1 9 4 48 Life and achievements of Abu’l Hasan Ghaffari Mustawf Azhand Yaghoub 1 12 2019 1 1 7 18 27 08 2019 22 10 2019 Although chiefly known as a historian and court secretary (Mustawfi), Abu'l Hasan Ghaffari apprenticed as a painter for ten years, but his father objected to his profession as a painter. Therefore, he apprenticed as a court secretary (Mustawfi) which profession of his family. He, then, entered the service of Karim Khan as court secretary. In this profession, he wrote Gulshan Murad, Chronicle of Zand Period. In this chronicle, he indicated to painters who have worked in the court of Karim Khan. These painters were Muhammad Sadiq, Muhammad Hadi, Muhammad Baqir and Aqa Zaman. It seems that Abu'l Hasan has worked with them on courtly projects, but who was master of Abu'l Hasan? Abu'l Hasans broad style perfectly interpret the ethos of his age. Under Afsharid period lived two distinguished painters: Muhammad Ali, the son of Muham- mad Zaman and Muhammad Ali, the grandson of Ali Quli Jabadar. Muhammad Ali the son of Muhammad Zaman, painter of lacquerwork but Muhammad Ali, the grandson of Ali Quli Jabadar was a laureate painter (Naqqashbashi) of Nadirshah court. It seems the Abu'l Hasan apprentice of this Muhammad Ali, because of the subject of his paintings and compositions. His style closely followes that employed by Muhammad Ali. In addition, Abu'l Hasan in his chronicle Gulshan Murad suggested to Muhammad Ali. According to his suggest Muhammad Ali's death on 1269h., in the city of Sari in Caspian province. All these suggested that Abu' I Hasan has learned painting from Muhammad Ali Naqqashbashi. Furthermore, Muhammad Ali was the father and master of the Muhammad Bar court painter of Karim Khan Zand. The subjects of Abul Hasan's paintings was portrait of his families and portrait of kings of Iran. His paintings, of coherent subject and style, indicates that they were made in Zand or Qajar court. This historical framework supports this view that these paintings were collected at the court in Shiraz or Tehran during the period of Karim Khan and Aqa Muham- mad Khan and this suggests that Abu'l Hasan, later, has gone to Qajar court. Aqa Muhammad Khan transfer artists from Zand court to his court. It is known, exactly, that Aqa Muhammad Khan commissioned illustration of Chalduran and Kamal war of Chehil Setum Palace to Muhammad Sadiq, one of Abu'l Hasan colleague in the Zand court. Muhammad Asif, known as Rustam al-Hukama, the historian of the Qajar period in his history Rustam al-Tawarikh listed court painters of Karim Khan Zand. He records the names of Muhammad Sadiq, Muhammad Baqir, Mirza Muhammad (Muhammad Hadi) Mirza Hasan (Abu'l Hasan Mustawfi) and Aqa Zaman. Mirza Hasan or Abu'l Hasan Mustawfi Ghaffari Kashani, Known from a number of watercolors of historical subjects. The contribution of Abu'l Hasan to the evolution of Persian painting in Qajar era cannot be ignored. His paintings provided the foundation for the apogee of life-size painting under the Qajar dy- nasty. Indeed, the great majority of Abu'l Hasan paintings produced during the last decade of twelfth cen- tury. Further, the return to the conventions of two-dimensionality characteristic of early Qajar paintings was initiated in paintings of Abu'l Hasan and other painters. It is said, the interest in the expression of emotion and psychological modes of Abu'l Hasan paintings influenced of thirteen century persian painting in the works of Abu'l Hasan Sani al-Mulk and his Pupils. Paintings of Abul Hasan can be divided into three groups Painting from portrait of his family and paintings from portrait of Persian kings and portrait from Zand Rulers. From first group portrait of Mu'zz al-Din Mustawfi Ghaffari and portrait of Abdu'l Mutaleb Ghaffari grandfather of Abu'l Hasan must be noted. From second group portrait of Nadir Shah in many verssion, and portrait of Shah Abbas II, and portrait of Jahan Shah Qara Quyunlu and so on, can be noted. From third group portrait of Karim Khan and other Zand Rulesr must be noted. The adaptation of Europeanized style (frangi-sazi) by Abu'lHasan Ghaffari is illustrated in his paintings from European compositions. Abul Hasan portraits were probably intended for inclusion in an album of historical personalities. In this article discussed all of achieve- ments and life of Abu'l Hasan Mustawfi Ghaffari in Zand and Qajar Periods.
49 Reflection Analysis of Left Discourse in Iranian Contemporary Painting in the 40s and 60s With an approach to Michel Foucault’s views Taghavi Taranom Pahlavan Mahboobeh 1 12 2019 1 1 19 34 25 06 2019 17 09 2019 The entrance of modern thought from the constitutional era and the spread of leftist discourse, which promoted social commitment in the literary and artistic works, led to developments in modernist Iranian painting during the Second Pahlavi era. The purpose of this study is to investigate the influence of left discourse on the form and content of paintings and to analyze the reasons for the lack of development of artistic tendencies of this historical period as an influential tendency in modernist Iranian art. The theoretical approach of this paper is based on the concept of power discourse in Michel Foucault's views, the method of descriptive-analytical research and the method of collecting information through library method. According to the research, leftist artists, despite the social content in their works, due to components such as domination of modernism discourse, lack of coherent art form, thoughtless modeling and without any intrinsic relation to our cultural-insights and sometimes an incomplete understanding of the meaning of commitment in art, the external commitment for artists to create works with political and social content that contradicts the concept of committed art - the most important of which is the artist's inner and emotional obligation without external pressure - led to lack of connection of works with the audience of the era, and eventually this discourse did not become a lasting and influential style. These artists presented social themes in a variety of approaches, such as the use of imitation styles of Western art and another of the stereotypical style, which was a raw imitation of Soviet realist artists. But perhaps one of the most important achievements of leftist discourse was to direct the critical art that demand the ideals of justice and maintained its influence for a long time in power discourse. 50 Hazrat Abbas bin Ali (AS) icon’s referential ambivalence in the icon of survivors of Coffeehouse painting Salimi Namin Hajar Sadeghi Habibolah 1 12 2019 1 1 35 52 23 06 2019 16 09 2019 The Imam's icons have a special place in the Shiites, especially the Iranians. One of the most prominent of these icons is the icon of Hazrat Abbas bin ali (AS), which is most often depicted in the battle situation in the Karbala Desert, including the icon of Hazrat Abbas (AS) in the battle against the Mared. The purpose of this research was to study the intertextuality of Hazrat Abalfazl al-Abbas (AS) icons in the battle against the Mared in the works of the survivors of Coffeehouse painting and in the areas of Coffeehouse painting, dervish’s curtain, shrine of the saint (plaster painting),Miniuature painting, The Holy Quran, History, Literature and mysticism. In this regard, seven icons has selected from the icons of the battle of Hazrat Abbas (AS) that has identified from the Safavid to the contemporary period, and has surveyed based on the method of Gérard Genette. The methodology was applied from the point of view of purpose, and was descriptive-an-alytical and with a comparative approach from the point of view of method of doing. Information was also obtained through the library and field method (conversations with the iconograph). The finds reject the purely historical discourse of the icon that has been raised by many Iconographers, historians, critics, and audiences. Futuwwa (chivalry) discourse was also created through the image of waterskin, flag, and sword in the hands of this important Islamic icon alongside his historical discourse, and has been reproduced through intercultural networking for about five centuries. Also, the icons of Hazrat Abbas (AS) are generally recognized as a subset of icons of Hazrat Ali (AS). 51 A Comparative Study on the Form and Function of Ritual and Symbolic Containers of Iran with an Emphasis on Rhytons Amoian Forogh Bolkhari hasan 1 12 2019 1 1 53 66 30 06 2019 29 09 2019 Different historical and prehistoric periods have always involved the evolution of man-made artifacts. In this regard, the creation of artifacts by men has been linked to various requirements reflecting the effects of history, beliefs as well as material and immaterial acts toward the subject of creation. Each object, based on the form and function associated with it, goes through a process in the formation of its form and content. In the present research, the ritual and symbolic containers and ewers in the collection of found artifacts, created in the historical period and used in religious ceremonies are studied. In this study, the typology of forms, functions and religious content of the ewers belonging to the Iranian plateau are compared to similar samples, and the visual and semantic indices of rhytons are validated against the common characteristics of ritual containers. Rhytons are a kind of ritual-ceremonial containers that were first known and made in the Asian Minor regions during the Neolithic Age. The formation of the containers and the lack of the knowledge about the materials required has caused the use of mud for their creation during the late 5th millennium BC. With the advent of the potter's wheel, a richer and more distinct form of clay rhytons has emerged. Its metal and stone samples show the strength and value of the formation of rhytons for specific uses in the court and at the sultans. The present research tries to study the sample ritual, which have different yet similar forms and functions, find the commonalities in the formal and functional processing, and examine the effective components causing the similarities or differences in the form and function of the ritual containers by analyzing the typology of the rhyton samples in several historical periods. However, it was by no means con-fined to that region. Similar in form to, and perhaps originating from, the drinking horn, it has been widespread over Eurasia since prehistoric times. The research method in this study is descriptive-analytical and the sample includes library documents and field research. The results of the research show that the ritual and mythical origins as well as nature are in some way effective in the form processing and using conditions of the containers and ewers and the beliefs are effective in the function processing and use of the ritual objects and rhytons. The present article tries to study the rhyton samples remained from various historical periods. The evidence of these samples is from the Neolithic, Medes, Achaemenid, and Sassanid periods. It also tries to find the form differences in accordance with the functions and criteria specified in the design of the ritual containers and analyze the typology of the rhytons in terms of artistic-industrialist ideas of the time through comparative study. The research questions in line with these purposes include: 1. What are the features of the form and function of the rhytons? 2. Which components are the base for the formation of the form and function of the rhytons? The research method in this research is descriptive-analytic and the samples are extracted from library documents and field research. 52 An Introduction to what and how religious criticism of artworks Keramat Zohreh 1 12 2019 1 1 67 84 02 07 2019 26 10 2019 The field of art criticism is very broad insomuch that a lot of various types of schools and ideologies have been in present over the years, and various approaches have emerged in this field. But they generally have humanistic and irreligious basis. Therefore, the vacancy of religious criticism and its divine principles and foundations, among approaches and types of art criticism, has provided the basis for questioning about what and how this criticism and its principles and characteristics are. This research is a undamental theoretical one, and in terms of methodology is a libraries and analytical. According to this research, religion [in its true sense, means Islam] seems to be the proper basis for reading, interpreting, analyzing, and criticizing all human affairs, such as artworks. In addition, it does not have many other disadvantages that the other criticisms have. The basics and principles of this criticism can be deduced from the main sources and texts of religion. This article, is briefly concerned about what and some of the most important principles of religious criticism of artworks. 53 A Study on the Architectural Facades of the Last Decade of Tehran Regarding the Principles of Murals Kafshchian Moghadam Asghar Pirdehghan Saharnaz 1 12 2019 1 1 85 96 17 09 2019 17 11 2019 Murals are the most important arts among all sorts of urban arts. We often concentrate on wall paintings and their color qualifications, but the turning point, which is the artist’s main job, is the relationship between the painting and the building. Although each artwork in a city has its own unique effect on urban surface, but because our city is full of architectural facades, obviously the most important urban arts which affect the city are the murals formed by architectural facades. The present article which is library based, analyzing and field verified, deals with the study of architectural facades with an artistic point of view, presents a solution to repose the architectural facades of the last decade of Tehran(case study: Enghelab St, From Enghelab Sq. to Felestin Crossroad), regarding the principles of murals. Hypothesizing this, it seems that architecture can be changed from its sheer functional role to a wall painting, preserving its functional role. In this way, by explaining a criteria and establishing a superior expert organization in the field of urban arts, besides reposing architectural facades, understandings of fine arts can be promoted.   54 Advanced Studies of Art Quarterly Zodiac Man: from idea to image Movahed Mahdi 1 12 2019 1 1 97 110 03 08 2019 15 09 2019 In the early Renaissance, some illustrations appeared in medical manuscripts, depicting constellations of the Zodiac associated with human body. Nowadays, these images are called the “Zodiac Man” or the “Homo Signorum”. Later, similar images emerged in Persia, which had no counterpart in the Islamic world. Being very few in number, researches on the Persian zodiac man have nothing much of interest, but a succinct and imperfect description. Thus, it is necessary to justify the abrupt emergence of the Persian one. For this purpose, social circumstances, court patronage, arts, and sciences should be investigated alongside an explanation for the theoretical and pictorial backgrounds of the zodiac man. In addition to pointing out these theoretical origins from the ancient Greek to the Islamic period, this paper investigates the idea of zodiac man during the Middle Ages and the Renaissance. Moreover, it indicates that in spite of the earlier background of the zodiac-man's theory in Persia, its visual representation was produced in imitation of the European version. Finally, by delving into the social, cultural, and political history of Persia, it is demonstrated that the portrayal of zodiac man is likely to be a transitory experience, which took place in the 2nd century of the Safavid sovereignty. 55 A Study on the Rene Magritte’s (coming and going) photo Ali Akbari Maryam 1 12 2019 1 1 111 126 22 06 2019 24 09 2019 Modern times have created conditions where the arts are more closely linked , affecting and influencing each other. Artists influenced by each other strive to innovate and create a new look in their work. A deeper examination of the artwork and its critique will help the audience to have a better and deeper understanding of the work and the paratext. Photographer Duane Michals has made great use of these terms in his career. His interest in the work of surrealist artists has led his art to take on distinctive features. This research aims to analyze one of his photographs of painter Rene Magritte. The method of research is content analysis and the information is obtained through the library method. The results show that Michaels deliberately returns to the hidden world within himself and allows it to express itself .Magritte's (coming and going) photo shows the photographer's duality. Of course, the nature of Magritte's work was not without effect on how his portrait was created. This photo confirms Michals’s inspiration from the Magritte’s Mysteries of the Horizon painting.  56 Comparative Study Monster Paintings of Mohamad Siahqalam to Soltan Mohamad Araqi Mirzayeemehr Ali Alsqar 1 12 2019 1 1 127 137 24 08 2019 28 10 2019 Painting monsters and grotesque beings is one of the common points between two renowned artists, Mohamad Siahqalam (active in the second half of the 9th century AD of Harat School of art) and Soltan Mohamad Araqi (active in Safavid Tabriz School of art in the mid-10th century AD). The remarkable similarities of monster paintings of the two artists reinforces the assumption that Soltan Mohamad imitated Mohamad Siahqalam's paintings and that has been mentioned earlier by some intellectuals as well. Given the fact that at the mentioned time print industry and photography had not been made the only possible option for rendering sketches or making replicas from another artist's work was the direct observation and unrestricted range of the piece of work. Thus Soltan Mohamad must have gained reach or range to some or all of Mohamad Siahqalam's works in his artistic time to have been able to use them. The question is that how it came to possibility for Soltan Mohamad to reach Mohamad Siahqalam's works given the distance in time and difference of living and working land. The second issue is taking character and different art base of artists into consideration, imitation and inspiration from Soltan Mohamad brings which scopes into attention. The main purpose of this article is making a comparative study of monster paintings of the artists and the similarities as well as differences between their works to prove as the second objective that Soltan Mohamad had access to the original works of Mohamad Siahqalam which further verifies the mentioned grotesque artist, Iranian. Through meticulous comparison of monster paintings of the two artists, the assumption of influence or even sketching from Mohamad Siahqalam turns into a fact. Although such sketch is limited to painting and monsters bodies and excludes color options and atmosphere.