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Comparative study of seal symbol in Safavid painting with Qajar carpet

Number of pages: 155 File Format: word File Code: 30618
Year: 2014 University Degree: Master's degree Category: Art - Graphics
Tags/Keywords: painting - Qajar carpet - Safavid painting - seal symbol - Seal symbol in painting - Suhrvardi
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  • Summary of Comparative study of seal symbol in Safavid painting with Qajar carpet

    Dissertation

    To obtain a master's degree

    Painting field

    Abstract

    This research aims to examine the theme of "seal" or love as an eternal and eternal concept that is one of the fundamental topics in Iranian fine arts. In order to achieve this purpose, first of all, the meaning and definition of this word and wadi from the perspective of Iranian and Islamic mystics and specifically from the point of view of Sheikh Eshraq Shahabuddin Suhravardi and its different manifestations have been mentioned. And then a comparative and analytical comparison of the seal symbols and motifs in the art of Safavid painting and Qajar carpets has been made. The existence of the designers and also the deep connection of these motifs with the religions of ancient Iran, especially "Mehri religion" has been expressed.

    In short, the thirst to connect with the eternal face and reach the Minoan paradise and return, and the fascination and mania towards its origin, has always fascinated Iranian art. As the romantic themes and symbols of the seal have been manifested in all the traditional arts of Iran in various ways. Seal and love, Qajar carpet, Safavid painting, Suhravardi, ancient Iran, seal religion. Chapter 1: Overview of the research. 1-1 Introduction: 1-1.

         Mehr has been present in the post of mud houses among the braids of nature-dwelling women and among the loving whispers of Venuses and motherly lullabies for centuries. It goes without saying that what has caught us in such a way is that whatever we have found, lack of praise and love does not make a person perfect, and a gem has been placed in a human being that has a desire for fascination and mania. Human mania has always existed and everyone has become a admirer and lover of something or an object, color, mood, human and reflective.

         In ancient Iran, people also had and nurtured this important desire that this desire took root with the emergence of the religion of love and affection and took root throughout the ancient world, because there was a common passion among all people, and for this reason this religion permeated all civilizations and cultures, and ancient Iran became The title of origin and homeland of this religion used it more than any other culture and permeated all the lives of its people in the architectures, weavings, myths and stories. The traces of the influence of this thought and attitude can be seen in all arts. The artists who created these works have created masterpieces based on the time conditions in their golden ages, in this research, Qajar carpets due to the abundance of examples of weaves and carpets and Safavid painting have been compared and compared to have the best masterpieces of painting. Also, in this research, the theories of the Iranian thinker and philosopher Sheikh Shahabuddin Suhrawardi have been used, because on the one hand, it contains culture, myths, ancient rituals, and the ritual of marriage in different dimensions and levels. which informs every human being in accordance with his perception in this constant concern. And it is also referred to in the analysis and aesthetics of the motifs and the thinking of the creator of these arts and their effectiveness.

    Whether the characters and colors of the artists were formed in an improvised and general manner by primitive artists or from the minds of the designers of the courtly school, it is rooted in the hearts and minds of the designers and shows how the lost of man in all eras is in all life. Sean has been woven and woven. Whether it is eternal or virtual, whether it is the sun or a lover.

    My seal of darkness will not be removed from my eyes

    This is the fate of the sky and it will not change

    Now, seeing these patterns of love in these arts, let us have a vision of what everyone has always wanted and examine the connection between these patterns and their storytellers in a brilliant era.

    2-1 Title:

    Comparative study of seal symbols in Safavid period painting with classical Qajar period carpets

    3-1 statement of the problem:

    At the beginning by examining two authentic Iranian arts and the similarity of their motifs, it seemed important that there is a connection between these two valleys of art and there are many commonalities in terms of form and concept that are rooted in each other. Finding the underlying layers of their connection as the most luxurious Iranian arts is a problem in this research, and due to the attention of artists in all eras to the concept of love, they have been investigated. The patterns have been made into carpets. 3. Carpet designers and painters had a deep connection or both were one. 4. Seal symbols and ancient Iranian rituals have had a great impact on the art of carpets and painting. 5. Love has been one of the main themes of carpet art and painting.

    7. More than half of the seal symbols are female symbols.

    8. The designs and patterns in Qajar weavings are influenced by Safavid painting.

    5-1 Research background:

    Examination of designs and patterns in Safavid weavings, Samieh Ebrahimi, Master of Handicrafts, University of Arts

    Examination of the symbol of love in paintings of the Isfahan School, Kamand Ashtiani, Master of Painting, University of Arts. 6-1 Research questions: 1- What connection did the seal symbols create between paintings and carpets? 2- What was the influence of ancient Iranian rituals on the art of carpets and painting? 3- How did pre-Islamic ideas occur in post-Islamic art?

    5- What patterns can be inferred as symbols of seal in carpets and paintings?

    7-1 Research goals and necessity:

    To know the symbols of seal and the impact of the studied arts on the concept of love and seal, whether in the form of narrating stories with romantic themes, or in an abstract form, and to reach the connection between carpet designers and Safavid and Qajar painters, who from the peak periods and They are considered the flourishing of these arts. Examining the relationship between religious and religious roots with these arts, especially the religious roots of ancient Iranian civilization and the manifestation of the Alevi world and divine love. Necessity: It is hoped that the upcoming research will increase their appeal by clarifying other layers of these arts, and perhaps it will be a way for contemporary art and artists who are aware of the roots of these noble arts to be able to communicate with the thoughts of its designers. to portray a more original art based on Iranian civilization and culture. Chapter 2: Love and the seal ritual They lasted if it wasn't for love and the sadness of love

    Several sad words you said and heard Some definitions refer to accessories or works of love, and some others refer to the characteristics of ideal lovers and such things. In this section, we briefly mention some of them.

  • Contents & References of Comparative study of seal symbol in Safavid painting with Qajar carpet

    List:

    Chapter One: Research overview. 1

    . 1-1 Introduction. 2

    1-2

    Titles. 4

    1-3 statement of the problem. 4

    1-4 research assumptions. 4

    1-5 research background. 5

    1-6 research questions. 5

    1-7 research goals and necessity. 5

    Chapter Two: Love and the seal ceremony. 7

    2-1 Mehr. 8

    2-2

    Philosophy of Love and Affection by Ozdid Sohravardi. 11

    2-3

    Ancient religions (Mehr ritual). 18

    Chapter three: Mehri symbols. 21

    3-1

    Painting. 22

    3-2

    Light. 23

    33_

    Carpet weaving in the Qajar period. 24

    3-4 symbols. 25

    3-6

    Seal symbols. 27

    3-7-2 Light and fire. 28

    3-7. 32

    3-7-4 Moon

    3-7-6 Water

    3-7-1

    3-7-8 Sky

    3-7-11 birds

    3-7-11

    3-7-12 crows

    3-7-14 dogs

    3-7-15 Dove

    3-7-16

    Tree and Rituals 43

    Tree of Knowledge

    3-7-16. 51

    3-7-16-4

    Holy plantain. 51

    3-7-16-5 pomegranate. 53

    3-7-16-6 grapes. 55

    3-7-16-7 willow. 55

    3-7-16-8

    Seru and Bete. 56

    3-7-17 Gol. 53

    3-7-17-1 Flower tree. 53

    3-7-17-2

    Red flower. 61

    3-7-17-3

    Lily flower. 61

    3-7-17-4

    Eight feather flower. 62

    3-7-18 Animals. 64

    3-7-18-1

    Goats and rams. 64

    3-7-18-2

    Cow. 66

    3-18-3 Milk. 67

    3-7-13 Dragon. 63

    3-7-21

    Geometric patterns. 71

    3-7-21 Tangerang. 73

    3-7-22 stars. 74

    3-7-23 Slimi. 76

    Chapter four:

    Analysis and conclusion. 76

    4-1

    Woman. 81

    4-2

    Fire and light. 82

    4-3

    The sky. 84

    4-4

    The moon and the sun. 85

    4-5

    Water. 87

    4-6

    Mt. 88

    4-7

    Angel. 83

    4-8

    Bird and chicken. 31

    4-3

    Crow. 32

    4-11

    Simorgh. 33

    4-11 dogs. 35

    4-12

    Pigeon. 36

    4-13 plantain. 37

    4-14 cypress. 38

    4-15

    Bethe. 33

    4-16

    Pomegranate. 111

    4-17

    Grapes. 111

    4-18

    Willow. 112

    4-13

    Red flower. 113

    4-21

    Lily flower. 114

    4-21

    Three branched flower tree. 115

    4-22

    Goat. 116

    4-23 cow. 117

    4-24

    milk. 118

    4-25

    Camels. 113

    4-26

    Tranj. 111

    4-27

    Star. 111

    4-28 Slimi. 112

    Conclusion. 114

    Tables. 118

    The fifth chapter. 125

    5-1

    Introduction. 126

    5-2

    Work steps. 126

    5-2-1 script. 126

    5-2-2 decoupage storyboard. 127

    5-2-3

    Story Rail. 128

    5-2-4

    Pint. 128

    5-2-5 anime. 123

    5-2-6

    Music. 123

    5-2-7 Compilation. 123

    List of Persian sources. 131

    List of Latin sources. 

     

    Source:

    Book list

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    Iskanderpour, Parvin (1383) Islamism and signs, Tehran: Farhang and Irshad Islamic Press

    Ismailpour, Abul Qasim (1387), the myth of symbolic expression, Tehran: Soroush

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    Eyten, Johannes (1379). Color book, translated by: Mohammad Hossein Halimi, Tehran: Farhang Varshad Islamic Publications.

    Bart, Rolan (1375). Today's myth, translated by: Shirin Dekht Dakhian, Tehran: Center.

    Bayar, Jean-Pierre (1376) Encrypting fire, Jalal Sattari, Tehran: Center

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    Bahar, Mehrdad (1377). From myth to history, Tehran: Cheshme.

    Perham, Siros (1371). Handlooms of Fars Nomads, Volume 1 and Volume 2, Tehran: Amir Kabir.

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    Hejazi, Mohammad (1380) Symbolism in Mosque Architecture, Collection of Articles of Zumin International Muhammadi Conference, Tehran: University of Arts

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