Motahare Mirzaee https://motimiart.com Painting, Animation and Art Mon, 09 Jan 2023 21:42:45 +0000 en-GB hourly 1 https://wordpress.org/?v=6.1.7 COMPARATIVE STUDY OF MEHR SYMBOLS IN PAINTINGS OF SAFAVID ERA WITH PRE-ISLAMIC ERA https://motimiart.com/en/the-title-of-the-second-article/ https://motimiart.com/en/the-title-of-the-second-article/#respond Sat, 16 Apr 2022 12:47:35 +0000 https://motimiart.com/?p=74 ABSTRACT
The aim of this research is the examination of the theme of “Mehr” of love as an eternal and permanent concept (one of the fundamental concepts in Iranian rich arts) and to demonstrate the fact that which concepts have been used by Iranian artists in creating their works. Have designers been affected by abstract and ritual concepts in the peak of their artistic activities? Why using these topics has attracted artists’ attention more? The research method used in this paper is a descriptive and analytical one. First, it involves the meaning and definition of the word and realm from the point of view of Iranian Sufism particularly Iranian ancient religions (Mehr) and its various aspects have been stated. Then, the impact of these symbols and concepts have been estimated in Iranian paintings in its peak era, Safavid. The results show that pre-Islamic and oldest religious thoughts can be seen in post- Islamic period; designers in various periods, intentionally and unintentionally, have been affected by these old themes. Additionally, the concept of love and Mehr symbols is prevalent in Safavid painting, whether the subject of the painting is love or not. It is interesting that most of symbols and designs are female both in Mehr ritual and in the meaning of love; More than half of the motifs are feminine ones. In this analysis, it is proved that Iranian painting has been deeply affected by religions and ancient themes especially Mehr symbols and ritual; furthermore, the paper shows that the concept of love is a common theme among related painters.
Keywords: Mehr and love, painting, Safavid, religion of Mehr.

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