https://niamag.birjand.ac.ir/ Negarineh Islamic Art en daily 1 Fri, 20 Feb 2026 00:00:00 +0330 Fri, 20 Feb 2026 00:00:00 +0330 https://niamag.birjand.ac.ir/article_3883.html 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_3908.html 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_3907.html 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_3963.html 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_3933.html 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_3920.html 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_3965.html 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_3949.html 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_4052.html 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_4045.html 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_4054.html 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_3996.html 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_3958.html طراحی تشعیر طی گذر زمان همگام بانگارگری ‌ایران تکامل یافته و از ارزش خاص خود برخوردار بوده است. در تشعیر، حاشیه اطراف قاب تصویر، با انواع تصاویر حیوانی و نقوش گیاهی پدیدآمده که اغلب متناسب با قالب و محتوای خاص خود مصور و بازآفرینی شده اند. در پژوهش حاضر با واکاوی 9 نمونه از آثارتشعیر و گزینش نقوش ویژه و منتخب دو دوره تیموری و صفوی و در راستای شیوه پردازش تصویر از سوی تشعیرسازان و با هدف شناسایی روش‌های بازآفرینی نقوش و طریقه بیانگری و پیام‌گذاری، این سوال‌ها را مطرح نموده که با توجه به تصاویر مورد استفاده در آثار تشعیر دوره‌های تیموری و صفوی، روند بازآفرینی نقوش با رویکرد بصری چگونه بوده و کیفیت بیانی و نوع پیام‌گذاری آنها چگونه تبیین شده است؟ تجزیه و تحلیل آثار بارویکرد بصری است. روش پژوهش، توصیفی و تحلیلی بوده و گردآوری اطلاعات به صورت اسنادی و کتابخانه‌ای است. نتایج تحقیق نشان می‌دهد تشعیرسازان با پنج روش واقع‌گرا، انتزاع، نمادگرا، آرمانگرا و هیجانی، نقوش و تصاویر خود را طراحی و بازآفرینی کرده و به انواع متنوعی از بیانگری و پیام گذاری دست یافته اند. ‌این روند از دوره تیموری تاصفوی روبه تکامل رفته و نقوش به همراه فضاسازی بصری با روایت چند وجهی معناسازی شده‌اند. روش واقع‌گرا وتوجه به ظواهر طرح‌ها در نقوش تشعیر دو دوره مورد مطالعه، کمترمشاهده شده و استفاده از چهار روش بازآفرینی همراه با پیام گذاری رو به افزایش بوده است. کلمات کلیدی: تشعیر، نقوش، بیانگری، بازآفرینی، پیام، بصری https://niamag.birjand.ac.ir/article_4021.html Clothing in every land reflects the culture, civilization, and social structure of its society. The illustrations of the Shahnameh of Shah Tahmasp are among the most outstanding visual works of the Safavid era, depicting the social classes and hierarchical order of that period through attire. These miniatures also convey symbolic indicators of power, legitimacy, and collective identity. The present study aims to examine how power, rank, and social position of men are reflected in the clothing represented in the Shahnameh of Shah Tahmasp and to identify the clothing elements that signify class status. The main research question asks: how does men’s clothing in these miniatures reflect their power, rank, and social position, and what elements reveal class distinctions? This study adopts a qualitative approach and employs the theoretical frameworks of Marx and Weber. Accordingly, out of 258 miniatures, seven were purposively selected based on the scope and diversity of social class representations within each image, prioritizing those that depicted the simultaneous presence of multiple social strata. Data were extracted from the selected miniatures and analyzed through thematic classification and typology of male garments to identify class-related and social indicators. The findings revealed that clothing in these miniatures represents a clearly defined class hierarchy. The upper class, consisting of kings and high-ranking officials, is identified by crowns, robes, qabā, kalijeh, and golden belts. The middle class, including soldiers, clerics, Sufis, and scholars, is depicted wearing cloaks, trousers, and waist sashes. The lower classes, composed of craftsmen and the poor, are shown in simple garments made of coarse cotton without kalijeh or cloaks. Color, fabric, and decorative details played a significant role in expressing power, social position, and group identity. In conclusion, men’s clothing in the miniatures of the Shahnameh of Shah Tahmasp provides a clear reflection of the class structure and social hierarchy of Safavid society. Clothing functioned not merely as a physical covering but as a symbolic medium to express power and class distinction. Studying it can therefore contribute to a deeper understanding of social order, collective identity, and visual culture in that historical context. https://niamag.birjand.ac.ir/article_4022.html In Persian painting of the Timurid and Safavid periods, the royal throne, as a central element, has played a meaning‑constituting role in organizing the discourse of power. Despite its importance, previous studies have been predominantly descriptive and iconographic and have not addressed the discursive function of the throne in the reproduction of power structures based on Foucault's theory. Hence, the main problem of the present research is how the throne is represented as a discursive mechanism, relying on Foucault's discourse of power in these two periods. This research aims to analyze and compare the discursive function of the royal throne in Timurid and Safavid painting based on Foucault's discourse of power, in order to demonstrate how the representation of the throne as a discursive mechanism produces and consolidates concepts such as royal legitimacy and social hierarchies, and thereby clarifies the transformations in the subtexts of power and knowledge across these two periods. Research questions: How does the royal throne, as a discursive mechanism within the framework of Foucault's theory of power, produce and reproduce the structures of power and royal legitimacy in Timurid and Safavid painting? Based on Foucault's approach to the discourse of power, and considering the historical transformations of the throne, what changes can be observed in the representation of the discourse of power in Safavid painting compared to Timurid painting? The present research is fundamental in terms of its objective and qualitative in nature. It employs a descriptive‑analytical method with a comparative approach, utilizing discourse analysis based on Foucault's theory of power. Data collection was carried out through library research, and the analysis was conducted in four stages: description, coding of discursive concepts, comparative analysis, and conclusion. The research corpus consists of Timurid and Safavid paintings in which the royal throne is represented, or royal power is reproduced in the physical absence of the throne. From among these, based on the principle of theoretical saturation, 20 paintings (10 works from each period) were purposefully selected according to their visual, historical, and content characteristics. The findings indicate that in Timurid painting, the royal throne, by employing visual centrality, geometric symmetry, distancing, and the stasis of figures, represents a static and centralized power. In contrast, in Safavid painting, the throne is situated within a pluralistic and ritualistic structure, and power is distributed through courtly interactions, collective presence, and surrounding symbolic elements. This transformation signifies a shift from stasis and absolute centrality to dynamic action and active courtly behavior. https://niamag.birjand.ac.ir/article_4131.html Contemporary Iranian painters have forged a distinct visual identity within the realm of visual arts by creatively synthesizing the visual traditions of Persian miniature with modern art movements. Examining this phenomenon requires a rigorous analysis of traditional structures within a contemporary context. This study aims to identify and categorize the conceptual and visual characteristics of Persian miniature in the works of these artists, seeking to answer which specific elements have been adopted and what structural transformations and metamorphoses they have undergone during the transition to contemporary painting. The necessity of this research stems from the fact that most previous studies have limited themselves to historical surveys or general descriptions, leaving a noticeable gap for analytical-comparative research that delves into the depth of structural changes. Employing a qualitative approach and a comparative-analytical method, the data for this research were gathered through library studies and original theoretical sources. In this regard, the works of five prominent artists—Farah Ossouli, Aydin Aghdashloo, Ardeshir Mojarad Takestani, Rezvan Sadeghzadeh, and Ali Akbar Sadeghi—were selected as case studies. Their works were analyzed based on criteria such as archetypal space (the world of symbols/Alam al-Mithal), color, form, and figuration. The findings indicate that the interaction of these artists with the miniature tradition transcends formal appropriation or technical imitation; rather, it represents a conceptual and structural metamorphosis of underlying elements. By consciously utilizing features such as timelessness, the absence of Western perspective, and delicate line-drawing (Ghalem-giri), the selected artists have succeeded in recreating modern concepts—including historical decay, identity critique, human suffering, and personal surrealism—within the framework of traditional visual language. While artists like Aghdashloo emphasize the destructive aspects and the decline of tradition, others such as Ossouli, Sadeghzadeh, and Sadeghi have achieved a contemporary expression by altering the function of figures and narratives. Ultimately, contemporary Iranian painting has reached a dynamic balance between indigenous heritage and modern expressive imperatives, where decorative elements function not as marginalia but as integral, meaning-making components of the primary text. https://niamag.birjand.ac.ir/article_4153.html The study of polychrome slipware ceramics has long attracted scholarly attention due to their distinctive human and animal motifs. However, despite several decades of research on the origin and meaning of these designs, certain narrative scenes remain ambiguous and have not been satisfactorily interpreted. One particularly debated example is a shared scene depicted on three polychrome slipware vessels housed in the Sanandaj Museum, the Mostazafan Foundation Museum, and the Denver Art Museum. Previous interpretations of this scene, which rely primarily on historical sources, lack sufficient conceptual coherence and fail to provide definitive conclusions. Accordingly, reliance on historical studies alone does not adequately address the semantic complexity of these motifs, and the application of interdisciplinary approaches—particularly ethnography—offers the potential for a more precise and nuanced reading. The present study aims to re-examine this narrative scene, whose semantic and geographical roots are closely linked to the cultural sphere of Khorasan and Central Asia, by employing Erwin Panofsky’s iconographic approach in conjunction with ethnographic data. “The main research questions of this study are as follows: (1) What is the subject matter of the narrative scene depicted on the three ceramics under examination? (2) To what extent can ethnographic data and contemporary lived evidence reinforce and complement the interpretation of motifs on Samanid-period ceramics? This research has been conducted using a historical–analytical–comparative method, with data collected through library-based research. The findings indicate that the scene depicted on the three ceramics represents an ancient equestrian ritual and the game of buzkashi—an enduring practice rooted in the martial and cavalry traditions of Central Asian peoples, which has continued within this cultural sphere up to the present day. Such a conclusion demonstrates that the integration of ethnographic studies alongside historical analysis has the capacity to reveal deeper and concealed semantic layers in the motifs of Nishapur ceramics and provides an effective framework for their interpretation. https://niamag.birjand.ac.ir/article_4177.html In this research, the main issue is analyzing the relationships between the texts present in Haddad's Four Seasons carpet. The Four Seasons carpet is an art form from the late Qajar period, with numerous examples also woven in the early Pahlavi era. The presence of the name Haddad in this carpet, and according to Khoshknabi, its production by Sheikh Hassan Haddad, gives the work special importance and value, as it indicates the artist's identity and is a source of research value. The carpet's images include bas-reliefs and historical buildings, whose juxtaposition creates specific relationships. The main question of this research is how the relationships and implications between the constituent texts of the work are formed, and the goal is to explain these relationships and understand the meaning of the symbols, texts, and works within the piece. The research method is descriptive-analytical and based on Genette's transtextuality approach, which allows for analyzing the production, relationship, and semantic consequences of these texts. The findings show that the artist created a text that emphasizes the superiority of pre-Islamic symbols and Iranian heritage. This work also implicitly refers to the Baharestan carpet, and placing Haddad's name above the Sasanian king introduces him as a guardian of Iran's cultural heritage, and the relationships between the texts emphasize the importance of preserving and transmitting cultural identity. https://niamag.birjand.ac.ir/article_4196.html Nomadism, as one of the oldest forms of human subsistence, carries a rich heritage of cultural and artistic elements. Among the Boyer-Ahmad nomads, clothing and handwoven textiles, as two fundamental pillars of identity, reflect the livelihood structure, climatic conditions, and beliefs of this people. However, the rapid transformations of the modern world have posed serious challenges to the survival of these elements. The main research question is: based on what components and processes can the pathology of clothing and handwoven textiles in the culture and art of Boyer-Ahmad nomads be explained? The aim of the research is to identify, analyze, and systematically classify the damages inflicted upon clothing and handwoven textiles, and to explain the processes affecting these damages. The research method is applied and descriptive-analytical, and data collection was conducted through documentary and field studies in the regions of Gorgo, Sardab, Kakan, Vezg, Zangava, and the Malah-Shore mountain pass. Data analysis was carried out using a qualitative and inductive approach. The findings indicate that the damages can be explained at two levels: "physical-technical" and "social-functional." At the physical level, factors such as environmental erosion, biological deterioration, and the use of substandard raw materials (synthetic fibers and unstable dyes) were identified. At a deeper level (social-functional), however, these elements have undergone a substantial transformation: native clothing has been reduced from an everyday garment to a ritual and performative attire, while handwoven textiles-under the influence of economic rationality and the influx of cheap industrial goods-have lost their consumptive function and have become commodified. The results indicate that although physical damages are potentially repairable, the cultural damages arising from generational rupture and lifestyle changes pose a more serious threat to the continuity of these arts.