is of greater importance. Wind plays a very crucial role in the form of the city, the orientation and width of roads, the location of houses, and the type of housing in the region. In coastal areas, heat and humidity are two dominant climatic factors that are controlled by winds. Local people have tried to use the wind to balance the temperature. The ‘House of Fekri’ is one of the most prominent houses that has adopted the approach of using wind as a climatic element to achieve temperature comfort. In this house, various strategies have been used to create interaction between the wind and the spaces of the house. This study attempts to examine the impact of wind on the formation of wind-supported architecture and scrutinizes its application in Bandar Lengeh. The ‘House of Fekri’ has been investigated and analyzed. Studies and field observations show that in the vernacular architecture of Bandar Lenge, different strategies have been used to use winds in settlements, and the revival and updating of those strategies contribute to renewable energy in Bandar Lenge. This study employed field observation, library study, data interpretation, and intuitive reasoning to study the strategies used for applying wind-powered architecture in the ‘House of Fekri’ . The results of this research show that several basic components, such as geometry, level difference, definition of space based on a scale, and different applications, can be evaluated in the wind-powered architecture of the ‘House of Fekri’ . Climatic design aligned with the wind flow can be reflected in features such as the extroversion of external walls, introversion of internal spaces, changes in the shape and dimensions of the wind catcher and its compliance with the climate, the spaces placed in the direction of the wind, a level difference created in the house, and natural ventilation use.

http://www.jaco-sj.com/article_193742_ca295cb1b86346863dc6d9a7a31e9dba.pdf

Nazar Research Center Journal of Art and Civilization of the Orient 2345-6612 12 44 2024 07 01 Structural and Content Analysis of Visual Components of Calligraphic Inscription in Safavid Period Toranji and Mehrabi Carpets Structural and Content Analysis of Visual Components of Calligraphic Inscription in Safavid Period Toranji and Mehrabi Carpets 30 43 195098 10.22034/jaco.2024.409215.1337 FA Mitra Manavirad Associate Professor, Department of Graphic Design, Faculty of Art, Alzahra University, Tehran, Iran. Maryam Naderi .M.A. of Graphic Design, Faculty of Art, Alzahra University, Tehran, Iran. Journal Article 2023 07 29 The Safavid period marks the pinnacle of calligraphic inscription art and sets the foundation for its integration into industrial arts such as carpet weaving. The calligraphic inscription has the most significant presence in Toranji and Mehrabi carpets. Although the material and texture limitations of carpets distinguish them from calligraphic inscriptions in architecture and metalwork, a careful examination reveals distinctive visual components in these carpets that have resulted in apparent differences in structure and content between calligraphic Toranji and Mehrabi carpets. The thematic content and different applications of these two patterns seem to have a significant impact on the similarities and differences of the visual components in the written calligraphic inscriptions of these carpets, which have not been explicitly addressed until now. Hence, the focus of this study is on understanding these components. What are the structural and content differences in the visual components of calligraphic inscription in Toranji and Mehrabi carpets during the Safavid period? This research aims to explore the structural and content aspects of prominent visual components and their differences in calligraphic inscription in Toranji and Mehrabi carpets during the Safavid period. This study used a descriptive-comparative method and gathered data through library research. The sample included seven Toranji carpets and seven Mehrabi carpets dating from the mid-9th to the early 11th century AH (Islamic calendar). The samples were among the representative samples available for each type. The study of the visual components of calligraphic inscriptions in Toranji and Mehrabi carpets during the Safavid period demonstrates significant differences between them. The calligraphic inscriptions in Mehrabi carpets exhibit a greater diversity in visual components compared to Toranji carpets, with the script playing a more fundamental role. On the other hand, calligraphic elements in Toranji carpets are considered a more localized part of the arabesque patterns in the carpet’s design, often following a consistent approach. However, there are shared elements such as spatial composition, rhythm, and the use of Naskh script in the calligraphic inscriptions of both types of carpets. The Safavid period marks the pinnacle of calligraphic inscription art and sets the foundation for its integration into industrial arts such as carpet weaving. The calligraphic inscription has the most significant presence in Toranji and Mehrabi carpets. Although the material and texture limitations of carpets distinguish them from calligraphic inscriptions in architecture and metalwork, a careful examination reveals distinctive visual components in these carpets that have resulted in apparent differences in structure and content between calligraphic Toranji and Mehrabi carpets. The thematic content and different applications of these two patterns seem to have a significant impact on the similarities and differences of the visual components in the written calligraphic inscriptions of these carpets, which have not been explicitly addressed until now. Hence, the focus of this study is on understanding these components. What are the structural and content differences in the visual components of calligraphic inscription in Toranji and Mehrabi carpets during the Safavid period? This research aims to explore the structural and content aspects of prominent visual components and their differences in calligraphic inscription in Toranji and Mehrabi carpets during the Safavid period. This study used a descriptive-comparative method and gathered data through library research. The sample included seven Toranji carpets and seven Mehrabi carpets dating from the mid-9th to the early 11th century AH (Islamic calendar). The samples were among the representative samples available for each type. The study of the visual components of calligraphic inscriptions in Toranji and Mehrabi carpets during the Safavid period demonstrates significant differences between them. The calligraphic inscriptions in Mehrabi carpets exhibit a greater diversity in visual components compared to Toranji carpets, with the script playing a more fundamental role. On the other hand, calligraphic elements in Toranji carpets are considered a more localized part of the arabesque patterns in the carpet’s design, often following a consistent approach. However, there are shared elements such as spatial composition, rhythm, and the use of Naskh script in the calligraphic inscriptions of both types of carpets.

http://www.jaco-sj.com/article_195098_8e05a3ab901ce0dff44e6d14b031eafb.pdf

Nazar Research Center Journal of Art and Civilization of the Orient 2345-6612 12 44 2024 07 01 Dialectic of Revelation and Concealment: A Representation of the Face as an Aesthetic Landscape in the Film Shirin (2008) Dialectic of Revelation and Concealment: A Representation of the Face as an Aesthetic Landscape in the Film Shirin (2008) 44 53 195099 10.22034/jaco.2024.415570.1350 FA Alireza Sayyad Associate Professor, Faculty of Cinema and Theater, University of Art, Tehran, Iran. 0000-0003-2092-9012 Javad Nematollahi Ph.D. Candidate, Art Studies, Faculty of Art and Architecture, Tarbiat Modares University, Tehran, Iran. 0000-0002-2575-9924 Journal Article 2023 09 09 In Shirin (2008), Abbas Kiarostami places several of Iran’s female cinema stars in the position of spectators and records their reactions to a hypothetical film through predominantly close-up shots. Kiarostami transforms these distinctive faces into objects of aesthetic contemplation and artistic reflection through his approach. This descriptive-analytic study, draws on the discussions of Tom Gunning and Giuliana Bruno regarding the significance of physiognomy in early cinema, and then examines the invocation of this aesthetics in Shirin. The research asserts that by positioning the film star as the audience of an imaginary film, and giving Shirin’s audience the opportunity to reveal her personality by means of reading her face, the film demystifies the status of the cinematic star. However, this relationship doesn’t remain one-sided, since both the mere fact that these close-ups, portray not the ordinary viewers but the film stars, as well as the recollection of cinematic memories associated with the films and characters they have shaped, once again ascends these stars to the status of myths. Moreover, the depiction of individuals who possess a high skill in adopting roles and masks, complicates the audience’s confidence in interpreting and penetrating their visual space, both in this instance and in the cinematic memories that are conjured. The interplay Kiarostami orchestrates between the viewer and these stars, alongside revealing and dismantling their previous relationships, compels the viewer to construct Shirin in their mind through a montage of fragmented moments encountered in this museum-like space and the collective-individual cinematic memories evoked. This mental film becomes a personal and distinct history of Iranian cinema, underscoring the importance and the impossibility of excluding Iran’s female cinema stars. In Shirin (2008), Abbas Kiarostami places several of Iran’s female cinema stars in the position of spectators and records their reactions to a hypothetical film through predominantly close-up shots. Kiarostami transforms these distinctive faces into objects of aesthetic contemplation and artistic reflection through his approach. This descriptive-analytic study, draws on the discussions of Tom Gunning and Giuliana Bruno regarding the significance of physiognomy in early cinema, and then examines the invocation of this aesthetics in Shirin. The research asserts that by positioning the film star as the audience of an imaginary film, and giving Shirin’s audience the opportunity to reveal her personality by means of reading her face, the film demystifies the status of the cinematic star. However, this relationship doesn’t remain one-sided, since both the mere fact that these close-ups, portray not the ordinary viewers but the film stars, as well as the recollection of cinematic memories associated with the films and characters they have shaped, once again ascends these stars to the status of myths. Moreover, the depiction of individuals who possess a high skill in adopting roles and masks, complicates the audience’s confidence in interpreting and penetrating their visual space, both in this instance and in the cinematic memories that are conjured. The interplay Kiarostami orchestrates between the viewer and these stars, alongside revealing and dismantling their previous relationships, compels the viewer to construct Shirin in their mind through a montage of fragmented moments encountered in this museum-like space and the collective-individual cinematic memories evoked. This mental film becomes a personal and distinct history of Iranian cinema, underscoring the importance and the impossibility of excluding Iran’s female cinema stars.

http://www.jaco-sj.com/article_195099_b4d594cfa496cd775b03ff8949323bb1.pdf

Nazar Research Center Journal of Art and Civilization of the Orient 2345-6612 12 44 2024 07 01 Studying the Poems of Omar Khayyam Based on Hypertextuality in Prominent Calligraphy Works (Case Study: Quatrain or Rubái No. 103) Studying the Poems of Omar Khayyam Based on Hypertextuality in Prominent Calligraphy Works (Case Study: Quatrain or Rubái No. 103) 54 67 199042 10.22034/jaco.2024.418361.1353 FA Roghayyeh Dizajcheraghi Ph.D. Student, Department Of Islamic Arts, Faculty of Islamic Crafts, Tabriz Islamic Art Univercity, Tabriz, Iran. 0000-0002-6075-1100 Farnoush Shamili Associate Professor, Department of Theoretical Studies of Visual Arts, Faculty of Visual Arts, Tabriz Islamic Art University, Tabriz, Iran. Journal Article 2023 09 27 Among numerous calligraphy scripts, Nastaliq is inseparably associated with Iranian culture and literature, as it represents part of Iranian culture and art. The consonance of Nastaliq’s appearance with the spirit of Persian poetry provided the basis for more interaction of this writing style with Persian literature to give a balanced structure to the rhythmic poems. This script has various forms that are mostly applied in poetry, calligraphy, and Chalipa as kind of it. The quatrains No. 103 of Khayyam’s poem with a high degree of repetition by calligraphers in the form of Chalipa have been addressed in this research. To comprehend the concepts behind these artworks, it is required to study the textual relationships between them and carry out the relevant transtextual studies. The transtextuality approach of Gerard Genette targets all existing relationships between texts, among which hypertextuality is more adaptable to artistic texts. This term is defined as the influence of one text on another. Therefore, this research aims to systematically study the quatrains 103 of Khayyam’s poems, to address the textual relationships among them. The main research question here is to know how the hypertextuality of Genette can be identified in the mentioned works. The research method was based on a descriptive-analytical approach, and the data were collected relying on documented resources and observation by using qualitative analysis. According to the research findings, the reference to the hypotext in these works is significant, and the function of hypertexts is often serious, so the process changes very slowly. Among numerous calligraphy scripts, Nastaliq is inseparably associated with Iranian culture and literature, as it represents part of Iranian culture and art. The consonance of Nastaliq’s appearance with the spirit of Persian poetry provided the basis for more interaction of this writing style with Persian literature to give a balanced structure to the rhythmic poems. This script has various forms that are mostly applied in poetry, calligraphy, and Chalipa as kind of it. The quatrains No. 103 of Khayyam’s poem with a high degree of repetition by calligraphers in the form of Chalipa have been addressed in this research. To comprehend the concepts behind these artworks, it is required to study the textual relationships between them and carry out the relevant transtextual studies. The transtextuality approach of Gerard Genette targets all existing relationships between texts, among which hypertextuality is more adaptable to artistic texts. This term is defined as the influence of one text on another. Therefore, this research aims to systematically study the quatrains 103 of Khayyam’s poems, to address the textual relationships among them. The main research question here is to know how the hypertextuality of Genette can be identified in the mentioned works. The research method was based on a descriptive-analytical approach, and the data were collected relying on documented resources and observation by using qualitative analysis. According to the research findings, the reference to the hypotext in these works is significant, and the function of hypertexts is often serious, so the process changes very slowly.

http://www.jaco-sj.com/article_199042_107d9dde83fd9e8f94548793ba6de59d.pdf

Nazar Research Center Journal of Art and Civilization of the Orient 2345-6612 12 44 2024 07 01 An Investigation of the Similarities between Iranian and Egyptian Cultures Based on the Study of Lusterware Potteries in the Islamic Middle Ages An Investigation of the Similarities between Iranian and Egyptian Cultures Based on the Study of Lusterware Potteries in the Islamic Middle Ages 68 79 199043 10.22034/jaco.2024.441586.1386 FA Mahla Najarian Tousi M.A. in Archaeology, Islamic Era, Department of Archaeology, Faculty of Art and Architecture, University of Mazandaran, Babolsar, Iran. 0000-0001-6124-6459 Hassan Hashemi Zarjabad Associate Professor of Archaeology, Islamic Era, Department of Archaeology, Faculty of Art and Architecture, University of Mazandaran, Babolsar, Iran. 0000-0002-7115-2859 Journal Article 2024 02 05 With the spread of Islam in the Middle Ages and Iran’s strategic geographic position, interregional communications between Iran and other countries, including Egypt, expanded through trade routes, both overland and maritime. This expansion not only facilitated trade but also led to a significant migration of individuals between Iran and Egypt, fostering regional cultural interactions and exchanges. Pottery is one of the most important and abundant material artifacts in archaeology, and among the significant types of pottery produced in the Islamic Middle Ages is lustreware pottery. This type of pottery, due to its decorative nature and extensive use of intricate patterns in its decoration, has often captured the attention of people and served as a commodity for exchange. Therefore, by studying its iconography, one can discern the extent of cultural interactions between the two regions. This study, conducted through a descriptive-analytical approach using library sources and information from museums worldwide, aims to answer the following question: What similarities exist between Egyptian and Iranian lustreware pottery, and how can we justify the political and cultural exchanges between Egypt and Iran? The findings indicate that many of the patterns found on lustreware pottery in Egypt and Iran are similar, with some common elements resulting from two factors: 1) trade and 2) migration of potters to Iran. The production of lustreware pottery initially served as a luxury item influenced by political factors and tied to governments. Over time, it became accessible to the middle strata of society and enjoyed relative abundance. Therefore, the abundance of this pottery in a region reflects the commercial power and economic prosperity of the government. With the spread of Islam in the Middle Ages and Iran’s strategic geographic position, interregional communications between Iran and other countries, including Egypt, expanded through trade routes, both overland and maritime. This expansion not only facilitated trade but also led to a significant migration of individuals between Iran and Egypt, fostering regional cultural interactions and exchanges. Pottery is one of the most important and abundant material artifacts in archaeology, and among the significant types of pottery produced in the Islamic Middle Ages is lustreware pottery. This type of pottery, due to its decorative nature and extensive use of intricate patterns in its decoration, has often captured the attention of people and served as a commodity for exchange. Therefore, by studying its iconography, one can discern the extent of cultural interactions between the two regions. This study, conducted through a descriptive-analytical approach using library sources and information from museums worldwide, aims to answer the following question: What similarities exist between Egyptian and Iranian lustreware pottery, and how can we justify the political and cultural exchanges between Egypt and Iran? The findings indicate that many of the patterns found on lustreware pottery in Egypt and Iran are similar, with some common elements resulting from two factors: 1) trade and 2) migration of potters to Iran. The production of lustreware pottery initially served as a luxury item influenced by political factors and tied to governments. Over time, it became accessible to the middle strata of society and enjoyed relative abundance. Therefore, the abundance of this pottery in a region reflects the commercial power and economic prosperity of the government.

http://www.jaco-sj.com/article_199043_61aca2f9b1a5b8ab279e0d5b676d5b3d.pdf