The Arts of Iran
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A Historical Contextual Analysis Study of Persian Silk Fabric: (Pre-Islamic Period- Buyid Dynasty)
Proceedings of SOCIOINT 2017- 4th International Conference on Education, Social Sciences and Humanities 10-12 July 2017- Dubai, UAE A HISTORICAL CONTEXTUAL ANALYSIS STUDY OF PERSIAN SILK FABRIC: (PRE-ISLAMIC PERIOD- BUYID DYNASTY) Nadia Poorabbas Tahvildari1, Farinaz Farbod2, Azadeh Mehrpouyan3* 1Alzahra University, Art Faculty, Tehran, Iran and Research Institute of Cultural Heritage & Tourism, Traditional Art Department, Tehran, IRAN, [email protected] 2Alzahra University, Art Faculty, Tehran, IRAN, [email protected] 3Department of English Literature, Central Tehran Branch, Islamic Azad University, Tehran, IRAN, email: [email protected] *Corresponding author Abstract This paper explores the possibility existence of Persian silk fabric (Diba). The study also identifies the locations of Diba weave and its production. Based on the detailed analysis of Dida etymology and discovery locations, this paper present careful classification silk fabrics. Present study investigates the characteristics of Diba and introduces its sub-divisions from Pre-Islamic period to late Buyid dynasty. The paper reports the features of silk fabric of Ancient Persian, silk classification of Sasanian Empire based on discovery location, and silk sub-divisions of Buyaid dynasty. The results confirm the existence of Diba and its various types through a historical contextual analysis. Keywords: Persian Silk, Diba, Silk classification, Historical, context, location, Sasanian Empire 1. INTRODUCTION Diba is one of the machine woven fabrics (Research Institute of Cultural Heritage, Handicrafts and Tourism, 2009) which have been referred continuously as one of the exquisite silk fabrics during the history. History of weaving in Iran dated back to millenniums AD. The process of formation, production and continuity of this art in history of Iran took advantages of several factors such as economic, social, cultural and ecological factors. -
Title Transformation of Natural Elements in Persian Art: the Flora
Title Transformation of Natural Elements in Persian Art: the Flora Author(s) Farrokh, Shayesteh 名桜大学紀要 = THE MEIO UNIVERSITY BULLETIN(13): Citation 63-80 Issue Date 2007 URL http://hdl.handle.net/20.500.12001/8061 Rights 名桜大学 名桜入学紀要 13号 63-80(2007) TransfbmationofNaturalElementsin PersianArt:theFlora FarrokhShayesteh ABSTRACT ThlSpaperisthefirstofatwo-partstudyonthetransformationofdifferentelementsofnora andfaunainPersianart. Usingcomponentsofnatureasmotifsisnotu】1uSualamongdi丘erentcultures;however,in Persiancultureitiswidespreadanduniquelyrepresentational.UnlikeWesternartthatwaspre- sentationalupuntilmoderntime,Persiana rt,evenbebretheadventofIslam,hasbeenrepresen- tational.Accordingly,throughalteration,deformation,andsimplificationofcomponentsofnature , abstractdesignshavebeencreated. Duringthecourseofthispaper,floraindiverseartformsisdiscussedinordertodemonstrate thecreativebreadthofabstractdesigns.Examples丘.omancienttimestothepresentareexamlned tosupportthisconclusion. Keywords:Abstraction,presentatiorVrepresentation,Persian ar t,Dora ペルシャ美術における自然物表現に関する研究 : 植物表現について フアロック ・シャイヤステ 要旨 本論文はペルシャ美術における動植物表現に関する 2 部か ら成る研究の第 1 部である。 様々な文化において、自然物 をモチーフとして取 り入れることは決 して稀ではない。ペルシャ 文化においては、自然 をモチーフとする表現は多 く、それらは独特な表象性 をもっている。描 写的な表現 を追及 し続けて きた西洋美術 とは異 な り、ペルシャ美術 はイスラム前 も後 も常に表 象的であ り続けた。その結果、自然物を修正、変形、そ して単純化することを通 して、抽象化 されたデザ インを創 り出 した。様々な芸術表現 に見 られる植物 デザ インが、抽象的デザインの 創造へ と発展 してい く過程 を検証することで本研究は進められる。古代から現代 までの例を挙 げなが ら結論へ と導いてい く。 キーワー ド:抽象化、描写性/表象性、ペ ルシャ美術 、植物 -63- Farrokh Shayesteh Introduction Plants and flowers have been extremely -
A Study on Islamic Human Figure Representation in Light of a Dancing Scene
Hanaa M. Adly A Study on Islamic Human Figure Representation in Light of a Dancing Scene Islamic decoration does indeed know human figures. This is a controversial subject1, as many Muslims believe that there can be no figural art in an Islamic context, basing their beliefs on the Hadith. While figural forms are rare in Muslim religious buildings, in much of the medieval Islamic world, figural art was not only tolerated but also encouraged.2 1 Richard Ettinghausen, ‘Islamic Art',’ The Metropolitan Museum of Art Bulletin, (1973) xxxiii , 2‐52, Nabil F. Safwat, ‘Reviews of Terry Allen: Five Essays on Islamic Art,’ ix. 131, Sebastopol, CA, 1988, Bulletin of the School of Oriental and African Studies (BSOAS), (London: University of London, 1990), liii . 134‐135 [no. 1]. 2 James Allan, ‘Metalwork Treasures from the Islamic Courts,’ National Council for Culture, Art and Heritage, 2004, 1. 1 The aim of this research is to develop a comprehensive framework for understanding figurative art. This research draws attention to the popularization of the human figures and their use in Islamic art as a means of documenting cultural histories within Muslim communities and societies. Drinking, dancing and making music, as well as pastimes like shooting fowl and chasing game, constitute themes in Islamic figurative representations.3 Out of a number of dancing scenes. in particular, I have selected two examples from the Seljuqs of Iran and Anatolia in the 12th‐13th. centuries.4 One scene occurs on a ceramic jar (Pl. 1) and the other on a metal candlestick (Pl. 2).5 Both examples offer an excellent account of the artistic tradition of the Iranian people, who since antiquity have played an important role in the evolution of the arts and crafts of the Near East.6 The founder of the Seljuq dynasty, Tughril, took the title of Sultan in Nishapur in 1037 when he occupied Khurasan and the whole of Persia. -
Reading Carpet and Architectural Common Aspects
Reading Carpet and Architectural common aspects Arefeh Behzadi Rad1, Javad Divandari2* 1Master of Science (MSc), Department of Architecture, Islamic Azad University, Kashan, Iran. 2Assistant Professor, Department of Architecture, University of Kashan, Iran. Correspondence: Ziba Borzabadi Farahani, Assisstant Professor, Department of Medical Surgical Nursing, School of Nursing and Midwifery, Shahid Beheshti University of medical Sciences, Tehran, Iran. ABSTRACT The ancient Persian religion and customs that has been entered the people's life of this land is playing an undeniable role in the carpets design. What's more all about the connection between the carpet and the architecture is the mystical and Iranian twists from both original arts which is exacerbated and has certain originality. This article aims to identify architecture and carpet, their features and study the relationship between these two arts in the Islamic civilization of Iran with matching the symbols and signs used in it in order to achieve the meanings of the hidden unit in arts. It was written by relying on handed manuscripts resources and visiting carpet weaving workshops and architecture. This is a fundamental question how to make Link between both original and traditional art architecture and carpet. Comprehensive attention and review in overall design of the carpet presentation with its similarity to architecture, expresses the fundamentals of common principles. It provides a table on the plan formation of two original Iranian arts. This article seeks to identify common aspects between Iranian noble arts. Keywords: Common aspects, Carpet, Architecture, Communication of arts with each oder. Introduction civilization. They are familiar with the most natural human emotions and beliefs. -
Islamic and Indian Art Including Sikh Treasures and Arts of the Punjab
Islamic and Indian Art Including Sikh Treasures and Arts of the Punjab New Bond Street, London | 23 October, 2018 Registration and Bidding Form (Attendee / Absentee / Online / Telephone Bidding) Please circle your bidding method above. Paddle number (for office use only) This sale will be conducted in accordance with 23 October 2018 Bonhams’ Conditions of Sale and bidding and buying Sale title: Sale date: at the Sale will be regulated by these Conditions. You should read the Conditions in conjunction with Sale no. Sale venue: New Bond Street the Sale Information relating to this Sale which sets out the charges payable by you on the purchases If you are not attending the sale in person, please provide details of the Lots on which you wish to bid at least 24 hours you make and other terms relating to bidding and prior to the sale. Bids will be rounded down to the nearest increment. Please refer to the Notice to Bidders in the catalogue buying at the Sale. You should ask any questions you for further information relating to Bonhams executing telephone, online or absentee bids on your behalf. Bonhams will have about the Conditions before signing this form. endeavour to execute these bids on your behalf but will not be liable for any errors or failing to execute bids. These Conditions also contain certain undertakings by bidders and buyers and limit Bonhams’ liability to General Bid Increments: bidders and buyers. £10 - 200 .....................by 10s £10,000 - 20,000 .........by 1,000s £200 - 500 ...................by 20 / 50 / 80s £20,000 -
Eulogy for Dr. Ehsan Yarshater•
178 November - December 2018 Vol. XXVII No. 178 Remembering Professor Ehsan Yarshater • Iranian Novels in Translation • PAAIA National Survey 2018 • Second Annual Hafez Day 2018 • Mehregan Celebration • Nutrition During Pregnancy • Menstrual Cramps • Eulogy For Dr. Ehsan Yarshater • No. 178 November-December 2018 1 178 By: Shahri Estakhry Since 1991 Persian Cultural Center’s Remembering Professor Ehsan Yarshater (1920-2018) Bilingual Magazine Is a bi - monthly publication organized for th When we heard the news of the passing of Professor Ehsan Yarshater on September 20 , our last literary, cultural and information purposes issue of Peyk was at the print shop and we could not pay our deepest respect in his memory at Financial support is provided by the City of that time. Although, many tributes in Persian and English have been written in his memory, we San Diego Commission for Arts and Culture. too would like to remember him with great respect and great fondness. Persian Cultural Center I had the pleasure of meeting him and his wife, Latifeh, in 1996 when, at the invitation of the 6790 Top Gun St. #7, San Diego, CA 92121 Persian Cultural Center they came to San Diego and he gave a talk about the Persian civilization Tel (858) 552-9355 and the Encyclopedia Iranica. While listening to him, mesmerized by his presentation, there was Fax & Message: (619) 374-7335 Email: [email protected] no doubt for anyone that here was a man of true knowledge and great integrity. How privileged www.pccsd.org we were to be in the audience. He was an extraordinary man of accomplishments, easy to respect, easy to hold in your heart with adoration. -
Spiritual Art: a Study of Illuminated Drawings
Journal of History Culture and Art Research (ISSN: 2147-0626) Tarih Kültür ve Sanat Araştırmaları Dergisi Vol. 6, No. 6, December 2017 Revue des Recherches en Histoire Culture et Art Copyright © Karabuk University http://kutaksam.karabuk.edu.tr ﻣﺠﻠﺔ اﻟﺒﺤﻮث اﻟﺘﺎرﯾﺨﯿﺔ واﻟﺜﻘﺎﻓﯿﺔ واﻟﻔﻨﯿﺔ DOI: 10.7596/taksad.v6i6.1207 Citation: Kateb, F. (2017). Spiritual Art: A Study of Illuminated Drawings. Journal of History Culture and Art Research, 6(6), 221-232. doi:http://dx.doi.org/10.7596/taksad.v6i6.1207 Spiritual Art: A Study of Illuminated Drawings Fatemeh Kateb1 Abstract Illumination can be seen as a collection of exquisite and novel designs that painters and illumination- workers use to make religious, scientific, cultural, historical, and other collections of work beautiful. The professionals of illumination use these techniques in books to beautifully virtualize the golden pages of the eternal literature and the religious texts of their homeland. In this way, the sides and margins of the pages are decorated with designs of Islimi (arabesque) branches, stems, flowers, and Cathay (Khataei) leaves. Illuminations like paintings have various schools and periods, such as the Seljuk, Bukhara, Timurid, Safavid, Qajar schools, with further branches within each school. The illuminations of different periods represent the states and spirits of those eras. However, the illustrated paintings have been performed in the primary state in each school and era with some minor differences in colors and designs, and it can be said that the basis of the illustrated designs are three geometric shapes of the square, circle and triangle, and the combination of these three shapes. -
Mostly Modern Miniatures: Classical Persian Painting in the Early Twentieth Century
classical persian painting in the early twentieth century 359 MARIANNA SHREVE SIMPSON MOSTLY MODERN MINIATURES: CLASSICAL PERSIAN PAINTING IN THE EARLY TWENTIETH CENTURY Throughout his various writings on Persian painting Bek Khur¸s¸nº or Tur¸basº Bek Khur¸s¸nº, seems to have published from the mid-1990s onwards, Oleg Grabar honed to a fi ne art the practice of creative reuse and has explored the place of the medium in traditional replication. Indeed, the quality of his production, Persian culture and expounded on its historiography, represented by paintings in several U.S. collections including the role played by private collections, muse- (including one on Professor Grabar’s very doorstep ums, and exhibitions in furthering public appreciation and another not far down the road), seems to war- and scholarly study of Persian miniatures.1 On the rant designating this seemingly little-known painter whole, his investigations have involved works created as a modern master of classical Persian painting. His in Iran and neighboring regions from the fourteenth oeuvre also prompts reconsideration of notions of through the seventeenth century, including some of authenticity and originality within this venerable art the most familiar and beloved examples within the form—issues that Oleg Grabar, even while largely canonical corpus of manuscript illustrations and min- eschewing the practice of connoisseurship himself, iature paintings, such as those in the celebrated 1396 recognizes as a “great and honorable tradition within Dºv¸n of Khwaju Kirmani, the 1488 Bust¸n of Sa{di, and the history of art.”5 the ca. 1525–27 Dºv¸n of Hafi z. -
The Persian Achaemenid Architecture Art Its Impact ... and Influence (558-330BC)
Journal of Xi'an University of Architecture & Technology Issn No : 1006-7930 The Persian Achaemenid Architecture Art its Impact ... and Influence (558-330BC) Assistant professor Dr. Iman Lafta Hussein a a Department of History, College of Education, Al Qadisiya University, Ministry of Higher Education and Research, Republic of Iraq Abstract The Achaemenid Persians founded an empire that lasted for two centuries (550-331 BC) within that empire that included the regions of the Near East, Asia Minor, part of the Greek world, and highly educated people and people such as Babylon, Assyria, Egypt, and Asia Minor. Bilad Al-Sham, centers of civilization with a long tradition in urbanism and civilization, benefited the Achaemenids in building their empire and the formation of their civilization and the upbringing of their culture. It also secured under the banner of late in the field of civilization, those ancient cultures and mixed and resulted in the Achaemenid civilization, which is a summarization of civilizations of the ancient East and reconcile them, and architecture and art were part of those civilizational mixing, It was influenced by ancient Iraqi and Egyptian architecture as well as Greek art. In addition, it also affected the architecture of the neighboring peoples, and its effects on the architecture of India and Greece, as well as southern Siberia, but the external influences on the architecture of Achaemenid. It does not erase the importance of the special element and the ability to create a special architecture of Achaemenid civilization that has the character and characteristics and distinguish it from its counterparts in the ancient East. -
Protest Visual Arts in Iran from the 1953 Coup to the 1979 Islamic Revolution
International Journal of Criminology and Sociology, 2020, 9, 285-299 285 Protest Visual Arts in Iran from the 1953 Coup to the 1979 Islamic Revolution Hoda Zabolinezhad1,* and Parisa Shad Qazvini2 1Phd in Visual Arts from University of Strasbourg, Post-Doc Researcher at Alzahra University of Tehran 2Assisstant Professor at Faculty of Arts, University of Alzahra of Tehran, Iran Abstract: There have been conducted a few numbers of researches with protest-related subjects in visual arts in a span between the two major unrests, the 1953 Coup and the 1979 Islamic Revolution. This study tries to investigate how the works of Iranian visual artists demonstrate their reactions to the 1953 Coup and progresses towards modernization that occurred after the White Revolution of Shāh in 1963. The advent of the protest concept has coincided with the presence of Modern and Contemporary art in Iran when the country was occupied by allies during the Second World War. The 1953 Coup was a significant protest event that motivated some of the artists to react against the monarchy’s intention. Although, poets, authors, journalists, and writers of plays were pioneer to combat dictatorship, the greatest modernist artists of that time, impressed by the events after the 1953 Coup, just used their art as rebellious manifest against the governors. Keywords: Iranian Visual Artists, Pahlavi, Political Freedom, Persian Protest Literature, the Shāh. INTRODUCTION Abrahamian 2018). The Iranian visual arts affected unconstructively by Pahlavi I (1926-1942) contradictory The authors decided to investigate the subject of approaches. By opening of Fine Arts School, which protest artworks because it is almost novel and has became after a while Fine Arts Faculty of the University addressed by the minority of other researchers so far. -
Iranian Traditional Hand-Woven Art As an Effective Factor in Transferring Native Culture (Case Study: Traditional Hosiery)
The Turkish Online Journal of Design, Art and Communication - TOJDAC November 2016 Special Edition IRANIAN TRADITIONAL HAND-WOVEN ART AS AN EFFECTIVE FACTOR IN TRANSFERRING NATIVE CULTURE (CASE STUDY: TRADITIONAL HOSIERY) Robabe Ghazali Faculty member, Department of Art, Alzahra University, Iran [email protected] ABSTRACT Different kinds of artifacts that are made by means of needle, crochet hook and similar tools or natural fiber are considered among woven products, for example gloves, socks, ascot , scarf and etc. Hosiery is one of the hand woven products of handicrafts which is found in Azerbayjan, Kurdistan, Khorasan, Gilan, Mazandaran and other area that enjoy a proper geographical distribution, in particular mountainous regions. Iranian hosiery’s visual diversity in terms of patterns, color, and motifs, and the extent of geographical location’s effect on traditional hand woven production is an effective factor in development and export of this traditional hand woven, due to its usability as effective field of cultural, social, and economical activities. The originality of Iranian hosiery has been approved since September 2011 and it has been enlisted in the handicrafts works of Cultural Heritage Organization. The way of weaving and applying pattern and color in designing traditional hand woven hosiery, as an effective and impressible branches of handicrafts on transferring native culture and art from past to present. The research was conducted by using a descriptive analytical method and gathering library field information and interviews. Keywords: Traditional hand woven, hosiery, ethnic beliefs, development of Iranian handicrafts INTRODUCTION Traditional arts are the collection of each country’s original and native art which is deeply and strongly rooted in its beliefs, habitudes, customs, and traditions and includes spiritual culture of society. -
Margaret Cool Root
Curriculum Vitae MARGARET COOL ROOT EducationU 1969 Bryn Mawr College B.A. Classical and Near Eastern Archaeology (Magna cum Laude & Department Honors 1971 Bryn Mawr College M.A. Etruscan Archaeology 1976 Bryn Mawr College Ph.D. Near Eastern and Classical Archaeology and Etruscan Archaeology Specialization: Art & Archaeology of the Achaemenid Persian Empire ProfessionalU Employment l977-78 Visiting Assistant Professor: Department of Art and Department of Classical Languages and Literatures, University of Chicago Research Associate: Oriental Institute, University of Chicago l978-92 Assistant-Associate Professor of Classical and Near Eastern Art and Archaeology: Department of the History of Art and the Interdepartmental Program in Classical Art and Archaeology (IPCAA) Assistant-Associate Curator of Collections: Kelsey Museum of Archaeology 1992-present Professor of Classical and Near Eastern Art and Archaeology: Department of the History of Art and the Interdepartmental Program in Classical Art and Archaeology (IPCAA) Curator of Collections: Kelsey Museum of Archaeology, University of Michigan 1992-93 Acting Director, Kelsey Museum of Archaeology, University of Michigan 1994-99 Chair, Department of the History of Art, University of Michigan 2004-05 Acting Director, Kelsey Museum of Archaeology, University of Michigan RelevantU Work-Related Experience l969 Trench Supervisor: Bryn Mawr College Excavations at Poggio Civitate (Murlo), Tuscany l97l-72 Museum/Site Study: Europe and North Africa l973-74 Dissertation Research: Turkey, Iran, London,