Art
marzieh jafarpour; zohreh tabatabaiie jebeli
Abstract
What we call death in our dictionary, and which we often refer to bitterly, in the eyes of agriculturists was a connection of the deceased with the earth and the expectation of resurrection; Like a seed buried in the soil in the hope of rebirth. The remaining written and visual pieces of evidence of ...
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What we call death in our dictionary, and which we often refer to bitterly, in the eyes of agriculturists was a connection of the deceased with the earth and the expectation of resurrection; Like a seed buried in the soil in the hope of rebirth. The remaining written and visual pieces of evidence of mourning rituals indicate that women played a more critical role in this way; as they played an important role in planting and harvesting agricultural products. Therefore, the present article, with the aim of explaining the role of women in mourning rituals and its relationship with agricultural rituals, seeks to answer these questions: Why the operatives of mourning rituals are primarily women? And is there any connection between these rituals (mourning and request for fertility from nature)? In this regard, this paper will analyze eight Persian paintings with the theme of mourning from the Ilkhanid to the Safavid period in a historical-analytical way using the iconographic approach. The results show that mourning rituals were inherently used to activate the forces of plants that are often embodied as plant gods/goddesses. During a transformation, this pattern has changed from a form of mourning for the goddess of fertility to mourning for the general public. The presence of women in the mourning rituals was also considered blessed and auspicious because of their liaison with mother-earth. Thus, based on the symmetry of mourning and agriculture, the presence of women in mourning and the performance of various rituals by them is justified.
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.
Archeology
Bahman Firozmandi; Mohgan Khanmoradi
Abstract
The present study is investigating the role and situation of women in Parthian period. The role of women in Parthian era based on archaeological evidences and historical literatures is unknown. The literature had a brief look to this and even leading to the misunderstanding. Such literatures concerning ...
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The present study is investigating the role and situation of women in Parthian period. The role of women in Parthian era based on archaeological evidences and historical literatures is unknown. The literature had a brief look to this and even leading to the misunderstanding. Such literatures concerning generally to the women and their personal attributes in the court like political marriages. In order to receive a comprehensive view regarding to the women statute in Parthian era, we investigated archaeological evidences throughout Parthian Empire including western (Hatra, Ashur, Seleucia, Babylonia, Dura Europos, Palmyra) and eastern territories (Kuh-i Khwaja) and also regions such as Elymais and central part of Iran. These investigations demonstrate that depiction of women figure in Parthian era was more common comparing to Achaemenid times. The depiction of women can be seen on coins, stuccos, wall paintings and base reliefs. Surveying of archaeological evidences mentioned above showing that women have a main role and place in Parthian era and attending in different states and activated in religious, economic, social, and artistic ground.
