NEGAREH
Year:2014 | Volume:8 | Issue:28|Papers Count:9

The question in maintaining and restoring the old objects always is what the main components of these objects are. Since past few years the use of spectroscopy via the adept instruments to determine the pigments and constituents of works of art has been common in all over the world. Especially chemists have numerous papers on precious works of art kept in significant museums like Louvre and British Museum and etcetera. In Iran although the available exquisite written cultural heritage has been explored and studied, an extensive study that answers the needs has not yet been undertaken and the data are not yet practically used by the experts. Therefore this paper endeavors to look at saffron from a different angle and explore the application of this beneficial plant in unique manuscript decorations.The aim of the present investigation is to determine the period and the method to apply saffron in the arts of book through the study of various methods of using saffron color in the arts of book. The research method is Longitudinal comparative. To gather the data, old calligraphy manuscripts, books on arts of book and papers on the use of the colors in arts of book have been studied and contemporary expert craftsmen in this field have been consulted. The results indicated that saffron has been used in calligraphy, paper coloring, illumination and layouts. Saffron has been applied in an extended time span from the 3rdcentury H./ 9th century A.D. to 12th century H./ 18th century A.D. in Quran manuscripts decoration mainly to depict the beginnings and endings of ayahs, toinscribesurah beginnings, and to draw the linings. One of the significant reasons for the use of saffron and other different colors in Quran scripture was to highlight the parts which were not included in the original script of Quran and were added later as well as the significance and sacredness attributed to saffron in popular culture.The saffron can also be used in Motavvas (peacock) ink, of which one quality is its transparent nature, so that it is absorbed by the paper and does not remain as distinct layers. Saffron can also be used to prevent the destructive effects of verdigris. It is also indicated that the non-Quranic manuscripts date back to Timurid and Safavid eras, therefore the use of saffron was widespread in these eras. This survey is an introduction which needs to be followed by instrumental methods and spectra analysis to prove the application of saffron in decoration of selected manuscripts.

Hand, moving the pen on paper, is a vital tool in writing and calligraphy. The counter-position of hands and differences between the right-handedness and left-handedness lead to the question of existence and qualities of a reciprocal or one-sided relationship between kinematic profiles of handedness and writing. What make this question more significant are the scattered and varied opinions on left-handers’ issues in writing and calligraphy that express different beliefs about the proportionatenessof the writing direction to handedness. Therefore to study the kinematic profiles of handedness and Nasta’liq script and their relationship, this paper addresses two terms of handedness kinesiology and Nasta’liq kinesiology. In Nasta’liq kinesiology the straight directions (horizontal, vertical and diagonal) are explored. Handedness kinesiology examines course and direction of both curved and straight lines (horizontal, vertical and diagonal) by left-handers and right-handers. The results indicate that the writing habits amongst left-handers and right handers do not have considerable effects on the choices of direction and course while writing. On one hand the results of right-handedness kinesiology and Nasta’liq script are parallel; so that the predominant course and directions in Nasta’liq are in accord with the predominant directions taken in writing by right-handers. The research method is descriptive-analytic using published material and field research.

Traditional arts following the advent of Islam and the expansion of its scope were maintained in the Islamic world with a view influenced by this religion. Art of metalwork which was considered one of the most significant traditional arts in this period managed to become one of the most functional and prominent arts in the Islamic world, specifically in Mosul, drawing on the heritage of this art-craft and innovation and creativity in production and various techniques of creation and design, engraving and carving various decorative themes consistent with Islamic world view. Mosul school of metalwork is one of the most exuberant and prominent schools of metalwork in the Islamic era, contemporary to the end of Seljuk reign and Ilkhanid period. During the splendor and prosperity of Mosul- during the rule of Badr al-Din Lu’lu (1233-1259 A.D. / 611-637 H.)- the Mosul art istsmanaged to offer to the patrons and purchasers the most significant metal works in terms of function and perfectness of form with which beauty and decoration are connected. Due to the important place of the Islamic era metalwork and the unique position of Mosul school of metalwork, a study on the latter based on its methods and techniques of production and decoration of forms and aesthetic form of the pieces seem necessary. Therefore this paper seeks to determine the qualities of the school of metalwork, production techniques and ornamentation and the concepts of Mosul metal works. Moreover in this study, two stances of works made in this style, the box and the candlestick Badr al-Din Lu’lu, have been examined and analyzed.The results of this study are as follow: the theme of “seated person holding a moon crest in his hand” is a special feature of Mosul school of metalwork, which has been examined for the first time. The fact that the decorative themes and motifs of Mosul metal works reflect the continuity of Persian-Muslim artists’ experiences with an innovative identity, indicate that the traditional arts have always achieved sublimity and advancement in art through regarding history and innovation, forming itself a new tradition. The applied ornamentations in Mosul metalwork include animal decorations (human, animal, and birds), inscription decorations with Naskh and Kufic scripts. As to the production technique of metal wares in Mosul, the Sasanian era common methods were followed. This production technique which was mainly the molding and casting method especially continued till the rule of local governors and emirs in Mosul like the rule of the Zangids especially Badr al-Din Lu’lu. In Mosul metalwork unlike Persian, Egyptian and Syrian, instead of engraving, works are inlayed with copper, silver and gold. This paper uses the descriptive-analytical method and analyzing documents as data gathering method.

The aim of this paper is studying the evolution of horse imagery and recognizing the position of horses, both structurally and conceptually, from Median to Achaemenid eras. The question is that what position the various images of horses had in terms of concept, aesthetic structure and function in Median and Achaemenid eras. In this study, horse images from Median artifacts to Achaemenid reliefs are studied in terms of aesthetic harmony of horse depictions, functional proportionateness of tools, the crucial role of horse in containers and rhythuns, and the cultural, political and social place of horse. The results indicate that the Median holy and ritual horse, depicted with simple and abstract forms associated with ritual and symbolic meanings that would be buried besides its owner to cross to the other world after death and to guard the deceased against the evil forces, in Achaemenid era appears naturalistically and refined besides the man in royal formalities with social intentions.

The first and forth illustrations of the Timurid «Book of Ascension» (ca. 1436-37 A.D.), otherwise known as «Mir Haydar’sMirajnama» respectively depict the themes of annunciation to prophet Mohammad and conversation and prayer of prophets at Al-Aqsa mosque. Among the most significant themes illustrated by Fra Angelico (1400-1455A.D.), an Italian painter of the Early Renaissance and a Christian monk, are the annunciation to Mary and the holy conversation of saints. This research, using analytic-descriptive method and library studies method, structurally explores the visual and figurative similarities between these inter-thematic and outsourcing- interreligious paintings which are created approximately at the same time. The results of this study show that although these visual similarities, which are originated from somewhat common themes and beliefs in both religious cultures of Islam and Christianity, can support a direct or indirect influence of the Early Renaissance painters on Muslim artists of this manuscript, all the more so are the results of the similar visual thinking of their creators in depiction of religious themes. The hidden geometry of these Timurid Mirajnama illustrations reveals a conscious or unconscious and parallel work of its creators with the visual knowledge of Italian Early Renaissance artists as well as its fruitful endeavor to maintain the visual traditions of Islamic Persian painting.

Ethnic culture is a set of customs, traditions, beliefs and thoughts that belong to an ethnic group. One method for preservation and dissemination of culture is its entrance into the artistic issues whether decorative or applied.Through the analysis of the most important constituent visual elements of a work of art, i.e. form and color, one can recognize a lot about its creator`s beliefs, and the culture of that society. This paper is conducted using analytic-descriptive method and explores and studies the Turkmen needlework designs in GonbadKavoos city.Data is collected using field research and published material. The data analysis method is qualitative. The aim of conducting and presenting this paper is to identify the patterns in Turkmen needlework, their origin, their concepts or possible applications, and thus it endeavors to open a window into the thoughts and opinions of the ancients of this people. The results of studying 100 samples indicate that form, color, and the way motifs are composed may be categorized in four groups of animals, elements of nature and surrounding environment, thoughts and beliefs, tools and implements of war. The forms of some of the motifs are derived from the beliefs of this people’s ancestors and others are impressions of creatures and objects surrounding them.