1- Ph.D. Candidate in Archeology, Faculty of Social Sciences, University of Mohaghegh Ardabili, Ardabil.
2- Associate Professor, Faculty of Social Sciences, University of Mohaghegh Ardabili, Ardabil. ,habibshahbazi35@gmail.com
2- Associate Professor, Faculty of Social Sciences, University of Mohaghegh Ardabili, Ardabil. ,
Abstract: (27 Views)
The Gereft-o-Gir motifs in the tile art of the Islamic era reflect the rich mystical, cultural, and social content of that era. Studying the nature of the contrasts in the Gereft-o-Gir motifs, while pointing out the characteristic beliefs of each historical period, in a way reveals the differences in the deep beliefs of its creators. The present study, while categorizing the motifs of Gereft-o-Gir, examines the differences or similarities among the types of Gereft-o-Gir motifs in the art of tiling of the prominent buildings of the capital cities in the Safavid (Isfahan) and Qajar (Tehran) periods, in the form of a comparative study. Therefore, based on documents and manuscripts and field surveys by researchers, the statistical population of the study included the Golestan Palace and the Moghadam Museum in Tehran (Qajar period) and the Hasht Behesht palace, Chehel Sotoun palace, Ali Qapu mansion and Maryam Moggaddas church in Isfahan (Safavid period). Therefore, first a list of motifs found in these buildings was prepared and the motifs were categorized based on their content. Then, using a descriptive-analytical method, while analyzing the motifs, a comparative study was conducted on them in different Safavid and Qajar periods. The results indicated that the variety of animal motifs and the use of mythical and composite animal motifs (such as the kylin), abstract and imaginary, and greater attention to spiritual and mystical content were common in the Safavid period; however, in the Qajar period, the less variety of animal motifs, more realistic and natural motifs, and the use of fictional and epic concepts with priority given to the lion motif in all the motifs were more common. Also, in the Qajar period motifs, the range of colors was wider than in the Safavid period, and warm dominant colors such as red, brick, orange, yellow, and brown were used more in the motifs; while in the Safavid period, cold colors such as blue, turquoise, indigo, and green were used more in the motifs.
Article number: 11
Type of Study: Research |
Subject:
Architecture and ...
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