نویسندگان
1 استاد، گروه صنایعدستی، دانشگاه هنر اصفهان (نویسندۀ مسئول).
2 مربی، دانشکده صنایع دستی، دانشگاه هنراصفهان، ایران.
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسندگان [English]
At that time, when the Mongols invaded Iran, they brought with them a different system of beliefs. These beliefs got continuous changes in Iran and in association with various religious schools, which led to the conversion of Mughal sultans to different religions. After settling down in Iran and the stability of the government, this difference manifested itself in artistic styles, especially architecture and its arrays. High facades, elaborative plasterwork,inscriptions and decorations with special motifs such as sun-shaped circles (Shamseh) seen in most of the architectural works of this period. The existence of a circle motif with a different structure, especially in the facades, caused this research to focus on the reason for the repeated use of the circle motif with a combination of other decorative motifs and inscriptions, and to search for the hidden meaning in it, which only found in Ilkhani buildings and especially Tombs. Considering the symbolic role of the circle in different cultures and beliefs, as well as the main origin of the Mongol people in Central Asia with shamanic and Buddhist beliefs and various religions that the rulers of this dynasty followed, after entering Iran. To identify its symbolic meaning and its relationship with the changing religious structure of the Mughal Sultans is the goal of this study. This research has been written using library documents and field observations with a semiotic approach, in a descriptive-analytical method. . According to Peirce's semiotic model, the meaning of the circular motif on the doorway of Ilkhanid buildings is a combination of shamanic, Buddhist, and Sufi thoughts, which reveals a manifestation of a divine concept associated with the sky and the sun and the creation of a safe place away from evil forces.
کلیدواژهها [English]
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