Sun-like or Shamseh: Iconography, Iconology; Based on Panofsky, Art Philosophy Approach

The language of Islamic art is a symbolic language and these symbols carry the inner and essential meaning of this art and the only way to study the meaning of Islamic art and its works of art is to study these symbols. In fact, it can be said that symbolic language is the language that art chooses in religious civilizations and expresses its inner concepts in its form. Undoubtedly, mysticism has the greatest responsibility in conveying the inner message of religion. But what is clear is the inability of words to explain and describe spiritual and mystical revelations which reveals the necessity of using another language alternative to convey words and express its nature. Geometry refers to the inner nature of phenomena and as a mediator for linking the levels of existence, it provides the possibility of the ascension of understanding from the perceptible to the reasonable and seeks to create visual symbols to think about an original order derived from unity. Therefore, following and modeling architecture from symbolic concepts is inevitable and traces of every historical period are definitely evident in its architectural, woven, ornaments, and bricking works. Manifestation in the forms with the arrays on graph and node used on before and after Islamic periods and graph and node has shown the predominance of mathematics and geometry of Sun-like or Shamseh icon and often they have appeared on the form of geometric shapes which is due to the abstract character and concepts hidden in it and the place of geometry and mathematics in Islamic art philosophy. The question article is how does Sun-like or Shamseh can be defined as an icon based on Panofsky’s views?

کلیدواژه ها:

Sun-like ، Shamseh ، Graph ، Node ، Panofsky ، Iconography ، Iconology