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.
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).
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.
Pigments on four easel paintings signed by Mohammad Ghaffari (latter Kamal al-Molk), the renowned Persian painter lived from the mid-nineteenth to the mid-twentieth century, kept at the Astan-e ...Qods-e Razavi Museum (AQRM) in Mashhad, Iran, were identified by micro-X-ray fluorescence (µ-XRF), scanning electron microscopy—energy dispersive X-ray spectrometry (SEM–EDS) and micro-Raman spectroscopy (µ-Raman). Apart from chrome yellow, green chromium oxide and red ochre, four blue pigments including Prussian blue, artificial ultramarine blue, azurite, blue phthalocyanine PB:16 and seven white pigments including rutile, huntite, lead white, baryte, chalk, gypsum and zinc white were identified on the paintings. Based on the occurrence of rutile and blue phthalocyanine PB:16 and the fact that the signature of the paintings suggests 1875 as the date of executing the paintings, several hypotheses were argued to discuss the latter interventions and the authenticity of the works. Discussions on the birth date and other important milestones of Kamal al-Molk’s life accordingly posed serious questions on the authenticity of these paintings.
The purpose of the present study is to explain the effect of dominant social and political power and time requirements on the ideas of some thinkers such as Khājeh Nezām al-Molk and Mohaqqeq ...Sabzevāri in writing book-of-politics. The method of research is qualitative and with regard to Spragens’ methodology, it deals with the following question: What have been the effects of dominant social and political power on the idea of writing book-of-politics by Khājeh Nezām al-Molk, Vā’ez Kāshefi, and Mohaqqeq Sabzevāri? The results show that writing book-of-politics during the period of the above thinkers at issue has basically been under the influence of political and social structure of power, either in its positive or negative aspect, and reflected the interests of political authority. Thus, it can be perceived that the purpose of writing most of these works with special features originating from the political and social condition of the society back then has been to sustain the status quo. In such a situation, Mohaqqeq Sabzevāri as a pioneer scholar deemed it his duty to write his book-of-politics with the recognition of society and governance and it led to an interaction between power and pen in order to foster foundation of the Safavid kingdom and its divine legitimacy.
Tekkiyeh Moʿaven al-Molk in Kermanshah is a space for commemoration of the Battle of Karbala and is accordingly decorated with large narrative panels conceived in underglaze (haft rangi) tiles, ...depicting various episodes of the event. Amongst these is a large panel, covering a whole wall, depicting a number of dervishes in an architectural setting resembling one of the spaces of the Tekkiyeh. The imagery on the face of it has no relevance to the events of Karbala and seems to be outside the programme of decoration of the Tekkiyeh. This paper attempt to decipher the iconography of the representation, in order to come up with a rational for its inclusion within the programme of the decoration of the space which is concerned entirely with the Battle of Karbala.
The morphology of built environments has a significant effect on human well-being. To match the emotional effect of natural environment, architects need to create connections with its stimuli. In ...Islamic architecture, and due to the strict prohibition of depictions of human and animal forms, geometry was the only appropriate tool to create these connections through tessellations, stalactites, and motifs that cascade without an end. This paper employs Christopher Alexander’s 15 properties of Art and Nature as a preliminary qualitative tool for analyzing the visual properties of Nasir El-Molk mosque to measure how far the architects succeeded in creating these connections. A numerical model by Nikos Salingaros was also employed for a quantitative measurement of these qualities. The paper concludes that the building's design was based on a thoughtful process focused on extracting the qualities of
Creation
and reproducing them in abstract compositions to give the building qualities of
Nature
and
Life
.
