EXAMINING THE ORIGIN OF FLOWERPOT MOTIFS IN THE BUILDINGS OF QAJAR ERA.
T Benisi, F Zarezadeh
Journal PapersInternational Archives of the Photogrammetry, Remote Sensing & Spatial Information Sciences , 2019 May 8, {Pages }
Abstract
In Qajar period, the era of the formation of urban fabric along with a rooted tradition close to the contemporary architectural era of Iran, specific motifs and decorative patterns were formed on the buildings, including flowerpots with scattered flowers that developed on all constructions of this era (the mosques, schools, palaces, and mansions), which were applied with assorted materials especially seven-color tiles.
Journal PapersThe Monthly Scientific Journal of Bagh-E Nazar , Volume 12 , Issue 33, 2015 June 1, {Pages 81-90 }
Abstract
For the first time in the modern cultural bio-world, the British political-cultural elites formed a multidimensional phenomenon of international exhibitions called The Crystal Palac Exhibition which led to new national-international readings. One of these readings was the opportunity for linking arts and politics – between the ability of reproduction of art work and the array and design of political forces. Considering this linkage, the present descriptive-explanatory research which is depending on reliable library, visual, and digital resources attempts to show how the arts were utilized in favor of the political goals of Britain. In order to answer this question appropriately, this research is undoubtedly trying to study the experience
Sacred and ethical symbols are woven into the common culture of the people of a nation. Although there is no exact creator; one can sense the spirit of interaction between the creator and spectators of such traditions. Among these religious customs is the Sorrow Palm (Nakhl-e-Matam), a symbol of melancholy and sadness. The custom stems from the religious event of Ashura where the Sorrow Palm is paraded throughout the city in order to pay tribute to martyrs of Ashura.
In their limited sense, images are a part of visual signs. The communicative value of each visual sign with another is of a particular agreement. Therefore, allegorical signs within an image, which demonstrate style and technique, gain importance. The main purpose of this paper is to clarify the practical allegoric codes of the manuscript of" One Thousand and One Nights" acknowledged as one of the masterpieces of the Qajar era by Sani-al Molk. In this manuscript, the artist endeavors to go beyond the visual appearances and express the truth of human beings and their relationship with their relationship with their surroundings and one another.