ISLAMIC ART
Year:2018 | Volume:14 | Issue:30 |Papers Count:7

The focus of this article is on decoration motives in Qajar “ Chaloshtor castle” and relationship between art and politics. The Chaloshtor castle was a military residential monument belonging to Bakhtiaries tribal khans. This monument consists of two houses which cling together and named “ Mahmood khan” and “ Ahmad khan” . This article is the first one by focus on the carving and murals decoration of the castle and also based on filed and academic studies. This paper methodology based on descriptive-analytical method; also combination of field and library studies along with authors direct observations. The results of this research show It is possible to classify Qajar Architectural decorations considering the links in between decoration of monuments and related underlying political and social sight. This topics show common thoughts of their era, also the artistic virtues were affected by quoted factors. Finally these common ideas lead to same methods in architectural decorations that follow with artists. Objectives: 1. Introducing and classifying common topics in the architecture of the Qajar era. 2. Introducing carvings and chaloshtor castles and expressing common themes in the decoration of buildings of the Qajar period with Emphasizing the carvings and paintings. Questions: 1. How many categories are in common topics in qajar era? And how these topics found in the castle?

Raqqa, as one of the most important art Syrian centers in the 12th and 13th centuries AD, is considered a milestone in the art Ayyubid period. The study of the so-called Raqqa, In museums around the world, Shows the unique features and evolved into the designs motifs. Especially in how to draw animal motifs, have a more naturalistic approach than in the past. Syrian artists in addition to realistic drawing style, have try to use more effective measures to draw more dynamic visual motifs. There Two different approaches to the design of animal motifs Raqqa. In both cases, the display element, as the most prominent feature is. The study of these two styles of type design as markers of stylistic expression, is the main thing in this research. In this research Collecting information is based on documentation, And countless examples in the report based on the study of archeology and collections in museums, reserved.

One of the fundamental pillars of architecture and Islamic period decorations is using geometric patterns in the form of decorative surfaces named “ Geometric decoration” (girih) In order to cover and spacing the Islamic monuments through different ages That without paying attention to geometry science, numbers and mathematics, drawing such girihs is not possible. One of these holy numbers, which is a symbol of flourishing and life, and also due to its concept and geometry, has played a significant role in the construction of girihs, is the number five. Hence, the present paper seeks to study the concept of geometry and its application, its relation to numbers and mathematics. Upon examining the Holy Number five, it identifies girih that can be drawn through a regular pentagon, and find the positioning and presence rate of other decorative motifs in these girihs. Finally, by studying the works in the Islamic monuments of Iran, it tried to find successful examples of those girihs. Therefore, in view of the final goal, this paper, by means of library studies and with the help of various sources and the study of linealhistorical documents, has descriptive-historical, analytical methods trying to reflect geometry and number five in Islamic geometric designs. The results of the research show that there are at least 10 types of girihs with a regular pentagonal motif. Due to its slow angles, it is not present in any of the "sharp girih". Contrary to the slow pentagonal angles, we see the presence of the “ sharp Shamse 10” motif in two girih, along with the regular pentagon and in the "slow and sharp girih of the Giveh (Mooryaneh)", the sharp and slow Shamse motif are placed simultaneously in the same context, in spite of the discordance of the inner angles. Purpose:  Specify the reflecting of the number five and the regular pentagonal motif in Islamic geometry patterns (girih)  Specify the positioning and placement of geometric decorative motifs in geometric patterns with regular pentagonal motif and determination of the frequency of other decorative motifs in the girihs with a regular pentagonal motif Questions:  How is the manifestation and reflection of the number five, and especially the regular pentagon in Islamic geometry patterns?  How is the placement and abundance of other decorative motifs in girihs that have regular pentagonal motif, and what are its examples in the geometric patterns of Islamic designs of Iran?

During the Qajar era, after establishing a relative calm during the reign of Fath Ali Shah and Nasir al-Din Shah Qajar, the headstock was made for the production of exquisite Persian rugs. In this era, European travelers attracted the attention of businessmen and people of Europe and the United States to Iran's handmade rug. In the mid-19th C. E. / 13th A. H. centuries, an evolution in the production of Persian rugs for the supply of the world market occurred and foreign companies were interested in investing in Iran's rug production and trade. Following these developments, some of the countries that had the advantage of handmade carpet industry were thinking of developing this industry and entering into the field of competition in international trade. This competition grew in the global market since the First International War, and large carpet manufacturers have always been competing to takeover global markets, especially the European and American markets. The countries of China, India and Turkey were among the most important rivals of Iran, which in the last years of the Qajar era were able to increase their share of the international carpet market. By studying news, content and media ads over the past times, we notice that during the Qajar era, especially during Ahmad Shah and Mohammad Ali Shah, the issuance of Iranian carpet was relatively high compared to the rival countries. A review of the press of this time has confirmed that part of the press has been introducing and helping to overcome the problems facing Iran's rug. The sovereign look and the issues that journalists of that period endorsed is notable. That's why the problem in this research is that, how has been the content of ads, news and the process of presenting these ads and reports and that how were the issues raised and discussed, and perhaps the strategies ahead in that era, so by using that information can codify a strategic plan in the field of media as well as in the field of executive work of the country's rug. Research Objectives: 1. Qajar era policies on Iranian rug. 2. Review of cultural and artistic policies of the Qajar era. Research Questions: 1. What orders did the rulers give during the Qajar era regarding the export of handmade carpets? 2. What were the executive policies on the subject of rug art during this period?

Many thinkers consider art as a means to perceive the truth and it is the way to achieve the highest human knowledge and epistem, And a kind of epistem that access to it with other means and equipment is impossible. Coomaraswamy is one of the thinkers who coopt this idea. Ananda Coomaraswamy, a thinker of traditionalism, has discussion the concept and meaning of art in his writings. The "art for art" doctrine is one of the most important concepts that Ananda Coomaraswamy has been discussing based on his aesthetic and semantic principles. He has defined art's ultimate goal in traditional attitude. This paper aims to determine the doctrine of art for art based on Ananda Coomaraswamy's idea And by expressing the concept of art from Coomaraswamy's idea, proposes the means of differentiating the meaning of art into a traditional and modern approach. The hypothesis of the article is that based on Coomaraswamy's idea, art in the traditional attitude has a goal other than itself, and negates the ultimate purpose of art for art, which is the basis of thinking in modern art. Research findings suggest that Art for Coomaraswamy guides the audience for another purpose based on reason and it's as a means that it facilitates. Coomaraswamy considers art as the embodiment of a preconceived form in material and it dominated by tradition and serve it ends considers the meaning and function. In contrast, the effects of the slogan "Art for the Art" in the modern world indicate that the question of the subject and theme makes the work of art meaningless. Also, people's interest in semantic and endemic art is greater. The method of research in this paper has been descriptive-analytic and the data collection is done based on a documentary study. Objective 1. A Study of the Differences Between Traditional and Modern Art According to Komarashvami's Comments Problems 1. What are the differences between traditional art and modern art based on Coomaraswamy idea? 2. How can the doctrine of art for the arts to be explained in the context of Coomaraswamy?