Art
samareh rezaei; atieh Youzbashi
Abstract
Saqanfars are buildings related to the Qajar period, which originated from the indigenous and ritual architecture of Mazandaran. In contrast to other similar structures, pictorial themes centered on women are abundantly seen in the pictorial motifs of Saqanfar Kijatakiye wall paintings in Babylon. This ...
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Saqanfars are buildings related to the Qajar period, which originated from the indigenous and ritual architecture of Mazandaran. In contrast to other similar structures, pictorial themes centered on women are abundantly seen in the pictorial motifs of Saqanfar Kijatakiye wall paintings in Babylon. This research has been done with the aim of knowing the image themes and the reasons for the importance of the role of women. Research questions: 1- What is the reason for the abundance of women's motifs in the murals of Saqqanfar Kijatakiye Babylon compared to other Saqqanfar? 2- What are the reasons for the appearance of the role of women in Saqanfar Kijatakiye Babylon? 3- What themes have been observed in the murals of Saqanfar Kijatakiye, Babylon? The present research method is based on descriptive-analytical nature, and from each division of Saqanfar motifs in a non-random way (epic, otherworldly, symbolic and everyday activity), a specific image has been described with an iconological approach. The issue of redefining the role of women in society, family and the field of art peaked during the Qajar era. This shows the extensive developments and change of the position of women in the art of this period. On the other hand, the influence of the geographical region and the way of livelihood changed the concept of gender in the northern regions of Iran. Historical, social, political and cultural factors are important in the emergence of the main role of women. The simultaneity of the historical period of the Tekay building with the Qajar period, the fundamental changes in social relations, the style of clothing, the political position and the change in the aesthetic concepts of women and the multitude of images of women in the Qajar period indicate the direct connection of these motifs with the political-social developments that prevailed in It is the society of its time and it narrates the influence of native artists in reflecting the political and social conditions in a specific historical context.
Art
Ashraf Alsadat Musavi Lar; Mansour Hesami; Zahra Khosravi Rad
Abstract
“Iconology” is one of the methods of artistic studies from the standpoint of phenomenology in which it has gained much attention in the 20th century. Focusing on ideas of Panofski,this article tries to compare the saint Mary's icon with the concept and content of Quranic verses comparatively. ...
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“Iconology” is one of the methods of artistic studies from the standpoint of phenomenology in which it has gained much attention in the 20th century. Focusing on ideas of Panofski,this article tries to compare the saint Mary's icon with the concept and content of Quranic verses comparatively. The main goal of this paper is to study and scan Mary’s image in the renaissance time and its decoding from the picture language of holy Quran in relation to saint Mary’s life iconologically. The present article tries to match saint Mary’s images’ iconological features with the symbolic portaiture of her Quranic features providing the possibility of content and subject review of saint Mary’s life story. The main point of this study is to convert the text into a picture and image,in which both Bible and holy Quran talked about her holiness and characters. In renaissance art this text is turned into an image, but in Islam the text has remained intact. This article tries to match the texts and images. The necessity of implementing new studies about the Mary’s pictures is highly needed as a way to recognize. The sample population includes 20 samples of renaissance paintings in random way. Among them, 8 samples of icons has been studied for visual analysis. The research findings demonstrate reflection of 3 kinds of saint virgin icons in 3 eras of renaissance in row. In the first renaissance era the icon of saint Mary had more match and correspondence with the holy Quran’s sacred in terms of form and content, in middle and advanced eras of renaissance icons they lost their holyness and abstractional synmbols have turned into some earthly and anthropocentric symbols.
