Araştırma Makalesi
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Yıl 2022, Cilt: 35 Sayı: 3, 776 - 791, 01.09.2022
https://doi.org/10.35378/gujs.730885

Öz

Kaynakça

  • [1] Yazdani, M., Safdari, M., Tarakh. M. R., “The place of Islamic teachings in Safavid architectural decorations”, The Ninth Symposium on Advances in Science and Technology, Mashhad city (Iran), 1-13, (2014).
  • [2] Sadeghinia, S., Poozesh, S., “An Interpretive and Symbolic Study of the Role of the Peacock in Iranian Art”, Journal of Dramatic Literature and Visual Arts, 1(2): 53-62, (2015).
  • [3] Rahimi, F., “Symbolic Interpretation of Peacock and Simurgh Patterns in Isfahan Buildings of the Safavid Era”, Second National Conference on Urban Planning, Architecture, Civil Engineering, Environment, Lorestan, Payashahr Engineers Group (Iran), 1-11, (2017).
  • [4] Saremi Nia, D., “A Look at the History of Architecture and Wall Paintings (Pirnia House in Nain City)”, Art Month Book Monthly, 97: 60-65, (2006).
  • [5] Rajabi Asl, M., “Structural adaptation and analysis of the designs and architectural arrays of the shrines of Sheikh Amin al-Din and Sheikh Safi al-Din in Ardabil”, Master Thesis in Handicrafts, Traditional Arts Research Orientation. Faculty of Art, Soura Honar University. Iran, (2016).
  • [6] Kang, K., “The Peacock”, Symbols and Sandplay Therapy, 4(1): 35-43, (2013).
  • [7] Khazaei, M., “Interpretation of symbolic motifs of peacock and Simurgh in Safavid era buildings”, Journal of Visual Arts, 26: 24-27, (2017).
  • [8] Kaur, R., “Peacock Motif in Phulkari: A Comprehensive Analysis”, History Reviews of New Books, 242-253, (2016).
  • [9] Rahmani, F., Hesami, V., “Study of Simurgh's Role in Iranian Art. The Third National Conference on Iranian Archeology, Tehran, 1169-1181, (2017).
  • [10] Hosseini, S. H., Qaraati, E., Pournadari. H., “Artistic effects in tiling decorations of Khan Shiraz School”, Journal of Fine Arts - Visual Arts, 23(3): 53-64, (2018).
  • [11] Jafarzadeh, B., “Investigating the relationship between Sheikh Safi's collection of murals and Quranic themes”, Master Thesis in Painting, Faculty of Arts, Shahed University, Iran, (2017).
  • [12] Zia Sheikh, S., “Persian Allegory of Chinoiserie Motifs-Dragon and Phoenix or Simurgh”, International Journal of Multidisciplinary and Current Research, 5: 939-949, (2017).
  • [13] Dastgheib, N., Zafarmand, S.J., “Comparative study of bird motifs in Iranian pottery of the Abbasid period and Chinese pottery (related to the 9th century AD)”, Journal of Negareh, 38: 107-117, (2016).
  • [14] Davazdah Emami, M., Zakariaee, I., “The symbol of the Peacock and its media role in Shiite architecture with emphasis on the mosques of the Safavid era of Isfahan”, International Congress of Culture and Religious Thought, Qom city (Iran): Cultural Engineering Leadership Center of Bushehr Public Culture Council, 1-19, (2014).
  • [15] Alipour Nakhi, A., Karami, F., “Using Decorations in Architecture of Religious Constructions, Safavid Era, Isfahan (Divine Reflection or Artistic View)”, The Social Sciences, 11: 6604-6616, (2016).
  • [16] Khajegir, A., Afroogh, M., Fahim, A., “The Art of Islamic Architecture during the Safavid Period and the Introduction of the Teachings of Islam”, Journal of Fine Arts, 1(3): 37-42, (2018).
  • [17] Sefatgol, M., “Rethinking the Safavid Iran (907-1148/1501-1736): cultural and political identity of Iranian society during the Safavid period”, Journal of Asian and African Studies, 72: 5-16, (2006).
  • [18] Jamaati-e-Somarin, B., Jamaati-e-Somarin, R., “Tomb of Sheikh Sfyaldyn Ardabil, Iran Eleventh World Heritage”, Australian Journal of Basic and Applied Sciences, 5(8): 320-330, (2011).
  • [19] Savory, R., “Iran under the Safavids 1st Edition. Cambridge University Press“, 1st edition, United Kingdom, 28, (2007).
  • [20] Shahbazi Shiran, H., Mammadova, I., “Archaeology, Art and Architecture "Chini Khaneh" and "Haram Khana”, Journal of Multidisciplinary Engineering Science and Technology (JMEST), 1(5): 126-134, (2014).
  • [21] Esmi, R., Shahbazi Shiran, H., “Heritage Tourism Boom: Tourists’ Tendency to Revisit Sheikh Safi Al-Din Ardabili Collection”, Journal of Organizational Behavior Research, 4(2): 1-14, (2019).
  • [22] Yosefi, H., Alizadeh, S., Tavousi, M., “Reconsidering the Architecture of Shaikh Safi al-Din Ardabili's Shrine: New Findings in Archeological Excavations at Jannat Sara Site”, Humanities, 20(1): 49-67, (2013).
  • [23] Raees Zadeh, S., “Symbolic values in the designs of Sheikh Safi's collection”, Master Thesis in Art Research, Faculty of Art and Architecture, Islamic Azad University, Central Tehran Branch, Iran, (2010).
  • [24] Dastgheib, N., Zafarmand, S.J., “Comparative study of bird motifs in Iranian pottery of the Abbasid period and Chinese pottery (related to the 9th century AD)”, Journal of Negareh, 38: 107-117, (2016).
  • [25] Alemi, M., “Safavid Royal Gardens and Their Urban Relationships, A Survey of Persian Art, from Prehistoric Times to the Present, Islamic Period: From the End of the Sasanian Empire to the Present”, Costa Mesa, Calif. Mazda Publishers, (2005).
  • [26] Pirnia, M., “Introduction to Islamic Architecture of Iran”, Tehran: Soroush Danesh Publications, (2005).
  • [27] Blake, S. P., “Half the world: the social architecture of Safavid Isfahan”, 1590-1722, Costa Mesa, Calif., Mazda Pub, (1999).
  • [28] Babaie, S., “Isfahan and its palaces: statecraft, Shi'ism and the architecture of conviviality in early modern Iran”, Edinburgh, Edinburgh University Press, (2008).
  • [29] Dehmashgi, J., Janzadeh, J., “Art Effects in Isfahan”, Tehran: Janzadeh Publications. Iran, (1987).
  • [30] Ghasemi, S., “A comparative study was carried out and the paradise of Hasht Behesht Palace was paved with Safavid carpets (Case study: carpets of the Metropolitan Museum of Art)”, Master Thesis in Islamic Archeology, University of Sistan and Baluchestan, Iran, (2015).
  • [31] Aghadavoudi, M., Zakariaee Kermani, I., Attari, A., “The typology of the inscriptions of the mosque-school of Chahār Bāgh in Isfahan with emphasis on structural features”, Journal of Art Research, 8(15): 71-85, (2018).
  • [32] Seyedin Nia, M., “Deciphering signs in architecture and decorations related to Imam Mosque of Isfahan”, Master Thesis in Production Orientation, Tehran: Faculty of Radio and Television of the Islamic Republic of Iran, (2008).
  • [33] Khajeh Ahmad Atari, A., Aghadawoodi, M. Taghvinejad, B., “Implementation and analysis of the architectural structure and decorations of the two schools of Madrasa - Chahār Bāgh and Aligholi Agha”, Iranology Studies, 8 (1): 17-36, (2018).
  • [34] Keshavarzi, M. T., “Schools of Isfahan in the Safavid period”, The study of the history and civilization of Iran and Islam, 1(2): 65-82, (2016).
  • [35] Godar, A., “Works of Iran, translated by Abolhassan Sarvghd Moghaddam”, Volume 4, Second Edition, Mashhad: Astan Quds Razavi Printing and Publishing Institute, Iran, (1992).
  • [36] Makkinijad, M., “History of Iranian Art in the Islamic Period: Architectural Decorations”, First Edition, Tehran: Samat Publications, (2008).
  • [37] Shayesteh Far, M., Gol Moghanizadeh Asl. M., “Inscriptions on the exterior of the tomb of Sheikh-Safi al-Din Ardabili”, Journal of Social Sciences and Humanities, Shiraz University, 19 (1): 83-103, (2002).
  • [38] Fallah Azizi, A., Shokrpour, S., “Comparative study of seven-color tiles of Hasht Behesht Palace in Isfahan with seven-color tiles of Ibrahim Khan Zahir al-Dawlah Bath in Kerman”, Iranian Journal of Archeology, 6(2): 76-95, (2016).

Comparative Study of Symbolic Motifs of Peacock and Simurgh in Selected Historical Monuments of the Safavid Period in Ardabil and Isfahan Cities (Iran)

Yıl 2022, Cilt: 35 Sayı: 3, 776 - 791, 01.09.2022
https://doi.org/10.35378/gujs.730885

Öz

The symbolic motifs of birds in historical monuments are an embodiment of religious concepts and ancient myths and express the rich mystical content, human aspirations and desires through its historical period. Therefore, this study seeks to examine the commonalities or differences between the location, number and interpretations of bird motifs (Simurgh and Peacock) at the beginning and the end of the Safavid dynasty, in selected monuments of the cities of Ardabil (Sheikh Safi al-Din Ardabili’s Khānegāh and the tomb of Sheikh Amin al-Din Jabrail) and Isfahan (Shah Mosque, Hasht Behesht Palace, Chahār Bāgh school and Emamzadeh Haroun-e-Velayat). In this study, field method and content and historical analysis of information sources and documents were used. The analysis showed that most of the Peacock and Simurgh motifs are found in the monuments of Ardabil, in the interior and exterior spaces, and in the selected monuments of Isfahan, mostly in the exterior spaces, facaded and entrance gates. The Peacock bird motifs in the monuments of Ardabil city, probably refers more to deep mysticism, perishing in God, spirituality and inner purity, but in the monuments of Isfahan city, the Peacock motifs often serves as a gatekeeper and guiding people toward heaven and repelling the devil. Also, Simurgh's motifs in the historical monuments of Ardabil city seem to be somewhat reminiscent of unity in plurality, a symbol of the essence of transcendence, perfect man and divinity; However, in the historical monuments of Isfahan, it often refers to the conflicting concepts of the human soul, which includes Ahura Mazda and Ahriman, and indicates man's attempt to overcome his own soul.

Kaynakça

  • [1] Yazdani, M., Safdari, M., Tarakh. M. R., “The place of Islamic teachings in Safavid architectural decorations”, The Ninth Symposium on Advances in Science and Technology, Mashhad city (Iran), 1-13, (2014).
  • [2] Sadeghinia, S., Poozesh, S., “An Interpretive and Symbolic Study of the Role of the Peacock in Iranian Art”, Journal of Dramatic Literature and Visual Arts, 1(2): 53-62, (2015).
  • [3] Rahimi, F., “Symbolic Interpretation of Peacock and Simurgh Patterns in Isfahan Buildings of the Safavid Era”, Second National Conference on Urban Planning, Architecture, Civil Engineering, Environment, Lorestan, Payashahr Engineers Group (Iran), 1-11, (2017).
  • [4] Saremi Nia, D., “A Look at the History of Architecture and Wall Paintings (Pirnia House in Nain City)”, Art Month Book Monthly, 97: 60-65, (2006).
  • [5] Rajabi Asl, M., “Structural adaptation and analysis of the designs and architectural arrays of the shrines of Sheikh Amin al-Din and Sheikh Safi al-Din in Ardabil”, Master Thesis in Handicrafts, Traditional Arts Research Orientation. Faculty of Art, Soura Honar University. Iran, (2016).
  • [6] Kang, K., “The Peacock”, Symbols and Sandplay Therapy, 4(1): 35-43, (2013).
  • [7] Khazaei, M., “Interpretation of symbolic motifs of peacock and Simurgh in Safavid era buildings”, Journal of Visual Arts, 26: 24-27, (2017).
  • [8] Kaur, R., “Peacock Motif in Phulkari: A Comprehensive Analysis”, History Reviews of New Books, 242-253, (2016).
  • [9] Rahmani, F., Hesami, V., “Study of Simurgh's Role in Iranian Art. The Third National Conference on Iranian Archeology, Tehran, 1169-1181, (2017).
  • [10] Hosseini, S. H., Qaraati, E., Pournadari. H., “Artistic effects in tiling decorations of Khan Shiraz School”, Journal of Fine Arts - Visual Arts, 23(3): 53-64, (2018).
  • [11] Jafarzadeh, B., “Investigating the relationship between Sheikh Safi's collection of murals and Quranic themes”, Master Thesis in Painting, Faculty of Arts, Shahed University, Iran, (2017).
  • [12] Zia Sheikh, S., “Persian Allegory of Chinoiserie Motifs-Dragon and Phoenix or Simurgh”, International Journal of Multidisciplinary and Current Research, 5: 939-949, (2017).
  • [13] Dastgheib, N., Zafarmand, S.J., “Comparative study of bird motifs in Iranian pottery of the Abbasid period and Chinese pottery (related to the 9th century AD)”, Journal of Negareh, 38: 107-117, (2016).
  • [14] Davazdah Emami, M., Zakariaee, I., “The symbol of the Peacock and its media role in Shiite architecture with emphasis on the mosques of the Safavid era of Isfahan”, International Congress of Culture and Religious Thought, Qom city (Iran): Cultural Engineering Leadership Center of Bushehr Public Culture Council, 1-19, (2014).
  • [15] Alipour Nakhi, A., Karami, F., “Using Decorations in Architecture of Religious Constructions, Safavid Era, Isfahan (Divine Reflection or Artistic View)”, The Social Sciences, 11: 6604-6616, (2016).
  • [16] Khajegir, A., Afroogh, M., Fahim, A., “The Art of Islamic Architecture during the Safavid Period and the Introduction of the Teachings of Islam”, Journal of Fine Arts, 1(3): 37-42, (2018).
  • [17] Sefatgol, M., “Rethinking the Safavid Iran (907-1148/1501-1736): cultural and political identity of Iranian society during the Safavid period”, Journal of Asian and African Studies, 72: 5-16, (2006).
  • [18] Jamaati-e-Somarin, B., Jamaati-e-Somarin, R., “Tomb of Sheikh Sfyaldyn Ardabil, Iran Eleventh World Heritage”, Australian Journal of Basic and Applied Sciences, 5(8): 320-330, (2011).
  • [19] Savory, R., “Iran under the Safavids 1st Edition. Cambridge University Press“, 1st edition, United Kingdom, 28, (2007).
  • [20] Shahbazi Shiran, H., Mammadova, I., “Archaeology, Art and Architecture "Chini Khaneh" and "Haram Khana”, Journal of Multidisciplinary Engineering Science and Technology (JMEST), 1(5): 126-134, (2014).
  • [21] Esmi, R., Shahbazi Shiran, H., “Heritage Tourism Boom: Tourists’ Tendency to Revisit Sheikh Safi Al-Din Ardabili Collection”, Journal of Organizational Behavior Research, 4(2): 1-14, (2019).
  • [22] Yosefi, H., Alizadeh, S., Tavousi, M., “Reconsidering the Architecture of Shaikh Safi al-Din Ardabili's Shrine: New Findings in Archeological Excavations at Jannat Sara Site”, Humanities, 20(1): 49-67, (2013).
  • [23] Raees Zadeh, S., “Symbolic values in the designs of Sheikh Safi's collection”, Master Thesis in Art Research, Faculty of Art and Architecture, Islamic Azad University, Central Tehran Branch, Iran, (2010).
  • [24] Dastgheib, N., Zafarmand, S.J., “Comparative study of bird motifs in Iranian pottery of the Abbasid period and Chinese pottery (related to the 9th century AD)”, Journal of Negareh, 38: 107-117, (2016).
  • [25] Alemi, M., “Safavid Royal Gardens and Their Urban Relationships, A Survey of Persian Art, from Prehistoric Times to the Present, Islamic Period: From the End of the Sasanian Empire to the Present”, Costa Mesa, Calif. Mazda Publishers, (2005).
  • [26] Pirnia, M., “Introduction to Islamic Architecture of Iran”, Tehran: Soroush Danesh Publications, (2005).
  • [27] Blake, S. P., “Half the world: the social architecture of Safavid Isfahan”, 1590-1722, Costa Mesa, Calif., Mazda Pub, (1999).
  • [28] Babaie, S., “Isfahan and its palaces: statecraft, Shi'ism and the architecture of conviviality in early modern Iran”, Edinburgh, Edinburgh University Press, (2008).
  • [29] Dehmashgi, J., Janzadeh, J., “Art Effects in Isfahan”, Tehran: Janzadeh Publications. Iran, (1987).
  • [30] Ghasemi, S., “A comparative study was carried out and the paradise of Hasht Behesht Palace was paved with Safavid carpets (Case study: carpets of the Metropolitan Museum of Art)”, Master Thesis in Islamic Archeology, University of Sistan and Baluchestan, Iran, (2015).
  • [31] Aghadavoudi, M., Zakariaee Kermani, I., Attari, A., “The typology of the inscriptions of the mosque-school of Chahār Bāgh in Isfahan with emphasis on structural features”, Journal of Art Research, 8(15): 71-85, (2018).
  • [32] Seyedin Nia, M., “Deciphering signs in architecture and decorations related to Imam Mosque of Isfahan”, Master Thesis in Production Orientation, Tehran: Faculty of Radio and Television of the Islamic Republic of Iran, (2008).
  • [33] Khajeh Ahmad Atari, A., Aghadawoodi, M. Taghvinejad, B., “Implementation and analysis of the architectural structure and decorations of the two schools of Madrasa - Chahār Bāgh and Aligholi Agha”, Iranology Studies, 8 (1): 17-36, (2018).
  • [34] Keshavarzi, M. T., “Schools of Isfahan in the Safavid period”, The study of the history and civilization of Iran and Islam, 1(2): 65-82, (2016).
  • [35] Godar, A., “Works of Iran, translated by Abolhassan Sarvghd Moghaddam”, Volume 4, Second Edition, Mashhad: Astan Quds Razavi Printing and Publishing Institute, Iran, (1992).
  • [36] Makkinijad, M., “History of Iranian Art in the Islamic Period: Architectural Decorations”, First Edition, Tehran: Samat Publications, (2008).
  • [37] Shayesteh Far, M., Gol Moghanizadeh Asl. M., “Inscriptions on the exterior of the tomb of Sheikh-Safi al-Din Ardabili”, Journal of Social Sciences and Humanities, Shiraz University, 19 (1): 83-103, (2002).
  • [38] Fallah Azizi, A., Shokrpour, S., “Comparative study of seven-color tiles of Hasht Behesht Palace in Isfahan with seven-color tiles of Ibrahim Khan Zahir al-Dawlah Bath in Kerman”, Iranian Journal of Archeology, 6(2): 76-95, (2016).
Toplam 38 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Konular Mühendislik
Bölüm Architecture & City and Urban Planning
Yazarlar

Roya Esmi 0000-0001-6395-1266

Habib Shahbazi Shiran 0000-0003-4931-0977

Yayımlanma Tarihi 1 Eylül 2022
Yayımlandığı Sayı Yıl 2022 Cilt: 35 Sayı: 3

Kaynak Göster

APA Esmi, R., & Shahbazi Shiran, H. (2022). Comparative Study of Symbolic Motifs of Peacock and Simurgh in Selected Historical Monuments of the Safavid Period in Ardabil and Isfahan Cities (Iran). Gazi University Journal of Science, 35(3), 776-791. https://doi.org/10.35378/gujs.730885
AMA Esmi R, Shahbazi Shiran H. Comparative Study of Symbolic Motifs of Peacock and Simurgh in Selected Historical Monuments of the Safavid Period in Ardabil and Isfahan Cities (Iran). Gazi University Journal of Science. Eylül 2022;35(3):776-791. doi:10.35378/gujs.730885
Chicago Esmi, Roya, ve Habib Shahbazi Shiran. “Comparative Study of Symbolic Motifs of Peacock and Simurgh in Selected Historical Monuments of the Safavid Period in Ardabil and Isfahan Cities (Iran)”. Gazi University Journal of Science 35, sy. 3 (Eylül 2022): 776-91. https://doi.org/10.35378/gujs.730885.
EndNote Esmi R, Shahbazi Shiran H (01 Eylül 2022) Comparative Study of Symbolic Motifs of Peacock and Simurgh in Selected Historical Monuments of the Safavid Period in Ardabil and Isfahan Cities (Iran). Gazi University Journal of Science 35 3 776–791.
IEEE R. Esmi ve H. Shahbazi Shiran, “Comparative Study of Symbolic Motifs of Peacock and Simurgh in Selected Historical Monuments of the Safavid Period in Ardabil and Isfahan Cities (Iran)”, Gazi University Journal of Science, c. 35, sy. 3, ss. 776–791, 2022, doi: 10.35378/gujs.730885.
ISNAD Esmi, Roya - Shahbazi Shiran, Habib. “Comparative Study of Symbolic Motifs of Peacock and Simurgh in Selected Historical Monuments of the Safavid Period in Ardabil and Isfahan Cities (Iran)”. Gazi University Journal of Science 35/3 (Eylül 2022), 776-791. https://doi.org/10.35378/gujs.730885.
JAMA Esmi R, Shahbazi Shiran H. Comparative Study of Symbolic Motifs of Peacock and Simurgh in Selected Historical Monuments of the Safavid Period in Ardabil and Isfahan Cities (Iran). Gazi University Journal of Science. 2022;35:776–791.
MLA Esmi, Roya ve Habib Shahbazi Shiran. “Comparative Study of Symbolic Motifs of Peacock and Simurgh in Selected Historical Monuments of the Safavid Period in Ardabil and Isfahan Cities (Iran)”. Gazi University Journal of Science, c. 35, sy. 3, 2022, ss. 776-91, doi:10.35378/gujs.730885.
Vancouver Esmi R, Shahbazi Shiran H. Comparative Study of Symbolic Motifs of Peacock and Simurgh in Selected Historical Monuments of the Safavid Period in Ardabil and Isfahan Cities (Iran). Gazi University Journal of Science. 2022;35(3):776-91.