ISLAMIC ART
Year:2010 | Volume:6 | Issue:11|Papers Count:14

Namaz; an equivalent for prayer in Persian expresses a state of purity and worship, a feeling of modesty and humbleness in which standing before the Creator will sooth the soul of mankind. In Islam, prayer is the main foundation of religion, the event that gathers together Muslims to worship the only God. Therefore, Muslims endeavor in preparing the ceremony in the best way possible. The purity and cleanliness of the mosque and the elimination of any materialistic features and human figures has created an idealistic scene for carpet weavers to portrait on their woven rugs; mostly known as Sajadeh or prayer rugs. These prayer rugs besides having the image of the mihrab also have images of lanterns, cedar trees, columns, flowers and plants ornamented with religious words and verses from the Qur'an in Kufi, Naskh, and Thulth; in which each represent religious contents related to prayers. In this essay, the place and value of prayer is emphasized and its manifestation in Persian rugs is studied.Aims:-Introducing the spiritual contents and meanings of the words woven on the prayer rugs of the Safavid and Qajar periods.-Scrutinizing the religious, spiritual, and philosophical meanings applied on the Safavid and Qajar periods.Question:-What are the religious elements applied on the patterns of Safavid and Qajar prayer rugs?-What is the link between the motifs and pattern woven on the prayer rugs and the spiritual and philosophical aspects of prayer?-Apart from the mihrab design of the prayer rugs, is there any other designs regarding prayer and worship applied on the rugs?

A defining characteristic of Islamic art is decoration and ornamentation which in any definite phase of development can reach its highest acme. Any type of decoration can influence the other and this can be exemplified in visible artistic manifestation. This influence can be best depicted in an area where people share the same cultural and artistic tastes. However, it should be mentioned that apart from ornamentation, architecture can be significant too. The art and architecture of all cities of Iran endure high value especially the architecture of the desert lands of Iran. Therefore, the Jami mosque of Yazd, one of the oldest masterpieces of architecture beholds splendid delicacy in the realm of ornamentation, and this will be the main interest of this study; bearing in mind that the variety of tile-work of this historical mosque is highly significant and exceptional.In this paper, the focus will be on the circumstances of the influence and reflection of the ornamentations of the Jami mosque on the certain types of carpets of this region referred to as Zilu. Hence, a comparative and contrastive study will take place. Initially, the art of Zilu weaving and its splendid designs will be the focus; subsequently, the inscriptional and decorative ornamentation of the Jami mosque of Yazd will be taken into account.Aims:-Introducing and recognizing patterns applied in Zilu designs and architectural decorations.-Identifying the motifs derived from decorations of the Jami mosque on Zilu designs.Questions:-What are the general decorations applied on the Jami mosque and Zilu designs?-Is the Zilu weaver inspired by the ornamentation of the Jami mosque of Yazd?-How has the art of Zilu weaving benefited from the Jami mosque?

Sacred and ethical symbols are woven into the common culture of the people of a nation. Although there is no exact creator; one can sense the spirit of interaction between the creator and spectators of such traditions. Among these religious customs is the Sorrow Palm (Nakhl-e-Matam), a symbol of melancholy and sadness. The custom stems from the religious event of Ashura where the Sorrow Palm is paraded throughout the city in order to pay tribute to martyrs of Ashura.The results of this investigation indicate that the Sorrow Palm has its roots in the ancient Persian culture and is varnished within the religious frame of the Shi' ah belief in Iran and endures aesthetical features and symbolic traits. The creator of such ethical traits has adopted the mystical perception and the heroic aspects of the society in order to generate the required interaction within the spectators; in other words, the common people. Consequently, the Sorrow Palm beholds many symbolic assessments influenced and created from the mentioned interaction and hence, merged with religious events and social ceremonies of bereavement, visions of escaping morality and a inclination towards eternity.The current study is based on a descriptive survey with an analytical dissection based on aesthetical bases and a qualitative sociological examination. Data is gathered via library sources, documentation, and observation.Aims:-Recognition of the artist's scope of study that includes inspiration, arrangement, order, and the formation of shapes. Also recognizing the bonds between the spectator and the work itself.-Elucidating the role of the artist and spectator in displaying the work of art. i.e. Sorrow PalmQuestions.-To what extent does the formation of the sorrow palm influence the mind of the artist and spectator?-What are the ties created by the spectator regarding this work of art?

According to the studies in hand, the Timurid period is known as the golden age of Persian art. Hence, the remaining structures from this age undoubtedly verify this truth. The most significant elements of Timurid art and architecture can be seen in the Madrasehs of this age where many artists and architects paid tribute in order to enhance the superiority of Persian art. Here the Timurid Madrasehs located in the Khorasan province of Iran will be discussed.As specified by historical documents available, the construction of Madrasehs initiated in the Seljuq period was maintained by the Timurid rulers. Among the Timurid Madrasehs the following can be mentioned: Balasar Madraseh - 1379, Parizad -1420, DodarMadraseh 1439, and The Ghiaseh Madraseh of Khargerd- 1444. These magnificent structures all indicate the significance of Madrasehs and the element of maturity and education embellished with distinctive decoration and outstanding construction which will be the main focus of this paper. In compliance with accomplished studies, one can comprehend that the art and architecture of the Timurid Madrasehs especially in the area of ornamentation has undergone a developmental progress. Moreover, the content of the inscriptions are mostly religious and sacred. The method of investigation is based on a historical, descriptive and analytical viewpoint.Aims:-Recognition of Timurid schools and their comparison with other Madrasehs.-Understanding the process of structure and ornamentation of Timurid Madrasehs in the Khorasan province.Question:-What are the major characteristics of Timurid Madrasehs in accordance with architecture, ornamentation, and content of inscriptions?-What are similar and dissimilar elements in the decorations and structures of the mentioned Madrasehs?

Persian literature, chiefly in the realm of poetry apart from its narrative characteristic, has always been a medium for expressing words of morality, spirituality, eulogy, and description. In the architecture of Persian buildings; however, even the smallest fraction of the monument beholds meaning and concepts that associates with the everyday life of the society. Poems are embraced within inscriptions and are in agreement with the specific space and area of the setting and can effortlessly articulate the notions and deliberations of the artist and architect. This feature is visibly manifested in Timurid and Safavid architecture in the fifteenth to seventeenth centuries.By vigilantly evaluating the content of the inscriptions that include words of praise and eulogy, also the name of the architect, guarantor and the date of construction, the direct involvement between these contents and the overall notion of the people; can be seen. In this paper, the main characteristics of the mentioned periods, the poetry and literature of the age and the correlation between these two will be discussed.Aims:-Recognizing the main architectural traits and the importance of poetry and literature in the Safavid and Timurid eras.-Understanding the relation between poetry and architecture in the buildings and monuments of these two periods.Questions:-What are the main themes applied in the literature of the Timurid and Safavid periods?-How can literature affect architecture or vice versa?

The Shrine of Imam Reza in the holy city of Mashhad and the Sheikh Safi al Din tomb in Ardebil are related to various ages of history and are among the significant places representing Shi'ah Islam in Iran. The Safavid period had the most influence on the mentioned monuments regarding structure, decoration, and maintenance. It is best known for its vast achievements in culture and art and is looked upon as the golden age of Persian art and architecture. The Safavid period was based on a Shi'ah foundation; therefore, the cities of Mashhad and Ardebil were highly considered; Mashhad for the presence of the eighth Imam and Ardebil being the beholder of the Safavid ancestor, Sheikh Safi.Shah Abbas had an essential role in the shaping and development of Shi'ah Islam in Iran. He personally travelled to these cities and ordered improvements regarding structure and preservation.In this paper, the Safavid inscriptional traits of these two monuments will be considered in accordance with content, technique, and ornamentation. The Shrine of Imam Reza and The Sheikh Safi tomb both have similar features regarding general themes and techniques of composition; however, there are minor variations such as exclusive hadiths on behalf of Imam Reza in Mashhad.Aims:Questions:What are the major themes of the inscriptions of The Shrine of Imam Reza and Sheikh Safi tomb?What are the characteristics, comparisons, and differences regarding theme, construction, and usage of the mentioned structures.

The symbol of supremacy and political immovability during the reign of Shah Abbas was his favored capital, Isfahan. The city was already a major cultural midpoint prior to the sovereignty of Shah Abbas. However, apart from the architectural and artistic developments of the city, accomplished under the supervision of Shah Abbas; Isfahan became a critical center for trade and merchandise that resembled a new chapter in the social organization of Persia. In the Safavid era, artists enjoyed an elevated position and became a representative of the art of the age.The Saravid era with Isfahan as its capital city became the birthplace of many reowned magnificent cultural and artistic works of art. Among these the art of the book based on Isfahan school of painting, beholds many valuable illustrated works such as The Shahnameh or "The Book of Kings" by the famous Persian poet, Firdausi is a literary masterpiece that existed in almost every library of the Safavid era. It represented the dignity of Persian mythology and language; hence, Persian kings prided themselves by ordering copies of the Shahnameh to be illustrated in their behalf so that they may demonstrate the munificence and grandeur of their sovereignty.According to the researches in hand, there are many illustrated Shahnamehs remaining from the Safavid period each representing the painting techniques of the school of Isfahan. Among these, the Rashida Shahnameh can be chosen as the best illustrated manuscript that is currently preserved at Golestan Palace Museum. The paintings of this manuscript have an exclusive composition that resembles the expertise of the creator; the manuscript also enjoys elegant calligraphy that again is due to dexterity and talent of Persian artists. The manuscript contains over 90 images; however, only those related to the battles of Rustam will be chosen for a detailed analysis based on the techniques of painting.Aims:-A topical and aesthetical study on the paintings of the Rashida Shahanmeh-Investigating the features of the painting school of Isfahan.Questions:-In the illustration of the mentioned manuscript, is composition of higher importance or color?-What are the main techniques of painting in the Rashida Shahanmeh?