University Of Tehran PressJournal of Fine Arts: Visual Arts2228-603930420251222Explicating and Analyzing Ernst Gombrich's Theory of Stylistics and Its Application in Art Historical Narrative and ClassificationExplicating and Analyzing Ernst Gombrich's Theory of Stylistics and Its Application in Art Historical Narrative and Classification71810041910.22059/jfava.2025.385999.667373FANargesSibuyehPhD Candidate in Comparative and Analytical History of Islamic Art, Department of Advanced Art Studies, Faculty of Visual Arts, College of Fine Arts, University of Tehran, Tehran, Iran.HasanBolkhari GhahiProfessor, Department of Advanced Art Studies, Faculty of Visual Arts, College of Fine Arts, University of Tehran, Tehran, Iran.YaghoubAzhandProfessor Emeritus, Department of Advanced Art Studies,
School of Visual Arts, Faculty of Art, Soureh International
University, Tehran, Iran.Journal Article20241126This study investigates and explicates Ernst Gombrich’s stylistic theory and its implications for understanding, narrating, and classifying art history. Style has long been a foundational yet evolving concept in art theory and historiography, transitioning from its original linguistic sense to a multifaceted analytical tool for interpreting artistic production and visual expression. By examining Gombrich’s major theoretical works—including “Style” (1968), <em>Art and Illusion</em> (1960), and <em>The Sense of Order</em> (1979)—the study systematically analyzes the epistemological and methodological principles underlying his view of style formation, transformation, and classification. Employing a descriptive-analytical approach, it focuses on interpreting essential concepts such as schema, perception, the principle of illusion, and the rejection of stylistic determinism. Gombrich proposes that stylistic change emerges not from an inevitable essence or historical fatalism but from a continuous and dialectical process of problem-solving, correction, and innovation that connects artists, viewers, and cultural environments through evolving visual conventions. His approach integrates psychological, technical, and social dimensions, offering a unified analytical structure applicable across different artistic traditions and historical contexts that shape visual meaning and stylistic development. The findings demonstrate three distinct yet interconnected levels of operation within Gombrich’s theory. The conceptual level establishes an interactive framework linking individual creativity and collective artistic experience; the structural level provides systematic procedures for analyzing visual organization, composition, and stylistic patterns; and the practical level applies these insights to the classification and re-narration of art-historical periods, enabling scholars to reinterpret artistic transformations over time with a more fluid and interdisciplinary perspective. By merging these analytical layers, Gombrich’s framework transcends the linear progression models common in earlier art-historical schools, such as the Vienna School, and instead proposes a dynamic and multidimensional model based on contingency, multiplicity, and the continuous interplay between tradition and innovation. This redefinition allows a richer understanding of stylistic evolution as both a form of cultural communication and a process of cognitive adaptation shaped by perception, context, and interpretation, revealing how visual systems evolve through human experience and education. Applying Gombrich’s theory beyond its Western intellectual framework also reveals its potential value for comparative and cross-cultural art-historical research, including case studies in Iranian and Islamic art. The adaptability of his ideas to traditional and non-Western artistic systems requires acknowledging cultural specificities and reinterpreting his conceptual vocabulary within localized epistemologies and contextual frameworks. As this research suggests, Gombrich’s theoretical model can serve as a bridge between Western and Eastern art scholarship, facilitating dialogue in comparative aesthetics, stylistic analysis, and visual historiography. His emphasis on the mechanism of “schema and correction” demonstrates how artists continually negotiate inherited conventions with individual creativity, illuminating the ongoing tension between continuity and innovation in the pursuit of artistic mastery and cultural identity. Such insights provide fertile ground for reassessing traditional Iranian artworks, where adherence to established aesthetic canons must coexist with creativity, renewal, symbolic expression, and experimentation across time. Ultimately, this study underscores that Gombrich’s integrative and interdisciplinary vision of stylistic analysis remains a tool for expanding the theoretical, methodological, and comparative scope of contemporary art-historical scholarship.This study investigates and explicates Ernst Gombrich’s stylistic theory and its implications for understanding, narrating, and classifying art history. Style has long been a foundational yet evolving concept in art theory and historiography, transitioning from its original linguistic sense to a multifaceted analytical tool for interpreting artistic production and visual expression. By examining Gombrich’s major theoretical works—including “Style” (1968), <em>Art and Illusion</em> (1960), and <em>The Sense of Order</em> (1979)—the study systematically analyzes the epistemological and methodological principles underlying his view of style formation, transformation, and classification. Employing a descriptive-analytical approach, it focuses on interpreting essential concepts such as schema, perception, the principle of illusion, and the rejection of stylistic determinism. Gombrich proposes that stylistic change emerges not from an inevitable essence or historical fatalism but from a continuous and dialectical process of problem-solving, correction, and innovation that connects artists, viewers, and cultural environments through evolving visual conventions. His approach integrates psychological, technical, and social dimensions, offering a unified analytical structure applicable across different artistic traditions and historical contexts that shape visual meaning and stylistic development. The findings demonstrate three distinct yet interconnected levels of operation within Gombrich’s theory. The conceptual level establishes an interactive framework linking individual creativity and collective artistic experience; the structural level provides systematic procedures for analyzing visual organization, composition, and stylistic patterns; and the practical level applies these insights to the classification and re-narration of art-historical periods, enabling scholars to reinterpret artistic transformations over time with a more fluid and interdisciplinary perspective. By merging these analytical layers, Gombrich’s framework transcends the linear progression models common in earlier art-historical schools, such as the Vienna School, and instead proposes a dynamic and multidimensional model based on contingency, multiplicity, and the continuous interplay between tradition and innovation. This redefinition allows a richer understanding of stylistic evolution as both a form of cultural communication and a process of cognitive adaptation shaped by perception, context, and interpretation, revealing how visual systems evolve through human experience and education. Applying Gombrich’s theory beyond its Western intellectual framework also reveals its potential value for comparative and cross-cultural art-historical research, including case studies in Iranian and Islamic art. The adaptability of his ideas to traditional and non-Western artistic systems requires acknowledging cultural specificities and reinterpreting his conceptual vocabulary within localized epistemologies and contextual frameworks. As this research suggests, Gombrich’s theoretical model can serve as a bridge between Western and Eastern art scholarship, facilitating dialogue in comparative aesthetics, stylistic analysis, and visual historiography. His emphasis on the mechanism of “schema and correction” demonstrates how artists continually negotiate inherited conventions with individual creativity, illuminating the ongoing tension between continuity and innovation in the pursuit of artistic mastery and cultural identity. Such insights provide fertile ground for reassessing traditional Iranian artworks, where adherence to established aesthetic canons must coexist with creativity, renewal, symbolic expression, and experimentation across time. Ultimately, this study underscores that Gombrich’s integrative and interdisciplinary vision of stylistic analysis remains a tool for expanding the theoretical, methodological, and comparative scope of contemporary art-historical scholarship.https://jfava.ut.ac.ir/article_100419_a5aa7c2ed6c7b68906775a225ec8efe7.pdfUniversity Of Tehran PressJournal of Fine Arts: Visual Arts2228-603930420251222The Realization of the Binary Opposition of Cosmos/Chaos in the Visual Properties of the Iran Newspaper during the Nasserid PeriodThe Realization of the Binary Opposition of Cosmos/Chaos in the Visual Properties of the Iran Newspaper during the Nasserid Period193610147710.22059/jfava.2025.387391.667393FAHamidrezaChatrbahrPh.D. Candidate of Art Research, Faculty of Higher Art Research and Entrepreneurship, Art University of Isfahan. Isfahan, Iran.FarnazMasoumzadeh JouzdaniAssistant Prof, Graphic Design Department, Faculty of Visual Arts, Art University of Isfahan, Isfahan, Iran.AliSalmaniAssociate Prof, Department of Philosophy of Art, Faculty of Art and Architecture, Bu-Ali Sina University, Hamadan.Journal Article20241224 <br />Cosmos and Chaos are among the most significant dialectical binary oppositions in Lotman's semiotic theory, revealing a systematic relationship between signs and either culture or non-culture. The historical background of this opposition traces back to ancient Greek thought, where it was believed that the gods transformed chaos into order and beauty. Plato attributed this concept to the Demiurge, who, through contemplation of the realm of ideals, symbolically organized the chaotic material world. In Lotman's Cultural Semiotics, the concept of order elucidates the established characteristics of culture as collective memory raising awareness, while chaos emerges when the system experiences discontinuity and fragmentation. This state may be rectified through a process where structured memory allows the elements that caused chaos to be integrated and conceptually understood within the system. It therefore enables the gradual emergence of new concepts within culture and society. The publication of the first Persian newspapers during the Qajar period, resulting from intercultural interactions, initiated a new phase of cultural transformations in Iran. The encounter with an unfamiliar cultural environment, represented in newspapers, is recognized as a major source of chaos within the Iranian Semiosphere. Consequently, it is supposed that the visual characteristics of newspapers from this era, regarded as a semiotic space, were influenced by this chaos, reflecting efforts to establish a new visual representation that could meet the practical demands of publication. However, with the political and social changes during the later years of Nasir al-Din Shah's reign, the publication of newspapers also transformed, facing new challenges and forms of "chaos". The launch of the "Iran" newspaper marked the beginning of a new era of visual transformations in newspapers of this time. This research investigates how the signs of cultural cosmos and chaos emerged in the semiotic sphere of the press during Nasir al-Din Shah's reign, analyzing the visual characteristics of the "Iran" newspaper based on this binary opposition. To this end, the study presents an analytical model for understanding the dynamics of the binary opposition of cosmos/chaos within a semiotic sphere, elucidating the visual characteristics of this newspaper while addressing two primary questions: First, how does the interaction between cosmos and chaos within a semiotic sphere facilitate the comprehensibility of cultural elements? Second, how is this binary opposition reflected in the visual characteristics of the "Iran" newspaper? This paper is exploratory in nature and employs a descriptive-analytical methodology, utilizing Lotman’s cultural semiotics approach. Data were gathered from documentary sources, and research samples were selected purposefully from all the issues of the "Iran" newspaper. The findings indicate that the visual characteristics of the "Iran" newspaper were established through a historical process resulting from the interplay between cosmos and chaos in the broader semiotic sphere of Iran. In this evolution, certain prior norms were prioritized over others, and a new standard was constructed by confronting a cultural other in the publication of the “Iran” newspaper. Consequently, it achieved a hybrid identity formed through engagement with the cultural other and amalgamation with self-referential cultural patterns. <br />Cosmos and Chaos are among the most significant dialectical binary oppositions in Lotman's semiotic theory, revealing a systematic relationship between signs and either culture or non-culture. The historical background of this opposition traces back to ancient Greek thought, where it was believed that the gods transformed chaos into order and beauty. Plato attributed this concept to the Demiurge, who, through contemplation of the realm of ideals, symbolically organized the chaotic material world. In Lotman's Cultural Semiotics, the concept of order elucidates the established characteristics of culture as collective memory raising awareness, while chaos emerges when the system experiences discontinuity and fragmentation. This state may be rectified through a process where structured memory allows the elements that caused chaos to be integrated and conceptually understood within the system. It therefore enables the gradual emergence of new concepts within culture and society. The publication of the first Persian newspapers during the Qajar period, resulting from intercultural interactions, initiated a new phase of cultural transformations in Iran. The encounter with an unfamiliar cultural environment, represented in newspapers, is recognized as a major source of chaos within the Iranian Semiosphere. Consequently, it is supposed that the visual characteristics of newspapers from this era, regarded as a semiotic space, were influenced by this chaos, reflecting efforts to establish a new visual representation that could meet the practical demands of publication. However, with the political and social changes during the later years of Nasir al-Din Shah's reign, the publication of newspapers also transformed, facing new challenges and forms of "chaos". The launch of the "Iran" newspaper marked the beginning of a new era of visual transformations in newspapers of this time. This research investigates how the signs of cultural cosmos and chaos emerged in the semiotic sphere of the press during Nasir al-Din Shah's reign, analyzing the visual characteristics of the "Iran" newspaper based on this binary opposition. To this end, the study presents an analytical model for understanding the dynamics of the binary opposition of cosmos/chaos within a semiotic sphere, elucidating the visual characteristics of this newspaper while addressing two primary questions: First, how does the interaction between cosmos and chaos within a semiotic sphere facilitate the comprehensibility of cultural elements? Second, how is this binary opposition reflected in the visual characteristics of the "Iran" newspaper? This paper is exploratory in nature and employs a descriptive-analytical methodology, utilizing Lotman’s cultural semiotics approach. Data were gathered from documentary sources, and research samples were selected purposefully from all the issues of the "Iran" newspaper. The findings indicate that the visual characteristics of the "Iran" newspaper were established through a historical process resulting from the interplay between cosmos and chaos in the broader semiotic sphere of Iran. In this evolution, certain prior norms were prioritized over others, and a new standard was constructed by confronting a cultural other in the publication of the “Iran” newspaper. Consequently, it achieved a hybrid identity formed through engagement with the cultural other and amalgamation with self-referential cultural patterns.https://jfava.ut.ac.ir/article_101477_f69443f043841b8101d337ce1bf2c1b6.pdfUniversity Of Tehran PressJournal of Fine Arts: Visual Arts2228-603930420251222Human Figure Representation in the Works of Contemporary Afghan PaintersHuman Figure Representation in the Works of Contemporary Afghan Painters375010171210.22059/jfava.2025.385005.667367FASaid NavidulhaqFazliPhD of Analytical and Comparative History of Islamic Art, Department of Advanced Art Studies, School of Visual Arts, Fine Arts College of Fine Arts, University of Tehran, Tehran, Iran.MostafaGoudarziProfessor, Department of Advanced Art Studies School of Visual Arts, Fine Arts, College of Fine Arts, University of Tehran, Tehran, Iran.Journal Article20241113<span style="font-size: 13.0pt;">This study investigates the representation of the human figure in the works of contemporary Afghan painters, tracing its evolution from early realism to modern and neo-traditional approaches. Contemporary Afghan painting, particularly in the field of figurative representation, experienced a revival after a prolonged period of stagnation through the pioneering efforts of artists such as Ghulam Mohammad Maimangi and Abdul Ghafoor Breshna. While Maimangi primarily concentrated on landscape painting and romanticized depictions of native scenery, Breshna introduced a realist sensibility by portraying ordinary people, thus paving a new path for figurative art in Afghanistan. His committed dedication to realism, psychological depth, and social relevance inspired a generation of artists who sought to balance aesthetic innovation with national and cultural identity. Following his influence, artists including Ghausuddin Naqqash, Karim Shah Khan, Khair Mohammad Yari, and Khair Mohammad Ataei developed figurative representation into an autonomous and expressive field. Their works established the human figure as a central narrative and emotional vehicle in Afghan visual art, gradually separating it from traditional ornamental or purely decorative conventions of earlier schools. These significant developments gave figurative art an independent identity, deeply reflective of both contemporary life and collective memory. At the same time, another notable group of artists such as Homayoun Etemadi, Mohammad Saeed Mashal, and Ghulam Jelani Rouhani sought to revive the classical aesthetics of the Herat School of miniature painting. Their efforts were characterized by an emphasis on delicacy, symbolism, and the metaphysical dimensions of form, reconnecting contemporary creativity with Afghanistan’s rich historical artistic lineage. This neo-traditionalist inclination highlighted continuity within Afghan art while enriching it with renewed spiritual and poetic sensibilities. In contrast, artists like Sayed Moqaddas Negah, Ghulam Mohiuddin Shabnam, and Fatana Baktash Arefi pursued modernist paths shaped by academic training and exposure to international art movements. Experimenting with abstraction and expressionism, they reinterpreted the figure through fragmented forms, dynamic gestures, and socio-political narratives. Their redefinition of form and content introduced modernist harmony, disruption, and cultural critique into Afghan aesthetic discourse. This research further examines how political and social transformations have influenced figurative painting in Afghanistan. The rise and interruption of modernist practices between 1920 and 2000 (1300–1380 SH) mirror the nation’s shifting cultural and ideological landscapes. Wars, regime changes, and displacement profoundly affected artistic production, yet the persistent endurance of human-centered imagery demonstrates the enduring power of figurative art as a complex instrument of reflection, emotion, and identity. Ultimately, the study highlights that figurative painting in Afghanistan transcends simplistic stylistic classification; it embodies resilience, adaptation, and the intricate interplay between tradition and modernity. Through its sustained evolution, this art form continues to provide vital insight into the historical consciousness and creative strength of Afghan artists, contributing significantly to the broader discourse on regional and global modern art. Its rich narrative reveals the complex ways artists negotiate cultural heritage and personal expression, allowing figurative painting to serve as a powerful medium reflecting Afghanistan’s ongoing social transformations as well as its enduring cultural values.</span><span style="font-size: 13.0pt;">This study investigates the representation of the human figure in the works of contemporary Afghan painters, tracing its evolution from early realism to modern and neo-traditional approaches. Contemporary Afghan painting, particularly in the field of figurative representation, experienced a revival after a prolonged period of stagnation through the pioneering efforts of artists such as Ghulam Mohammad Maimangi and Abdul Ghafoor Breshna. While Maimangi primarily concentrated on landscape painting and romanticized depictions of native scenery, Breshna introduced a realist sensibility by portraying ordinary people, thus paving a new path for figurative art in Afghanistan. His committed dedication to realism, psychological depth, and social relevance inspired a generation of artists who sought to balance aesthetic innovation with national and cultural identity. Following his influence, artists including Ghausuddin Naqqash, Karim Shah Khan, Khair Mohammad Yari, and Khair Mohammad Ataei developed figurative representation into an autonomous and expressive field. Their works established the human figure as a central narrative and emotional vehicle in Afghan visual art, gradually separating it from traditional ornamental or purely decorative conventions of earlier schools. These significant developments gave figurative art an independent identity, deeply reflective of both contemporary life and collective memory. At the same time, another notable group of artists such as Homayoun Etemadi, Mohammad Saeed Mashal, and Ghulam Jelani Rouhani sought to revive the classical aesthetics of the Herat School of miniature painting. Their efforts were characterized by an emphasis on delicacy, symbolism, and the metaphysical dimensions of form, reconnecting contemporary creativity with Afghanistan’s rich historical artistic lineage. This neo-traditionalist inclination highlighted continuity within Afghan art while enriching it with renewed spiritual and poetic sensibilities. In contrast, artists like Sayed Moqaddas Negah, Ghulam Mohiuddin Shabnam, and Fatana Baktash Arefi pursued modernist paths shaped by academic training and exposure to international art movements. Experimenting with abstraction and expressionism, they reinterpreted the figure through fragmented forms, dynamic gestures, and socio-political narratives. Their redefinition of form and content introduced modernist harmony, disruption, and cultural critique into Afghan aesthetic discourse. This research further examines how political and social transformations have influenced figurative painting in Afghanistan. The rise and interruption of modernist practices between 1920 and 2000 (1300–1380 SH) mirror the nation’s shifting cultural and ideological landscapes. Wars, regime changes, and displacement profoundly affected artistic production, yet the persistent endurance of human-centered imagery demonstrates the enduring power of figurative art as a complex instrument of reflection, emotion, and identity. Ultimately, the study highlights that figurative painting in Afghanistan transcends simplistic stylistic classification; it embodies resilience, adaptation, and the intricate interplay between tradition and modernity. Through its sustained evolution, this art form continues to provide vital insight into the historical consciousness and creative strength of Afghan artists, contributing significantly to the broader discourse on regional and global modern art. Its rich narrative reveals the complex ways artists negotiate cultural heritage and personal expression, allowing figurative painting to serve as a powerful medium reflecting Afghanistan’s ongoing social transformations as well as its enduring cultural values.</span>https://jfava.ut.ac.ir/article_101712_a1c964316681b0ac586242aaf95f6d28.pdfUniversity Of Tehran PressJournal of Fine Arts: Visual Arts2228-603930420251222Workflow of Dar al-Tiraz and Their Organizational InteractionsWorkflow of Dar al-Tiraz and Their Organizational Interactions516410212910.22059/jfava.2025.389716.667436FASeyed AhmadrezaKhezriProfessor, Department of History and Civilization of Islamic Nations, Faculty of Theology and Islamic Studies, University of Tehran, Tehran, Iran.AzadehMajnooniMSc of History and Civilization of Islamic Nations, Faculty of Theology and Islamic Studies, University of Tehran, Tehran, Iran.Journal Article20250308Tiraz textiles with patterns and writings had wide applications in the organization of Islamic governments. In the early twentieth century, a vast number of high-quality tiraz textiles were discovered, capturing the attention of researchers. These textiles often contained historical and political content. Although scholarly efforts were made to understand tiraz and tiraz workshops, a clear picture of their organizational structure and relationships is still lacking. This research aims to illustrate the status of Dar al-Tiraz as an institution responsible for producing luxurious and inscribed textiles for the court, providing insight into its organizational connections during the Abbasid and Fatimid periods. The research questions include: What was the general position and role of tiraz workshops within the administrative structures of the Abbasid and Fatimid governments? What was the organizational framework governing these workshops for tiraz textile production? How did the functions of tiraz khasah (private tiraz) and tiraz ‘ammah (public tiraz) relate to the ruling court, given the conflicting historical examples? Findings from the study, based on descriptive-analytical methods and library research, indicate that tiraz workshops during the Abbasid and Fatimid periods produced luxurious textiles bearing the names and titles of caliphs, their successors, viziers, and sometimes regional rulers. Consequently, managing the Dar al-Tiraz institution was of great importance and was typically entrusted to individuals close to the caliph. The administration of this institution was under the complex oversight of various governmental departments. The responsibility for managing tiraz production workshops rested with an official called Nazir al-Tiraz or Sahib al-Tiraz. Monitoring the quality of tiraz textiles and ensuring the correct inscription of caliphal titles were key duties assigned to rulers, governors, and tiraz workshop managers. Therefore, the Nazir al-Tiraz was usually chosen from among religious or military officials, though evidence suggests that non-Muslims also sometimes played roles in managing and producing these textiles. High-ranking officials such as the ‘Amil (agent), Musharif (supervisor), and Shahid (witness) assisted the Nazir al-Tiraz in supervising and controlling tiraz workshops, ensuring that exquisite textiles were produced according to well-documented standards and treasury inventories. In the tiraz textile production process, the Dar al-Kiswah prepared a list of requested items, including required funds and gold thread, in cooperation with the Dar al-Darb (mint). This list was then sent to the tiraz workshop, where numerous weavers and artisans worked under court supervision, and at times even under the direct oversight of the caliph, to produce textiles according to Tazkirat al-Tiraz (a production manual). After rigorous qualitative and quantitative inspections in the tiraz workshop, the textiles were sent to the Dar al-Kiswah, where they underwent further review. The Diwan al-Majlis meticulously recorded all expenses related to tiraz textile production throughout this process. Tiraz workshops existed across many regions of the Islamic world, with both tiraz khasah (private tiraz) and tiraz ‘ammah (public tiraz) under court ownership. However, tiraz ‘ammah had more freedom to produce commercial tiraz for generating government revenue. When necessary, and during times of high demand, tiraz ‘ammah assisted tiraz khasah in producing textiles that met court standards.Tiraz textiles with patterns and writings had wide applications in the organization of Islamic governments. In the early twentieth century, a vast number of high-quality tiraz textiles were discovered, capturing the attention of researchers. These textiles often contained historical and political content. Although scholarly efforts were made to understand tiraz and tiraz workshops, a clear picture of their organizational structure and relationships is still lacking. This research aims to illustrate the status of Dar al-Tiraz as an institution responsible for producing luxurious and inscribed textiles for the court, providing insight into its organizational connections during the Abbasid and Fatimid periods. The research questions include: What was the general position and role of tiraz workshops within the administrative structures of the Abbasid and Fatimid governments? What was the organizational framework governing these workshops for tiraz textile production? How did the functions of tiraz khasah (private tiraz) and tiraz ‘ammah (public tiraz) relate to the ruling court, given the conflicting historical examples? Findings from the study, based on descriptive-analytical methods and library research, indicate that tiraz workshops during the Abbasid and Fatimid periods produced luxurious textiles bearing the names and titles of caliphs, their successors, viziers, and sometimes regional rulers. Consequently, managing the Dar al-Tiraz institution was of great importance and was typically entrusted to individuals close to the caliph. The administration of this institution was under the complex oversight of various governmental departments. The responsibility for managing tiraz production workshops rested with an official called Nazir al-Tiraz or Sahib al-Tiraz. Monitoring the quality of tiraz textiles and ensuring the correct inscription of caliphal titles were key duties assigned to rulers, governors, and tiraz workshop managers. Therefore, the Nazir al-Tiraz was usually chosen from among religious or military officials, though evidence suggests that non-Muslims also sometimes played roles in managing and producing these textiles. High-ranking officials such as the ‘Amil (agent), Musharif (supervisor), and Shahid (witness) assisted the Nazir al-Tiraz in supervising and controlling tiraz workshops, ensuring that exquisite textiles were produced according to well-documented standards and treasury inventories. In the tiraz textile production process, the Dar al-Kiswah prepared a list of requested items, including required funds and gold thread, in cooperation with the Dar al-Darb (mint). This list was then sent to the tiraz workshop, where numerous weavers and artisans worked under court supervision, and at times even under the direct oversight of the caliph, to produce textiles according to Tazkirat al-Tiraz (a production manual). After rigorous qualitative and quantitative inspections in the tiraz workshop, the textiles were sent to the Dar al-Kiswah, where they underwent further review. The Diwan al-Majlis meticulously recorded all expenses related to tiraz textile production throughout this process. Tiraz workshops existed across many regions of the Islamic world, with both tiraz khasah (private tiraz) and tiraz ‘ammah (public tiraz) under court ownership. However, tiraz ‘ammah had more freedom to produce commercial tiraz for generating government revenue. When necessary, and during times of high demand, tiraz ‘ammah assisted tiraz khasah in producing textiles that met court standards.https://jfava.ut.ac.ir/article_102129_34d2ea0e97c7b6448c1623602c597294.pdfUniversity Of Tehran PressJournal of Fine Arts: Visual Arts2228-603930420251222Aesthetic Analysis of Native Bavig Dolls of the Lor Regions of IranAesthetic Analysis of Native Bavig Dolls of the Lor Regions of Iran657810231010.22059/jfava.2025.386103.667377FAFaribaGorjianMaster of Painting, Department of Painting Faculty of Artt and Architecture, Yazd University, Yazd , Iran.HamidrezaMohebiAssistant Professor, Department of Painting, Faculty of Art and Architecture, Yazd University, Yazd University, Yazd , Iran.Journal Article20241210<span style="font-size: 13.0pt;">This study explores the aesthetic and cultural significance of the native Bavig dolls from the Lor regions of Iran, highlighting their unique role beyond mere artifacts. The Bavig doll serves as a symbolic and dramatic puppet embodying the cultural identity, folklore, and traditions of the Lor-speaking communities. This work situates the doll within a broader historical and anthropological context. The cultural milieu surrounding these dolls is intricately tied to various historical artifacts and architectural landmarks, such as the Korengun role and Mil Ezhdeh (Dime Mile), as well as the Da and Daughter crypts found in the Rostam-Mamamsani regions. These elements collectively offer substantial cultural and historical evidence attesting to the importance of these dolls as resonant cultural symbols. One focal point of this research is the historically significant Layli doll—a wooden doll characterized by a distinctive cruciform structure that has mysteriously persisted over time. The origins of this doll, including the creator(s), remain largely undocumented, but its continued presence underscores its cultural resilience. Passed down through countless generations, these dolls have transcended their functional use as mere children's toys to become profound emblems of cultural continuity and identity within the Lor community. They encapsulate various cultural components such as dance expressions, traditional female attire, and cherished folk narratives, all essential to the shared heritage of the people of Lor. The study also examines the social spaces connected to these dolls, such as Qala To, a stone wall built collectively by villagers. This site served as a primary playground where children engaged in constructing miniature houses using stones arranged in intricate circular, spiral, or nested patterns. Qala To thus stands as an early example of terrestrial art, reflecting the children’s interaction with and understanding of their natural environment and geographic context. Participation in games involving handmade Layli dolls contributed not only to leisure but also to artisanal skills such as carpet and kilim weaving, fostering early creativity and craftsmanship among the youth. Additionally, the research highlights the gendered dynamics of these cultural practices, noting that girls typically organized such games, involving boys who would join in singing traditional wedding songs. The children’s autonomous organization of play and craft activities related to these dolls signifies an intergenerational transmission of cultural values and artistic knowledge. Importantly, these dolls were widespread and crafted across various Lor regions, illustrating their shared cultural significance throughout the area, and demonstrating a cohesive cultural identity strengthened by these symbolic objects.Through an interdisciplinary approach blending aesthetic analysis, cultural anthropology, and art history, this study illuminates the multifaceted role of the Bavig dolls as potent cultural symbols, bridging historical continuity with contemporary identity expressions in the Lor regions of Iran. The findings underscore the dolls’ importance not only in folk art but also in sustaining cultural memory and community cohesion in changing times. Moreover, the research emphasizes how these dolls embody the resilience of indigenous cultural practices amid modernization and social change, offering valuable insights into the ongoing preservation efforts for intangible cultural heritage in the region.</span><span style="font-size: 13.0pt;">This study explores the aesthetic and cultural significance of the native Bavig dolls from the Lor regions of Iran, highlighting their unique role beyond mere artifacts. The Bavig doll serves as a symbolic and dramatic puppet embodying the cultural identity, folklore, and traditions of the Lor-speaking communities. This work situates the doll within a broader historical and anthropological context. The cultural milieu surrounding these dolls is intricately tied to various historical artifacts and architectural landmarks, such as the Korengun role and Mil Ezhdeh (Dime Mile), as well as the Da and Daughter crypts found in the Rostam-Mamamsani regions. These elements collectively offer substantial cultural and historical evidence attesting to the importance of these dolls as resonant cultural symbols. One focal point of this research is the historically significant Layli doll—a wooden doll characterized by a distinctive cruciform structure that has mysteriously persisted over time. The origins of this doll, including the creator(s), remain largely undocumented, but its continued presence underscores its cultural resilience. Passed down through countless generations, these dolls have transcended their functional use as mere children's toys to become profound emblems of cultural continuity and identity within the Lor community. They encapsulate various cultural components such as dance expressions, traditional female attire, and cherished folk narratives, all essential to the shared heritage of the people of Lor. The study also examines the social spaces connected to these dolls, such as Qala To, a stone wall built collectively by villagers. This site served as a primary playground where children engaged in constructing miniature houses using stones arranged in intricate circular, spiral, or nested patterns. Qala To thus stands as an early example of terrestrial art, reflecting the children’s interaction with and understanding of their natural environment and geographic context. Participation in games involving handmade Layli dolls contributed not only to leisure but also to artisanal skills such as carpet and kilim weaving, fostering early creativity and craftsmanship among the youth. Additionally, the research highlights the gendered dynamics of these cultural practices, noting that girls typically organized such games, involving boys who would join in singing traditional wedding songs. The children’s autonomous organization of play and craft activities related to these dolls signifies an intergenerational transmission of cultural values and artistic knowledge. Importantly, these dolls were widespread and crafted across various Lor regions, illustrating their shared cultural significance throughout the area, and demonstrating a cohesive cultural identity strengthened by these symbolic objects.Through an interdisciplinary approach blending aesthetic analysis, cultural anthropology, and art history, this study illuminates the multifaceted role of the Bavig dolls as potent cultural symbols, bridging historical continuity with contemporary identity expressions in the Lor regions of Iran. The findings underscore the dolls’ importance not only in folk art but also in sustaining cultural memory and community cohesion in changing times. Moreover, the research emphasizes how these dolls embody the resilience of indigenous cultural practices amid modernization and social change, offering valuable insights into the ongoing preservation efforts for intangible cultural heritage in the region.</span>https://jfava.ut.ac.ir/article_102310_081e6c118c5b7c04772103768714d8d5.pdfUniversity Of Tehran PressJournal of Fine Arts: Visual Arts2228-603930420251222The Stylistics of Illumination in Manuscripts Written During the Injuid PeriodThe Stylistics of Illumination in Manuscripts Written During the Injuid Period799410199710.22059/jfava.2025.389324.667414FAPegahEbrahimiMaster of Arts in Persian Painting, Department of Calligraphy and Persian Painting, Faculty of Handicrafts, Isfahan University of Art, Isfahan, Iran.SamadNajarpour JabbariAssistant professor, Department of Calligraphy and Persian Painting, faculty of Handicrafts; art university of Isfahan, Isfahan, Iran.Journal Article20250131The stylistics of manuscript decorations helps identify artistic styles in the history of book art, understand other works of the period, and detect forgeries. Illumination is one of the key decorative arts in the art of the book. Manuscript illumination, as a type of book ornamentation, provides a wealth of information about the history of Iranian book art, Persian aesthetics, and culture. This research, addressing the need to recognize different artistic styles, introduces the important stylistic indicators in manuscript illuminations, distinguishing them from works of other periods, and offers a clearer understanding of Persian manuscript decoration and its evolution. It also emphasizes the importance of regional styles in Persian book art. These findings encourage further studies of lesser-known manuscripts to expand our knowledge of different eras. This study provides useful insights into the stylistics of Injuid illuminations and demonstrates their artistic significance. This research investigates the stylistics of manuscript illuminations produced in Shiraz during the Injuid dynasty, especially in the first half of the 8th century AH. The study aims to understand how these decorative elements help identify artistic styles, discover other works from the same period, detect forgeries, and also recognize decorations added later. The research was conducted using a descriptive and analytical method, combining visual analysis and stylistics to identify key features of Injuid illuminations. The main research question is: What are the principal formal, structural, and chromatic characteristics of Injuid illuminations? To answer this, ten manuscripts were selected. The attribution of these ten manuscripts to the Injuid period has been examined in two ways. Some of these manuscripts have been introduced as Injuid works in previous studies, while others have clearly documented dates, places of production, or the names of their scribes. Illuminated pages of these manuscripts were examined in five stages, focusing on main frames, sub-frames, motifs, and color schemes. The most frequently used features were categorized and analyzed as the main stylistic elements. The study identifies three primary types of decoration: oblong cartouches with medallions at the beginning of manuscripts, fully illuminated pages, and double cartouches. Sizes of oblong cartouches with medallions range from 145–220 mm in length and 30–50 mm in width, with medallion diameters between 140–180 mm. Fully illuminated pages measure 157–240 mm in length and 63–200 mm in width. Margins often include small medallions, half-medallions, or comparable motifs. Key decorative motifs include lotus patterns with dense compositions, knotwork and knotted motifs used independently, and marginal designs featuring shapes such as fish scales and petals. Gold is the dominant color in these works, with additional hues including verdigris, cinnabar, and lapis lazuli. Among these stylistic features, the key findings highlight the use of oblong cartouches and medallions at manuscript openings, marginal designs with small or half medallions, and lotus motifs. Also notable are the independent knotted patterns and shapes resembling fish scales and petals around the frames. Gold, as the principal color, enhances the luxury and refinement of these works.The stylistics of manuscript decorations helps identify artistic styles in the history of book art, understand other works of the period, and detect forgeries. Illumination is one of the key decorative arts in the art of the book. Manuscript illumination, as a type of book ornamentation, provides a wealth of information about the history of Iranian book art, Persian aesthetics, and culture. This research, addressing the need to recognize different artistic styles, introduces the important stylistic indicators in manuscript illuminations, distinguishing them from works of other periods, and offers a clearer understanding of Persian manuscript decoration and its evolution. It also emphasizes the importance of regional styles in Persian book art. These findings encourage further studies of lesser-known manuscripts to expand our knowledge of different eras. This study provides useful insights into the stylistics of Injuid illuminations and demonstrates their artistic significance. This research investigates the stylistics of manuscript illuminations produced in Shiraz during the Injuid dynasty, especially in the first half of the 8th century AH. The study aims to understand how these decorative elements help identify artistic styles, discover other works from the same period, detect forgeries, and also recognize decorations added later. The research was conducted using a descriptive and analytical method, combining visual analysis and stylistics to identify key features of Injuid illuminations. The main research question is: What are the principal formal, structural, and chromatic characteristics of Injuid illuminations? To answer this, ten manuscripts were selected. The attribution of these ten manuscripts to the Injuid period has been examined in two ways. Some of these manuscripts have been introduced as Injuid works in previous studies, while others have clearly documented dates, places of production, or the names of their scribes. Illuminated pages of these manuscripts were examined in five stages, focusing on main frames, sub-frames, motifs, and color schemes. The most frequently used features were categorized and analyzed as the main stylistic elements. The study identifies three primary types of decoration: oblong cartouches with medallions at the beginning of manuscripts, fully illuminated pages, and double cartouches. Sizes of oblong cartouches with medallions range from 145–220 mm in length and 30–50 mm in width, with medallion diameters between 140–180 mm. Fully illuminated pages measure 157–240 mm in length and 63–200 mm in width. Margins often include small medallions, half-medallions, or comparable motifs. Key decorative motifs include lotus patterns with dense compositions, knotwork and knotted motifs used independently, and marginal designs featuring shapes such as fish scales and petals. Gold is the dominant color in these works, with additional hues including verdigris, cinnabar, and lapis lazuli. Among these stylistic features, the key findings highlight the use of oblong cartouches and medallions at manuscript openings, marginal designs with small or half medallions, and lotus motifs. Also notable are the independent knotted patterns and shapes resembling fish scales and petals around the frames. Gold, as the principal color, enhances the luxury and refinement of these works.https://jfava.ut.ac.ir/article_101997_7ecc093f83b6a983b2444805ca613721.pdfUniversity Of Tehran PressJournal of Fine Arts: Visual Arts2228-603930420251222The Transformation of the Role of Material in Contemporary Sculpture Based on Connectivism Learning TheoryThe Transformation of the Role of Material in Contemporary Sculpture Based on Connectivism Learning Theory9511010273810.22059/jfava.2025.392604.667448FANargesHaririanPhD Candidate in Art Research, Faculty of Theoretical Sciences and Higher Art Studies, Iran University of Art.
Faculty Member of the Painting and Sculpture Department, School
of Visual Arts, College of Fine Arts, University of Tehran, Tehran,
Iran.SaeidZaviehAssociate Professor, Department of Art Research, Faculty of Theoretical Science and Higher Art Studies, Iran University of Art.0000-0003-3023-7706Samaneh(Samin)RostambeigyAssistant Professor, Department of Art Research, Faculty of Theoretical Science and Higher Art Studies, Iran University of Art.Journal Article20250415<span style="font-size: 13.0pt;">Under the postmodern paradigm, the role of material in contemporary sculpture has undergone a significant transformation that fundamentally redefines both the meaning and conceptual framework of art, as well as the methods through which it is taught. Whereas traditional sculpture regarded material merely as a means of shaping form, contemporary artists now view material as a fundamental and dynamic element embodying the very essence of the artwork. The evolution of sculpture into a phenomenological experience highlights audience interaction and heightened sensitivity to human presence. By incorporating a diverse array of materials—including traditional, recycled, industrial components, and modern technologies like light and sound—practitioners establish richer connections with social, cultural, and environmental concerns that go beyond pure aesthetics. Simultaneously, education has transformed through the adoption of connectivist learning theory, a pedagogical model challenging conventional educational approaches by recognizing knowledge as dynamic and constantly evolving. Developed by George Siemens in 2004, connectivism moves away from the concept of static information stored in memory, and instead presents knowledge as a network of interconnected nodes that facilitate the emergence of new patterns and meanings. Within this framework, core constructs such as “node,” “network,” “ecosystem,” and “context” become essential to understanding how people engage with information. Each node may represent diverse elements ranging from personal experience to technological tools and academic texts. Ecosystems, as integrated environments for information flow, and context, encompassing the emotional and experiential aspects of meaning, further support this dynamic approach to learning and creativity. This qualitative study examines specialized literature on contemporary sculpture and analyzes selected works by Tehran University sculpture graduates from the post-revolution period. The research addresses two main questions: what drives the transformation in the role of material in contemporary sculpture, and how is sculpture taught in Iranian universities? Employing an innovative connectivism-based teaching model, the study investigates the evolving intrinsic role of material in sculpture and explores current pedagogical methodologies in Iranian academic institutions. This research constructs a network linking material sciences, art history, global production techniques, climate-responsive practices, and local construction methods. The model suggests that each component—whether material, technique, or concept—functions as a distinct node within the broader network of contemporary sculpture. Traditional focus on solid, rigid materials is balanced by the inclusion of soft media and emerging practices grounded in postmodern diversity, reflecting a paradigm valuing multiplicity and interconnectivity. The findings demonstrate that integrating connectivist theory with existing sculptural frameworks generates a comprehensive educational approach. This integration not only advances technical proficiency and stimulates creative innovation but also expands students’ cultural and aesthetic perspectives. Consequently, learners are empowered to produce artworks resonant with their personal histories, environmental conditions, and cultural contexts. As contemporary sculpture continues to extend the boundaries of material use and artistic expression, new educational pathways arise that support both enduring craftsmanship and forward-looking experimentation, fostering a generation of artists equipped to address global challenges through inventive material practices and conceptual depth, thereby contributing meaningfully to the evolution of contemporary art discourse worldwide.</span><span style="font-size: 13.0pt;">Under the postmodern paradigm, the role of material in contemporary sculpture has undergone a significant transformation that fundamentally redefines both the meaning and conceptual framework of art, as well as the methods through which it is taught. Whereas traditional sculpture regarded material merely as a means of shaping form, contemporary artists now view material as a fundamental and dynamic element embodying the very essence of the artwork. The evolution of sculpture into a phenomenological experience highlights audience interaction and heightened sensitivity to human presence. By incorporating a diverse array of materials—including traditional, recycled, industrial components, and modern technologies like light and sound—practitioners establish richer connections with social, cultural, and environmental concerns that go beyond pure aesthetics. Simultaneously, education has transformed through the adoption of connectivist learning theory, a pedagogical model challenging conventional educational approaches by recognizing knowledge as dynamic and constantly evolving. Developed by George Siemens in 2004, connectivism moves away from the concept of static information stored in memory, and instead presents knowledge as a network of interconnected nodes that facilitate the emergence of new patterns and meanings. Within this framework, core constructs such as “node,” “network,” “ecosystem,” and “context” become essential to understanding how people engage with information. Each node may represent diverse elements ranging from personal experience to technological tools and academic texts. Ecosystems, as integrated environments for information flow, and context, encompassing the emotional and experiential aspects of meaning, further support this dynamic approach to learning and creativity. This qualitative study examines specialized literature on contemporary sculpture and analyzes selected works by Tehran University sculpture graduates from the post-revolution period. The research addresses two main questions: what drives the transformation in the role of material in contemporary sculpture, and how is sculpture taught in Iranian universities? Employing an innovative connectivism-based teaching model, the study investigates the evolving intrinsic role of material in sculpture and explores current pedagogical methodologies in Iranian academic institutions. This research constructs a network linking material sciences, art history, global production techniques, climate-responsive practices, and local construction methods. The model suggests that each component—whether material, technique, or concept—functions as a distinct node within the broader network of contemporary sculpture. Traditional focus on solid, rigid materials is balanced by the inclusion of soft media and emerging practices grounded in postmodern diversity, reflecting a paradigm valuing multiplicity and interconnectivity. The findings demonstrate that integrating connectivist theory with existing sculptural frameworks generates a comprehensive educational approach. This integration not only advances technical proficiency and stimulates creative innovation but also expands students’ cultural and aesthetic perspectives. Consequently, learners are empowered to produce artworks resonant with their personal histories, environmental conditions, and cultural contexts. As contemporary sculpture continues to extend the boundaries of material use and artistic expression, new educational pathways arise that support both enduring craftsmanship and forward-looking experimentation, fostering a generation of artists equipped to address global challenges through inventive material practices and conceptual depth, thereby contributing meaningfully to the evolution of contemporary art discourse worldwide.</span>https://jfava.ut.ac.ir/article_102738_3d38ba80ed3e1d562d3874607cf683b8.pdfUniversity Of Tehran PressJournal of Fine Arts: Visual Arts2228-603930420251222Imitation in Judeo-Persian Illustrated Manuscripts of Iranian-Islamic Paintings: A Case Study of the Ardeshir-NamaImitation in Judeo-Persian Illustrated Manuscripts of Iranian-Islamic Paintings: A Case Study of the Ardeshir-Nama11112910218610.22059/jfava.2025.392825.667449FAFaribaAzhariPh. D. in Islamic Art, Tabriz Islamic Art University, Tabriz, Iran.MehdiMohammadzadehProf. in Arts in Religions, Faculty of Fine Arts, Atatürk University, Erzurum, Turkey.Journal Article20250408Illustrated versions of the Ardeshir-Nama are the origin of the illustrations by Iranian Jews and are an aesthetic reflection of the art of the second Safavid period. The issue is the illustration of Iranian Jews, which violated the prohibition of images in Judaism and were influenced by Iranian-Islamic paintings and illustrated their subjects or history. Preliminary investigations indicate a stylistic imitation in the manuscripts of the Ardeshir-Nama, which includes various components. The research focuses on imitative motifs in the Ardeshir-Nama to achieve various types of imitative motifs used in the Ardeshir-Nama. The central research question is: What are the imitative elements used in the Ardeshir-Nama compared to the illustrated Iranian-Islamic manuscripts? The statistical population consists of illustrations from two illustrated versions of the Ardeshir-Nama, and from among the existent illustrations, samples with imitative characteristics were chosen to be compared and studied against Iranian-Islamic paintings. Therefore, this study is descriptive-analytical and comparative, and since the style of imitative works is important, the selection of the pastiche sub-branch of imitation in Genette’s method is deemed appropriate as a research approach. Based on the obtained results, the first version of the Ardeshir-Nama is sometimes influenced by the Second Tabriz School, while the second version more prominently showcases the influences of the Iṣfahān School. One of these aspects is the high precision in executing gilded illuminations along with the technique of the artist, which indicates an imitation of the Iṣfahān School’s style. The artists of the Ardeshir-Nama did not attempt to transform the illustrations of these manuscripts; rather, they modeled and were influenced by non-Judeo-Persian illustrations such as the Khamseh Niẓami or the manuscripts of ʻAjāʼib al-makhlūqāt al-Qazvīnī, striving to create images corresponding to the illustrations of these manuscripts. The Judeo-Persian manuscripts grew within the framework of Iranian-Islamic art and benefited the most from the cultural-artistic environment in Iran. The presence of free and improvisational lines with insufficient precision in the illuminations of the first manuscript (Second Tabriz School). The presence of high precision, such as gilding along with intricate details in the illuminations of the second manuscript (Iṣfahān School). The presence of overlapping background motifs (Eslīmī) in both versions of the Ardeshir-Nama (Iṣfahān School). The presence of a vast array of motifs on royal thrones, backgrounds, and the surfaces of the artworks, which is more pronounced in the second version (Iṣfahān School). The presence of a dynamic and illumination-like state (Tashʿīr) with composite forms in the clothing motifs of the first version (Iṣfahān School). The illustrations of both manuscripts are influenced by Moʿin Moṣavvar in their use of magenta color and visual fragmentation. The illustrator of the Ardeshir-Nama manuscript, like Islamic illustrations, has brought an imaginary depiction of nature into the background of his work and, by expressing it in the form of ornamentation and monochrome, attempts to push nature back and focus more on the narrative of the illustration, which is the story of Ardeshir and Esther. The dispersion and variety of motifs in the Ardeshir-Nama (II) have become more extensive.Illustrated versions of the Ardeshir-Nama are the origin of the illustrations by Iranian Jews and are an aesthetic reflection of the art of the second Safavid period. The issue is the illustration of Iranian Jews, which violated the prohibition of images in Judaism and were influenced by Iranian-Islamic paintings and illustrated their subjects or history. Preliminary investigations indicate a stylistic imitation in the manuscripts of the Ardeshir-Nama, which includes various components. The research focuses on imitative motifs in the Ardeshir-Nama to achieve various types of imitative motifs used in the Ardeshir-Nama. The central research question is: What are the imitative elements used in the Ardeshir-Nama compared to the illustrated Iranian-Islamic manuscripts? The statistical population consists of illustrations from two illustrated versions of the Ardeshir-Nama, and from among the existent illustrations, samples with imitative characteristics were chosen to be compared and studied against Iranian-Islamic paintings. Therefore, this study is descriptive-analytical and comparative, and since the style of imitative works is important, the selection of the pastiche sub-branch of imitation in Genette’s method is deemed appropriate as a research approach. Based on the obtained results, the first version of the Ardeshir-Nama is sometimes influenced by the Second Tabriz School, while the second version more prominently showcases the influences of the Iṣfahān School. One of these aspects is the high precision in executing gilded illuminations along with the technique of the artist, which indicates an imitation of the Iṣfahān School’s style. The artists of the Ardeshir-Nama did not attempt to transform the illustrations of these manuscripts; rather, they modeled and were influenced by non-Judeo-Persian illustrations such as the Khamseh Niẓami or the manuscripts of ʻAjāʼib al-makhlūqāt al-Qazvīnī, striving to create images corresponding to the illustrations of these manuscripts. The Judeo-Persian manuscripts grew within the framework of Iranian-Islamic art and benefited the most from the cultural-artistic environment in Iran. The presence of free and improvisational lines with insufficient precision in the illuminations of the first manuscript (Second Tabriz School). The presence of high precision, such as gilding along with intricate details in the illuminations of the second manuscript (Iṣfahān School). The presence of overlapping background motifs (Eslīmī) in both versions of the Ardeshir-Nama (Iṣfahān School). The presence of a vast array of motifs on royal thrones, backgrounds, and the surfaces of the artworks, which is more pronounced in the second version (Iṣfahān School). The presence of a dynamic and illumination-like state (Tashʿīr) with composite forms in the clothing motifs of the first version (Iṣfahān School). The illustrations of both manuscripts are influenced by Moʿin Moṣavvar in their use of magenta color and visual fragmentation. The illustrator of the Ardeshir-Nama manuscript, like Islamic illustrations, has brought an imaginary depiction of nature into the background of his work and, by expressing it in the form of ornamentation and monochrome, attempts to push nature back and focus more on the narrative of the illustration, which is the story of Ardeshir and Esther. The dispersion and variety of motifs in the Ardeshir-Nama (II) have become more extensive.https://jfava.ut.ac.ir/article_102186_1a74af156df0c3417ad96db2c14621b3.pdf