ISLAMIC ART
Year:2009 | Volume:5 | Issue:9|Papers Count:13

In their limited sense, images are a part of visual signs. The communicative value of each visual sign with another is of a particular agreement. Therefore, allegorical signs within an image, which demonstrate style and technique, gain importance. The main purpose of this paper is to clarify the practical allegoric codes of the manuscript of "One Thousand and One Nights" acknowledged as one of the masterpieces of the Qajar era by Sani-al Molk. In this manuscript, the artist endeavors to go beyond the visual appearances and express the truth of human beings and their relationship with their relationship with their surroundings and one another.The prominent theory in this paper is that, Seni-al Molk applied an allegoric code that may be considered realistic, such as type, selection, perspective, and ideology. However, he did not merely submit in borrowing these codes from nature, rather, he created a free and discrete combination of traditional and flexible ornamentation in the form of previous styles. Consequently, his work of art became familiar for the spectators of his age.Aims:1-Becoming familiar with the manuscript of cc One Thousand and One Nights" and the great painter of this collection; Sani-al Molk2.Analyzing the realistic codes in the manuscript of "One Thousand and One Nights".Questions answered throughout the article:1-By illustrating the manuscript, has Sani-aI MoIk created a compatible work of art according to the audience of his age?

Love is the utmost applied concept in Persian art The divine heart oflove devotes sensation, passion, secret, mystery, splendor, and elevated concepts to the spirit of Persian art. Metaphysical and spiritual traits and the influence of culture and literature have shaped the essence of Persian art by granting it majesty and dignity.Apart from painting and architecture, the presence of this enduring source oflove can also be depicted in Persian book-bindings. Throughout history, book-binding, especially in the Qajar period, has become a foundation for illustrating the affection of the Persian artist, whether earthly or heavenly; and moreover, a source of unique patterns and designs. By means of no hesitation, it is certain that the analysis of these works of art will acquaint us with the ancient culture and civilization of Persia.In addition to the theoretic study of the symbolic contents of love in Persian art, from the viewpoint of traditional art and the link between art and affection; the focal aim of this paper is to classify and analyze the symbolic designs of the Qajar book-bindings; that are grouped into forms of holy expressions, literary and modest lines, human figures in various situations and imaginative scenes.Aims:1-Analyzing the symbolic concept of love in Persian art from the aspect of tradition.2-Categorizing the symbolic designs oflove on Qajar book-bindings.3-Investigating on the major Qajar book-bindings in Persian collections worldwide.Questions answered throughout the article:1-What are the visible patterns and symbolic designs oflove in Persian art?2-What are the major trait of the Qajar book-binding?

Sacred places have constantly existed within every culture and religion; places significant for both the common and superior. One of the features of such sacred places is their ornamentation that has created an arena for artists to express their inventive works. One should note that works of art find value within the walls of such places. The preservation of sacred places will grant antiquity to art, moreover, artists of a religious perspective will gain spiritual Significance.The shrine of Imam Reza in Mashhad is a sacred place where Shi'ah Iranians pay homage to their Imam and regard the shrine as a priceless religious assessment. Likewise, Shi'ah artists relentlessly felt honored to place their works of art in the shrine and decorate this holy place of pilgrimage with Islamic ornamentation.Many poets have written many eulogies regarding Imam Reza; their poems are applied on inscriptions or on the walls of porches and courtyards. Saboori, a poet who lived in the early twentieth century, was named the poet laureate of the Astan-e Ghods Razavi (the holy threshold of Imam Reza) and the lines of his famous ode can be depicted on the dados in the porch of Dar-al Siadeh. The contemporary calligrapher Ahmad Zanjani, one of the famous artists of his age, has created his masterpiece of two inscriptions located on the angles of the mausoleum.This paper initiates with a brief introduction on the history of the shrine of Imam Reza and continues with analyzing the artwork of the calligraphers applied in the shrine. The main purpose of this paper is considering the role of the holy shrine in magnetizing artistic elites.The collaboration of this article was achieved via library and documentary research; complied via observation and analysis.Questions answered throughout the article:What are the concepts applied in the poetic verses of the holy shrine?What is the Significance of the shrine in influencing poets and artistic elites?

The handcrafts of Persia express an unparalleled image of art, industry, culture, and civilization and have touched the lives of many in social and daily activities. Persian handcraft, apart from being an applied branch of art, is a place for the nurture of cultural beliefs and creative notions of people and kinfolk. One can suppose that the major cause for the endurance of Persian handcrafts over centuries is nothing more than its usage; whether as a decorative or an exploitable item. Handcrafts bought two advantages, first, the industry that provided them with financial support by selling the items, and second, the social status; meaning that each tribe had their own design, pattern, and colors for expressing their tradition values and, moreover, for communication.Traditional sewing on fine fabrics is a major Persian handcraft; they are often created by tribal women whose talent is stemmed from their source of inspiration and delicate taste of art and bring about financial prosperity. The needlework of the women of two famous Persian tribes, Turkmen and Balooch, are examples of this art. Nowadays, this handcraft has managed to preserve its historical value and is revived by maintaining the same national and historical identity.Many magnificent and valuable needlework have entered the handcraft market. This paper hopes to shed light on the social function of this priceless handcraft of Persia. Questions answered throughout the article: 1-What are main characteristics of Balooch and Turkmen needlework? 2-What are the comparisons and contrasts between Balooch and Turkmen needlework? Aims of the article: 1-Understanding the type of decoration applied on the needlework? 2-Approaching the comparisons and contrasts of the needlework of the two tribes of Balooch and Turkmen.

The growth of handicrafts was apparent when the people of Ilam showed fondness towards handmade utensils and woven fabrics. The province of Ilam comprises its own handicrafts diverse from those of other provinces; embossed rugs are its most significant and valuable work of art that are mostly created by the tribal women. These handicrafts mostly serve a financial intention rather than an artistic function; therefore, for handicrafts became the main a source of income and had consumption purposes. The embossed rugs are significant due to their traditional and unique patterns which root in cultural and historical backgrounds of the Ilam district. As mentioned before, the rugs stimulated the economical status and boosted the financial requirements of a family. This article will focus on introducing the Ilam province and the tribal life; it will also study on the embossed rugs of this district with emphasis on color, pattern, and design. Questions answered throughout the article: 1-What is the most notable and considerable handicraft of Ilam? 2-What type of a rug is an embossed rug? 3-What are the characteristics of an embossed rug that makes it significant from other handicrafts?

Art, stems from notion and philosophy and is nourished stems from notion and philosophy. nourished in a cultural and social environment Considering this, the art of carpet weaving has significantly inclined towards the same philosophical and notional elements. Carpet weaving has survived over centuries and has obtained an undeviating relation with the daily lives of people. In other words, arts such as this are intervened with events and various thoughts and are dominated by the religion and culture of that nation. The art of carpet weaving is one of the outstanding and representational elements regarding the national identity of Persian art. Carpet weavers have managed to create carpets which express the endeavor, inspiration, and taste of Persian artists.Carpet weaving thrived in the Safavid era and the kings, many of whom were artists, put much effort for the efflorescence and growth of this art. Carpets illustrated national and historical designs and were decorated with mythical patterns, moreover, various techniques and designs were experimented in this period. The Safavid period was famous for the collaboration of religion and art; where both are guided towards sublimity and divinity. Therefore, carpet weaving, which rooted in the same religious and artistic background, gained the power to bloom and turned out to be one of the major artworks of Persia. Carpet designs such as arabesque and khataee, quarter medallion and corner pieces, Bagh-e Ferdos (the garden of paradise) the symbol of the tree of life and the lion and cow, the Simorgh (roc), the peacock, the dragon, and the flowers and the gloss are among many designs and ornamentation applied on Persian carpets. A number of Safavid carpets are preserved in museums worldwide including the Victoria and Albert museum, Vienna museum, Baku museum, Boston museum of fine arts, and many more. The major aims of this paper are: 1-Recognizing and understanding the national and religious elements of Persian identity in Safavid carpets. 2-Identifying the function of the elements applied in Safavid carpets. Also, the following questions are answered: 1-Did the national and religious notion of the Safavid period influence the designs of the carpets? 2-Are the designs on the carpets derived from any particular source?The collaboration of this paper was achieved via library and documentary research and has been organized in a historical and descriptive manner.

Art is a humanistic and conscious event in which the artist grasps various external signs and explains them via his own feelings and emotions; and through his art, he conveys his feelings to his audience in a way that they too are moved by the artist's sensation. What concerns us here is the fact that this transfer of feelings is not only based on the physical and structural basis of the work but has its roots in psychological values as well. These values stem from similar tastes, from the same culture and history and most importantly similar philosophical and theoretical backgrounds. When we reach these similarities in the mental aspect of human beings, we come across what is known as identity. The artist who is aware of this identity tries to create works of art that are distinguishable from the art of other nations. The artist can construct his works based on native originality, religion, and cultural values of his nation. In other words, historical background, epics of our ancestors, geographical features, native languages, and the traditions and customs of each culture can be all named as cultural identity. The Persian literature and especially poetry creates a nationwide pride that has a direct relation with the cultural and historical magnificence of this land. The writing and illustration of manuscripts and in particular Firdausi's Shahnameh has always been a favorite for the artist as well as the rulers of Persia; for the creation of the Shahnameh manuscript as a literary and artistic tradition has been continually applied by artists over many centuries. In this regard, many manuscripts relating to the Ilkhanid era until the midst Qajar era exist. In this research, the value and significance of Shahnameh as one of representative national features will be emphasized along with its illustrations from various eras. Moreover, the beautification of the book and its position in different centuries will be explained and few examples will be mentioned. Questions answered throughout the article: 1-How is the national Persian identity reflected in the stories and concepts of Shahnameh? 2-In what way do the Shahnameh and painting collaborate in depicting the Persian identity? Aims: I-Understanding the Persian-Islamic elements in the Shahnameh for unraveling the hidden identity, in the ilkhanid and safavid era.2-Recognizing the influential elements in the Persian-Islamic identity.