Este artículo estudió los cuadros de Sani ol-Molk, un artista Qajar iraní, y los de Chagall, un artista ruso-judío, y tiene por objetivo responder la pregunta por qué elementos y técnicas utilizaron ...los artistas para ilustrar historias de Las mil y una noches de tal modo que la forma sirviera apropiadamente al contenido. Los dos pintores, Sani ol-Molk y Chagall, con puntos de vista particulares, influenciados por discrepancias socioculturales de Oriente y Occidente respectivamente, crearon cuadros para las historias utilizando sus propios estilos artísticos. Este artículo comparó pares de ilustraciones de Sani ol-Molk y Chagall que tienen el mismo tema pero son completamente distintos tanto estructural como estéticamente. También analizó las obras en cuanto a la forma, la composición, el color, los elementos visuales y los símbolos. Los pares se dividen entre tres categorías de acuerdo con su tema, lo cual incluye romances, imaginarios, y la vida cotidiana. A pesar de las diferencias considerables entre las obras de los dos pintores, tanto Sani ol-Molk (combinando técnicas naturalísticas y estilos de pintura Qajar) y Chagall (utilizando libremente la cultura visual, los colores y las formas de la cultura visual occidental y mezclándolos con elementos iraníes, indios y árabes, así como con iluminación oriental) ilustraron Las mil y una noches de manera exitosa y lograron crear una fantasía.
Introduction The tale of ebony horse is one of the illustrations of the One Thousand and One Night collection, enjoying considerable substantive and pictorial value. This work was illustrated during ...the Qajar era and is currently preserved in the Golestan palace complex. The present research aims to analyze dialogism and polyphony, the space-time continuum, the relationship between the self and otherness, and carnivalism in the text and illustrations of the ebony horse tale from the One Thousand and One Night manuscript. This analysis seeks to shed some light on how one can identify the foundations of the theory of dialogical principle in the content of the ebony horse tale and its illustrations. It also takes stock of similarities and differences of dialogism in the story narrative and images of this version. Methodology The research method is descriptive-analytical, and the method of collecting library information is through note-taking and image reading. The analysis method is qualitative. The research community includes the textual and pictorial materials of the 12th and 13th centuries in the Qajar era, especially the illustrations of the One Thousand and One Nights by Sani al-Mulk and the textual content of the One Thousand and One Nights book. The author's perspective in selecting samples has a significant impact. The selection criterion is the compatibility of the work with the components of the losing theory, and 5 illustrations are examined. The exploration of Iranian painting commenced in the early 20th century and has witnessed substantial growth in the past few decades. Given the significant impact of the One Thousand and One Nights across diverse global literary and cultural domains, delving into the illustrations of this ancient literary masterpiece appears imperative. Discussion The largest illustrated cultural book in Iran, One Thousand and One Nights, with over three thousand sessions, was created in the 13th century while preserving traditional cultural values. The Iranian painter connects humans with their environment and highlights the details of everyday life. Ultimately, the human figure emerges and takes center stage. Sani al-Mulk, in his creations, expresses a comprehensive image of a new culture, emphasizing individual values and human greatness while adopting a somewhat innovative approach. He relies on his inherent creativity and, through aesthetic efforts, presents scenes and familiar spaces that are recognizable and even introduces contemporary living characters instead of historical ones, adding allure to his work.One Thousand and One Nights, while retelling mythical tales and fantasies, portrays scenes of life such as streets and markets that reflect reality. The visual elements are drawn in accordance with the narrative of the story and a realistic perspective. Sani al-Mulk, understanding the principles of European naturalism, attempts to achieve a fresh synthesis of European and Iranian visual traditions. His intentional deviation from precise perspective rules, reflective of his inclination towards the traditions of Iranian art, allows him to break free from deep realism and preserve two-dimensional design and coloring.These characteristics are evident in the storytelling and visual representation of the story of the Ebony Horse. The Ebony Horse recounts the story of a king and his son, Hormoz, whose fate is transformed by receiving a miraculous gift. Iranian literature and arts have continuously integrated ancient patterns to describe a universal world passed down from their ancestors.Another important theme is Mikhail Bakhtin's theory of literature in the 20th century, which explores various human activities and the role of speech, understanding dialogical aspects, evaluation, and responsiveness. Art also evolves in line with his thought, showing a certain resemblance between them. Bakhtin sees discourse in the realm of social order, believing that society begins with the emergence of the second person. Language fundamentally possesses a qualitative socio-mental aspect, and its existence is of fundamental importance to humans. Human existence is found in connection with other living entities, and the fundamental reality of human existence is found in the bond between individuals.In this study, the story of the Ebony Horse is briefly mentioned, and then the narrative and visual representation of Sani al-Mulk are analyzed based on Bakhtin's theories. The narrative and forthcoming works are examined and analyzed in terms of concepts such as polyphony, chronotope, otherness, and carnivalesque, which are innovations in the present text. Conclusion The research results indicate that narrative expression, dialogical principle, polyphony, chronotope, and carnivalesque elements are identifiable in the content of the Ebony Horse story. Sani al-Mulk adeptly captured these elements in his illustrations. Indeed, there exists an evolutionary connection between the text and the visual portrayal of the linear rendition of the Ebony Horse story. This connection ensures that the identical principles of conversational logic, identifiable in the text, are prominently showcased in the illustrations.
Herbert Marcuse, a Frankfurt philosopher, has tried to redefine the concept of reason from Hegel's point of view. In his different view, he tries to show that the category of cognition and ...self-consciousness is not possible without addressing the hidden parts of the reason by adding psychoanalysis. He argues that it is an important part of recognizing desire and has been suppressed by the system of dictatorship in history. For Marcuse, the field of aesthetics and art are the parts in which the psyche is manifested, through which one can recognize the neglected parts and the position of individual desire and approach freedom. A case study of Kamal al-Molk of Iranian culture is a very good example, given all the angles that Marcuse describes. An artist who does not change when he sees change and, on the contrary, resists it and does not happen to achieve the self-consciousness that Marcuse wants. This poses a new complexity to Marcuse's position. This article tries to explore the inadequacy of each of the philosophical and psychoanalytic views according to the given example to say that the desire of the subject involved in the individual subconscious is confiscated long before puberty in childhood. He is barren and incapable of any movement. In this new narrative, it becomes clear that the concept of reason has a recovery beyond the mere realization of Marcuse's intended aesthetics, and that its implications are more serious and profound than what Hegel, Marcuse, and Freud thought.
The Holy Qur'an, with its content and message, has been revealed to mankind to guide and change the materialistic behavior and lifestyle in a divine way. Such texts are fundamentally different from ...the text of human writings; therefore, the translation of such texts is different from other texts. Its grammar should be transferred to the target language and the main meanings of words and phrases of the source language should be reflected in the translation. In this research, based on the method of scientific analysis and relying on the main elements of translation in Eugene Naida's theory, we examine the translation of the surahs "Molk" and "Qalam" in the translation of Rebwar's hegemonic poem. The results of the research show that this translation has strengths and weaknesses; What is more, the translator has benefited a lot from formal translation in his work and has been able to bring the target language closer to the source language. On the other hand, due to the increase of the translated text compared to the text of the verses in some verses, it has used dynamic translation in the target language. Of course, most of the translator's equations in translation are correct, and this shows his mastery of translation. However, in some cases, the destination text is immature and the equivalence is obvious. Finally, a hegemonic translation in the form of a poem is an acceptable translation appropriate to the language of the source text.
Problem Definition: Following the decline of the hegemony of modernism from the late 1370s, representational painting in Iran became the main focus of the painting productions of the 1380s and 1390s. ...Undoubtedly, the re-emergence of this movement after the Kamal-ol-Molk tradition had its own external and internal reasons. But what needs to be considered in this reappearance is the analysis of the characteristics and peculiarities of this painting concerning the pictorial tradition of Kamal-ol-Molk, which owes itself to the European representational painting. The questions raised in this research are: From the perspective of Heinrich Wolfflin's stylistic system, what are the formal components of the Kamal-ol-Molk style in the representational painting of Iran in the 1380s and 1390s? What do these stylistic peculiarities have to do with representation methods in the history of European painting?Objective: The present study aims to investigate and analyze the dominant stylistic features in contemporary Iranian representational painting and its relationship with the visual style of Kamal-ol-Molk.Research Method: This study is fundamental research and has applied a descriptive-analytical method, and the data is gathered using existing library resources and archives. The basis of this research is on the formalist approach and the application of theories of form and style by Heinrich Wolfflin on dual opposing principles (Linear and Painterly; Plane and Recession; Closed and Open form; Multiplicity and Unity; Clearness and Unclearness).Results: The use of Wolfflin's stylistic approach compared to the representational painting of Iran in the 1380s and 1390s showed that many of the visual aspects of Kamal-ol-Molk painting are based on images, details concentration, multi-space system, front views in line with frame level, and dominant linearity. This approach has a decisive and significant presence in the basic infrastructure of the representational painting of the 1380s and 1390s. These peculiarities are based more on a linear pattern (as opposed to painting) than on the painting perspective and the concept of space in the history of Western painting, the bases of which can be traced back to the Iranian painting tradition (exemplary form).
Este artículo estudió los cuadros de Sani ol-Molk, un artista Qajar iraní, y los de Chagall, un artista ruso-judío, y tiene por objetivo responder la pregunta por qué elementos y técnicas utilizaron ...los artistas para ilustrar historias de Las mil y una noches de tal modo que la forma sirviera apropiadamente al contenido. Los dos pintores, Sani ol-Molk y Chagall, con puntos de vista particulares, influenciados por discrepancias socioculturales de Oriente y Occidente respectivamente, crearon cuadros para las historias utilizando sus propios estilos artísticos. Este artículo comparó pares de ilustraciones de Sani ol-Molk y Chagall que tienen el mismo tema pero son completamente distintos tanto estructural como estéticamente. También analizó las obras en cuanto a la forma, la composición, el color, los elementos visuales y los símbolos. Los pares se dividen entre tres categorías de acuerdo con su tema, lo cual incluye romances, imaginarios, y la vida cotidiana. A pesar de las diferencias considerables entre las obras de los dos pintores, tanto Sani ol-Molk (combinando técnicas naturalísticas y estilos de pintura Qajar) y Chagall (utilizando libremente la cultura visual, los colores y las formas de la cultura visual occidental y mezclándolos con elementos iraníes, indios y árabes, así como con iluminación oriental) ilustraron Las mil y una noches de manera exitosa y lograron crear una fantasía.
Tekyeh Moaven al-Molk of Kermanshah is one of the well-known religious buildings of the Qajar period in the city of Kermanshah which was built and completed by the deputy of Moaven al-Molk, the ...founder, in 1320 AH. At first, this building only included the Hosseiniyah sections and its main use was to hold religious ceremonies as a place to resolve ethnic nomadic and social differences. This beautiful and magnificent building of the Qajar period, has a variety of tiles of Quranic stories, paintings in European naturalism, paintings of Iranian Kings, Islamic motifs as well as Ashura themes, and is Known as a treasure trove of rich images and color diversity in the art of tiling in Iran. One of the most widely used themes in religious paintings is tiles with Ashura themes. Accordingly, it is expected that in accordance with this type of drawing, certain colors would be appropriated to the function and overall space of the Tekyeh. Therefore, with the aim of explaining the impact of the events of the great Karbala plain on the choice of color of Ashura tiles in this building, an attempt has been made to answer the questions of what visual and conceptual relationship exists between the choice of colors in Ashura tiles of the Tekyeh Moaven al-Molk of Kermanshah and the theme of the pictures? And that in choosing the color for the tiles, the subject of the tiles had the main priority or the choice of color was made according to the originality of the color palette of the Qajar period and the execution methods of the time? The answers to these questions make clear the necessity and importance of the present study. The target population of this research is to examine all the Ashura tiles in the Tekyeh Moaven al-Molk, which have been selected from their main part of the Tekyeh, namely Zeinabia. In this part of the Tekyeh, there were twelve tiles with Ashura theme, two of which had collapsed and physically damaged over time. In the end, due to few shortcomings, seven tiles were studied as statistical population. Due to the fact that each tile is composed of a large number of identical units of 20×20 cm tiles with seven- color tile technique, by dividing each work into parts of these unites, extensible results can be extracted for all Ashura tiles. Therefore, based on the available sampling method, the statistical population of seven Ashura tiles with 834 unit out of a total of 1256 units has been selected, which are firstly completely intact, and secondly have quality in terms of color. In this research, with the technique of image processing science, the amount of color used in each tile has been explained as well as the relationship between color and subject in Ashura tiles of Tekyeh Moaven al-Molk. This research is a type of developmental one and from the perspective of data type; the research method is qualitative and qualitative, which has been done by examining all the tiles of Ashura drawing available in the Zeinabia section of the Tekyeh. The data generation tools in this research are observation, field research and image preparation of the environment. Background information was gathered through written and printed sources, and interviews with knowledgeable individuals helped generate more data in this area. The method of analysis was as follows: After color analysis of seven tiles in MATLAB software and obtaining the percentage of color used in each, colors with a rate of 1% in the frequency range and bar charts of each image were included. Then, the average of the highest and lowest percentages of colors was extracted from the widely used colors in these tiles. By extracting quantitative data obtained from the amount of color used in these tiles according to the statistical results obtained with the help of image processing science, it was concluded that the choice of color in Ashura tiles of Tekyeh Moaven al-Molk was influenced by the dominant colors used in the Qajar period. But the highest percentage of colors used in Ashura tiles are from the family of Gray colors, which were chosen because of the main function of the Tekyeh as a place of mourning for Aba Abdullah. Therefore, the choice of colors used in Ashura tiles, in addition to maintaining the continuity of the color tradition of Qajar tiles, has a direct relationship with the themes and concepts of Ashura tiles of Tekyeh Moaven al-Molk.
The paper examines how emotional reactions (spiritual sense) to colour within religious architectural like mosque can be empirically measured and the best colour palette for mosques proposed. First, ...the concept of colour and its status in the Nasir Al-Molk mosque is defined based on a descriptive-analytical approach. Then, an experiment has been performed using quantitative electroencephalography waves (brain map), between the statistical population with 18 people sample size. The analysis of the data extracted showed a significant difference between the two conditions (Normal) and (Test) in the frequency of beta, theta and alpha. 'The highest increase in alpha' and 'the highest decrease in the theta/beta parameter' (Two criteria for promoting spirituality) belong to the 'North Porch' image. Other priorities, respectively, are South Porch, Eastern Corridor, Eastern Shabestan and Western Shabestan. So 'turquoise', 'green' and 'blue' colours (colour spectra of image 'North Porch') increase the spiritual sense.
Khwaja Nizam al-Mulk's policy can be regarded as a prominent example of the political statements of the Islamic era that was written in the Seljuk era. This text can be viewed from different ...perspectives, including the position and role that women play. Accordingly, the question was asked: What role does Khwaja Nizam al-Mulk Tusi's political policy place for women? The present paper used to answer this question from the theoretical framework of critical discourse analysis. The findings of this paper show: The text of the policy is the area of struggle of discourse-based (with Shafei's) discourse with tribal-oriented discourse.According to the discourse-based, the social and political arena is all masculine so that women should be placed in privacy and based on a self-centered discourse, although men have a social and political superiority, women (especially elderly elderly women) have social respect And political influence. In this struggle, the policy reproduces the discourse of the autonomous discourse, which Sunni jurisprudents were the main sponsors of
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