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Showing 3 results for Khaksar
Taha Sanizadeh, Ali Khaksar,
Volume 4, Issue 5 (9-2024)
Abstract
Lacquer painting is one of the most important disciplines of Iranian painting, which emerged in the fourteenth and fifteenth centuries, parallel to the Timurid dynasty. The most important era for the lacquer movement in Iran was from the middle of the Safavid period to the end of the Qajar period: Since the decline in illuminated manuscripts popularized lacquer paintings as the major medium for painting. This period coincides with the beginning of the foreignization of art and Iranian painters’ tendency to lean towards European art. This led to the lacquer motifs themselves undergoing drastic changes. This paper aims to analyze the dimensions, manner, and process in which lacquer art was influenced by European art during this time period. This research, which is fundamental in terms of purpose and quantitative in nature, has been conducted with a descriptive-analytical method based on a historical approach. The main goal of the paper is to establish how and to what extent the Iranian lacquer painting was influenced by European art, and exactly how the process took place. The research found that the influence of European paintings on Iranian lacquer paintings occurred on three different levels: technical, motific, and thematic. At first, Iranian artists adapted the perspective, volume, and fashion of the European paintings at the end of the Safavid era. Then, during the Zand dynasty, European motifs began replacing Iranian motifs, which manifested in examples such as flora and fauna as well as gilding. Lastly, the most profound effects of this phenomenon were the appearance of European subjects and themes, which found their way into Lacquer art through means such as western military uniforms, Christian imagery, redrawing European paintings, and even painting the likeness of European rulers. Thus, it can be said that the Iranian lacquer art produced from the Safavid period to the end of the Qajar period was deeply influenced by European art, a process that started with partial adaptations and led to a complete westernization of lacquer art.
Seyedeh Zahra Mousavi, Ali Khaksar,
Volume 4, Issue 6 (12-2024)
Abstract
Wolfwalkers animated film reflects Ireland's imaginary and mythical atmosphere. This research explores the themes in the imaginations depicted in the Wolfwalkers animated film. Gilbert Doran's analytical approach, which focuses on theme and myth, has been used to analyze the fictional elements. This qualitative research is practical in its purpose and employs a descriptive-analytical method. Information has been collected from library sources. The aim is to provide conceptual guidance for producing imaginative animations based on indigenous culture. The findings indicate that the Wolfwalker character symbolizes contradictions and associations (human/wolf, sleep/awakening) within the dramatic structure of The Nocturnal Order Furthermore, Tomm Moore, the director, incorporates a reproduction of Celtic Christianity, blending theism with Irish polytheism within the night system structure. The hidden myth in this animated film references Jesus, and the circle and square forms play a significant role in expressing the film's themes. Thus, the oppositions of The Nocturnal Order against The Diurnal Order, Celtic magic against Christian divinity, nature against man, woman against man, and freedom against obedience are reflected in the contrasting forms of circle and square.
Mrs. Sahar Anvaary, Dr. Ali Khaksar,
Volume 4, Issue 7 (3-2025)
Abstract
During the Ming dynasty, the initiation of Sinicization by the rulers and the promotion of a national style in Islamic architecture led to the construction and reconstruction of numerous mosques in the traditional Chinese architectural style. Given that the Great Mosque of Xi’an is a prominent example of mosques constructed in the national style and is situated within an extensive series of courtyards, and considering the intrinsic connection between traditional Chinese architecture and garden design, this study aims to identify and elucidate the elements and characteristics of traditional Chinese architecture and garden design as manifested in the Great Mosque of Xi’an. The primary research question addressed the specific architectural and horticultural dimensions of traditional Chinese architecture that are evident in the Great Mosque of Xi’an, and the mechanisms through which these elements are expressed. In this regard, this descriptive-analytical study employed a historical methodology. Data collection was conducted through a comprehensive review of existing literature and online sources. Based on these findings, it is evident that the influence of traditional Chinese architecture and garden design is reflected in the spatial organization and detailed features of the Great Mosque of Xi’an. This is particularly apparent in the creation of distinct spaces and micro spaces, such as the crescent moon observation tower and the memorial pillar enclosure. Additionally, elements characteristic of Chinese gardens, including inscriptions in Chinese, stonework, and water features, are prominently integrated into the mosque’s design. Furthermore, the Great Mosque of Xi’an exemplifies several key principles of traditional Chinese architectural design. These include the hierarchical progression of access to the main space, the emphasis on privacy and the prevention of direct sightlines, the focus on central axis and symmetry, the balance and stability alongside fluidity and continuous change, and adherence to the principle of polarity. Most notably, the mosque’s design integrates a harmonious unity with nature, evident in the spatial organization, layout of passages and crossings, and the expansive arrangement of the buildings. However, it is crucial to note that certain features distinguish the Great Mosque of Xi’an from traditional Chinese architecture and garden design. Specifically, the mosque’s orientation towards the qibla and the presence of Arabic inscriptions impart unique Islamic characteristics, setting it apart from conventional Chinese architectural and horticultural practices.
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