Art Of Iran Research Articles

Zurkhaneh: The House of Strength: Music and Martial Arts of Iran by Federico Spinatti

Zurkhaneh: The House of Strength: Music and Martial Arts of Iran by Federico Spinatti

The Comparative Study of Art of Manufacturing Orosi and Stained Glass Windows in Iran and Europe

For a long time, glass manufacturing art has been globally common. There are certain similarities between Stained Glass and Orosi works. Based on historical texts, peak of Orosi art in Iran occurred during the reign of Safavid dynasty while its fall was after Qajar era. After introduction to churches after 12 th century, Stained Glass manufacturing art was officially recognized. In contemporary era, Orosi art has almost faded away since it did not adapt to architecture. Similarly, Stained Glass art did not develop after it was introduced to Iran. The objectives of comparison between these arts are clarification of effects of the two arts on each other as well as better understanding of Orosi glass and Stained Glass arts. From methodological viewpoint, this study is descriptive-analytical in nature. In order to obtain better results, similar and available works of Orosi and Stained Glass arts were studied. The results of comparing these two arts suggested similar manufacturing methods and designs. In addition, a common application of the two arts is communication of greatness of the building to visitors’ minds. Stained Glass was mostly used for representation of Christ’s story while Orosi art was commonly used for depicting geometrical patterns. As a result, Orosi art was not initially influenced by Stained Glass art. In some cases, one could claim that Stained Glass art was influenced by Orosi art. Numerous factors played a role in creating differences between these two arts among which one could point to climatic conditions and patrons of such arts.

Proposing a model to study the impact of RFID technology on organizational performance

PurposeThe main objective of this study is to propose a model to study the impact of radio-frequency identification (RFID) technology on organizational performance of the Library of the Academy of Arts in Iran. The Specialized Library at the Iranian Academy of the Arts (IAA) as one of the biggest national Iranian libraries has implemented and exploited RFID technology. This research aims to present a pattern for studying the effect of RFID on organizational performance at the Specialized Library at IAA from an employee’s perspective.Design/methodology/approachThe statistical population includes 91 library staffs and managers of IAA. The data were collected through a questionnaire. The research literature was studied first, and the following four components were determined as research variables: service provision, costs, customer satisfaction and response time. The Cronbach’s alpha was calculated to test the questionnaire reliability, which resulted in an acceptable level of 0.829. The structural equation modelling method through SPSS and SmartPLS was applied to analyse the data.FindingsThe results indicate that there is a positive relationship between technology usage at the IAA library with an improved service provision, enhanced customer satisfaction and reduced response time; however, the hypothesis related to RFID usage and reduced costs was not supported.Research limitations/implicationsAs this study is limited to one library, it is recommended that to provide a suitable ground for benchmarking purposes and to facilitate successful implementation of RFID technology in other sectors of the country, future studies should be focused on various industries.Originality/valueTo the best knowledge of the authors, no comprehensive model has been developed to present a pattern for studying the effect of RFID on organizational performance, particularly in the context of Iran.

Iran – Infrastructure, historical and current developments in performative pedagogy

Theatre and other forms of art have played an unarguable part in the formation of cultures and civilizations all around the world. There is some proof that performance began even before language was invented by man. In their rituals and traditions, our earliest ancestors used their body to convey messages and performed rituals on different occasions. The history of our culture and civilization is replete with various forms of art and performance narrating the stories of generations. From mothers’ bedtime stories to religious ceremonies, for a wide range of purposes, art in general and performance-based art in particular gave shape and meaning to human’s everyday life experiences. This article will present an overview of the history of performative arts in Iran, how it has come to contribute to foreign language teaching, and outline its limitations and future projections. Performative arts have a rather long history in Iran. In one of the most authoritative books on Iranian Performance Tradition, William O’Beeman (2011) presents the rich “tapestry” of Iranian traditional performance which took root many centuries ago, before Iran came into contact with the West. He believes that those who are not familiar with Iranian culture may be truly surprised to discover ...

The Situation of Performance Art in Iran, Past and Present

Performance art in every region and country depends mainly on rules, customs, and beliefs of that particular society hence; this art enjoys diversity with respect to its forms and contents. In contemporary Iran, with the emergence of new artistic movements, performance art incorporated more academic and enlighten aspects. New mass media and modern visual medium such as light, sound, moving, and changing images, video displays as well as application of new signs and symbols are some of the special characteristics of the contemporary performance art in Iran. Moreover, the performance art in Iran is not merely related to the contemporary era rather it encompasses a large number of traditional representations that have been prevalent among common people with much meaningful rules. Its popularity among common people is also a conceptual art which conveys a content-based meaning in a more dramatic sense. For centuries, the tradition of performance art in Iran can be observed in the rules of Ta’aziehkhani (quite singing or passion play), Shamayelgardani (icon handling), Ru-howzi (performance on pool platform), Marekegiri (mono drama), Qhashoqhzani (spoon handling) and Aroosakgardani (puppet handling). Aestheticism relying on traditional performing method is also the outcome of taste and elegance of common people. These performances have more folkloric aspects protruding from humane institutions and blended with their vernacular beliefs. In the traditional method of performance art, performers mostly enjoy their own taste and style and use handy means for executing their roles. In contemporary Iran, traditional method along with modern theme has been widespread among people particularly in villages and small townships although these are not called as art. The present study is an attempt to study existing challenges to modern and ancient art traditions as well as aesthetic values attributed to each of them.

The Mutual Influence in Gardening Art of Iran and Maverannachr of XV-XVI Centuries

The Mutual Influence in Gardening Art of Iran and Maverannachr of XV-XVI Centuries

Zurkhaneh: The House of Strength: Music and Martial Arts of Iran

Zurkhaneh: The House of Strength: Music and Martial Arts of Iran

Designs of Animals, Birds and Humans in Iranian Painting

The designs of human figures, animals and birds in visual arts of Iran has its particular characteristics in every era which results a certain shared cultural vision of the people of this land. For example in the cultural perspective of Iranian painting, the design of human body is very important. However, the artist never tries to make a real similarity of human visages and his greater emphasis is on a kind of human quality of visages. It also provides a partial understanding of each others assets. Application of animal's and bird's motifs, or different reasons such as their application in everyday life or in particular rituals and..., always has a special position in the visual arts of Iran and usually are divided into two kinds of creatures: good (pure), evil (bad) This paper is an attempt to identify the general features and characteristics of motifs of human, birds and animals in Iranian paintings associated with visual samples.

Contemporary Iranian Art: The Emergence of New Artistic Discourses1

This article deals with the emerging discourses and concerns that have dominated the Iranian art community mainly since 1997. It discusses the existing, or rather conflicting, views of the current situation of the visual arts in Iran as expressed in recent artistic events, productions, and exhibitions as well as in critical reviews.2 It does not fully discuss the variety of artistic genres in Iran, but examines the dominant ideas from the main opposing factions of cultural and artistic thought. It also aims at identifying the structural changes in Iranian art as well as the prevailing artistic policy of recent years.

Neo-traditionalism and modern Iranian painting: The Saqqa-khaneh school in the 1960s1

This article aims at providing an understanding of the concept of neo-traditional art in Iran during the 1960s. It concerns the period of time in modern Iranian painting when there was an increasin...

AN EARLY SELJUQ SILVER BOTTLE FROM SIBERIA

One of Michael Rogers's inspiring ideas is his conception that the eleventh century AD was a turning point in the history of Islamic art.1 However, the dated art objects of this period are very rare in comparison with those of the following century. Therefore in the sale catalogues one can see many bronze vessels of various types more or less similar to dated specimens but carelessly attributed to the twelfth century. In my book Silberschdtze des Orients,2 I tried to demonstrate that there are several silver vessels of the eleventh and the early twelfth centuries, and that their epigraphic, floral, animal, and geometric decoration can be considered a missing link in the history of the decorative arts in Iran, Tokharistan, and Khorazm. Recently one more silver bottle of this period has been acquired by the State Hermitage Museum (figs. 1-4). Its previous owners were a Khanty family living in the Yamal-Nenetz National District in Northwest Sibe-

Pictures From A Revolution: The 1979 Iranian Uprising

A tripartite exhibit of fine arts, photography, and revolutionary posters, Between Word and Image: Modern Iranian Visual Culture, unfolds to define the concept of a revolution as a 180-degree turn. More specifically, the exhibit brings together images and words to crystallize and define The Islamic Republic of Iran's Revolution. The first part of the exhibit places the accent on the modern fine arts of Iran. While this is all pre-revolution artwork, it represents a revolutionary step from traditional miniature painting and the classical style of the Iranian master painter Kamal-al-Molk. The exhibit presents the painting and sculptures of graduates of the newly established Fine Arts Academy, Tehran University, and independent painters, including: Hossein Zenderoudi (1937-), Faramarz Pilaram (1938-83), Mansoor Ghandriz (1935-65), Parviz Tanavoli (1937-), Sohrab Sepehri (1928-80), Behjat Sadr (1924-), Monir Shahroudy Farmanfarmaian, Siah Armajani (1939-), Marcos Grigorian (1925-), and Esmail Tavakoli (also known as Masht Esmail, 1923-94).

The golden age of Persian art

The era of Safavid rule (1501-1722) saw the finest flowering of the arts in Iran. In a time of dynamic religious and political developments, painting and textiles attained new heights of brilliance and opulence and architecture flourished with the growth of cities. This book takes a chronological approach, following the development of Persian art and architecture during the reigns of successive shahs. Under the first emperor, Isma 'il I (1501-24), there began a synthesis of Turkman and Timurid styles which reached maturity during the rule of his successor, Shah Tahmasp. But the most glorious age in both architecture and the decorative arts was the reign of Shah 'Abbas I, who came top the throne in 1588 and made Isfahan his capital, embarking on a grand plan of palaces, mosques and new quarters. Unlike his predecessors, he welcomed European travellers at his court, and by the end of his reign in 1629 European art had begun to influence that of Iran. Under his successors Shahs Safi and 'Abbas II, traditional Iranian forms such as colourful revetments of buildings were combined with wall paintings in both the Persian and European styles, and a new wave of Chinese influence made itself felt. Although the fortunes of the dynasty began to decline after 1666, impressive buildings were still commissioned, and ceramics, glass, textiles and metalwork were produced commercially. The elements which dominated late Safavid art eventually coalesced into the distinctive style of the Qajars in the 19th century, and influenced art in other countries from Thailand to Morocco.

Islamic art in Berlin

Berlin, long a major centre for Islamic art and study, is in the process of reuniting collections dispersed by war and politics. This unique challenge is described by Jens Kröger, curator at Berlin’s Museum of Islamic Art and a specialist in the Sassanid art of Iran and Iraq, and early Islamic glass. He is the author of a number of publications including Sasanidischer Stuckdekor (Mainz, 1982) and Nishapur: Glass of the Early Islamic Period (New York, Metropolitan Museum of Art, 1995).

Art of the book

Approximately Sixty Entries in Volumes I-VI of Encyclopaedia Iranica deal with painting and calligraphy in Islamic Iran. While Priscilla Soucek has contributed many of these, other authors include Dorothea Duda, B.W. Robinson, Barbara Schmitz, M. Dabirsiaqi, A.S. Shahbazi and Thomas Lentz. Anthony Welch, Jennifer Scarce, G. A. Pugachenkova, Soucek, and Robinson have also written general entries on art in Iran in the Islamic period. Rather than treat each entry individually, this review will assess the contribution of each author, characterizing his or her approach and noting some but not all of the entries on painters and calligraphers and their work. Additionally, this review will consider James Allan's article on ARMOR, May Beattie's on the ARDABIL CARPET, Dorothy Thompson's on silk (ABRĪŠAM), and 34 articles on CARPETS and CLOTHING.Taken as a whole, the 34 entries by Priscilla Soucek validate her reputation as an extremely rigorous scholar of Iranian painting and calligraphy. Professor Soucek's entries raise our hopes that she will eventually publish the definitive book on these fields.

Boir Ahmad Mockery: A Research Note

Although contemporary Persian folk poetry does not receive much scientific attention presently, this is not necessarily a sign that it is of little importance among renown arts in Iran. In fact, folk poetry seems to be quite alive and thriving in tents and behind mud walls—still alive, one probably has to caution, in spite of the rapidly changing channels of creativity in Iran. The ephemeral folk songs and poems can, indeed, be found everywhere, in cities as well as in camps and villages. However, it is in the countryside where they often take on special significance as the only truly “popular” art, the only means for many people to be, as we say, artistically expressive.In Boir Ahmad, a tribal area in the Southwest, for example, a student of folk art finds himself in a void, after his initial rapture over spectacular tribal rugs has calmed. The Boir Ahmadi do not paint, do not draw, do not carve, do not play musical instruments, do not mold pots, do not embellish their tools, and rarely dance.

William Watson (ed.): The art of Iran and Anatolia from the 11th to the 13th century A.d. (Colloquies on Art and Archaeology in Asia, No. 4.) [vii], 155 pp., 40 plates + 1 p. addendum. [London]: Percival David Foundation of Chinese Art, School of Oriental and African Studies, University of London, [1974]. £3.50.

William Watson (ed.): The art of Iran and Anatolia from the 11th to the 13th century A.d. (Colloquies on Art and Archaeology in Asia, No. 4.) [vii], 155 pp., 40 plates + 1 p. addendum. [London]: Percival David Foundation of Chinese Art, School of Oriental and African Studies, University of London, [1974]. £3.50. - Volume 39 Issue 1

André Godard: The art of Iran. Translated from the French by Michael Heron, edited by Michael Rogers. 358 pp., 166 plates. London: George Allen and Unwin Ltd., 1965. 84s.

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The Art of Iran

The Art of Iran

The Art of Iran

The Art of Iran