University of Birjand Negarineh Islamic Art 2382-9885 12 30 2026 02 20 Analysis of the thematic and visual characteristics of the illustration in the first lithographic copy of Kalileh-ud-Dmaneh, 1282 AH Analysis of the thematic and visual characteristics of the illustration in the first lithographic copy of Kalileh-ud-Dmaneh, 1282 AH 1 22 3883 10.22077/nia.2026.9845.1976 FA Hananeh Sadat Ayazi University of Neyshabur Farzane Farrokhfar Department of Graphic Design, faculty of Arts & Architecture, Tarbiat Modares University, Tehran, Iran 0000-0001-9771-0073 Journal Article 2025 08 23 Kelileh o Demneh by Nasrollah Monshi is one of the finest works of classical Iranian literature that has been considered in most Iranian book design workshops and has been illustrated many times. With the spread of lithography in the Qajar era, this rich theme had been popularized again and had been illustrated and published many times. In the studies conducted on the illustrations of different versions of the Qajar era Kalileh-ud-Dmaneh lithography, it seems that there is a kind of similarity in the images of these versions, despite the difference in the names of the illustrators, which was done by the illustrations of the first lithography version with illustrations by three lesser-known artists: Mirza Jafar, Abdul Muttalib and Mohammad Baqir Khan, dated 1282 AH.Given the lack of sufficient studies on the identification of this work and its illustrators, the present study seeks to answer the following question: What thematic and visual features are used in the illustrations of Kalileh-ud-Dmaneh from 1282 AH? And what stylistic differences are there in the illustration style of the three artists of this edition? Accordingly, the present study seeks to identify and evaluate the thematic and visual characteristics of this magnificent work as the initiator of the lithographic illustration of the Kalileh and Demneh manuscripts and to explain the illustration style of its artists. The nature of the present study is fundamental, in terms of method, descriptive-analytical, its analysis method is quantitative and qualitative, and its information collection method is library-documentary. The result of the study is that the role of the painting technique and style of the era in the visual qualities, design of figures, space-making, and even its creativity and expressive style has been very effective; but this does not mean having an individual style for each artist. In the works of Mirza Jafar, there is a lack of whiteness and filling of empty spaces with intense patterns and shading, while in the works of Mohammad Baqir Khan, no attempt has been made to fill empty spaces and the artist has focused more on designing the main story items. The distinctive features of Abdul Muttalib's works are precise shading, showing the complete facial expressions in the figures, observing perspective, and realistic expression in the image. Kelileh o Demneh by Nasrollah Monshi is one of the finest works of classical Iranian literature that has been considered in most Iranian book design workshops and has been illustrated many times. With the spread of lithography in the Qajar era, this rich theme had been popularized again and had been illustrated and published many times. In the studies conducted on the illustrations of different versions of the Qajar era Kalileh-ud-Dmaneh lithography, it seems that there is a kind of similarity in the images of these versions, despite the difference in the names of the illustrators, which was done by the illustrations of the first lithography version with illustrations by three lesser-known artists: Mirza Jafar, Abdul Muttalib and Mohammad Baqir Khan, dated 1282 AH.Given the lack of sufficient studies on the identification of this work and its illustrators, the present study seeks to answer the following question: What thematic and visual features are used in the illustrations of Kalileh-ud-Dmaneh from 1282 AH? And what stylistic differences are there in the illustration style of the three artists of this edition? Accordingly, the present study seeks to identify and evaluate the thematic and visual characteristics of this magnificent work as the initiator of the lithographic illustration of the Kalileh and Demneh manuscripts and to explain the illustration style of its artists. The nature of the present study is fundamental, in terms of method, descriptive-analytical, its analysis method is quantitative and qualitative, and its information collection method is library-documentary. The result of the study is that the role of the painting technique and style of the era in the visual qualities, design of figures, space-making, and even its creativity and expressive style has been very effective; but this does not mean having an individual style for each artist. In the works of Mirza Jafar, there is a lack of whiteness and filling of empty spaces with intense patterns and shading, while in the works of Mohammad Baqir Khan, no attempt has been made to fill empty spaces and the artist has focused more on designing the main story items. The distinctive features of Abdul Muttalib's works are precise shading, showing the complete facial expressions in the figures, observing perspective, and realistic expression in the image. https://niamag.birjand.ac.ir/article_3883_51f3eb940fd73a19119534c063967bff.pdf

University of Birjand Negarineh Islamic Art 2382-9885 12 30 2026 02 20 The color of the sash of Qajar buildings in the desert, temperate and semi-arid climate of Iran (Case study of the cities of Yazd, Shiraz and Tehran) The color of the sash of Qajar buildings in the desert, temperate and semi-arid climate of Iran (Case study of the cities of Yazd, Shiraz and Tehran) 23 44 3908 10.22077/nia.2026.9484.1953 FA Azar Farahbod Master's degree in Handicrafts, Iran University of Art, Tehran, Iran Alireza Sheikhi Associate Professor and Faculty Member, Faculty of Applied Arts, Iran University of Art, Tehran, Iran 0000-0002-7315-4516 Journal Article 2025 09 10 AbstractSash is one of the elements of traditional Iranian architecture; It is mixed with the physics of light and color, geometry, traditional design, wood arts and glasswork. In terms of functionality, it is multi-purpose and in terms of decoration, it is praiseworthy. The aim is to investigate how light and color are used in sashes of different climates and its effect on the spaces created in the historical building. Therefore, it seeks answers to these questions: What are the motifs and colors used in the sashes of the historical buildings of Tehran, Shiraz, Yazd during the Qajar period and what are the roles of the climate and what are their differences and commonalities? This fundamental research is descriptive-analytical and comparative, and the collection of information is field-library. The findings show how colors are used based on whether the hall is summer or winter, as well as the climate zone. Due to the main function of the window, which is to transmit light into the space, the highest percentage used in sashes is colorless glass. The climate has an effect on the placement of sashes on the fronts; In a desert climate, warm and cold colors together help soften the interior space, in a hot and semi-arid climate, more cold colors are used to make the space look cooler, and in a temperate climate, with the play of colors, more diverse proportions are displayed in the sash. AbstractSash is one of the elements of traditional Iranian architecture; It is mixed with the physics of light and color, geometry, traditional design, wood arts and glasswork. In terms of functionality, it is multi-purpose and in terms of decoration, it is praiseworthy. The aim is to investigate how light and color are used in sashes of different climates and its effect on the spaces created in the historical building. Therefore, it seeks answers to these questions: What are the motifs and colors used in the sashes of the historical buildings of Tehran, Shiraz, Yazd during the Qajar period and what are the roles of the climate and what are their differences and commonalities? This fundamental research is descriptive-analytical and comparative, and the collection of information is field-library. The findings show how colors are used based on whether the hall is summer or winter, as well as the climate zone. Due to the main function of the window, which is to transmit light into the space, the highest percentage used in sashes is colorless glass. The climate has an effect on the placement of sashes on the fronts; In a desert climate, warm and cold colors together help soften the interior space, in a hot and semi-arid climate, more cold colors are used to make the space look cooler, and in a temperate climate, with the play of colors, more diverse proportions are displayed in the sash. https://niamag.birjand.ac.ir/article_3908_576d026223582a390cd323bef4bad026.pdf

University of Birjand Negarineh Islamic Art 2382-9885 12 30 2026 02 20 Reading the Rules of Proportion and Composition in two Thuluth Inscriptions of Mohammad Reza Emami and Ali Naghi Emami in Imamzadeh Esmaeil of Isfahan Reading the Rules of Proportion and Composition in two Thuluth Inscriptions of Mohammad Reza Emami and Ali Naghi Emami in Imamzadeh Esmaeil of Isfahan 45 64 3907 10.22077/nia.2026.10231.1999 FA ASHKAN RAHMANI Department of Art, Faculty of Art & Architecture, Shiraz University 0000-0002-6431-7686 Malihe Karimi Department of Art, Faculty of Art & Architecture, Shiraz University Journal Article 2025 10 12 Among the works of the Isfahani Emami family, there are inscriptions in many buildings in cities such as Isfahan that have not yet been scientifically studied for their historical and artistic values. Among them are inscriptions by Mohammad Reza Emami Isfahani and his grandson Ali Naghi Emami in the Imamzadeh of Isfahan, whose knowledge of their works complements the historical and research richness. For this reason, such a study is essential, for it may allow the hidden dimensions of these works to be understood from the perspective of calligraphic principles and thereby made manifest to all. This is precisely the basis and aim of the authors: in addition, such research can assist future studies in identifying unsigned and undated inscriptions. Although Moḥammad Reza and Ali Naghi Emami were related, the fact that Ali Naghi Emami’s father did not receive formal training from his own father presents a challenging issue when examining the characteristics of their works. The question of this research is based on this: What are the common features of two inscriptions by him at the entrances of the courtyard and the shrine of Imamzadeh Isma'il in Isfahan? in terms of the principles of calligraphy in inscriptions, among the rules of calligraphy, the ratio between the components and their combination can illustrate many of the characteristics of their inscriptions. For the most fundamental characteristics of inscription-making are embedded within the intrinsic features of these principles. To this end, the aforementioned inscriptions were examined as case studies. Accordingly, this qualitative research has been conducted through descriptive and analytical methods, employing field observations and documentary studies within both physical and digital environments. Point, zero, line segment, and plane were adopted as the bases of measurement. Based on the research findings, in the two inscriptions of Mohammad Reza Emami and Ali Naghi Emami, the observance of proportions in the same writing of singular letters of the same gender, and some similar compound letters, with certain sizes, and the addition of tension to some letters with tension, are similar to each other. They also used the angles of these elements, slanting downwards to the left, in a similar way, to create the desired combination between letters, words, and sentences. In both inscriptions, the beauty of proximity in their overall composition is observed in the spaces between the words and the phrases. Among the works of the Isfahani Emami family, there are inscriptions in many buildings in cities such as Isfahan that have not yet been scientifically studied for their historical and artistic values. Among them are inscriptions by Mohammad Reza Emami Isfahani and his grandson Ali Naghi Emami in the Imamzadeh of Isfahan, whose knowledge of their works complements the historical and research richness. For this reason, such a study is essential, for it may allow the hidden dimensions of these works to be understood from the perspective of calligraphic principles and thereby made manifest to all. This is precisely the basis and aim of the authors: in addition, such research can assist future studies in identifying unsigned and undated inscriptions. Although Moḥammad Reza and Ali Naghi Emami were related, the fact that Ali Naghi Emami’s father did not receive formal training from his own father presents a challenging issue when examining the characteristics of their works. The question of this research is based on this: What are the common features of two inscriptions by him at the entrances of the courtyard and the shrine of Imamzadeh Isma'il in Isfahan? in terms of the principles of calligraphy in inscriptions, among the rules of calligraphy, the ratio between the components and their combination can illustrate many of the characteristics of their inscriptions. For the most fundamental characteristics of inscription-making are embedded within the intrinsic features of these principles. To this end, the aforementioned inscriptions were examined as case studies. Accordingly, this qualitative research has been conducted through descriptive and analytical methods, employing field observations and documentary studies within both physical and digital environments. Point, zero, line segment, and plane were adopted as the bases of measurement. Based on the research findings, in the two inscriptions of Mohammad Reza Emami and Ali Naghi Emami, the observance of proportions in the same writing of singular letters of the same gender, and some similar compound letters, with certain sizes, and the addition of tension to some letters with tension, are similar to each other. They also used the angles of these elements, slanting downwards to the left, in a similar way, to create the desired combination between letters, words, and sentences. In both inscriptions, the beauty of proximity in their overall composition is observed in the spaces between the words and the phrases. https://niamag.birjand.ac.ir/article_3907_3341f6f048384ec73a7ba2e77d2db48b.pdf

University of Birjand Negarineh Islamic Art 2382-9885 12 30 2026 02 20 Iconography of the Reflection of Cultural Legitimacy in the Image of the Ascension of the Prophet (PBUH) in the Falnameh of Imam Sadiq (AS) Iconography of the Reflection of Cultural Legitimacy in the Image of the Ascension of the Prophet (PBUH) in the Falnameh of Imam Sadiq (AS) 65 86 3963 10.22077/nia.2026.10444.2011 FA Hossein Behroozipoor PhD student specializing in comparative and analytical history of Islamic art, Faculty of Art, Shahed University, Tehran, Iran 0009-0003-0774-9815 Khashayar Ghazizadeh Associate Professor, Islamic Art Department, Faculty of Art, Shahed University of Tehran, Iran 0000-0002-0881-1671 Parviz Haseli Assistant Professor, Islamic Art Department, Faculty of Art, Shahed University of Tehran, Iran 0009-0006-1351-7836 Journal Article 2025 11 18 The Ascension of the Prophet (PBUH) is one of the themes that, considering the social, political, and cultural contexts existing in each period, has captured the imagination of Muslim painters, resulting in different and beautiful visual and content reflections of this event in painting. In this research, an attempt has been made to study the blessed figure of the Prophet (PBUH) along with other figures depicted in the Falnameh painting of Imam Sadiq (AS), to identify the symbolic visual elements used in this painting and to achieve the goals and grounds for creating these symbolic elements to show the event of the Ascension. Research questions: What are the symbols and signs of legitimizing the rule of Shah Tahmasp in the second period of her reign in the figures depicted in the Miraj Falnameh of Imam Sadiq (AS)? What discourses during the reign of Shah Tahmasp influenced the symbols and signs appearing in the Mi'raj image of the Falnameh? The research method in the present study is descriptive-analytical and uses Panofsky's iconology approach. The method of collecting information was library (documentary). In the second half of Shah Tahmasp's reign, due to his seclusion and the expulsion of artists from the court, the intensification of the flow of religious-jurisprudential thought, and the institutionalization of the concept of guardianship and imamate by the second researcher to prove the succession of Ali (AS), The symbolic expression of Shah Tahmasp Safavi's position as the rightful successor during the occultation of Imam al-Asr (a.s.) is clearly seen.The illustrator of the Me'raj Falnameh, considering the symbolic cultural elements depicted in this painting (lion, sword, succession ring, green flag, golden sandals), In the hidden layers of meaning, the author considers the rightful succession of Shah Tahmasp in parallel with the rightful succession of Ali (AS) by the Prophet (PBUH) and the views of the Shiite jurists of that time, in accordance with Shiite narrations about the event of the Ascension, while referring to the strong relationship between religion and government. And he tried to gain legitimacy and acceptance for him in the eyes of the people. The emergence of the symbols used in this painting was also influenced by the Shiite-jurisprudential discourse that dominated the second half of Shah Tahmasp's reign. The Ascension of the Prophet (PBUH) is one of the themes that, considering the social, political, and cultural contexts existing in each period, has captured the imagination of Muslim painters, resulting in different and beautiful visual and content reflections of this event in painting. In this research, an attempt has been made to study the blessed figure of the Prophet (PBUH) along with other figures depicted in the Falnameh painting of Imam Sadiq (AS), to identify the symbolic visual elements used in this painting and to achieve the goals and grounds for creating these symbolic elements to show the event of the Ascension. Research questions: What are the symbols and signs of legitimizing the rule of Shah Tahmasp in the second period of her reign in the figures depicted in the Miraj Falnameh of Imam Sadiq (AS)? What discourses during the reign of Shah Tahmasp influenced the symbols and signs appearing in the Mi'raj image of the Falnameh? The research method in the present study is descriptive-analytical and uses Panofsky's iconology approach. The method of collecting information was library (documentary). In the second half of Shah Tahmasp's reign, due to his seclusion and the expulsion of artists from the court, the intensification of the flow of religious-jurisprudential thought, and the institutionalization of the concept of guardianship and imamate by the second researcher to prove the succession of Ali (AS), The symbolic expression of Shah Tahmasp Safavi's position as the rightful successor during the occultation of Imam al-Asr (a.s.) is clearly seen.The illustrator of the Me'raj Falnameh, considering the symbolic cultural elements depicted in this painting (lion, sword, succession ring, green flag, golden sandals), In the hidden layers of meaning, the author considers the rightful succession of Shah Tahmasp in parallel with the rightful succession of Ali (AS) by the Prophet (PBUH) and the views of the Shiite jurists of that time, in accordance with Shiite narrations about the event of the Ascension, while referring to the strong relationship between religion and government. And he tried to gain legitimacy and acceptance for him in the eyes of the people. The emergence of the symbols used in this painting was also influenced by the Shiite-jurisprudential discourse that dominated the second half of Shah Tahmasp's reign. https://niamag.birjand.ac.ir/article_3963_f51238cd02c93b89d8fbee5667d077fc.pdf

University of Birjand Negarineh Islamic Art 2382-9885 12 30 2026 02 20 Rereading the dialogue of religions in the painting "prophet Moses and UJ" from the Qara Qoyunlu era; based on Bakhtinian polyphony Rereading the dialogue of religions in the painting "prophet Moses and UJ" from the Qara Qoyunlu era; based on Bakhtinian polyphony 87 102 3933 10.22077/nia.2026.9936.1982 FA Zahra Mehdipour Moghaddam Assistant Professor of Islamic Arts, Department of Industrial Arts, Faculty of Cultural Heritage, Handicrafts and Tourism, University of Mazandaran, Iran. 0000-0002-6079-7475 Journal Article 2025 08 16 The establishment of Qara Qoyunlu rule in Iran, with their inclination towards Shi'ism, provided the grounds for the formation of works that, although influenced by the ideology of religious tolerance that emerged with the Mughal invasion of Iran, can nonetheless serve as documents reflecting the social, political, and religious conditions of their time. Among these, illustrated examples, such as the painting "Prophet Moses and UJ" from the mid-9th century during the short reign of PirBudaq, a descendant of the Qara Qoyunlu founder, have survived. That, in addition to demonstrating artistic development and progress, also signify the coexistence of religions and, in fact, a shift from religious fanaticism towards pragmatism. Therefore, we aim to analyze the work based on a new method of looking at text, namely polyphony, and subsequently, attention to the "other"; these are fundamental concepts of Bakhtin's dialogism approach that, how can the dialogue of religions and polyphony lead the audience to understand and analyze the context of the text, which is the era of Qara Qoyunlu rule? The objective was to read the work, the dialogue between religions in this painting, and also to understand the world outside the text; the political-social conditions of the Qara Qoyunlu, through the lens of this painting. Because for Bakhtin, the existence of the "other" and the relationship between self and other, can lead to the emergence of the evolved form of the work and, ultimately, express its final meaning. The findings, conducted using a descriptive-analytical method, show that, contrary to the title of the painting, namely Prophet Moses and UJ, the artist's aim wasn't merely to speak of it as another arising from the context. Rather, the juxtaposition of elements from the three Abrahamic religions with their specific signs in the painting has been able to express an escape from monophony and the formation of polyphony and the establishment of a dialogue of religions. Although in this scene, the presence of prophets from the three destiny-making Abrahamic religions was, in a way, a respect for the other, the voice arising from the culture of Qara Qoyunlu Shi'ism was more influential in the text than others. It can be said that the painter, to fully narrate the Shi'ite culture; as a living and believable culture favored by the Qara Qoyunlu, by resorting to elements of other cultures, completed the content of his work and materialized its form. It Mean's, the painting, despite the "others" arising from a social reality; from other Abrahamic religions, has been able to emphasize the nature of Shi'ism mixed with the pragmatism of the Qara Qoyunlu era. Because "others," by their presence in the text, created the possibility for the artist to instill Islamic culture, as a successor to other religions, in the audience, so that from this perspective, they would also be reminiscent of the dominant culture of that era. It's worth noting that such picture, apart from expressing the sincere devotion of the Qara Qoyunlu to Shi'ism, also brought them political position and credibility. The establishment of Qara Qoyunlu rule in Iran, with their inclination towards Shi'ism, provided the grounds for the formation of works that, although influenced by the ideology of religious tolerance that emerged with the Mughal invasion of Iran, can nonetheless serve as documents reflecting the social, political, and religious conditions of their time. Among these, illustrated examples, such as the painting "Prophet Moses and UJ" from the mid-9th century during the short reign of PirBudaq, a descendant of the Qara Qoyunlu founder, have survived. That, in addition to demonstrating artistic development and progress, also signify the coexistence of religions and, in fact, a shift from religious fanaticism towards pragmatism. Therefore, we aim to analyze the work based on a new method of looking at text, namely polyphony, and subsequently, attention to the "other"; these are fundamental concepts of Bakhtin's dialogism approach that, how can the dialogue of religions and polyphony lead the audience to understand and analyze the context of the text, which is the era of Qara Qoyunlu rule? The objective was to read the work, the dialogue between religions in this painting, and also to understand the world outside the text; the political-social conditions of the Qara Qoyunlu, through the lens of this painting. Because for Bakhtin, the existence of the "other" and the relationship between self and other, can lead to the emergence of the evolved form of the work and, ultimately, express its final meaning. The findings, conducted using a descriptive-analytical method, show that, contrary to the title of the painting, namely Prophet Moses and UJ, the artist's aim wasn't merely to speak of it as another arising from the context. Rather, the juxtaposition of elements from the three Abrahamic religions with their specific signs in the painting has been able to express an escape from monophony and the formation of polyphony and the establishment of a dialogue of religions. Although in this scene, the presence of prophets from the three destiny-making Abrahamic religions was, in a way, a respect for the other, the voice arising from the culture of Qara Qoyunlu Shi'ism was more influential in the text than others. It can be said that the painter, to fully narrate the Shi'ite culture; as a living and believable culture favored by the Qara Qoyunlu, by resorting to elements of other cultures, completed the content of his work and materialized its form. It Mean's, the painting, despite the "others" arising from a social reality; from other Abrahamic religions, has been able to emphasize the nature of Shi'ism mixed with the pragmatism of the Qara Qoyunlu era. Because "others," by their presence in the text, created the possibility for the artist to instill Islamic culture, as a successor to other religions, in the audience, so that from this perspective, they would also be reminiscent of the dominant culture of that era. It's worth noting that such picture, apart from expressing the sincere devotion of the Qara Qoyunlu to Shi'ism, also brought them political position and credibility. https://niamag.birjand.ac.ir/article_3933_298f587406c914fad5373bb689300433.pdf

University of Birjand Negarineh Islamic Art 2382-9885 12 30 2026 02 20 Developing an Architectural Framework for the Urban Landscape of Birjand with a Focus on the Application of Modern Lightweight Construction Technologies Developing an Architectural Framework for the Urban Landscape of Birjand with a Focus on the Application of Modern Lightweight Construction Technologies 103 126 3920 10.22077/nia.2026.10413.2009 FA Elham Ramezani PhD Candidate in architecture at Islamic Azad University, Birjand Branch, Birjand, Iran. 0009-0007-2372-6524 Reza Mirzaei assistant professor of the Department of Art and Architecture, Faculty of Art and Architecture, Islamic Azad University, Birjand Branch, Birjand, Iran 0000-0001-8769-0275 Moksen Vafamehr Professor, Department of Architecture, Faculty of Architecture and Urban Planning, Iran University of Science and Technology, Tehran, Iran / Faculty of Art and Architecture, Azad University, Mashhad Branch, Khorasan Razavi, Iran 0000-0003-2951-1763 Seyed Moslem Seyedalhosseini Professor, Department of Urban Planning, Azad University, Mashhad Branch, Khorasan Razavi, Iran 0000-0003-0167-3904 Journal Article 2025 11 05 This study examines and interprets the geometry and proportions of architecture in the facades of the historical neighborhoods of Birjand during the Qajar period, focusing on how spatial organization and facade design were formed. The architecture of this era was deeply influenced by Iranian-Islamic principles on the one hand, and by European styles on the other, resulting in an eclectic architectural style with its own distinctive characteristics, among which geometry and proportional relationships stand out as key features. Scholars such as Kamran Diba and Mohammad Ali Pirnia have repeatedly emphasized the importance of these aspects in the identity of Iranian architecture.This article analyzes the design strategies employed in utilizing geometry and proportion in shaping the visual appearance of the historical neighborhoods of Birjand. An examination of the existing buildings, historical maps, and documents reveals the high level of architects’ perception of human scale, climatic adaptation, and the cultural and traditional values reflected in the urban facades. The study further investigates the structural and geometric characteristics of these facades based on fundamental principles such as the golden ratio, human scale, and visual-spatial axes centered around the main historical pathway known as Khajeh Street.Methodologically, this research is descriptive-analytical in nature. Data were collected through archival studies, field surveys, and interviews with experts. To identify the most influential design parameters, six major criteria—geometry, scale, proportion, neighborhood image, climate, and culture—along with twelve sub-criteria were determined across 44 case samples. These indicators were then prioritized based on expert evaluation. Complementary data were gathered through Likert-scale questionnaires distributed via the snowball sampling method. The Analytic Hierarchy Process (AHP) and Thomas L. Saaty’s pairwise comparison matrices were used for weighting and ranking the indicators.The analysis of three key historical neighborhoods—Sardeh, Miyandeh, and Tehdeh—demonstrates that facade design during the Qajar period not only reflects a profound connection to Iranian cultural and architectural heritage but also mirrors the social, economic, and political interactions of the residents. Furthermore, these facades successfully address climatic and environmental challenges while maintaining cultural and aesthetic coherence.The findings indicate that the “scale” criterion holds the highest significance with a weight of 0.6, followed respectively by neighborhood image, geometry, proportion, climate, and culture. Overall, this research reinterprets the architectural language of Birjand’s historical neighborhoods to identify the fundamental parameters shaping their facades during the Qajar era. These results can serve as a theoretical and methodological foundation for future urban revitalization and heritage-based architectural design in historical contexts of Iran. This study examines and interprets the geometry and proportions of architecture in the facades of the historical neighborhoods of Birjand during the Qajar period, focusing on how spatial organization and facade design were formed. The architecture of this era was deeply influenced by Iranian-Islamic principles on the one hand, and by European styles on the other, resulting in an eclectic architectural style with its own distinctive characteristics, among which geometry and proportional relationships stand out as key features. Scholars such as Kamran Diba and Mohammad Ali Pirnia have repeatedly emphasized the importance of these aspects in the identity of Iranian architecture.This article analyzes the design strategies employed in utilizing geometry and proportion in shaping the visual appearance of the historical neighborhoods of Birjand. An examination of the existing buildings, historical maps, and documents reveals the high level of architects’ perception of human scale, climatic adaptation, and the cultural and traditional values reflected in the urban facades. The study further investigates the structural and geometric characteristics of these facades based on fundamental principles such as the golden ratio, human scale, and visual-spatial axes centered around the main historical pathway known as Khajeh Street.Methodologically, this research is descriptive-analytical in nature. Data were collected through archival studies, field surveys, and interviews with experts. To identify the most influential design parameters, six major criteria—geometry, scale, proportion, neighborhood image, climate, and culture—along with twelve sub-criteria were determined across 44 case samples. These indicators were then prioritized based on expert evaluation. Complementary data were gathered through Likert-scale questionnaires distributed via the snowball sampling method. The Analytic Hierarchy Process (AHP) and Thomas L. Saaty’s pairwise comparison matrices were used for weighting and ranking the indicators.The analysis of three key historical neighborhoods—Sardeh, Miyandeh, and Tehdeh—demonstrates that facade design during the Qajar period not only reflects a profound connection to Iranian cultural and architectural heritage but also mirrors the social, economic, and political interactions of the residents. Furthermore, these facades successfully address climatic and environmental challenges while maintaining cultural and aesthetic coherence.The findings indicate that the “scale” criterion holds the highest significance with a weight of 0.6, followed respectively by neighborhood image, geometry, proportion, climate, and culture. Overall, this research reinterprets the architectural language of Birjand’s historical neighborhoods to identify the fundamental parameters shaping their facades during the Qajar era. These results can serve as a theoretical and methodological foundation for future urban revitalization and heritage-based architectural design in historical contexts of Iran. https://niamag.birjand.ac.ir/article_3920_d6525aa8638c1d8d4da535fbb1a5fc80.pdf

University of Birjand Negarineh Islamic Art 2382-9885 12 30 2026 02 20 An Analysis of the Functional System of the Persian Garden in the Pictorial Space of the Garden Miniatures of Shah Tahmasp’s Shahnameh An Analysis of the Functional System of the Persian Garden in the Pictorial Space of the Garden Miniatures of Shah Tahmasp’s Shahnameh 127 162 3965 10.22077/nia.2026.10208.1998 FA Shamim Nottagh PhD student in Islamic architecture. Faculty of Architecture and Urbanism. Tabriz Islamic Art University, Tabriz, Iran 0009-0006-6000-0493 Azita Belali Oskui Professor, Department of Architecture and Urban Planning, Faculty of Architecture and Urban Planning, Tabriz Islamic Art University 0000-0003-0096-9340 Abbas Ghaffari Associate Professor, Faculty of Architecture and Urbanism, Tabriz Islamic Art University, Tabriz, Iran 0000-0001-9302-3209 Journal Article 2025 10 05 The construction of gardens in Iran has a long history, and throughout different periods, gardens have served various functions. The Persian garden is one of the spaces that has received particular attention from Iranian miniaturists. Miniature painting, as one of the most significant and valuable forms of art, depicts the buildings and architecture contemporary to the artists. Since artists throughout history have visually expressed their perceptions of their culture and environment, these images represent the architecture of their respective periods.The purpose of this research is to identify and analyze the functional system of the Persian garden within the pictorial space of Shah Tahmasp’s Shahnameh and to propose a new classification for the functional system of the formal–historical gardens depicted in these miniatures. Accordingly, the study seeks to answer the following questions based on the miniatures of Shah Tahmasp’s Shahnameh: which functions of the Persian garden are represented, and which of these represented functions demonstrate greater frequency and prominence in the miniatures? These questions are addressed using a descriptive–analytical method. Data and sources were collected through documentary and library-based research, and the statistical population consists of 74 garden miniatures from Shah Tahmasp’s Shahnameh.Based on the verses of the Shahnameh and the visual analysis of the miniatures, the depicted gardens can be classified as governmental (palatial) gardens, pavilion gardens, residential (domestic) gardens, encampment (tent) gardens, and recreational gardens, whose primary functions include governmental, ceremonial, residential, recreational, and combined uses. Given that the patrons of these miniatures were kings and contemporary rulers, and considering the thematic content of the Shahnameh, the gardens represented in the miniatures belong to the social sphere of kings and rulers, while other garden functions are not taken into account. Among the various functions, governmental (palatial) gardens and encampment (tent) gardens have received greater attention from the miniaturist artists than other types. The construction of gardens in Iran has a long history, and throughout different periods, gardens have served various functions. The Persian garden is one of the spaces that has received particular attention from Iranian miniaturists. Miniature painting, as one of the most significant and valuable forms of art, depicts the buildings and architecture contemporary to the artists. Since artists throughout history have visually expressed their perceptions of their culture and environment, these images represent the architecture of their respective periods.The purpose of this research is to identify and analyze the functional system of the Persian garden within the pictorial space of Shah Tahmasp’s Shahnameh and to propose a new classification for the functional system of the formal–historical gardens depicted in these miniatures. Accordingly, the study seeks to answer the following questions based on the miniatures of Shah Tahmasp’s Shahnameh: which functions of the Persian garden are represented, and which of these represented functions demonstrate greater frequency and prominence in the miniatures? These questions are addressed using a descriptive–analytical method. Data and sources were collected through documentary and library-based research, and the statistical population consists of 74 garden miniatures from Shah Tahmasp’s Shahnameh.Based on the verses of the Shahnameh and the visual analysis of the miniatures, the depicted gardens can be classified as governmental (palatial) gardens, pavilion gardens, residential (domestic) gardens, encampment (tent) gardens, and recreational gardens, whose primary functions include governmental, ceremonial, residential, recreational, and combined uses. Given that the patrons of these miniatures were kings and contemporary rulers, and considering the thematic content of the Shahnameh, the gardens represented in the miniatures belong to the social sphere of kings and rulers, while other garden functions are not taken into account. Among the various functions, governmental (palatial) gardens and encampment (tent) gardens have received greater attention from the miniaturist artists than other types. https://niamag.birjand.ac.ir/article_3965_db9ad56c71619aeed9723314d1456037.pdf

University of Birjand Negarineh Islamic Art 2382-9885 12 30 2026 02 20 Semiotic Analysis of the Metaphor of Salvation in Safavid Painting Semiotic Analysis of the Metaphor of Salvation in Safavid Painting 163 178 3949 10.22077/nia.2026.9304.1945 FA ندا Shafighi Assistant Professor, Faculty of Art and Architecture, University of Mazandaran, Babolsar, Iran 0000-0002-1844-7615 Abolghasem Dadvar Professor, Art Research Department, Faculty of Art, Alzahra University 0000-0001-9869-9283 Journal Article 2025 04 29 This study examines the role of Safavid miniature painting (1501–1736) as a strategic instrument for reconstructing Iranian identity and legitimizing dynastic authority. Focusing on two emblematic works—The Ark of Noah and The Ship of Shiism, both produced under royal patronage—it explores how visual elements were employed to reflect and shape the cultural–political values of Safavid ideology. To elucidate this process, the research adopts the framework of social semiotics proposed by Gunther Kress and Theo van Leeuwen. Derived from Michael Halliday’s systemic–functional linguistics, this model provides a rigorous structure for analyzing visual communication by emphasizing how social and cultural contexts produce meaning. It enables analysis across three dimensions: the representational (how subjects and events are depicted), the interactional (how the image engages viewers), and the compositional (how visual elements are arranged to create overall meaning). This approach facilitates an understanding of how specific visual codes within Safavid art conveyed ideological messages that served the dynasty’s political and religious agenda. The analysis of The Ark of Noah reveals a deliberate contrast between the ordered, secure interior of the ark—where Noah, haloed and centrally positioned, guides his followers—and the chaotic, storm-swept floods beyond. The dichotomy functions as a metaphor for Safavid rule: the state appears as a divinely ordained vessel of salvation amid external disorder. The use of halos, hierarchical composition, and spatial centrality underscores the sanctified nature of leadership, while the turbulent waters surrounding the ark symbolize external threats to Shiite unity. Noah’s imagery parallels the Imam-like authority ascribed to Safavid shahs, thus visually naturalizing the concept of divine kingship through theological analogy. Similarly, The Ship of Shiism depicts the Prophet Muhammad and Imam Ali steering a ship that carries a diverse Shiite community. Their enlarged scale and radiant golden halos mark supreme authority and spiritual command. The passengers gathered under a unified banner represent communal cohesion, while the dark and restless waters may be read allegorically as rival powers—such as the Ottomans—whose instability contrasts with the serenity and harmony of Shiite leadership. Rich applications of gold and lapis lazuli sanctify the narrative and fuse the political sphere with spiritual legitimacy, reinforcing the Safavid state’s portrayal as the guardian of Shiite faith. These findings demonstrate that Safavid painting extended far beyond aesthetic expression; it actively shaped cultural perception and collective memory. Semiotic choices—halos, chromatic contrasts, spatial hierarchies, and emblematic symbolism—worked to naturalize the dynasty’s claim to divine right and gradually cement Shiism as the core of Iranian identity. The paintings served as dynamic ideological constructs rather than passive reflections. They visually engineered cohesion and loyalty, linking salvation with obedience to Shiite authority and the Safavid throne. Through such imagery, Safavid rulers transformed art into a political language—one capable of legitimizing power, fostering unity, and embedding theological narratives within the national consciousness. Ultimately, these visual texts attest to art’s powerful role in Safavid statecraft, illustrating how aesthetics and ideology intertwined to shape the sociopolitical fabric of early modern Iran for generations. This study examines the role of Safavid miniature painting (1501–1736) as a strategic instrument for reconstructing Iranian identity and legitimizing dynastic authority. Focusing on two emblematic works—The Ark of Noah and The Ship of Shiism, both produced under royal patronage—it explores how visual elements were employed to reflect and shape the cultural–political values of Safavid ideology. To elucidate this process, the research adopts the framework of social semiotics proposed by Gunther Kress and Theo van Leeuwen. Derived from Michael Halliday’s systemic–functional linguistics, this model provides a rigorous structure for analyzing visual communication by emphasizing how social and cultural contexts produce meaning. It enables analysis across three dimensions: the representational (how subjects and events are depicted), the interactional (how the image engages viewers), and the compositional (how visual elements are arranged to create overall meaning). This approach facilitates an understanding of how specific visual codes within Safavid art conveyed ideological messages that served the dynasty’s political and religious agenda. The analysis of The Ark of Noah reveals a deliberate contrast between the ordered, secure interior of the ark—where Noah, haloed and centrally positioned, guides his followers—and the chaotic, storm-swept floods beyond. The dichotomy functions as a metaphor for Safavid rule: the state appears as a divinely ordained vessel of salvation amid external disorder. The use of halos, hierarchical composition, and spatial centrality underscores the sanctified nature of leadership, while the turbulent waters surrounding the ark symbolize external threats to Shiite unity. Noah’s imagery parallels the Imam-like authority ascribed to Safavid shahs, thus visually naturalizing the concept of divine kingship through theological analogy. Similarly, The Ship of Shiism depicts the Prophet Muhammad and Imam Ali steering a ship that carries a diverse Shiite community. Their enlarged scale and radiant golden halos mark supreme authority and spiritual command. The passengers gathered under a unified banner represent communal cohesion, while the dark and restless waters may be read allegorically as rival powers—such as the Ottomans—whose instability contrasts with the serenity and harmony of Shiite leadership. Rich applications of gold and lapis lazuli sanctify the narrative and fuse the political sphere with spiritual legitimacy, reinforcing the Safavid state’s portrayal as the guardian of Shiite faith. These findings demonstrate that Safavid painting extended far beyond aesthetic expression; it actively shaped cultural perception and collective memory. Semiotic choices—halos, chromatic contrasts, spatial hierarchies, and emblematic symbolism—worked to naturalize the dynasty’s claim to divine right and gradually cement Shiism as the core of Iranian identity. The paintings served as dynamic ideological constructs rather than passive reflections. They visually engineered cohesion and loyalty, linking salvation with obedience to Shiite authority and the Safavid throne. Through such imagery, Safavid rulers transformed art into a political language—one capable of legitimizing power, fostering unity, and embedding theological narratives within the national consciousness. Ultimately, these visual texts attest to art’s powerful role in Safavid statecraft, illustrating how aesthetics and ideology intertwined to shape the sociopolitical fabric of early modern Iran for generations. https://niamag.birjand.ac.ir/article_3949_2e5c2cb8d13e8fba78d95211440ba326.pdf

University of Birjand Negarineh Islamic Art 2382-9885 12 30 2026 02 20 Re-reading of Lapidary Art of Three Types of Semi-Precious Stones based on the Rising Light in Suhrawardi’s Philosophy of Illumination (Ishraq) Re-reading of Lapidary Art of Three Types of Semi-Precious Stones based on the Rising Light in Suhrawardi’s Philosophy of Illumination (Ishraq) 179 200 4052 10.22077/nia.2026.10744.2027 FA Afsaneh Jafartayari Handicrafts Department, Faculty of Handicrafts, Art University of Isfahan, Isfahan, Iran. 0000-0002-4789-6436 MohamadReza Yahai Islamic Arts Department,, Faculty of Handicrafts, Art University of Isfahan, Isfahan, Iran. 0009-0008-7219-5202 Farnaz Masoumzadeh Jouzdani Graphic Design Department, Visual Art Faculty, Art University of Isfahan, Isfahan, Iran 0000-0002-9803-0229 Journal Article 2025 12 22 Lapidary is the design of a joint between light and stone to intensify the brightness and transparency of gems. In the philosophy of illumination, although there are two hierarchies of lights in vertical and horizontal orders, only one of these orders, namely horizontal lights, can provide ways for rising states of material bodies (e.g., gems), particularly under the control of the horizontal managing (mudabbira) lights. Regarding the fact that the art of Lapidary and its relationship with the concept of light has not been addressed yet in previous studies, this paper aimed to do so and gave rise to the following question: From the perspective of illumination, how three stones namely transparent Rock-quartz, semi-opaque Agate, and opaque Jasper could become more qualified and illuminated with the use of lapidary techniques? To answer this question, first of all, the criteria for analysis of gems (including from and archetypal species) are derived from the philosophy of illumination. Each of the gems is investigated based on its physical qualities (appropriate lapidary technique, transparency, and colour) as well as its associated managing lights (lord of species, celestial sphere, and fixed star). Observational and documentary techniques are used for data collection, while a qualitative method is employed for the analysis. Persian lapidary traditions and techniques are observed regarding the common methods and popular gemstones in Iran. Theoretical data are collected mostly from Suhrawardi’s writing and some other sources in explaining his theory.This research is an analytical study mainly in terms of Suhrawardi’s concept of lights. From this viewpoint, the world stands on vertical lights comprising static steps, while global movement and evolution occur within horizontal lights (e.g., Mudabbira, Spahbed). Barzakh (i.e., an ethereal body) and materials like gemstones are made of light, which in the realm of each horizontal light can be moved toward perfection. What enables material and ethereal bodies to move and evaluate are, firstly, the characteristics of dark substances, and secondly, the illumination of their horizontal lights. This viewpoint not only has provided an esoteric foundation for the lapidary based on ancient astrology and angelology, but also has paved the way for drawing a connection between the light and dark states of substance. It has therefore enabled lapidary artists to come up with innovative ideas. As a result, it can be concluded that in the art of lapidary, gems are supposed to be amulets that can be governed by the managing lights; to this end, the qualities of transparent Rock-quartz, Agate, and Jasper are improvable through brilliant, cabochon, and flat cuts to allow the managing lights to emanate. Based on ancient astrology, these three gems (Rock-quartz, Agate, and Jasper) are assumed to be governed by the Moon, Mars, and Jupiter.It goes without saying that this study sheds light on the relationship between theory and practice in and for Islamic arts. In particular, it broadens the horizon of artists and researchers to propose solutions to advance Islamic arts on the basis of theories. Lapidary is the design of a joint between light and stone to intensify the brightness and transparency of gems. In the philosophy of illumination, although there are two hierarchies of lights in vertical and horizontal orders, only one of these orders, namely horizontal lights, can provide ways for rising states of material bodies (e.g., gems), particularly under the control of the horizontal managing (mudabbira) lights. Regarding the fact that the art of Lapidary and its relationship with the concept of light has not been addressed yet in previous studies, this paper aimed to do so and gave rise to the following question: From the perspective of illumination, how three stones namely transparent Rock-quartz, semi-opaque Agate, and opaque Jasper could become more qualified and illuminated with the use of lapidary techniques? To answer this question, first of all, the criteria for analysis of gems (including from and archetypal species) are derived from the philosophy of illumination. Each of the gems is investigated based on its physical qualities (appropriate lapidary technique, transparency, and colour) as well as its associated managing lights (lord of species, celestial sphere, and fixed star). Observational and documentary techniques are used for data collection, while a qualitative method is employed for the analysis. Persian lapidary traditions and techniques are observed regarding the common methods and popular gemstones in Iran. Theoretical data are collected mostly from Suhrawardi’s writing and some other sources in explaining his theory.This research is an analytical study mainly in terms of Suhrawardi’s concept of lights. From this viewpoint, the world stands on vertical lights comprising static steps, while global movement and evolution occur within horizontal lights (e.g., Mudabbira, Spahbed). Barzakh (i.e., an ethereal body) and materials like gemstones are made of light, which in the realm of each horizontal light can be moved toward perfection. What enables material and ethereal bodies to move and evaluate are, firstly, the characteristics of dark substances, and secondly, the illumination of their horizontal lights. This viewpoint not only has provided an esoteric foundation for the lapidary based on ancient astrology and angelology, but also has paved the way for drawing a connection between the light and dark states of substance. It has therefore enabled lapidary artists to come up with innovative ideas. As a result, it can be concluded that in the art of lapidary, gems are supposed to be amulets that can be governed by the managing lights; to this end, the qualities of transparent Rock-quartz, Agate, and Jasper are improvable through brilliant, cabochon, and flat cuts to allow the managing lights to emanate. Based on ancient astrology, these three gems (Rock-quartz, Agate, and Jasper) are assumed to be governed by the Moon, Mars, and Jupiter.It goes without saying that this study sheds light on the relationship between theory and practice in and for Islamic arts. In particular, it broadens the horizon of artists and researchers to propose solutions to advance Islamic arts on the basis of theories. https://niamag.birjand.ac.ir/article_4052_90525e70b7842930586545c6f1c9310c.pdf

University of Birjand Negarineh Islamic Art 2382-9885 12 30 2026 02 20 Analysis of the entrepreneurial pattern in the design and manufacture of Niello ornaments from the perspective of Schumpeterian creative destruction Analysis of the entrepreneurial pattern in the design and manufacture of Niello ornaments from the perspective of Schumpeterian creative destruction 201 222 4045 10.22077/nia.2026.10682.2024 FA Sahar Zekavat PhD in Comparative and analytical history of Islamic art, Faculty of Art, Shahed University, Tehran, Iran. 0000-0001-7488-6527 Khashayar Ghazizadeh Associate Professor, Faculty of Art, Shahed University, Tehran, Iran. 0000-0002-0881-1671 Shahryar Shokrpour Assistant Professor, Faculty of Arts craft, Tabriz Islamic Art University, Tabriz, Iran Journal Article 2025 12 13 Niello is a decorative technique in metalworking and a combination of silver sulfides including silver, sulfur, copper and lead. Considering the long history of Niello and Niello ornaments in Iran, and its oblivion in Iran and the technical capabilities of Niello and the importance of cultural entrepreneurship in art, the analysis of the entrepreneurial pattern in the design and manufacture of Niello ornaments from the perspective Schumpeterian creative destruction seems necessary. The objectives of this research are to identify the indicators of the design and manufacturing pattern of Iranian Niello ornaments based on Schumpeterian creative destruction and to understand how to increase the quality and improve the technical and visual beauty of past Niello works based on Schumpeterian entrepreneurship theory. The research questions are: 1- What are the indicators of the design and manufacturing pattern of Iranian Niello ornaments based on Schumpeterian creative destruction? 2- How can the Niello works of the past be improved and produced with higher and more beautiful quality based on Schumpeterian entrepreneurship theory? In the present research, library information and documentary, field and visual data have been examined with a descriptive-analytical approach. The examined samples, which have been upgraded with the Schumpeterian model of entrepreneurship, include two sample of Safavid and Qajar Niello rings, and the samples have been combined with the artistic techniques of Filigree, Turquoise Inlaying, and Isfahan style Toreutics, and the final works have been created. The results show that Schumpeter's entrepreneurship theory is based on creative destruction and innovative creativity of a recombination type, and it is achieved by applying the model of integration in the production of Niello ornaments, and it includes the combination of different techniques, and also the combination of metalworking motifs and techniques. Niello is a decorative technique in metalworking and a combination of silver sulfides including silver, sulfur, copper and lead. Considering the long history of Niello and Niello ornaments in Iran, and its oblivion in Iran and the technical capabilities of Niello and the importance of cultural entrepreneurship in art, the analysis of the entrepreneurial pattern in the design and manufacture of Niello ornaments from the perspective Schumpeterian creative destruction seems necessary. The objectives of this research are to identify the indicators of the design and manufacturing pattern of Iranian Niello ornaments based on Schumpeterian creative destruction and to understand how to increase the quality and improve the technical and visual beauty of past Niello works based on Schumpeterian entrepreneurship theory. The research questions are: 1- What are the indicators of the design and manufacturing pattern of Iranian Niello ornaments based on Schumpeterian creative destruction? 2- How can the Niello works of the past be improved and produced with higher and more beautiful quality based on Schumpeterian entrepreneurship theory? In the present research, library information and documentary, field and visual data have been examined with a descriptive-analytical approach. The examined samples, which have been upgraded with the Schumpeterian model of entrepreneurship, include two sample of Safavid and Qajar Niello rings, and the samples have been combined with the artistic techniques of Filigree, Turquoise Inlaying, and Isfahan style Toreutics, and the final works have been created. The results show that Schumpeter's entrepreneurship theory is based on creative destruction and innovative creativity of a recombination type, and it is achieved by applying the model of integration in the production of Niello ornaments, and it includes the combination of different techniques, and also the combination of metalworking motifs and techniques. https://niamag.birjand.ac.ir/article_4045_ee0e95249268b86ff2053bef214bfeda.pdf

University of Birjand Negarineh Islamic Art 2382-9885 12 30 2026 02 20 The Illustrations to Hatifi’s Timurnama: An Analysis of Eight Manuscripts Illustrated at Abu’l-Khayrids’ Workshops The Illustrations to Hatifi’s Timurnama: An Analysis of Eight Manuscripts Illustrated at Abu’l-Khayrids’ Workshops 223 242 4054 10.22077/nia.2026.10284.2003 FA Mohamad Reza Ghiasian Associate Professor, Department of Advanced Art Studies, Faculty of Architecture and Art, University of Kashan. 0000-0002-1765-3556 Zeinab Lak Graduate of Art Research, University of Kashan, Iran. 0009-0005-2832-8707 Journal Article 2025 10 18 The decline of the Timurids at the beginning of the 16th century led to the establishment of the Mughal Empire in northern India, the Safavid dynasty in Iran, and the Abu’l-Khayrid (or Shibanid) rule in Transoxiana. During this period, Timur’s image gradually transformed from that of a ruthless and warlike conqueror into a legendary symbol of legitimacy and power. The Abu’l-Khayrids, who ruled Transoxiana for nearly a century, regarded their dynasty as the legitimate successor to the Timurids and positioned themselves in opposition to the Safavids. Their workshops produced numerous manuscripts celebrating Timur’s military campaigns. Among these works is ʿAbdullah Hatifi’s Timurnama, not a historical prose narrative but an epic poem composed in imitation of the Shahnama. To date, more than thirty illustrated copies of the Timurnama survive, at least eight of which were produced in Transoxiana. This article introduces these nine manuscripts and addresses questions concerning the reasons for the popularity of Timurnama production in Abu’l-Khayrid workshops, the migration routes of these manuscripts, and the selection of specific scenes for depiction. The findings indicate that the Abu’l-Khayrid realm was one of the most significant centers for the production of the Timurnama, with the Mughal courts of India serving as its primary destination. It was precisely in these regions that Timur’s figure enjoyed the greatest popularity, as they constituted the core territories of his empire and those of his Timurid and Shibanid successors. The most frequently illustrated subjects include Timur’s defeat of Tuqtamish Khan, the conquest of India, and the wedding banquet of Jahangir. The recurrence of these themes is linked both to the availability of established pictorial models—particularly those found in Yazdi’s Zafarnama—and to the thematic priorities of the manuscripts’ patrons. The decline of the Timurids at the beginning of the 16th century led to the establishment of the Mughal Empire in northern India, the Safavid dynasty in Iran, and the Abu’l-Khayrid (or Shibanid) rule in Transoxiana. During this period, Timur’s image gradually transformed from that of a ruthless and warlike conqueror into a legendary symbol of legitimacy and power. The Abu’l-Khayrids, who ruled Transoxiana for nearly a century, regarded their dynasty as the legitimate successor to the Timurids and positioned themselves in opposition to the Safavids. Their workshops produced numerous manuscripts celebrating Timur’s military campaigns. Among these works is ʿAbdullah Hatifi’s Timurnama, not a historical prose narrative but an epic poem composed in imitation of the Shahnama. To date, more than thirty illustrated copies of the Timurnama survive, at least eight of which were produced in Transoxiana. This article introduces these nine manuscripts and addresses questions concerning the reasons for the popularity of Timurnama production in Abu’l-Khayrid workshops, the migration routes of these manuscripts, and the selection of specific scenes for depiction. The findings indicate that the Abu’l-Khayrid realm was one of the most significant centers for the production of the Timurnama, with the Mughal courts of India serving as its primary destination. It was precisely in these regions that Timur’s figure enjoyed the greatest popularity, as they constituted the core territories of his empire and those of his Timurid and Shibanid successors. The most frequently illustrated subjects include Timur’s defeat of Tuqtamish Khan, the conquest of India, and the wedding banquet of Jahangir. The recurrence of these themes is linked both to the availability of established pictorial models—particularly those found in Yazdi’s Zafarnama—and to the thematic priorities of the manuscripts’ patrons. https://niamag.birjand.ac.ir/article_4054_5487e79fa0ccd0b79e5d4a4c8ced005d.pdf

University of Birjand Negarineh Islamic Art 2382-9885 12 30 2026 02 20 A Comparative Study of the Function of Writing in Qahveh-Khaneh Painting and the Saqqakhaneh Movement A Comparative Study of the Function of Writing in Qahveh-Khaneh Painting and the Saqqakhaneh Movement 243 263 3996 10.22077/nia.2026.6634.1774 FA GHolamreza Samavi Painting department, Art Faculty, Semnan University 0009-0002-6274-9845 Journal Article 2023 07 30 AbstractWriting and image in the tradition of Iranian painting have maintained a reciprocal and intertwined relationship. On the one hand, painting has served the illustration and interpretation of texts, while on the other, writing has played a significant role in explaining and complementing the image. With the transformation of Iranian painting traditions from the Safavid to the Qajar periods and the emergence of works independent of manuscript illustration, writing was gradually reduced to marginal inscriptions within paintings. In the modern period, this form of writing was largely limited to the artist’s signature, and the tradition of marginal annotation became obsolete. Nevertheless, Qahveh-Khaneh painters, continuing the Qajar painting tradition, preserved writing in their works and employed it as a meaningful and prominent visual element. With the developments of modern Iranian painting, writing reappeared once again—this time with a new approach—in the works of artists associated with the Saqqakhaneh movement.The main objective of this study is to examine and compare the function of writing in these two artistic currents and to elucidate their semantic and aesthetic differences. The principal research questions are: What functions does writing serve in the works of Qahveh-Khaneh painters? What role does writing play in the works of artists of the Saqqakhaneh movement? What similarities and differences exist between the functions and outcomes of employing writing in these two artistic contexts? This research adopts a qualitative approach and employs a descriptive–analytical and comparative method, based on the analysis of selected exemplary works from Qahveh-Khaneh painting and the Saqqakhaneh movement.The findings indicate that in Qahveh-Khaneh painting, writing—primarily serving expressive purposes—plays a narrative-oriented, referential, and meaning-centered role. Accordingly, linguistic writing is most prevalent and is formed in direct connection with oral and ritual culture. By contrast, in the Saqqakhaneh movement, writing often departs from linguistic legibility and is transformed into a formal, identity-forming, and symbolic element within the visual structure of the artwork. This transformation signifies a shift in Iranian art from collective, narrative-based expression toward the representation of cultural identity within the framework of modern art. AbstractWriting and image in the tradition of Iranian painting have maintained a reciprocal and intertwined relationship. On the one hand, painting has served the illustration and interpretation of texts, while on the other, writing has played a significant role in explaining and complementing the image. With the transformation of Iranian painting traditions from the Safavid to the Qajar periods and the emergence of works independent of manuscript illustration, writing was gradually reduced to marginal inscriptions within paintings. In the modern period, this form of writing was largely limited to the artist’s signature, and the tradition of marginal annotation became obsolete. Nevertheless, Qahveh-Khaneh painters, continuing the Qajar painting tradition, preserved writing in their works and employed it as a meaningful and prominent visual element. With the developments of modern Iranian painting, writing reappeared once again—this time with a new approach—in the works of artists associated with the Saqqakhaneh movement.The main objective of this study is to examine and compare the function of writing in these two artistic currents and to elucidate their semantic and aesthetic differences. The principal research questions are: What functions does writing serve in the works of Qahveh-Khaneh painters? What role does writing play in the works of artists of the Saqqakhaneh movement? What similarities and differences exist between the functions and outcomes of employing writing in these two artistic contexts? This research adopts a qualitative approach and employs a descriptive–analytical and comparative method, based on the analysis of selected exemplary works from Qahveh-Khaneh painting and the Saqqakhaneh movement.The findings indicate that in Qahveh-Khaneh painting, writing—primarily serving expressive purposes—plays a narrative-oriented, referential, and meaning-centered role. Accordingly, linguistic writing is most prevalent and is formed in direct connection with oral and ritual culture. By contrast, in the Saqqakhaneh movement, writing often departs from linguistic legibility and is transformed into a formal, identity-forming, and symbolic element within the visual structure of the artwork. This transformation signifies a shift in Iranian art from collective, narrative-based expression toward the representation of cultural identity within the framework of modern art. https://niamag.birjand.ac.ir/article_3996_43e04dd08bb1305428b0c9c8d8a2660a.pdf