Study of the Structure and Layout of the Opening Pages of the Holy Quran from the 5TH to the 12TH Centuries of the Hegira
A Comparative Study of Common Characteristics of Sacred Portraiture in Religious Civilizations (Buddhist, Christianity, Islam)
Analysis of Origin and Characteristic of Text and Image Composition at Shiraz Paintings on Al-Injuid Period
Comparative Study of Spatial Simultaneity in Persian Painting and Picasso Cubist Painting
The term “simultaneity” means the exhibition of various spaces without time and place sequences i... more The term “simultaneity” means the exhibition of various spaces without time and place sequences in an image using the principle of synchronicity. The term “spatial simultaneity”has been used for referring to Persian painting and Cubist paintings of Picasso. For this reason, the main objective in present paper is to identify similar and different aspects of the two aesthetic systems of Persian painting and Picasso painting each of which displays spatial simultaneity in its visual structure. Moreover, it is tried to show that “spatial simultaneity” lacks enough precision for describing Persian painting. Accordingly, similar and different aspects of the concept and visual structure of “spatial simultaneity” in Persian and Picasso paintings are explored. To fulfill the objectives of this paper, library sources and descriptive-analytical method are used to explore the concept of space and the manner of showing perspective in these two visual systems. The results of observations in this paper show that spatial simultaneity in aesthetic system of Persian painting and Picasso painting involves similarities and differences. For instance, in Persian painting, space is devoid of material constraints and it is in relation to the World of Ideas, whereas, in Picasso painting, space is perceptual and dependent on the material world. For this reason, it can be concluded that the term “spatial simultaneity” is not sufficiently precise to define visual structure of Persian painting because such term has been used for the first time to define Cubism style in painting which is not in complete correspondence with Persian painting. Keywords: spatial simultaneity, Persian painting, perspective, Picasso painting, Cubism
نقدي بر انتساب سه اثر فلز کاري غرب ايران به مکتب موصل در نيمه اول قرن هفتم هجري
نگره, Sep 23, 2013
A Comparative Study of 6 Selected Splash Glaze Pottery Works of Khurasan from 8th to 11th Century AD with Ideas of Abstract Expressionism (with an Emphasis on Action Painting)
پژوهشنامه خراسان بزرگ, Oct 22, 2020
شناسايي مراکز و ويژگي هاي فلزکاري شمال، مرکز و غرب ايران از اغاز سده ششم ه.ق تا هجوم مغول
Parisian mannequins with a robe of carpet Semiological analysis on the emergence of carpet in contemporary Iranian and world fashion
Scientific Journal of Pazhuhesh-e Honar, Jan 10, 2021
Analysis of the Concept of Time in Performance Art Based on Gilles Deleuze Theories
کيمياي هنر, Aug 23, 2019
The making method and usage of Black Hebr in manuscripts by emphasis on Omdat'alketab manuscript stored in Astan Quds Razavi Library
کتابداری و اطلاعرسانی, 2018
<strong>Purpose:</strong> Two other ink types called Hebr and Ligheh are mentioned in... more <strong>Purpose:</strong> Two other ink types called Hebr and Ligheh are mentioned in the manuscripts in addition to Medad or Morakab. It was tried in this research to discover the differences and characteristics of all ink types by referring to the initial Islamic centuries manuscripts particularly crafted Omdat'alketab in Astan Quds Razavi Library. The main objective of this research was to identify the making method and usage of Black Hebr. <strong>Methodology:</strong> Data collection was done through documentary and library method, and some tests were conducted in some cases to prove the methods accuracy. Therefore, the research methodology was descriptive and experimental. First, the making method of Black Hebr was identified in manuscripts and compared with each other particularly with crafted Omdat'alketab to get the precise results. Therefore, result was made experimentally and observed. <strong>Findings:</strong> Research findings showed that making methods of Medad, Morakab, Hebr, and Ligheh were different. Black Habr types had different usage and making methods by the constant compounds of Oak Apple, Alum, Gum, and Water that are used on paper, skin, rock, and pottery. <strong>Conclusion:</strong> The comparison of manuscripts Omdat'alketab, Bayanol Sana'at, Ghatafol Azhar, Dorol Maknun, Tohfol Khavas, Soobhol A'shaa, and Book Formatting in Islamic Civilization showed that the method and usage of all inks type were not obtainable from all mentioned references except "Omdat'alketab" because of defect, dispersion, and wrong translation.
The emergence of motif of water in photography, in realistic or abstract form, indicates the dist... more The emergence of motif of water in photography, in realistic or abstract form, indicates the distinct and inspiring role of this element in art. The structural characteristics of water, from its lack of form, color and taste, to its intrinsic movement (its death while resting), transparency (as in glass) and reflection (as in mirror), turned it to an insightful and fantastic subject for photography. The photography of water by Zekrgoo goes particularly beyond these characteristics and alludes to water in the spiritual realm, rather indirectly or directly by supplementing explicit symbols such as mosque. This article investigates the coherence of tradition and modernity in the artworks of Zekrgoo through an analysis of the form of the photographs, and a comparative study of their explicit and implicit spiritual connotations by a semiological approach. Among Zekrgoo photographs, the “mystical water” and “images of illusion” are chosen to answer questions such as: “what are the latent ...
A Comparative Study of the Illumination of Armenian Religious Texts of Isfahan with Illumination of Isfahan’s Quran in the Safavid era
یرانیان و ارمنیان از گذشته تا امروز در کنار هم زیستهاند و بر زبان، فرهنگ و سنتهای هم تاثیر گذاش... more یرانیان و ارمنیان از گذشته تا امروز در کنار هم زیستهاند و بر زبان، فرهنگ و سنتهای هم تاثیر گذاشتهاند. در پی مهاجرت گروهی از ارامنه به اصفهان در دورۀ شاه عباس قرن 11 ه.ق. / 17 م. و تاسیس کلیساها در
The art was assumed as a means to express religious paradigms before the primitive communities an... more The art was assumed as a means to express religious paradigms before the primitive communities and the primitive art mainly played role of protection of human from natural disasters among them the drawn pictures were either inspired from surrounding nature or beyond of them. Tree is one of the premier and widest recognizable patterns in artifacts in Iran at pre-Islamic era. Continuity and variation of this pattern in artistic works in Iran during postIslamic period, particularly wide application of this pattern in illumination of Quranic copies has caused to deal with a comparative study on role of tree pattern in Quranic illuminations and Persian pre-Islamic era in the present investigation. According to research findings, one could observe the tree patterns like what they have been used in artifacts from pre-Islamic period at Iran and especially in Mesopotamian Civilizations, Iran during Achaemenid Era and Iran at Sassanid Period in signs of patterns in 5verse part of Quran, the l...
The Study of the Impact of Pictorial Metaphor on the Human Figures of Ardashir Mohassess
استعاره همواره یکی از مهمترین مباحث بلاغت برای تاثیر کلام بوده است. امروزه علوم شناختی جدید باورد... more استعاره همواره یکی از مهمترین مباحث بلاغت برای تاثیر کلام بوده است. امروزه علوم شناختی جدید باوردارد که انسان استعاری می اندیشد و استعاره فقط لغوی نیست. درپی این نظریه، اندیشمندان مبحث استعارهتصوی
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