NEGAREH
Year:2010 | Volume:5 | Issue:14|Papers Count:10

Extensive prevalence of Astronomy between 4th to 7th A.H century not only affect the common culture and believes, but also had a great influence on artistic illustrated subjects of those centuries, especially metal works. In fact it can be said that in this period, there is much more attention to astrological subjects in art. In this article, has been tried to recognize and extract the astrological concepts and believes in the history of Islamic period of Iran (especially 5th to 7th A.H century) and compare them with different patterns of human, plants, animals and geometric forms in metalwork of this period which have relationship with astrological concepts and subjects, in this way, we can find out the influence of astronomy progress on artistic aspects of that period’s people. In order to understanding and surveying , the astrological forms in metal works different books such as Sovar- ol- Kavakeb of Abdorahman Soofi have been studied and then compared with the astrological forms in Islamic period and then the meaning of each astrological form is extracted. This astrological book, has written on about 353 A.H. in Bagdad, shows astrological forms precisely. The subjective images of astrological forms from Abdorahman Soofi’s writings, are illustrated by different painters through centuries. This comparative study indicates that may be Muslim artists of this period,have known the astrological forms and concepts from astrological painted books and used them attentively in their art. The performance of astrological forms on metal works had an aesthetical function that sure was according to the will and the taste of the users and may be for their beliefs on the effective role of stars and planets on their lives.

The story of Miraj (ascension of prophet) is the most common contents in Iranian Islamic painting. In the long been paving the way for artists creativity & innovation the remaining papers from Ahmad mousas Mirajnama belongs to Ilkhani era & manuscript of Mir Haydars Mirajnama which are painted in Teimouri era are two peerless collections in religious visual arts. These two collections in addition to benefiting from painting principles at their time, have had a special attention to the issue. The present study sheds light on analysis & comparision of the components, type of attitude & function as well as decisions made by artists regarding religious painting in these two eras. The two major goals are displayed in such pieces of art.1) What are the features structural components in making identity in tow Mirajnama’s paintings and their features?2) what are the similarities and differences in structural components between Ahmad Mousa and Mirhaydar works? For instance in painting by Ahmad mousa, paintings of the holy prophet Mohammad (p.b.u.h) has devoided of symbolic & religious components but they are dynamic, sharp & quite ongoing ,the painter has tried to create a mental atmosphere by making use of real world contexts that displays a religious historical event by composing people & individuals and using architecture and the natural perspective in addition to mongolian pattern, has made his work different from Mir Haydar that is mostly an unreal & abstract, poetic pieces of art. In which color is dominant element instead of line. In such arts Chinese components in both eras had different impacts in presenting structural elements.

Patterns used in Iran’s carpets are full of symbolic concepts and meanings which are fed by the Iranian myths, culture, belief and ideas. The motif of bird is among these patterns. Bird, whether as a general motif or in the form of different especial birds like peacock, simorgh, hoopoe and parrot, was appeared in many of carpets of Safavid and Qajar periods, which are two main and great period in the history of carpet. In this article, I have tried to explore the symbolic meanings of bird in Iranian culture and literature and explain the way it appears in carpets. Some of the questions I have addressed are:What is the symbolic meaning of bird in Iranian culture and literature?What is the form and situation of bird in Safavid and Qajar carpets?In its general meaning, bird is the symbol of liberation and freedom. In carpet, it usually appear in the middle of a garden or orchard which itself represents the paradise. And in particular, each bird has its own symbolic meanings which in this essay I point out. The important point regarding the form of these patterns is that birds are drawn in the Qajar period in a more natural and detailed way.The method of this article is descriptive and analytical and the data are gathered in the librarian and field way.

Calligraphy and epigraphy each has his own evolution according their definition and usage. `Solse` has been important inscription in epigraphy and calligraphy in Iran. The evolution of ‘sols’ in calligraphy has very much affected on epigraphy. It seems that the most of these evolutions-for both of them- accured in forth to ninth AH centuries.This article is about the evolution and development of Sols calligraphy and compare it with the evolution of Sols`s epigraphy from-fourth to ninth hijri centuries- in order to understanding the rate of affection of calligraphy on epigraphy.

Insanity, genius, art and the relationship between them are among the most interesting subjects which emerged from ancient ages with the theory of plato, which linked insanity and art, and developed in the pre-Islamic period in Saudi Arabia, where poets were called insane and is continued by present age with multipoli theories about it. This research makes an attempt to comparatively study the paintings done by mental patients (the insane) and the works of great painters (genii). In the practical part, the works selected from a set of fourteen artists and fourteen mental patients have been studied and compared. In this research the most results are as following: 1-There is similarity between the mental patients paintings and painters works of the world - which are given in present research -of view containing and visual. 2-Based upon worked out subjects from authoritative books, some expressionist and surrealist artists specially Jan Dubuffet, French artist created works on the influence of works of mental patients.

An excellent work of art can be considered from several aspects. And Bisonghori-shahnama as a master pieace also has capability to be analyzed from different directions. This manuscript contains images, which fifteen’s of those have separate inscription, that shows the visual importance of inscription in images, and also the importance of studying the influence of inscriptions in images. These inscriptions playing important role as an interface bridge between written and illustrated parts of book and connect them to each other. As the usage of grids helped to calligrapher in writing the text, also as a hidden chart helped to painter in creating a better composition. Artists of this manuscript have used a define visual elements to create unity althreugh the manuscript, and it wouldn’t be possible but whit intelligent super vising  of a person which had enough knowledge and dominant to both parts of calligraphy  and painting. The main purpose of this article is examine ways to achieve a harmonions colletion in both in forms and contents and also answer to these questions.1-         What has been the bases of position, size and location of inscription in image?2-         What are relation ships between forms, line and design?

The visual frame work used in the narration of various legend and folktales of Qashqai tribe have been studied in the present research. Studying the images, legends and folktales comparatively, along with observing the symbolic visual images, was the main purpose of this research, in order to detection of visual feactures of artistic works based on legends, we gathered some datas. The primary datas were based on the historical, cultural, geographical and social background of Qashqai tribe. They are helpful in representing people’s believes, culture and custom. The more specific study was aimed at the related songs, chansons, poems, folktales and legends. At this point we have tried to come up with a specific narrative framework in illustration of the folktales. At the end and in regard to the opulence of the color and narration in the legend of this tribe, illustrating the stories may be recommended to the graphic designers.