@article { author = {Mirshamsi, Fereshteh and Mirzaabolghasemi, Mohamad Sadegh and Zarekhalili, Fatholah}, title = {Diversity of Plant Motives in Wall-Paintings at the Time of the Zand in Shiraz}, journal = {Journal of Fine Arts: Visual Arts}, volume = {22}, number = {1}, pages = {43-52}, year = {2017}, publisher = {University of Tehran College of Fine Arts}, issn = {2228-6039}, eissn = {2538-5178}, doi = {10.22059/jfava.2017.61009}, abstract = {Karim Khan can be considered as the only authoritative king in the whole Zand era, thus the cultural and artistic foundations of this vary era is related to his government and him. Seemingly, he was uneducated; however, he was interested in art, literature, and science. Therefore, his court was the concourse of scientists, scholars, and artists. Moreover, he has supported so many architectural and urban projects, especially in Shiraz where is the capital of Zand era. One of the most common ways of architectural ornaments in constructions of Zand era in Shiraz was wall painting. These paintings are remarkable in visual properties and some practical styles. Apparently studding the method of drawing and the diversity of decorative designs may be useful to recognize the paintings of this era. Apparently, vast part of the internal space of remarkable Zand buildings in Shiraz were decorated by paintings.  Since the whole space of the wall paintings of Zand era is covered by plant motives, the subject of this paper is limited to review and qualitative analysis. For this purpose, first the original works of wall paintings in Arg, Haft-tanan and Pars museum identified, then diversity of plant motives classified and reviewed under the topics of cartouche, ornament floral, bird and flower, arabesque and foliage motives. It seems that analyzing design style and diversity of decorative motives in Zand wall painting can be effective in estimating of painting changes of this era. Generally decorative motives of wall paintings of Zand era consist of human paintings, plant designs, animal motives and geometric patterns. Since in plant designs the quantity and variety is remarkable, the subject of this research is based on the recognition of the diversity of plant designs that exist in wall paintings of Zand era in Shiraz. The goal of this research is classifying these motives in addition to qualitative analysis of them, thus to achieve this goal the wall paintings available from the Zand in Arg Karim Khan, Haft-tanan and Pars museum is studied by detail. This paper is a descriptive analysis research based on field observations and literature review. In this research, for the first time, the plant motives that are used on wall paintings of Zand era is studied and classified by detail. This study demonstrates that in Zand era’s wall paintings variety of plant motives are used, properly. Although architectural space in different rooms and buildings is almost the same, the motives that are located in these spaces from room to room is different. In these designs elegance of drawing is remarkable, thus this is comparable to the small decorative paintings in this very era. The use of regular and balanced paneling increased the quality of designing in these paintings. Also, inorder to drwing all cartouche, arabesque and foliage motives and most of the ornament floral paterrns, symmetry is observed. In addition, relevancy of patterns in planes of a room or porch is preserved, properly. This collection points indicates the decorative value of wall painting at the Time of the Zand, more than ever.  }, keywords = {Architectural Decoration,Wall-Painting,plant motives,Zand era,Shiraz}, title_fa = {تنوع نقوش گیاهی در نقاشی دیواری عصر زندیه در شیراز}, abstract_fa = {استفاده از نقاشی دیواری یکی از شیوه‌های متداول تزیینات معماری در بناهای دورۀ زندیه در شیراز بوده است. از آنجا که فضای غالب دیوارنگاره‌های دورۀ زندیه با نقوش گیاهی پوشیده است، موضوع این مقاله نیز به بررسی و تحلیل کیفی این نقوش محدود شده است. بدین منظور، ابتدا آثار اصیل نقاشی دیواری در ارگ کریم‌خان، تکیۀ هفت‌تنان و عمارت کلاه‌فرنگی باغ نظر شناسایی و سپس تنوع نقوش گیاهی موجود در آنها زیر عناوین ترنج، گل و بوته‌، گل و پرنده و اسلیمی و ختایی طبقه‌بندی و بررسی شده است. این پژوهش به شیوۀ توصیفی‌تحلیلی و بر مبنای مشاهدات میدانی و مطالعات کتابخانه‌ای نوشته شده است. همچنین نشان می‌دهد در نقاشی ‌دیواری‌های دورۀ زندیه به‌خوبی از تنوع نقوش گیاهی استفاده شده است. ظرافت طراحی این نقوش بسیار چشمگیر است و از این نظر، با نمونه‌های نقاشی تزیینی در ابعاد کوچک در همین دوره قابل مقایسه خواهد بود. استفاده از قاب‌بندی منظم و متوازن نیز بر کیفیت طراحی این نقاشی‌ها افزوده است. همچنین تقارن، تقریباً در طراحی تمامی ترنج‌ها و اسلیمی و ختایی‌ها و غالب گل ‌و بوته‌ها رعایت شده است و ارتباط نقش‌ها در سطوح اتاق یا ایوان، به‌خوبی محفوظ مانده است. مجموعۀ این نکات، بیش‌ازپیش بر ارزش تزیینی و آرایشی نقاشی دیواری در دورۀ زندیه دلالت می‌کند.  }, keywords_fa = {تزیینات معماری,دورۀ زندیه,شیراز,نقاشی دیواری,نقوش گیاهی}, url = {https://jfava.ut.ac.ir/article_61009.html}, eprint = {https://jfava.ut.ac.ir/article_61009_dc816397096baa3f5aabd481cc56f776.pdf} }