NEGAREH
Year:2009 | Volume:4 | Issue:11|Papers Count:11

The study of the earthenwares of Iran shows the people’s belief and introduce their exchange of cultures and immigration. It’s evident that we should think profoundly about some subcultures in Iranian peoples inorder to determine the visible and hidden aspects of the earthenware.This paper introduces the earthenwares of Gohartape region of Behshahr (Mazandaran Province) that today is recorded as an ancient region in the organization of cultural heritage of the country.The study of archeology shows the ancientness of 7000 years civilization in this region and clears the findings of metal to II iron periods (the middle of lunar second millenium). The earthwares have outstanding fineness, beauty and proportion and have been determined that their dimension and size consisted of golden ratios. The results show that the beautiful earthenware unwantedly followed some rules of golden ratios. Some of the earthenware with the design of beak-like water shed that mainly are affected by beak or bill of fish-eating birds, have fine nodes and coordinate with √2 and Ö3 dimensions of the golden ratios.According to the result of archeologist’s researches, these earthenwares are applied in the burial ceremonies of famous people. In addition, in designing of some earthenwares, the shape of their’s frames awarely is affected by the figures of the birds. The researches also show that some of the earthen works prpotions don’t have golden ratios or delicacy and fineness due to their aboundance production.

This essay is a research about evolution of movies’ titles in the world and iran, based on graphical aspects. the result of research shows that hasn’t paid enough attention to the artistic aspects of movies’ titles in Iran, and also there isn’t few specialists for this job. In process of production there isn’t separate timetable and buget for this matter and even sometimes this duty has given to nonexpert people.In this research we’ve tried to emphasis on real place of designing movies opening titles as an independent art and necessity of making captions by expert people which have enough knowledge in graphic design.This article has been done based on fundamental studies method by gathering informations from libraries notice to having not enough accessible Persian sources. Then in order to get original informations we’ve refered to foreign sources and translated them.

Iranian art in it’s evolution has many permanent features that make it,s artistic tradition. Each of them ,because of essence of traditinal art, carries idealogy and beliefs of Iranian culture. Many scholars have discussed about lack of empty space in painting of Iran’s Islamic age and other arts of this age. However, we have not seen any considerable research trying to find it’s origins in Iranian Pre-islamic art up to now.This investigation tries to let us get acquainted with the background of Iranian calture and does research on earthenware pots found in Sialk and explains about the images on bronze pins found Lorestan in order to ponder the origins of this outlook about empty space in composition of images and the usage of empty space in these images. furthermore, this sarvey does has tried to find out the origins of beliefs which leads to this artistic style. The method of the investigation is descriptive and the research includes scientific observation on remained artifacts of these civilizations and refers to academic writens and sources about the beliefs of Aryan people.The resaltsaf research shows a reduction in the size of empty space between images. The beliefs of Aryan people about life and empty space which are basically seen in their myths to reject negative empty space accounts for the tendency for empty space organization in these artefacts.

In the history of clay works and ceramics of Iran at least after Safavid period (dynasty), Kashan and its suburbs have been mentioned as important center of clay works and ceramics and in this connection Naein and Natanz have particular importance.Now a days haven’t remained few craftsmen in that area and exact pondering of their artifacts is impossible but there is still a chance in Natanz city, because a few families are active in related field, which we can mention Ebadi family.In this article which is based on field studies, trying to mention ceramics of Natanz and the remaining craftsmen and also their techniques, method of works and specialities of design, color and shape in their clayworks.

In the beginning of the Islamic civilization days, writing the written manuscripts were being performed inorder to recording and entering the scholars’ thoughts and it was spend increasingly the evolution completion way. The tendency of Mongol and the Il-Khanid kings toward Ferdowsi’s Shahnameh caused that to consider writing this immense book. Along this reign and in the Teimur time, the Baysongori’s Shahname was written by Jafar Baysongori in the Baysongor Mirza library.After the presentation this opus that keep in the Kakh Golestan>s library in the Tehran, abiding the rules and measurements in Nastaliq writing, which was still a new seedling, Scrutiny in this discussion.Leaving spaces between the line and column, providing the gride For lay out the Writters, to make selecting and other Trails for writing another Characteristic of scribing are the Subjrects which have discussed in this abstract.

This essay studies on the creation and evolution of two of the most applicable lighting devices-glass lamps and lanternsof the early Islamic period in Iran. In this research we tend to either consider the logical connection between these devices or show how to study the other devices.Although there is clear distinction between glass lamps and lanterns of the early Islamic period, but there is also a subtle connection between their concepts of design. Therefore we can presume the glass lamps as a strong sketch of lanterns design. In other word we can say that the design concept of lanterns is derived from early glass lamps of Islamic period.

Now a days the application of colors in Iran and west contemporary scultures Has been considered more than before. Besides in resent years by the efforts of researchers in doing various examinations on remaining sculptures, specially from ancient Persia, the application of colors has been proved.Most of ancient sculptures and ornaments of building have been decorated and painted by colors. This matter shows that the application of colors has done due to varies reasons, like as decorative, conceptual and technical reasons which were the most general factors in using colors. Of course the cultural, environmental and economic conditions were important factors in using colors.Sometimes these conditions became a commen language among different regions. The number of painted sculptures in contemporary period got a considerable expansion, which this case has given more documentary to this research.The method of research in this article is descriptive and the informations gathered by searching in libraries. The analysis of works has performed by qualitative method and then has been proceeded with the classification of painted sculptures based on available samples.

The most important part of a religion monument in Iran is adytum (Mihrab). One of the honorable and rare architectural works in 8th century (A.H) (Hejra on luner year) is the stucco relief (plaster Modeling of the Adytum (Mihrab) of Pirbakran’s Monument which has been worthy from the view point of researchers. The inscription of this adytum, has formed the main part of it, just like as another adytum, which has various geometric and herbal ornaments.In the present article has been tried to search and find relationship between visual elements in composition of the Inscription of Adytum in order to recognition of some part of Islamic-Iranian art. Therefore, at first has been tried to document the whole present images in the inscription of a dytum and then redraw carefully by the computer. Introducing different parts of the Adytum, classifying the images and varieties of ornaments and inscriptions used in the Adytum’s design have been separately accomplished. By detecting the ornaments into two groups of geometric and plants, the varieties of basic images in Inscription parts of Adytum have been attained, and wherever the plants features had more variations, it have been divided into «Eslimy» and «Khataei».Also different kinds of writing styles and Adytum inscriptions after designing and introducing, were detected into Sols» and «Kufi» which Kufi writing were further divided into plain ornamental Kufi and building Kufi. The method of research in this essay wadescriptive and ananlitic and contains all ornaments of inscription of adytum. Finally, after designing and introducing individual basic features of Inscription of Adytum, their varieties were achieved and the varieties of samples were described by the graphs. This style will facilitate the visual distinction of Inscription of Adytum ornaments of Pirbakran`s Monument and shows the graphical capabilities to the Adytum basic features well.