ISLAMIC ART
Year:2018 | Volume:14 | Issue:29 |Papers Count:10

As the histories record accounts, alluding to contexts of events is unavoidable; so they include some descriptions of the handicrafts belonging to the context, therefore, the histories can be placed among the main resources of art and culture subjects. Subjects such as tents, which were very usual in Timurid time. Different kinds of Timurid tents were introduced by various native terms in the histories such as Zafar-nameh. However, the tents due to being used routinely those days and writing about such things in the histories was disdained, there are few detailed descriptions of them in the book and most of them are couched in literary terms. So the lack of information cannot depict their characteristic features thoroughly. Fortunately, the absence is eliminated by Clavijo’ s descriptions in his book, contemporary with Zafar-nameh. As the tourists and visitors are more interested in unusual things, which are almost rare in their lands, they give much more explanations. Clavijo, the ambassador of Spain, has compiled an extremely detailed account on the various tents during his journey to Timur territory. This article, based on resources, extracts the names referred to tents from Zafar-nameh at first, and a general meaning of each word according to the context. Then by the juxtaposition with Narrative of the Embassy of Ruy Gonzales de Clavijo brings the detailed descriptionsto complete the depiction of various tents. However, passing the centuries after Timurid time and extinction of some kinds of tents have made their names disused and forgotten or their meanings completely changed.

The lack of continuity of the values ​ ​ of Islamic art and architecture in the design of new structures in the historical context is a limitation and threat to the life of these precious urban areas. Among these, contexts of traditional Iranian bazaar, as valuable but problematic areas which have been subjected to the crisis of functional-physical constraints of new and uncontrolled structures, are the fields whose recognition of their qualitative features is essential for the emergence of coherent interactions with context. In this paper, therefore, aimed at explaining the language of the context-centered pattern of traditional market as an outstanding example of traditional Iranian art and architecture, first the analytical-descriptive method, as the subset of the qualitative research methodology, is used to collect and analyze the necessary information. In the second part, using the visual fractal analysis method, the correlation between the context-oriented quality components of the traditional market elements, was examined with a fractal geometry pattern, with emphasis on open and closed spaces. The findings suggest the context-orientation of traditional markets in urban, neighborhood and domestic scale in such a way that the visual analysis in three macro-, medium and micro scales confirms the overlapping of quality values of context-orientation with a fractal-likel geometric pattern manifested concretely in conceptual mentality of traditional architect. Fractal geometric scales embodying behavioral-functional scales reflects the semantic integration from unified and dynamic Islamic worldview. The patterns similar to (chambers) Timcheh and pattern for open spaces as strong centers of medium provides the junction and integration of macro and micro scale and corresponding to law of reverse power of fractal dimension, the more scalable the micro components are, the greater they are in number.

The romantic purpose of Persian poems in painting returned to times before Isfahan's school. Reza Abbasi’ s works, including romance and lyrical themes, divised a new style in Iranian design and painting. The inner connection of various components of Lyrical works of Reza with the new composition not as the past works but away from the perspective, the shadow and in harmony of new Sadr-al-Mutalehin illustrate the culture and art of first shah abbas era's. Reza Abbasi’ s works are of different romantic, mystical, epic and social themes. In the current study some of the artist’ s images with romantic themes are analyzed in line with the ideas of Mulla Sadra. Reza mysteriously reveals the romantic and mystical motifs and subjects in the world around that are obvious in the hidden layers of his works. Afif's love can be found in the Molasadra's view and in some of Reza's work and start with an observation and ends with some allegories which is itself another beginning and at the end finished by accretion of love and beloved and being unify with GOD and unification. The objective of this study lies in the achievement of the principles of covert and overt romantic moods in the works of Reza Abbasi, Shah Abbasid artist, and matching and comparing them with the intellectual components of Mulla Sadra on Love. Thus, first, the views of Sadra in love will express and in the following, some of the works of Reza Abbasi, which are lyrical in contents and it seems to be alingned with Sadra’ s votes on love, will be analyzed. To achieve this, in this study, according to the analysis, comparative and collection methods and through library data collection from the available books, museums and analysis of the gathered data, the gained results support that most of Reza Abbasi’ s works are connected to Sadra’ s intellectual components on Love.

The theoretical basics governing the Iranian miniature are conditioned on a special rendering of the imagery traditions based on spiritual manifestations due to the Islamic thoughts and submission to divine religion. For the same reason, Muslim miniaturist never misses in his or her creation of miniatures and adoption of transcendental attitudes the existence of God; rather, adopting an immanence-driven approach to the artwork, s/he knows the world of the miniature as a materialization of the divine instance and a demonstration of the praised God’ s appearance. Thus, the present study aims at investigating the concepts of immanence and transcendence in miniaturist’ s illustration style via underlining Muhi Al-Din Ibn Arabi’ s approach as regards the epistemology of these two concepts. Based on the study findings, Ibn Arabi’ s belief has been laid upon the underlying premise that the true knowledge depends upon an integration of immanence and transcendence. Moreover, the secret of transcendence lies in the name of the God’ s nature and immanence’ s secret stems from the verdicts of the apparent name of the praised God. So, the world of possibilities cannot be stripped in its interior and exterior from the God and the topic has been most eloquently expressed in the Holy Quran; and, because the Muslim artist in his or her resorting to the spiritual concepts of the Islamic and Quranic canonization tries to create an artwork and considering the idea that in Ibn Arabi’ s perspective the Holy Quran and the Islamic attitude are the outcome of integration of the immanence and transcendence, it can be stated that the pictorial elements extant in Iranian miniature are as well specific kinds of a real language that have been converted to an expression of the two-dimensional illustration world being given the form of a single light in the practical arena by the artist. God’ s characteristics and attributes are manifested in the miniature away from any thought of equalization to the divine creation. The present study has been carried out based on a descriptive-analytical method. The information has been collected through library research.

Symbolism is one of the old principles of human thought that has been shown in the works of art since the beginning of its periods of life, and according to Islamic views, the symbol is the apparent and secular aspect of spiritual nature. The religious artist in the expression of concepts and the giving of material means to them is the use of the language of allegory. Among the positions of the appearance of symbols in Iranian art is architecture. Considering the meaningful capabilities of the mosque architecture, using the semiotic method, we will analyze the symbolic concepts and spiritual meanings of these artistic works. The elements that are considered as symbols are considered to be functional and have become symbolic over time. The method of research is descriptive-historical, with a semiotic approach based on the theory of "Charles Saunders Pierce" to examine his pattern in the secondary implications of decorative motifs and the architecture of the mosque in the Vakil mosque of Shiraz, as part of a semiotic study and try to It is to examine the decorative elements and physical elements of the mosque and the effect they have on translating their meanings and concepts. At first, using the method of shooting and observing the amount and type of signs used and in the next section, we will analyze and review each of their images and symbols in the architecture of the mosque attorney. This research shows that in the art of Islamic times less iconic signs are used, and in cases where these signs are present, the artist frees it from the implication of similarity and gives it a semantic meaning. Also, attention to the relationship that the artist makes between the signifier and signified can reveal his artistic visions. It can be said that the motifs and signs of the Vakil mosque of Shiraz lawyer were somewhat Iconic, and somewhat Indexical. During the time, the signs were developed towards symbolic and contractual terms, or in other words, compared with real signs or symbols, the Index became diminishing to some extent, and the Icon went even further into decline.

"Tavaqib ol-Manaqib" is the biography of the mystics and the Sufis especially Mevlana Jalaluddin Mohammad Balkhi with a little exaggerated. This literary masterpiece was summarized by Ahmad-ibn-Mohammad and the next time by Abdulwahab-ibn-Jalaluddin-Mohammad-Hamedani in 947 A. H and it was translated into Turkish by the order of Sultan Murad of Ottoman Empire in 998 A. H. The focus of this study is on the illustrated version of "Savaghebol Monagheb" book in Morgan's New York library; produced during the rule of the Ottoman kings (the late tenth and early eleven century A. H) and introduced one of the masterpiece of Baghdad miniature school of the tenth century. Therefore, the edition feature of the form, are analyzed to identify the achievements of Baghdad Miniature School in the tenth century A. H. The question is that, what kind of miniature formality is in the "Tavaqib ol-Manaqib" as the chosen Baghdad miniature school? The overall result of the miniature analysis form of "Tavaqib ol-Manaqib" show that Baghdad miniature has been depicted in a coherent miniature feature. The study of this research in terms of the fundamental nature of the methodology, is an analytic-historical one.

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.

Illumination is one of the most important Islamic arts and Qur'an decoration, which displays a wide range of talents of Muslim artists. From the early days of Islam, Muslim illuminators have always used talent, creativity, and innovation to form various styles of illumination. Among the important book designing centers in the Islamic lands, Shiraz is always known as one of the most important schools of book designing in which various styles of Illumination, Ta'shir and Calligraphy have been created over the course of the years. Among the important styles of book designing of Shiraz school, there are decorated Qur'ans of eight to thirteen centuries (AH) which have formed three important styles of Qur'an decoration of Shiraz School. Recognition and study of stylistics based on form components and achievement of the main features of the important Qur'an decoration of Shiraz School are the main aims of this study. Therefore, in order to achieve this aim, among the Qur'ans of these three eras, a Qur'an of from the Ilkhanate era, a Qur'an from the Teimuri era and two Qur'ans from the Qajar era have been selected purposively. The present study is descriptive-analytical with formalistic stylistics approach. One of the most important results of this study is the introduction of the form structure and stylistic features of these three eras. The eras can be named as Yeganeh, Pardis and Farshineh on the basis of the form structures. The reason for naming these three eras is characteristics of the significant forms used in these three eras or styles.

The studies conducted so far on the Herat school’ s painting were more related to the aesthetic aspects and paid rarely attention to them in realistic perspective. One of the realistic features in paintings of the school was the reflection of Islamic architecture and decorative elements attached to it. Little attention to investigate the decorative elements in paintings stems from this presumption that Iran’ s painting mostly shows the world of Ideas and is far from the visible reality. In this paper, it is attempted to investigate the realism of tiling decorationsof theBehzad’ s paintings by removing the existing presumption. The present study seeks to answer the question that what extent is the status of using the motifs and tiling decorationsin Behzad’ s paintings and their adapting to decorative motifs of its contemporary architectural monuments’ tiling? The research method is descriptive and analytical based on library data. For this purpose, 8 Behzad’ s paintings were selected and their tiling decorations have been analyzed. Then, the comparative comparison was performed among each type of the decorations identified with the same decorations in established monuments of the Timurid era. Results indicate that most tiling decorations of paintings are affected by the real monuments of the Timurid era in terms of form, structure and color, and the common types of decoration used in paintings are under glazed tiles, geometric faience mosaic, geometric monochrome and then brick’ s Girihchini and painted tile through matching the decorative motifs and the accuracy of structure, while some other common types of the Timurid era’ s tiling such as geometrical under glazed, mosaic floral, geometric Moaqely and masonry ones have not been used in Behzad’ s paintings.