ISLAMIC ART
Year:2018 | Volume:14 | Issue:31 |Papers Count:9

The history of the shrine of Imam Reza (AS), the most important attraction of religious tourism in Iran, dates back to more than ten centuries ago, which was decorated with various decorations during the Islamic states; and each section represents the art of architecture of the special era of Islamic art history. Characters and elders have been renovating and developing this scared place in every age. Allahverdi Khan, a brave warrior and military commander of Safavid era, paid special attention to the architecture of this era, and he has done a great deal to raise the culture and civilization of Iran; this can be emphasized by the culture and civilization of Iran; by looking at his remains in Esfahan (Si-o-se-pol), Shiraz (School of the Khan) And Mashhad (Dome of Allahverdi Khan). This magnificent building is one of the most beautiful buildings in the holy shrine that Arthur Pope, in the book of Iranian architecture, considers the most complete part of the shrine of Imam Reza (AS). The mosaic tiles of this porch are decorated with inscriptions, animal motifs, plant, and geometric designs. Many of these motifs are conceptualized, which have a particular place in the culture and literature of this boundary. In this regard, the present study was conducted using descriptive and content analysis based on field observations and library data. Among the 487 roles in 9 species of animals, each of which is a world with full of mysteries, the highest number motifs include the motif of the bird (chicken) and then there are, respectively, pheasant, parrot, peacock, duck, dragon, simurgh, deer and Chicken Bismillah. Research purposes: 1. to introduce the symbolic of the animal motifs in porch of Allahverdi Khan. 2. The study of symbolic concepts of animal motifs in the mentioned porch. Research Questions: 1. what are the types of animal motifs in porch of Allahverdi Khan? 2. What are the symbolic implications of this motif?

Needlework was originated in the city of Kashmar and TorbatHeydarieh from the taste and gusto of the people of this land, derived from the beliefs and faith of artists women in those lands, which have unique forms and designs. Although, at first glance, these works seem simple and elemental, but visually have a coherent structure and, in addition, have meanings and concepts. The article studies the effects of needlework from the perspective of anthropology with three approaches of aesthetics, functionalism and semantics in this rich cultural-value area. The purposeful study of eight villages in Kashmar and TorbatHeidarieh cities shows that these works can be divided into three forms of human, plant, and birds and animals. These works are a manifestation of a vibrant and beautiful environment in the aesthetic dimension, respect for nature and its preservation, the wish of refreshing gardens in the dry desert atmosphere of this area and the beliefs and faith concepts of people in the manifestation of animals such as mountain goat or manifestation of blessing and caricature in the Semantics dimensions. In the functionalism dimension, we should refer to using of these works in various forms of application in their simple living environment such as Prayer Mats, bundle, and others. What deserves to be mentioned is the trend of the line of life and the hope of the family in this area that make the rural woman doing such works, although primitive, but meaningful. Research purposes: 1. Classification of the form and style in the needlework works of the Kashmar and TabatHeidarieh 2. Analysis of needlework works of Kashmar and TabriyatHeydarieh from the Art Anthropology Perspective Research Questions: 1. Needlework works of Kashmar and Haberdahi regions based on their design and style, are divided into how many categories? 2. How can the forementioned regions needlework can be analyzed from the art Anthropology Perspective?

The fifth Zarih of Imam Reza is one of the most prominent examples of the art of perfection, which was created in the Islamic Republic after the burnout of the fourth zarih (Shir-o-Shekar) and replaced the Shir-o-Shekar zarih. The design and construction of this design has been accomplished by great professors and artists such as Mahmoud Farshchian, Mohammad Movahed, Mostafa Khodadadzadeh Isfahani, Khodadad Keshtiaraai. The rectangular cubic zarih is adorned with arts such as calligraphy, Etching, stamping and mosaic of khatam, body and interior. The research method is descriptive-analytical and data collection is based on library information and field photography. The findings show that the text of the Aftab zarih contains the verses of Yasin and Dahr from the Holy Quran, the names of the fourteen innocents, Shihadatin Shiite, the mention, divine attributes, al-Qubb and Asma al-Hosna. The calligraphies used in zarih are Sols, Sols Moqtaran. Taaliq and nastaliq letter. In general, inscriptions, in addition to the aesthetics, have been instrumental in providing religious concepts. Research purposes: 1. Study of the form, technique, materials and inscriptions used in the Aftab Zarih. 2. Reviewing the content and theme of the inscriptions of Simin and Zarrin Zarih. Research Questions: 1. What is the form and materials used in the Simin and Zarin zarih? 2. What is the text of the inscriptions of the Aftab (current zarih) and what is its content and concept?

The oldest type of Kofi script is the brick lines that are called theMasonry Kofi script. The Kofi script is the same the script ismoalaghi. The masonry script is a kind of angular kufi script; based on the Designed chess house and drawing geometric shapes like: Square, rectangle, parallel and cross lines. This type of Kufic is seen in ancient buildings and mosques, especially the Timuri period. In the Timuri period, have been used Moaragh tiles, seven colors, as well asMoalaghi script in the decoration of buildings. In ancient buildings, a simple type of masonry is seen abundantly; This is very evident in the decorations of the Goharshad Mosque of Mashhad. This research is based on descriptive-analytic method; And by knowing such important factors as creating Savad and Bayaz, how to read, how to move letters and moreAlso, the base of the work in the masonry Kofi script has found an important basis for designing signs of contemporary writing. Article goals 1. Familiarity with themasonary Kofi script of the Timurid period, and especially study the six masonary Kofi inscriptions on mosque of Goharshadmashhad. 2. Understanding the structure of masonaryKofi script of Goharshad Mosque in Mashhad and its effect on the signs of contemporary writings. Article questions 1. Can study the masonary Kofi script in Timuri period, and in particular the sixmasonary Kofi inscriptions of the building of Goharshad Mosque in terms of graphic structure? 2. How to use in the sign of contemporary writings, the graphic structure in the masonary script of theTimuri period and in particular the sixmasonary Kofi inscriptions of the building of the Goharshad Mosque?

Khialinegari is an expression for describing a kind of narrative painting which has religious, heroic, epic, lyrical and popular content. It spread in Qajar era according to folk art and religious art while was impressed by the tradition of conventional painting of that period. Some of the researchers believe that this kind of painting has created According to necessity and the willing of the people, whilst conserving all the religious and traditional values of the art of Iran. These paintings are full of presentive, thematic bases and visual structures. Although many valuable studies have been done during the years about it, there are lots of undetected aspects of Khialinegari. This article is looking for the answer of this question that "have contents, subjects and visual structures suddenly formed in Qajar`s Khabouialinegari or have they history in Iranian painting? " To answer this question and achieve the background of Khialinegari we try to study the features of a period of visual art of Iran, from the Ancient to Qajar era, for finding the common aspects of it in contents, subjects and visual structures with Khialinegari. It is a fundamental and theoretical research. This study has been executed using descriptive and comparative analysis methods. The results of this research has shown that Qahvekhane`e`s painting or Khialinegari is a particular style of painting art. It is one of the pop arts with a history in the Iranian society which has emerged from the Iranian traditions. What is known these days as a Qahvekhane`e painting is Qajar`s version of it that is different in terms of figurative features, contents, material and the slangy subjects belonging to Qajars era, but this kind of painting is very older than Qajar period. Objectives Find the answer of this question that "have contents, subjects and visual structures suddenly formed in Qajar`s Khabouialinegari or have they history in Iranian painting? " Try to study the features of a period of visual art of Iran, from the Ancient to Qajar era, for finding the common aspects of it in contents, subjects and visual structures with Khialinegari. Questions Have contents, subjects and visual structures suddenly formed in Qajar`s Khabouialinegari or have they history in Iranian painting? What are the common aspects of visual art of Iran, from the Ancient to Qajar era in contents, subjects and visual structures with Khialinegari?

The great Khorasan witnessed remarkable developments in the construction of the Sufi mausoleums during the Timurid period and the tomb of Mawlana Abu Bakr Taybadi is no exception in this regard. The tomb was built in 848 AH on the order of Pir Ahmad Khafi, minister of Shahrokh Timurid, by the greatest architects of the Timurid period (two brothers called Ghiyath al-Din and Qavameddin Shirazi) in Taybad to be used as a mosque and prayer hall. What distinguishes this building in terms of architectural and archaeological studies is the use of applied geometry of the Timurid period in construction of this monument. In the present study, it is attempted to use the library resources as well as field observation and recording through an analytical approach. It can be argued that one of the distinctive features of the Timurid architecture is the use of geometry in architectural designs as much as possible, representation of which can be seen in the plan, the high veranda, and the done house of Mawlana Abu Bakr Taybadi’ s tomb. By geometric analysis of this building, it can be stated that the architects have used the derivatives of √ 3, √ 5, and √ 2 in the design of the plan, the dome house, the faç ade and the veranda of this monument. Research purposes: 1. Revealing the applied geometry in the design of Abu Bakr Taybadi’ s tomb 2. Identifying the geometric proportions and patterns in the design of the building Research Questions: 1. What are the geometric proportions and patterns used in the construction of the dome, the plan and the faç ade of this building? 2. Which geometric rules of the Timurid period have been used by the architects to design this building?