Hasan zandiyeh; vazir menbari; Mohamadreza zadehsafari
Abstract
AbstractFor centuries and millennia, those in power used political marriage as a means to achieve their goals. The most important functions of political marriage were to end wars and conflicts, seal an agreement or alliance between two political forces, establish succession among dynasties, take ...
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AbstractFor centuries and millennia, those in power used political marriage as a means to achieve their goals. The most important functions of political marriage were to end wars and conflicts, seal an agreement or alliance between two political forces, establish succession among dynasties, take advantage of military capabilities of the parties to preserve their interests, etc. The Ardalan Dynasty, in the western regions of Iran, repeatedly used this strategy to pursue its goals, culminating in the thirteenth lunar century. In that century, the rulers of Ardalan entered a marriage contract with the powerful Qajar Dynasty as well as the local Vaziri Dynasty. The present article intends to use a descriptive-analytical method on the effects of political marriages on the development of Ardalan history in the mentioned time period. It seems that the political marriage strategy worked ambiguously for the Ardalan family. Thus, in the short term, it provided the desired interests of this family at various levels, but in the long run became one of the most important factors in the annihilation and eventual collapse of this government in Kurdistan.
Elahe Panjebashi; Anita Sanei
Abstract
Abstract: the coffee painting is a style of painting that began by the painters of the school . one of the characteristics of the coffee painting arts is the presence of women in these pictures . women have less position in this painting and have not been studied so far . the purpose of this study is ...
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Abstract: the coffee painting is a style of painting that began by the painters of the school . one of the characteristics of the coffee painting arts is the presence of women in these pictures . women have less position in this painting and have not been studied so far . the purpose of this study is to study the characteristics of women and their presence in the coffee plantations of house in hossein and agassi . in this regard , the present study seeks to answer these questions : how is the visual characteristics of women in these pictures ? the method of this research is analytical and data collection method is library type . the results indicate that women as a dynamic element in agassi 's paintings are present and have a high place with islamic - iranian coverage in the composition of works . in his works , women are more considered in epic forms , women in his works are depicted as heroic and masculine , while preserving women 's identity . in shahnameh , women play the main roles and play the most important role of men , but this does not mean that they have never had a significant impact on the process of playing the role of men . these women are wisdom , wisdom , wisdom . in this paper , it is concluded that using visual cues to influence the audience in the works the main character of women have formed . to use these symbols to visualize a different discourse in the meaning of their works on the role of these women .
Elahe Panjehpashi; Fatemeh Doulab
Abstract
The "Eram Garden" and "House of Zinat al-Muluk" are important and historical buildings in Shiraz during the Qajar period. The main subject of these two buildings with the decorations of the women role and its formal analysis based on the theory of morphology of Vladimir Prop is the main issue of this ...
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The "Eram Garden" and "House of Zinat al-Muluk" are important and historical buildings in Shiraz during the Qajar period. The main subject of these two buildings with the decorations of the women role and its formal analysis based on the theory of morphology of Vladimir Prop is the main issue of this research. The present study is based on the historical-comparative method. is the data have been collected from library (documentary) and with a historical approach based on morphological theory. This research analyzes the morphology of the female form in the tiling of these two buildings. The study also examined the similarities and differences of the buildings according to Propp's theory. It is concluded that the role of women in the form of the characters of Shirin, Belqis and Zuleikha is one of the main decorative images in the entrance of Eram Garden and the house of Zinat al-Muluk. The main decorative motifs of women in this building are made with Qajar clothes and decoration. Woman as the main decorative element in the tiling of these entrances emphasizes the role of women and has been compatible with Propp's theory.
Hasan Karimian; Farid Ahmadzadeh; Hamid Norasi
Abstract
The aim of this study is to understand the status of Kurdish women in the Kermanshahan tribe community in the Qajar era and their impacts on social, economic, and political structures based on traveler's reports, documents and documented archaeological data in the region. Travelers provided the researchers ...
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The aim of this study is to understand the status of Kurdish women in the Kermanshahan tribe community in the Qajar era and their impacts on social, economic, and political structures based on traveler's reports, documents and documented archaeological data in the region. Travelers provided the researchers with a plenty of unique information about the life of the nomads and the tribes and other aspects of the social life of the women. They consider women to be the backbone of any effort and believe they have played an important role in the sustainability of the family and the tribe system. An interesting point is related to the preserved gravestone of women in this area, which belongs to the Qajar era. The motifs of the gravestones of the Kermanshahan tribe community have reflected the social and individual status of the deceased in their time. Therefore, this research is based on a descriptive and analytical approach and based on library resources and field data. Research findings show that Kurdish women in the Kermanshahan tribe community in the Qajar era have played the undeniable role in social, political and economic structures. Thus, we witness the presence of Kurdish women among the Kermanshahan tribesmen in the role of the lord and as the head of the society, the women as land owners, production of handicrafts and their role in the "waqf" operation.
Art
Marzieh Rashidi; Alireza Taheri
Abstract
In the Safavid and Qajar dynasties, due to the relationship of Iran with the West, the desire of the court to experience the modern world and the desire of the Western world to recognize the East, shaped a kind of traditional and modern dichotomy in many social, cultural and artistic relationships of ...
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In the Safavid and Qajar dynasties, due to the relationship of Iran with the West, the desire of the court to experience the modern world and the desire of the Western world to recognize the East, shaped a kind of traditional and modern dichotomy in many social, cultural and artistic relationships of the society. This also influenced the status of women and their presence in the social arena. The portraiture in Iranian painting has been based on a pattern. What has been studied in this research is the woman's face in the paintings of these two periods. This article seeks to answer the following questions: How was the presentation of women's features in the designs of the Safavid period and Qajar era? What differences did they have in these two periods? The research method is descriptive-analytic and the information gathered by library method. The results show that women in the works of pre-Qajar paintings often have an exemplary and mythical position and, in terms of design, were unrealistic, and its visual value was like other elements of the painting, but in the late Safavid period and the Qajar period there has been a change in attitude towards painting due to the relationship with the West. As a result of attention to realism in drawing women's figures, as well as the formation of monotonous works, this led to a new image of woman in Iranian painting.
Art
Sare Tahmasbizade; Mohamad Ebrahim Zarei
Abstract
In the early Qajar period, many travelers provided unbelievable information about women. The beauty of Iranian women is one of the points that European tourists have come to appreciate. We can also see the reflection of this beauty in the paintings of this period. But the point that attracts attention ...
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In the early Qajar period, many travelers provided unbelievable information about women. The beauty of Iranian women is one of the points that European tourists have come to appreciate. We can also see the reflection of this beauty in the paintings of this period. But the point that attracts attention is the remarkable difference between the women's survivors of the Qajar period with travel writings and paintings of this period. What has been studied in this research is to validate the accuracy of the Qajar women's background based on archaeological evidence. The collection of materials in this library research is written in a historical-analytical way. Accordingly, the questions of this paper are as follows: How is the apparent image of women in paintings of Qajar period to compare with other archaeological evidence? Is there any difference in the apparent appearance of the women left behind the archaeological evidence of the Qajar era, what factors has caused this difference? The results of the surveys show that we are seeing some kind of difference between the concepts of the pictures left and those of the paintings in this period. In the Qajar period, the painters have tended to face the idealism and lack of simulation. Therefore, it can be said that women in the paintings of this period are instrumental in expressing the glory of power and monarchy.
Art
Elaheh Panjebashi; Farina Farhad
Abstract
The Golestan Palace complex as one of the oldest majestic edifice in Tehran is decorated by a variety of figures and legends in tiles. These tiles called Haftrang are under glazed painting and have a valuable collection of flower and vase, fruit, birds, male and female roles, geometric patterns, etc. ...
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The Golestan Palace complex as one of the oldest majestic edifice in Tehran is decorated by a variety of figures and legends in tiles. These tiles called Haftrang are under glazed painting and have a valuable collection of flower and vase, fruit, birds, male and female roles, geometric patterns, etc. They displayed all features of social conditions, in political Qajar Era. All Qajar's motifs are arranged under the influence of various arts such as lithography, a Coffee shop drawings, photography, and Western postcards. We have examined the features of the ancient tile designs as the arts of Golestan Palace. This research has studied the role of the women image in tiles of the ancient Golestan Palace. The purpose of this research is to examine the image of women in Golestan Palace courtyard tiles and the features of sun and angel in tiles of Golestan Palace. The required data were collected by documentary and field surveying method in the current study and its method is historical- analytical. The results of this study show that women represented in the tiles are in the form of the Sun and Angels. The Sun is drawn according to the characteristics of Oriental Women and the role of the Angel shows Byzantine art and painting.
Hamid Hajian Pour; Masumeh dehghan
Volume 1, Issue 2 , February 2010
