| Abstrakt: |
One of the simple yet challenging ideas in Islamic art is the rejection of symmetry, as shown in Seljuk brickwork. This period encompasses a major change in the structure of the brick arrays that has never been seen in Iran's history due to the use of bricks in a range of geometric shapes without adhering to the idea of symmetry in the edges of the building. The coincidence of these with the peak and perfection of Iranian brick art has led to a paradox in this era's art that has gotten little attention to far. It is important to note that changes in the artistic framework of a traditional civilization do not just happen. Despite the importance of symmetry in Iranian art and the Seljuk era's dispute about its brickwork, little attention has been given to the Seljuk era's avoidance of symmetry in studies both domestically and abroad. It is crucial to explain and comprehend this disintegration of the middle class, the new social class that supported manufacturing in response to a new taste. The pop art style of that era's brickwork was developed by sponsors' preferences and bricklayers' zeal for showcasing their skills. Like all pop arts, it was inspired by societal structures as well as by the political and social changes that followed the Seljuk era, which was quickly forgotten. This study intends to shed new light on previously unrecognized elements of Seljuk-era brick art. The historical-interpretive methodology used in this research is supported by library resources. [ABSTRACT FROM AUTHOR] |
