Results 21 to 30 of about 1,279 (158)
Intention and its Relation with Colors Used in Royal Qajar Mural Painting [PDF]
Journal of Research on Archaeometry, 2019 Gholamreza Rahmani, Mahdi Hosseini
openaire +3 more sources
Meta‐Virtuality: Strategies of Disembeddedness in Virtual Interiorities
Journal of Interior Design, EarlyView., 2022 ABSTRACT To reclaim their seat in the rapidly growing market of virtual space, designers of the built environment can benefit from reevaluating theories that see the virtual as a mere extension/reflection of the physical. By claiming ontological autonomy from external worlds, the virtual is liberated from the hegemonic control of the physical.
Vahid Vahdat
wiley +1 more source
Iconographic Themes in the Wall Paintings of Nasir al-Mulk House in Shiraz [PDF]
هنر و تمدن شرق, 2023 One of the most important eras in the development of Iran’s art and architecture, especially in the format of murals, is the Qajar era. The dominant attributes of this period are relations with the West and adopting its culture and art. Qajar’s mural art
Gohar Shahraki Moghadam +1 more
doaj +1 more source
Persian Gardens: Meanings, Symbolism, and Design [PDF]
, 2016 Culture and identity in a society can be represented in the architecture and the meanings intertwined with it. In this sense, the architecture and design are the interface for transferring meaning and identity to the nation and future generations ...
Jamei, Elmira +2 more
core +3 more sources
Visualizing Kingship in a Time of Change: Lens-Based Royal Portraiture During Late Qajar Rule (1848-1925) [PDF]
, 2023 Despite artistic engagement with photography in Iran almost immediately after the invention of the daguerreotype in 1839, the field of Islamic art history has had difficulty accepting the modern period and the medium of photography as part of its ...
Schwerda, Mira Xenia
core +2 more sources
The politics of street names: Reconstructing Iran’s collective identity
Studies in Ethnicity and Nationalism, Volume 23, Issue 2, Page 122-143, September 2023., 2023 Abstract With the radical political change in 1979, Iran's revolutionary state assumed the responsibility of re‐rewriting the past history to forge a new sense of belonging, a particularly collective religious (Shia) identity. It launched a complex process of forgetting and remembering to first eliminate the national (Persian), non‐religious memories ...
Ehsan Kashfi
wiley +1 more source
Estudio comparativo de vitrales de colores en el arte gótico con la fabricación de ventanas (Orosi Sazi) en la era Qajar: estudio de caso de la Iglesia Charter y la mansión Salaar Saeid [PDF]
, 2022 In Europe, the use of colored stained glass in theconstruction of church windows was common,reaching their peak during the Gothic period. On theother hand, the tendency to use colored glass, calledOrosi (Sash), in Iranian architecture began in theSafavid
Ashari, Samira, Maleka, Amin
core +2 more sources
Area, Volume 54, Issue 4, Page 638-645, December 2022., 2022 Abstract The deterioration of bilateral relations between the US and China heralds a new chapter in geopolitics increasingly characterised by competition and confrontation. We introduce insights from contemporary Cold War historiography, which we suggest can help deepen our understanding of the present.
Seth Schindler, Jessica DiCarlo
wiley +1 more source
Women Figure Illustrations on Persian Qalamdans (pen cases) in Nasser Khalili Collection [PDF]
زن در فرهنگ و هنر, 2012 In Persian society, illustrators and skilled portraitists developed a particular method of painting in Qajar era, a period in which artwork and historical treasures can be considered among the best, especially in painting and they reflect the tastes of ...
Mahnaz Shayestehfar +2 more
doaj +1 more source
Worlding on the Hudson: Frederic Church and Global Histories of Art
Art History, Volume 45, Issue 3, Page 518-544, June 2022., 2022 The ‘Persian’ interior of the American landscape painter Frederic Church is a place crowded with paintings, objects and architectural ornament orchestrated as an installation that the artist both accrued and designed over a thirty‐year period. This regional orientalism, with its cosmopolitan claims and internationally networked cultural politics, is ...
Mary Roberts
wiley +1 more source