ISLAMIC ART
Year:2007 | Volume:3 | Issue:5|Papers Count:16

The following essay is taken from a post-graduate thesis and has been prepared under several studies and reviews in the region of Zanjan. The bathhouses of Zanjan built in the Qajar era, including six bathhouses of which five are still working, were explored. These bathhouses were located in Zanjan Bazaar, which are of high importance due to the fact that bazaars played a major role in communication, besides their economical, cultural, and religious functions.The style of the architecture and forms of the bathhouses, the decoration and the material used in the building as well as the maze of paths to reach the bathhouses were all based on engineering calculations. The water supply system and transferring the required water into the bathhouses as well as its heating system, the type of fuel used, and finally the heat transferring were all analyzed. The following points are achieved in this survey:Reviewing the style of architecture, plans and that it is located in the old district of the city near the historical bazaar, it can be declared that the bathhouses were constructed in the Qajar era; relevant to the development of the bazaars in that time.In the construction of the bathhouses, a plan with four verandas and maid dome, and in some other, a less deep plan with four verandas; making use of a column in the heating room have been used.Due to the cold weather of the region, mixtures of stone and motar as well as coverage of adobe have been used as insulation. The bathhouses are built in a depth of 3.5 to 4.5 meters, making use of soil as a natural insulation and also they withstand an earthquake more.The water transfer of the building was done through pipes made of baked clay, while animal excrement was used as fuel.This essay will answer the following questions:How is the structure of bathhouses located in the cold region of Zanjan?What are substances and decorations used in forming bathhouses?

One of the most defining characteristics of Islamic architecture in any building is the existence of inscriptions. Decorative inscriptions in Islamic architecture include: plaster-mold work (stucco), brickwork, stonework, and tile work. These elements are occasionally used alone or in combination with others in order for the artist to demonstrate and create an amazed beauty. An artist can set together a variety of letters and pictorial features with their artistic taste to challenge forms and create an incredibly splendid combination. Furthermore, inscriptions are a tool for reflecting the holy message of God and the holy people, moreover, some include Islamic prayers.Another aspect of Islamic architecture in the perspective of importance and criteria is that geometrical patterns can be distinguished everywhere. The utilization of these patterns which endure philosophic and intellectual meanings intends to have a great influence of the mentality of the prayers and creates a sense of unity within them. The twisting geometrical patterns and the repetition of a proportional style, generate a sense of union and harmony.These two decorative features are known as the two basic aspects of Islamic architecture and can be seen in buildings in Isfahan that have remained from the Safavid era. It is certain that companionship of the intellectual sense of the inscriptions and its unity would penetrate the spirit and thoughts of the spectator.Isfahan could be named as one of the most historical places in Iran, especially in the Safavid era; because of its unique situation, it made an noticeable progress in architecture. In Safavid architecture, regarding and emphasizing on decorative elements was the key factor; therefore, The historical sites in Isfahan are an significant source for observing the decoration and ornamental patterns of Iranian architecture. In famous mosques such as Jame mosque and Hakim mosque and also Schools such as Chahar bagh, Kase Garan; uniqueness and harmony can be extracted.This essay will consider both the two major elements of Islamic architecture, inscriptions and geometrical patterns and their relation together by answering the following questions.What is the specific relation between inscriptions and geometrical patterns in Islamic architecture?Do the hidden meanings within the inscriptions have a connection with the symbolic implication of the geometrical patterns?How does the illustration and vision of beauty go along with geometrical patterns and inscriptions?

Among the Shahnameh manuscripts that were composed and illustrated in various periods, by the order of kings, Tahmasebi Shahnameh has a high artistic significance compared to other manuscripts. This manuscript is considered a unique and exquisite work of art in the Safavid era. Splendid and magnificent paintings exist in this manuscript which resembles the style of Tabriz school. This Shahnameh was probably established and the end of the reign of Shah Ismaeel by the royal workshop. It took almost twenty years to illustrate this manuscript and in composing it; the most influential and leading artists including Sultan Mohammad and Agha Mirak participated.The above mentioned manuscript, has 258 pages of painting that 118 pages of these paintings are kept in Tehran’s contemporary museum of art and rest are diffused around the world without no exact information about them. In the midst of tenth-century, the Tahmasebi Shahnameh was sent to the court of the Ottoman Empire as an official gift from Shah Tahmasb. Later on, a famous collector bought the entire collection and in 1959 it came into Hottan’s possession and consequently after that, it was famous for Hottan Shahnameh.This essay will achieve the following aims:To introduce the Tahmasebi Shahnameh manuscript.To identify and study the paintings regarding their concept and technique.And it would answer the following question:Under what circumstances was the Tahmasebi Shahnameh illustrated and what are its most significant characteristics?

With the decline of the Safavid Empire and the beginning of the Afshar dynasty, Persia came across a critical situation with the attack from Afghans from the east and the Ottomans from the west. Therefore, in this period, art and artists received little attention. However, a pictorial book was modified in this period by the name of Nadir’s World Conqueror History. What makes the illustration of this book magnificent is that it is one of the last books illustrated in this period of Persian art. Also in this book the first sparks of the Persian school can be seen. The illustrations in this book have nourished Persian paintings for over 200 years. In this school, a vast number of artistic characteristics revived from the Seljuk era have been applied. On the other hand, the visual characteristics of this book is closely related with the main concept (military-political) of the book.This essay will answer the following questions:What are the visual and abstract features in the paintings of Nadir’s World Conqueror History?How did the visual aspects and techniques of Persian painting manipulate the next era of art?And will cover the following aims:Recognizing the methods applied in this manuscript and its influence on other works of art in other periods.Achieving the abstract meanings and themes hidden within the paintings.

The main topic of this essay is based the value and manifestation of religion on Iranian paintings in the Ilkhanid and Timurid periods. These two important schools of painting have been analyzed and compared.In the Ilkhanid period, religious manuscripts such as “Asar-al-baghie” Biruni, Meraj Nameh Ahmad Mirza Album, Tarikhe Tabari, Jame-al- Tavarikh were generated. The reflection of Buddhism and Christianity along with Islam can be seen in the paintings of this period. Considering the fact that religious democracy existed, religious intolerance was to a large extent less significant compared to the Timurids.However, In the Timurid era, religion and its consequences were practiced further. As well as historical manuscripts, religious pictorial stories existed in literary manuscripts due to the fact that rulers and ministers were all pious men and had great tendency towards religion and faith. Moreover, religious knowledge can be communicated to the viewer through the paintings. Among the merely religious manuscripts preserved from the Timurids are: The Miraj Nameh, and also The Khavaran Nameh which is a Shi’ah manuscript. In this epoch, foreign tendencies and also imitation from Chinese art and Christianity can be seen in a smaller degree; in addition, the development of the distinguished Iranian style can be witnessed.It is essential to remind that the Holy Quran plays a significant role in choosing the related topics. Religious stories have been illustrated many times, however, other aspects are involved but further research is required in this matter.

In prolonged centuries, Iranian-Islamic art holds precious intellectual values for its spectators for which it relies on admirable elements in form and concept. Considering that this world is in the hands and wisdom of the followers of God in a distinct domain, Islamic art has always been in compatibility with the spirit of Islam. And this harmony can be perceived in architecture and calligraphy, under the circumstances that veering factors adapted by foreign manipulation would not interfere. Islamic artists have always tried to express the message of God and his followers, in the most splendid and delicate manner, through a mixture of design, colors and patterns.Artists create beauty and transfer God’s words and the words of the prophet. Calligraphers and painters not only consider the holy Quran as a source for the realities of life that was sent to the prophet through a divine message, but also they believe that the life of the prophet and his manner and means, all constantly express the word of God, and this is a major source of inspiration for the artists. Bearing in mind this matter, many calligrapher have wrote Hadiths -words of the prophet and his relations- on buildings such as: Jami mosque of Isfahan, Goharshad mosque, Jami mosque of Kerman, Blue mosque of Tabirz, Sultanieh monument of Zanjan, and the tomb of Chalbi-Oghli in Zanjan. In addition, in all the ages, a number of painters would illustrate the life of the Imams; such religious- historical manuscripts include: Ahsan -al- Kebar, Hadighat -al-Shohada, Rozatal-Safa, the prophets’ manner and their stories.This essay will concentrate on explaining and describing these works of art, moreover, it will describe the inscriptions relating to the characteristics of the prophet and his practical manner which he practiced through out his gracious life. Hadiths and prayers in inscriptions and illustrated stories in paintings unfold these characteristics.This essay will answer the following questions:What are the hidden concepts regarding the manner of the prophet in the architectural inscriptions?Which stories and anecdotes of the life of the prophet are illustrated?And will achieve the following aims:Gaining the veiled perceptions in Islamic inscriptions and paintingsTo identify and recognize illustrative manuscripts relating with the life and manner of the prophet.Detecting buildings with inscriptions in relation with the prophet.

Manichaeism was first formed in Iran in the third-century with the union of Mazdasim and Christianity. Manicheans fled eastern and northern areas, because of the torment and annoyance of Zoroastrians. In those areas many Persians lived and Manicheans created an independent minority in Saghd. Manicheans had a Persian origin; therefore, they extended Persian art to near the borders of India.The religion of Manichaeism which was expanded in Asia and also in northern Africa and Southern Europe had an vital role in the history of Persian art. After the domination of the Arabs, Manicheans finally reached liberty and for generations they were able to invite others to their religion under the negligence of the Muslim authorities. In Persia and Mesopotamia, artistic elements and techniques were aintained and with the emergence of Islam, these elements were blended with religious meanings. In other words, Islamic paintings were first originated from Manichean art.This essay which is based on a historical-descriptive research and credible documents; will focus on first on the Manichean religion and on Manichean paintings which has been manipulated in various ways, second it will study the influences that this art has caused on early Islamic paintings.This essay will answer the following questions:How Manichaean art influenced early Islamic paintings?What are the artistic and decorative elements in Manichaean paintings?And will achieve the following aims:Identifying the Manichaean religion and its influence on Islamic artReaching the decorative and conceptual elements of Manichaean paintings.

This essay is complied with the aim of presenting the method of forming luster decorations on glazes and glass work in the Islamic period. Therefore in order to achieve this purpose, a number of old guidelines and instructions regarded to the production and techniques of luster coating pigments will be observed. Also scientific researches and studies have been done in order to identify the components of the luster layer.The main part of this essay is the practical use of luster decorations and their result which arises from experiments achieved during theoretical research. The theory of developing luster layers on a glaze base burning in a furnace, which is especially made for this purpose, was carefully observed. The results of the observation shows that soluble pigments with different ratios of copper acetate to silver nitrate can produce a luster layer with a color range diversion on a glaze base. The best conclusion was obtained by firing of soluble pigments with a three to one ratio of copper oxide to silver oxide in reduction atmosphere of the furnace. At the softening temperature, the glaze base would be obtained.This essay will achieve the following goals:To achieve the techniques of luster pigments in pottery.To indicate the products used for the formation of luster layers.