En
  • دکتری (1378)

    هنر اسلامی

    بیرمنگهام، انگلستان

  • کارشناسی‌ارشد (1374)

    پژوهش هنر اسلامی

    بیرمنگهام، انگلستان

  • کارشناسی (1369)

    تاریخ هنر

    دانشگاه شهید بهشتی، تهران، ايران

  • هنر اسلامي
  • هنر شيعي
  • نگارگري
  • صنایع دستی
  • نقاشي ايراني

    دکتر مهناز شایسته فر؛ دارای مدرک دکترای هنر اسلامی از دانشگاه بیرمنگهام انگلستان، دانشیار و مدیر گروه رشته هنر اسلامی دانشگاه تربیت مدرس مي باشند که سابقه تدریس دروس دو گروه پژوهش هنر و هنر اسلامی در دوره های کارشناسی ارشد و دکتری را دارند. ايشان بیش از ۳۰ عنوان پایان نامه کارشناسی ارشد را راهنمایی و هدایت نموده اند. دکتر شایسته فر از سال ۱۳۸۳ تاکنون مدیر مسئولی و سردبیری دو فصلنامه علمی-پژوهشی مطالعات هنر اسلامی را بر عهده دارند. او بیش از ۲۰۰ مقاله در نشریات داخلی و خارجی به چاپ رسانده و در ده ها همایش داخلی و خارجی شرکت داشته است. عضویت در هیات تحریریه ۴ نشریه علمی-پژوهشی، سردبیر و مدیر مسئول دو نشریه، دبیر علمی همایش هنر قرآنی، مدیر مسئول مرکز تحقیقات هنر اسلامی نگاره، ترجمه و تالیف ۱۶ عنوان کتاب را می توان در کارنامه پژوهشی ایشان نام برد. همچنین، در طول دو دهه گذشته، حدود ۲۰ پروژه در زمینه مدیریت، هنر و فرهنگ ایرانی – اسلامی و صنایع دستی، فرهنگ و تمدن ایران و جهان اسلام به اتمام رسانده است.

    ارتباط

    رزومه

    LANDSCAPE REPRESENTATION IN THE CHINESE AND PERSIAN PAINTINGS (YUAN-SONG/ĪL-KHĀNID MONGOLS ERAS)

    Mahnaz Shayestehfar, Rezvan Khazaie, Erphan Khazaie
    Journal PapersPalArch's Journal of Archaeology of Egypt/Egyptology , Volume 18 , Issue 4, 2021 March 4, {Pages 4082-4107 }

    Abstract

    Cultural relations between Persia and China grew even closer after the Mongol conquest of both countries in the 13th century, when the Īl-Khānids came to power. Mongol rulers were also affected by Chinese art and cultural heritage; it then transferred to Iran by political, commercial, and then cultural relations. So they prepared the conditions for mutual artistic inspirations, especially in painting. Since the illustrated Persian paintings clearly demonstrate foreign influences, including the culture of different nations, significantly China's cultural impact on Iran, the need for this investigation becomes more apparent in the period.

    An Introduction to design and characterization features in the lithographic edition of Majalis al-Muttaqin, illustrated by Abdul Jalil (anonymous illustrator) and its?…

    Mahnaz Shayestehfar, Fatemeh Asgari, Aboutorab Ahmadpanah
    Journal PapersNegareh Journal , 2021 February 7, {Pages }

    Abstract

    One of the most important factors that develop Shiite themes in writing among the people was the lithography of manuscripts. The lithographic illustrated books, which included a large part, were religious books depicting the event of Ashura. Their content, often combined with poetry and imagery, was Maqtal, elegy, mourning, or supplication texts. One of these books is Majalis al-Muttaqin, the illustrated type of which is kept in the Iranian libraries, including the National, the Islamic Consultative Assembly, Ayatollah Boroujerdi Library, and so forth as well as in foreign libraries such as Prussian Cultural Heritage in Berlin. Majalis al-Muttaqin was one of the common books in the Qajar era. Compared to other popular books, it is now avail

    Fatimid Wood and Ivory Carving

    Mahnaz Shayestehfar
    Journal PapersPsychology and Education Journal , Volume 58 , Issue 2, 2021 March 21, {Pages 10484-10497 }

    Abstract

    The Fatimid, who had often considered themselves to be completely descendants of the Prophet, became prominent, and they made a claim to the prophet’s succession. Within this, by leading this political and religious sense of mission, they tried to predominate over the whole Islamic world, despite the political tensions between Berber tribes in North Africa, the caliphs of Bagdad, Byzantium, and the later crusaders too.

    Exploring the Illustrations of the Women in the Battle of Karbala, with a Focus on Zaynab bint Ali (p)—Case: Lithographic Manuscripts of Kulliyat-e Joodi

    M Shayestehfar, F Asgari, A Ahmadpanah
    Journal Papers , , {Pages }

    Abstract

    Reviewing the Effects of Lithographic Ashura Paintings of Judi Collection on the Tilework of Tekyeh Moaven al-Molk

    M Shayestehfar, F Asgari
    Journal Papers , , {Pages }

    Abstract

    A Comparative Study of Decoration and Illumination Paintings between the Old Historical Documents in The first to Sixth/Sixth to twelfth Centuries in Iran and Europe

    M Shayestehfar, R Khazaie
    Journal Papers , , {Pages }

    Abstract

    A General Outlook on the Basics of Coloring in Traditional Iranian Arts (with Emphasis on the 4th to 6th centuries AH)

    A Puriyay, M Shayestehfar
    Journal Papers , , {Pages }

    Abstract

    An Introduction to design and characterization features in the lithographic edition of Majalis al-Muttaqin, illustrated by Abdul Jalil (anonymous illustrator) and its …

    M Shayestehfar, F Asgari, A Ahmadpanah
    Journal Papers , , {Pages }

    Abstract

    The Event of Qadir Khom and Theological Aspects in Safavid Paintings

    Mahnaz Shayestehfar
    Journal Papers , Volume 16 , Issue 63, 2020 January 1, {Pages 13-41 }

    Abstract

    From the point of view of Shiites and Shiite commentators, the event of Qadir Khom and the announcement of the succession of Imam Ali (PBUH) by the Holy Prophet (PBUH) is one of the greatest historical events of the beginning of Islam and beholds a special position particularly to substantiate the legitimacy of Amir al-Momenin (PBUH). Among the explanations of the hadith and the narration of Qadir Khom many references have been made to the verses revealed by God in this regard, including the verse of “Tabliq” and the verse of “Akmal”. This event has received exceptional responses due to its prominence and position among Shiites in various fields of art, society, politics and also in the daily life of Muslims. In the meantime, Islami

    Symbolic Manifestations of Nature in the Poetry and Paintings of the Fourth and Seventh Centuries AH.(With Emphasis on the Poetry of Manouchehri Damghani and Ghazals of Shams)

    Shohreh Chelipa, Mahnaz Shayestehfar, Habib Jadid Al Eslami
    Journal PapersIslamic Art Studies , Volume 17 , Issue 39, 2020 November 21, {Pages }

    Abstract

    Symbolism as one of the tools of pictorial expression and transmission of concepts has brought many works of Iranian painting closer in form and meaning. On the other hand, the use of symbol is also considered as one of the literary arrays. In the process of composing, what attracts the poet's sensation, emotion and imagination more is the creation and the space and scope of nature. Iranian artist creates in a symbolic atmosphere; Taking advantage of the valuable context of Persian poetry and literature, the Iranian painter has not sought to represent tangible nature, but to represent symbolic effects. Manouchehri Damghani and Molana Mohammad Jalaluddin Balkhi (Shams) are among the most prominent poets describing nature in Persian literatur

    An Aesthetical Study on the Painting of “The Flee of Yusuf from Zulaikha” According to the Religious Texts and the Theological Literature of Jami

    Mahnaz Shayesteh Far, Mohammad Zaree
    Journal PapersIslamic Art Studies , Volume 11 , Issue 23, 2016 January 21, {Pages 57-74 }

    Abstract

    Among the stories of the holy Quran, the story of Yusof and Zulaikha has always been a topic of interest for writers and poets. The story that is one of the most significant stories in Islamic culture focuses on many social behaviors and has always been one of the most significant social events. Different scenes of the story is also portrayed in different schools of painting. The story of Yusef and Zulaikha because of its many moral and ethical features has been depicted greatly compared to the other stories of this prophet. The painting of “the flee of Yusuf from Zulaikha” by Behzad is one of the most significant artworks in the history of Persian art. In this paper, the theological aspects of this event from the viewpoint of the Holy

    Visual Elements of Islam Prophet (PBUH) life events in religious paintings of Jame?-al-Tawarikh

    Mahnaz Shayestehfar
    Journal PapersIslamic Art Studies , Volume 12 , Issue 25, 2016 September 22, {Pages 37-52 }

    Abstract

    Illustration of historical and religious scenes is of high significance in Islamic versions of Iran’s illustration; different features have been manifested in these pictures during different periods of art. In Moghul era, because of the kings’ tendency toward Christianity and Christian factors, influences of byzantine painting was observed in the illustrations; but what is clearly evident with the Il-khans era is the strong influence of Chinese art, particularly the Yuan and Sung period, on Mughal painting. One could claim that Il-khans is the period of conflicting elements of Chinese, Iranian, Byzantine, and Arabic art. On the other hand, illustration of Islamic historical scenes became common in the books during Il-khans period, the p

    Visual Elements of Islam Prophet (PBUH) life events in religious paintings of Jameá-al-Tawarikh

    M Shayestehfar
    Journal Papers , , {Pages }

    Abstract

    A Comparative Study of Brocade Weaving Art Motifs and Designs in Iran and Malaysia

    Mahnaz Shayestehfar
    Journal Papers , 2015 January , {Pages 59-68 }

    Abstract

    The art of brocade weaving has a long history in Iran and has had a worldwide fame on its flourishing and prosperity ages. According to some written and historical documents, weaving brocade in Iran was highly fashionable from the Achaemenid Empire to the Sassanid dynasty, so that a plenty of pieces were used for decorating the palaces and churches all over the world. Entering Islam, brocade weaving has experienced lots of vicissitudes but could go on, and during the Safavid Age, the art met a revival by supporting the artists and developing several workspaces. According to the historians, the art of brocade weaving is developed in the Malay Peninsula by trading, migration, and political marriages, since the fifteenth century.

    The Icon and Symbol of Dragon in Persian Literature and Painting

    Zahra Abdollah, Mahnaz Shayestehfar
    Journal PapersPeykareh , Volume 2 , Issue 4, 2014 February 20, {Pages 43-58 }

    Abstract

    Dragon, a significant mythological motif in Persian poetry and literature, has yielded to exquisite and unrivaled scenes in Persian miniature and art. This article inspects the mythical and literal origins of fighting a dragon and the wicked connotation of dragon in the Iranian dualistic cosmology. It tries to shed light on the liaison between the epic and mystic nuance of dragon as a devilish vigor, and illustrates its visual and aesthetic characteristics and status in miniatures. Through an analytical comparative approach, it is shown that the illuminators have acheived these vivid feisty scenes by designing a conscientious structure, diligent selection of color and texture, and applying a diverse range of figurative proportions.

    Oppositional Binary of “the self” and “the other” in Two Illustrated Versions of Shahnameh, Shahnameh of Shah Tahmasb and Shahname of shah Ismaeel II: An Analysis of the?…

    Azin Haghayegh, Mahnaz Shayestehfar
    Journal PapersKimiya-ye-Honar , Volume 3 , Issue 12, 2014 November 10, {Pages 51-66 }

    Abstract

    The image of “the other” can be traced back in the history of every culture and the oppositional binary of the self/the other (ego-alter) have always been regarded as part of cultural studies. Problems such as the relationship between cultures (one specific culture and “the other” one/s) or reason of governments’ denial of the other/s are among important questions of this field. In the present article, the cultural semiotics method has been chosen to investigate the way “the Other” is represented in two paintings belonging to two illustrated versions of Shahnameh, both from Safavid period. Based on the comparison of equall binary of the self and the other with that of human and demon in those picture, this article would try to

    Oppositional Binary of “the self” and “the other” in Two Illustrated Versions of Shahnameh, Shahnameh of Shah Tahmasb and Shahname of shah Ismaeel II: An Analysis of the …

    A Haghayegh, M Shayestehfar
    Journal Papers , , {Pages }

    Abstract

    The Reflection of the Qadir Khom Event in Safavid Paintings

    M Shayestehfar
    Journal Papers , , {Pages }

    Abstract

    THE EXPRESSION OF ARCHITECTURAL DECORATIVE DRAWINGS IN KAMAL-AL-DIN BEHZAD’S WORKS: THE PAINTING ?A BEGGAR AT THE DOOR OF THE MOSQUE?

    MAHNAZ SHAYESTEHFAR, FATEMEH SEDREHNESHIN
    Journal Papers , Volume 8 , Issue 25, 2013 January 1, {Pages 18-37 }

    Abstract

    The outcome of the tremendous arrangements of artists like Kamal-Al-Din Behzad in the realm of painting at the end of ninth century was its association with architecture. The depiction of architectural spaces and decorative designs in paintings has its roots in great and glorious buildings surrounding artists. The ample decorations on the surface of buildings that enhanced their sense of unity and effectiveness, manifested even on the statues, clothing. Thus, even though the presence of architectural spaces was mainly as a result of the demands of the stories, the systematic and geometric structure of the architectural decorations changed also into an appropriate tool for color richness, strength of composition and concordance of components

    Content Analysis of the Epigraphs Engraved on the Imam Reza (AS) Holy Shrine Verandas in Timurid and Safavid Eras

    Mahnaz Shayestehfar
    Journal PapersJournal of Razavi Culture , Volume 1 , Issue 3, 2013 November 22, {Pages 117-147 }

    Abstract

    History of every nation includes the lives of human beings and their relations, from artistic and religious to human ones. Iranian history includes two powerful dynasties of Timurid and Safavid which have left many trails in the biggest religious place in Iran, Imam Reza’s Holy Shrine. Porches made in Timurid and Safavid eras are among the most important architectural works in the country located in Imam Reza’s Shrine. They contain different artistic and religious inscriptions and this difference is a result of variety that existed in their separate eras. This paper seeks to review the differences and similarities of the porches made during Timurid and Safavid eras. The methodology is that the contents of Quranic inscriptions are analyz

    دروس نیمسال جاری

    • دكتري
      بررسي و تحليل هنرهاي اسلامي (2 واحد)
      دانشکده هنر، گروه هنر اسلامي
    • كارشناسي ارشد
      مباني زيبايي شناسي هنر اسلامي (2 واحد)
    • كارشناسي ارشد
      تجزيه و تحليل مكاتب نگارگري (2 واحد)
    • كارشناسي ارشد
      سير تحول كتاب آرايي در تمدن اسلامي (2 واحد)

    دروس نیمسال قبل

    • كارشناسي ارشد
      مباني زيبايي شناسي هنر اسلامي (2 واحد)
      دانشکده هنر، گروه هنر اسلامي
    • دكتري
      بررسي و تحليل هنرهاي اسلامي (2 واحد)
    • كارشناسي ارشد
      تجزيه و تحليل مكاتب نگارگري (2 واحد)
    • كارشناسي ارشد
      سير تحول كتاب آرايي در تمدن اسلامي (2 واحد)
      داده ای یافت نشد
    • عضو هيات علمي دانشكده هنر دانشگاه تربيت مدرس از سال 1377 تاکنون
    • مدیر مسئول موسسه مطالعات هنر اسلامی از سال 1378 تاکنون
    • مدیر مسئول و سردبیر نشریه علمی-پژوهشی مطالعات هنر اسلامی از سال 1383 تاکنون
    • مدیر مسئول مرکز تحقیقات هنر اسلامی نگاره از سال 1387 تاکنون
    • مدیر گروه هنر اسلامی دانشكده هنر دانشگاه تربيت مدرس 1389-1387
    • مدیر مسئول و سردبیر نشریه علمی- تخصصی سفالینه از سال 1388 تا کنون
    • ریاست موسسه آموزش عالی گنجینه هنر کرمانشاه از سال 1390 تا 1396
    • دبیر علمی و برگزار کننده همایش جایگاه و منزلت قرآن کریم در هنر اسلامی در اسفند 1391
    • عضو هیئت موسس خبرنامه الکترونیک انجمن علمی هنرهای تجسمی ایران
    • مدیر مسئول و سردبیر ماهنامه فرهنگی و آموزشی کیمیای نقش از سال 1393 تا کنون
    • مدیر مسئول نگارخانه نقشینه از سال 1395
    • مدیر مسئول آموزشگاه هنرهای تجسمی نقش مایه از سال 1391 تا کنون
    • مدیر کارگاه تولیدی صنایع دستی از سال 1394
    • مدیرعامل شرکت تعاونی لاجورد کبودان از سال 1388 تا کنون
    • دبیر هنری مسابقه بهشت ایرانی در سال 1394
    • مدیر مسئول و سردبیر ماهنامه هنری ، معماری ، تبلیغی برسومه از سال 94 تا 1396
    • دبیر علمی و برگزار کننده همایش جایگاه نقوش تزئینی در کیفیت بصری آثار هنر اسلامی در خرداد 96
    • دبیر علمی و برگزار کننده همایش هنر شیعی در تبیین مفاهیم و ارزش های هنر اسلامی در فروردین 1394
    • دبیر بین المللی هنر و علوم انسانی با رویکرد ایرانی –اسلامی و توسعه پایدار 1398
    • انتخاب به عنوان برگزیده در ششمین همایش بانوان قرآن پژوه در سال ۱۳۸۶
    • انتخاب پژوهشگر برتر در پایگاه استنادی علوم جهان اسلام به عنوان پر استناد ترین پژوهشگر کشور در رشته هنر و معماری در سال 1398
    • انتخاب شدن به عنوان داور بين المللي در مجله Internationl Journal of Litereture and Art در سال سپتامبر 2020
    • جایزه زنان در علم در رشته هنر در سال 1396
    • چاپ بیش از 250 مقاله علمی و پژوهشی و شرکت در بیش در 200 همایش با موضوعات هنر، فرهنگ و تمدن ایرانی -اسلامی
    • دبیر علمی و برگزار کننده همایش جایگاه و منزلت قرآن کریم در هنر اسلامی در اسفند 1391
    • دريافت Author ID در پايگاه Scopus: 37106446800 در سال 2020
    • دريافت Web of Science Research ID از پايگاه Publons: AAV-8292-2020 در سال 2020
    • دريافت عنوان خادم فرهنگ رضوی همزمان با دهه کرامت رضوی از سوی بنیاد بین المللی امام رضا علیه السلام در سال 1399
    • دريافت موفقيت به ارتقاء دادن نشريه هنر اسلامي به نمره (ب) در وزارت علوم و تحقيقات و فناوري در سال 1399
    • فارغ التحصیلی در آکادمی Publons دربردارنده دوره آموزش داوري همتا و دريافت گواهي بين المللي داوري از پايگاه Publons در 15 سپتامبر 2020
    • فعاليت در پايگاه هاي علمي- اجتماعي همچون researchgate، mendeley، Google Scholar، LinkedIn، Publons، Civilica، Noormags، Scopus
    • فعاليت در پايگاه هاي علمي- اجتماعي همچون researchgate، mendeley، Google Scholar، LinkedIn، Publons، Civilica، Noormags، Scopus
    • کتاب با عنوان: قرآن های ایرانی سده های اولیه تا اواخر سلجوقیان
    • موسس کارگاه تولیدی صنایع دستی آفرینه – با تمرکز بر نقوش هنر و تمدن ایرانی-اسلامی بر روی هنر امروزی (چرم، پارچه، زیور آلات) از سال 1396
    • موفقيت در دريافت پذيرش نمايه سازي نشريه هنر اسلامي در پايگاه بين المللي J-Gate در سپتامبر 2020
    • موفقيت در نمايه سازي نشريه هنر اسلامي در پايگاه بين المللي DOAJ در مي 2020

    مهم

    جدید

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