NEGAREH
Year:2017 | Volume:12 | Issue:41 |Papers Count:11

Tiling is one of the ways of idealistic imagery in traditional Iranian architectural ornaments. In the Qajarera, architectural ornaments found a new effect throughreligious icons and themes. Tile designers in the Qajarerahave considered literary, historical and religious books, ancient traditions of Persian painting and Western stylesas sources of inspiration for imagery. Entrance portals, walls inside and outside of religious buildings and public and private places have been ornamented in accordance with social and cultural function, with epic, religious, historical and mythological faces, figures and scenes. The purpose of this paper isto examine theiconology of Prophet Muhammad (PBUH) in the Naserid era houses in Shiraz. In the old part of Shiraz, a number of houses have been identified by the Heritage Foundation of Fars province and National Heritage Organization of Iran, in which various architectural ornaments including brick work, tile work, stucco, wall paintings, mirror work, painting on wood are seen. The subjects of the works of epic stories are originated from Shahnameh, Quranic stories and Iranian and sometimes foreign historical characters, and iconography of Shia imams and Prophet Muhammad (PBUH). Many of these houses have beendestroyed or their functionhas been changed. So, this study seeks to examine theiconographyof Prophet Muhammad in these buildings. Regarding the questions, what is the position of these images in the historical courseof iconography in Iranian art? Is it following traditional Persian painting or is it under the influence of westernculture and art? The results showed thatthe works with regard to the subject and visualization follow the tradition of iconography and works of Coffee-house painting (KhialiNegari), and with regard to the procedurefollow the common style of Qajarera. The research methodology of this studyis descriptive-analytical and the data were collected through field work and library research.

The concept of identity in art depends on religion, ideology, political and social relations and history. The identity in artwork has various layers and each layer depends on different aspects. So in artworks we can study this identity in different manners and each artwork might have several layers that one of them is stronger and more obvious while the others are hidden. But all these hidden identity layers will influence the artwork’ s obvious identity layer. TheQajarera is one of the prominent periods in Iran, which art has various aspects with regard to social and political matters, archaism and also widespread relations with the west, so we can find several identity layers in this era and its artworks. The questions are:-What are the identity layers in the Qajarera art?-Which identity layers have appeared more than other layers in Qajar ceramics? The results show that there are four identity layers: ancient Iran, Persian Islamic, Imitation of the west and Islamic manner in Qajarera, and in each type of artworks, some layers have more importance. The research method is descriptive-analytical, based on library sources. Statistical population includes 10 examples of ceramics in Qajarera using selective procedure.

Handicrafts have been mentioned in various ways in the past texts, but they are not highlighted in the present-day studies. Thus exploration to realize more about the history of handicrafts, underlines the necessity of examination of the texts. To gain knowledge about the manifestation of handicrafts in texts, anextensive examination was performed to answer the following questions: 1-with regard to the vast thematic variety of texts in the Islamic era, which historical texts should be explored for the information about handicrafts? 2-With regard to which contexts and qualities of the handicrafts may these texts be studied? The goal of this research is to provide wider referential and scholarly possibilities for the handicrafts researcher and to create new research themes in the field of handicrafts through exploration of the texts and thus to reveal parts of the unseen information of the past handcrafts. The data were gathered through exploration in numerous past texts, available in libraries, and selection of the various contexts of manifestation of handicrafts in them. To describe the selected texts as well as the introduction of the thematic contexts, the research method was descriptive-analytical based on library sources. The results show that the information on handicrafts is available in a variety of geographical, historical, medical, scientific, religious, epic, royal texts, travel literature, etc. and include diverse contexts of information and knowledge about handicrafts, such as: recognition of the unknownparts of the handicrafts; revelation of the common titles and names of the past; revival of the forgotten handicrafts; discovery of the cultural and intellectual realities with regard to the handicrafts, and organization and classification of them.

Websites are considered as one of the message tools with unique properties with regard to the modern communications. For this purpose, taking into consideration the page layout and graphic value or structure, considerably influencesthe further development of this relationship. The research objective is to determine what patterns are followed by structure of IRIB TV channels web pages, to introduce TV channels websites and their graphic properties, and to develop artistic knowledge in the field of website design. The research method is descriptive-analytical using library sources. The statistical population includes 21 samples of IRIB channels web homepagesbased on selective procedure. In this research, case study of IRIB TV1 Channel is taken into consideration. Therefore, initially the images from these websites are collected, thenusing computer, substitution of separated elements, and finally their relationships and configuration of the work are offered to understand the production mode and web pages functions and realization of specialized concepts onthe result of the work. This research attempts to answer the two following questions: What properties do graphic structures of IRIB TV channels websites have? What are the differences of IRIB TV channels websites with each other in terms of graphic structures (model)? This research shows that IRIB TV channels have more used elements of «image» and «color surfaces» in their structures and most of the structure of IRIB TV channels websites is based on golden ratio (about 57. 1%). IRIB TV channels websites contain long and busy homepages which should be recovered and changed to access the pages with proper configuration, site activity and attractive page layout to attract more users.

Sculptors know drawing as the basis of success in shaping a work of art and they have found its particular place by experience, but they usually have less desire to speak about its formation process. Using this description, the behavior of professional sculptors with regard to the design is a kind of «heuristic research». They have special attention to visual sources, delve deeply in images, are interested in taking visual notes, and finally use itfor the scheme of a statue. Attention to this “ heuristic research” and its analysis, as a traditional process may affect the most innovative stage of the design which is «schema». It has also effect on problem solving methods based on analogical reasoning. This paper, while directing the attention to theoretical foundations of analogical reasoning, studies the inductive problem solving process in relation to the formation of the schemes. Thus, in one test, application of analogical reasoning in formation of a pilot scheme was studied, using a pretest-posttest control group and an experimental group. The data were collected using the performance measurement and ranking of the results through performance measurement and classification of the results of the students’ schemes by a highly qualified jury. The results showed that, compared visual and analogical reasoning leads to different learning levels as well as the improvement in ability to shape the schemes in sculpture students, and develops the schemes creativity (innovative values).

Wall surfaces can undoubtedly be considered the most available representations of peoples’ thoughts in the past, which is why wall murals and other decorations in monuments are regarded as unique cultural pieces of evidence of past eras. This analytical-descriptive article aimed at studying Qajarid home decoration patterns which were identified in rural areas around Esfahan. This research also intends to answer the following questions: What are the decoration types of rural houses in Qajarid era and what concepts do they reflect? Since many rural monuments of Qajarid era are deserted and their decorations are prone to destruction, their introduction, typology and content analysis can draw authorities’ attention and consequently help preserve them as cultural pieces of evidence. The results of this study indicate that home decorations of rural areas around Esfahan depend on many factors including residents’ beliefs, cultural features, social status, budget, and how they made their living. Although folk and native art, like decorations of rural houses may not be of high visual and artistic quality, they proved to be beneficial in the study of cultural atmosphere of rural areas around Esfahan in Qajarid era.

This study seeks to analyze the inscriptions as advertising media in Persian architecture. The purposes of the study areanalysis and recognition of the importance of inscriptions as advertising media, recognition of the visual potentials of writing and their function in architecture, and the analysis of status of inscription as an advertising medium in Persian architecture. With regard to the study, these questions arise: What was the status of the writing (inscriptions) in Iranian architecture? In what ways can this art form be used to convey concepts and transfer information as an advertising medium? What significance does the art of inscription have in Iranian architecture as a medium? The present study seeks to answer the abovementioned questions, using descriptive-analytical method, based on library sources. The statistical population includes all architectural inscriptionsin Iran, and using selective sampling method, the data is analyzed qualitatively. The results indicate that important historical information lies within inscriptions, which plays a notable role in storing, transferring information, thoughts and ideas as an advertising medium. The inscriptions in Persian architecture are in accordance with the terms of bio-architecture and reflect their contemporaneous social, religious and cultural conditions, and play a decisive role in the cultural context and religious propaganda in the society.

Artists’ beliefs and thoughts always have been reflected in artistic works. Safavidfabricweaving in Iran from 10th-12th century AH and also Ottoman fabricweaving in its neighborhood, during the same time span, have a wide range of motifs, colors, textures, and specific combinations along with great significance. 4 kinds of styles were common in Safavid fabrics and 5 kinds of styles in Ottoman fabrics. This research aims to comparatively study the mentioned factors on Iranian and Ottoman fabrics. The main objectives of this research are to discuss the similarities and differences of Safavid and Ottoman fabrics, as well asto analyze the effects of motifs and colors of Safavid fabrics on Ottoman ones. Generally, specific cultural and political relationships and conditions between these two nations are among the reasons of such artistic mutual effects, also the presence of the Iranian artists in Ottoman courts proves the case. Research findings show that Safavid fabricweaving influenced Ottoman one, though differences have been observed as well. It is significant that according to written documents, until now, the lack of using animal motifs was believed to be during the Ottoman era; while here showing fabrics patterned by pictures of deer, dove, and peacock, undermines the case. The red color is used on all fabrics. The limited number of colors in ottoman fabrics, in comparison to the more color variations in Safavidtextiles is their distinctive feature. The research method is descriptive-analytical with comparative approach. Data is collected using library sources.

Designs over Islamic pottery are1 among the most beautiful and yet so full of mystery decorative motifs of Islamic art that represent various aspects of past people, s lives. Interpretation of meanings and concepts behind these seemingly ordinary motifs requires knowledge from various sources that influence their use, including mysticism, astronomy, literature, etc. The important point in the interpretation of these motifs is attention to the lack of purely decorative or aesthetic use of motifs. The present study is an attempt to establish a connection with some of these beautiful designs and decipher their meanings. As we know astronomy had importance for various religious and nonreligious reasons in the Islamic period and obviously potters couldn, t ignore that for attracting more customers and were encouragedto apply astronomical signs. Obviously identification of different kinds of theses motifs can show us condition and amount of relation between pottery art with other life aspects of people, especially scientific or even superstitious ones. In this way main decorative characteristics and most important factors of application and concepts of astronomical motifs, especiallyindividual constellations in many of typical potteries with these motifs from early Islamic period until Safavid period, havebeen discussed and analyzed. The objective of the study, besides the classification of all the types of constellations depicted on Islamic-era potteries and their qualities, is the extent of their compliance with the examples in the book of Sovarolkavakib. The research method is descriptive-analyticalwith a comparative approach. Statistical population is consisted of elevensignificant examples of Islamic-era pottery wares with constellations motifs, selected from different books or museums and after detecting their period of making and method of decoration, their astronomical concepts have been compared with astronomical designs of the book of SovarolkavakibAlsufi. Based on the findings of the research, constellations motifs on the Islamic potteries have a vast variety and with regard to the more emphasized focus of the potters on decorative factors, they have been changed depending on the artisans’ tastes and aren’ t completely similar to constellations examples in astronomy manuscripts.

One of the lasting legacies of every nation is mural paintings, a number of which exist in Iran as well. Governments and people are responsible for protection of these works. This task is neglected in several eras which has led to damages, loss of originality, and sometimes destruction of these works. This article aims to examine the damages to the Safavid period murals in Isfahan In terms of painting and visual arts. Itseeks to answer the following questions: firstly, what factors cause the most damages to the originality of these works? And secondly, works located in which palace have been most damaged? This descriptive-analytical study is conducted through comparative analysis, field observations and interviews with masters and restorers, to focus on the issue of restoration and originality of murals in Ali Qapu and ChehelSotoon Palaces. The findings show that although human and even political factors of the post-Safavid periods affected the damage process, and despite the fact that the repair works were carried out with different methods and with the intention of restoration and protection, crude restorations have been effective in further damages to the images. Also, in the samples studied in these two palaces, the authenticity of the paintings in the palace of ChehelSotoon was deemed more undermined.