چکیده:
The worldview and religious beliefs of societies have a significant impact on the formation of artistic forms. Belief in the sanctity of fertility manifestations is one of the beliefs that has been observed among Iranians since ancient times, and after Islam, it has enjoyed historical continuity in connection with Islamic wisdom. Female archetypes, as symbols of fertility, have been formed and revered in the myths of many civilizations since ancient times. This idea has manifested itself in different forms in various Iranian arts over time and through historical evolution. The present research, using a descriptive-analytical method, examines the process of forming this single meaning in various forms. Examining this process shows that the mythical manifestations of fertility, which manifested in various forms such as Anahita and the tree of life, also appeared in art and architecture of the Safavid era, based on conceptual connections and establishing semantic equivalence with Iranian-Islamic thought and wisdom, in various symbolic forms. These manifestations of fertility have been replaced by forms such as Anahita, the tree of life, water, and the dome, and the male archetypes on both sides have been replaced by symbols such as the lion, guardian men, the male goat or peacock, cypress, and minaret. In fact, in the dimension of co-occurrence, a structure of the sacred trinity has been formed that manifests itself in various forms through a substitution process; So that in all these forms, while diversifying and adding to the beauty, a single meaning can be sought.
خلاصه ماشینی:
Reflection of Iranian-Islamic Thought in Iranian Art The Evolution of Fertility Manifestations in Various Artistic Forms Until the Safavid Era 1 Farzaneh Farshidnik ٢, Dr. Mahmoud Tavousi ٣, Dr. Reza Afhami 4 Abstract The worldview and religious beliefs of societies have a significant impact on the formation of artistic forms.
Examining this process shows that the mythical manifestations of fertility, which have appeared in various forms such as Anahita and the Tree of Life, also appeared in Islamic art and especially in the art and architecture of the Safavid era, based on conceptual connections and establishing semantic equivalence with Iranian-Islamic thought, in various symbolic forms.
These manifestations of fertility have been replaced by forms such as Anahita, the Tree of Life, water, and the dome, and the masculine archetypes on both sides have been replaced by symbols such as lions, guardian men, male goats or peacocks, cypress trees, and minarets.
By comparing the characteristics of Anahita and the lion motifs around her, the tree of life and the cypress trees and two male goats on either side of it, and the dome and minaret in the architecture of mosques, similarities are observed in terms of visual, conceptual, structural, functional, and… which can be seen from ancient times to the Safavid era.
Thus, once again, the concept of the sacred triad is manifested in a new form with the substitution of the dome and minaret elements in place of the Tree of Life and cypress motifs.
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