NEGAREH
Year:2010 | Volume:5 | Issue:16|Papers Count:9

Persian calendars besides having the most unique art forms have strong academic Foundations, too. These images (Art forms) are reflected in the domain of Persian art. In the present article has been tried to study the process of changes and evolutions of calendars. This research also tries to explain the oldest samples of Persian chronology. In addition, by study the samples of Islamic Numerical calendars (Roghomi calendars), has been tried to show the elements of ancient Persian chronology that have been used in these calendars. The aim of this study is explaining continued life of symbols and sings related to ancient chronology in this Numerical calendars. This study proves the hypothesis that there has been chronology since from ancient time and in different periods in this country. The symbols and sings of ancient solar calendar have appeared in Islamic period at Numerical calendars in both written and pictorial forms. The adopted method in this research is descriptive–analytic via library researches and with taking notes method. Also samples of calendars that exist in libraries and museums have been studied through of fieldwork. In this reason, at the first, chronology of pre Islamic and Islamic periods has studied, and the types of chronology in these times have explained. It explains constellation as relative symbols with Persian chronology and shows samples of it, in ancient Persian art. Then, by offering a report of some Islamic calendars; it talks about the processes of changes and evolutions of these calendars and the contact of ancient calendars with some samples of contemporary calendars. Then it indicates the symbols of ancient Persian chronology (like constellation) in the contemporary calendars. According to the results of this research, icons of calendar have been appeared on Persian artworks very well, from pre-Eilamit history to Sassanid period. These forms (icons of calendar) are seen on the artworks, calendar and astronomical texts in Islamic periods. In this period the name of these constellations is existed in calendars in the form of written and image. Numerical calendars (Roghomi calendars) have the same structures with ancient astronomical tables (horoscopes), that were known from the Achaemenid era. From that time (Achaemenid period) should not be ignored effects of horoscope, the element that in special form are in Islamic calendar. The oldest Persian chronology which is solar with content and visual features, has survived in Islamic period; these features are observed in Numerical calendars.

Probably there is only one artistic work, which shows a saint or god, stands on a lotus. It is in Tagh Bostan that shows Mehr or Mitra standing on lotus which has a Sacred planet (Barsom) in his hand. There isn’t another example of depicting a saint or god standing or sitting on lotus in Persian art.In Upanishads lotus is flower of manifestation. In Jainism, Buddhism and Hinduism lotus is placed under the foot of one saint or god. In other words, it is under the foot of one who has holy origin. Therefore, lotus clarified this holy situation. Certainly, it was in Hinduism books in which lotus situation had been explained. Iranian books like Bondahish, which relates a flower to an especial god, for example lotus to Anahita, are the latest and have been affected by Hinduism stories about lotus. There is an important question: Bondahish or Hinduism books have affected the only illustration of lotus in Iran, which is in Tagh Bostan?This essay tries to explain that Iranian and Indian wisdom have had a deep and contemplated thought about lotus, so they have tried to use and represent it in their artistic works. Therefore, as other ancient civilizations, art in Iran and India manifests their beliefs, cults and thoughts. This manifestation about lotus has been very vest in India so it is completely clear in their art and architecture. Nevertheless, in Iran, lotus has been only in cults and there have not been any function in proving someone holiness or goodness except one case, which is discussed in this essay.

Eram garden is one of the beautiful and famous gardens in Shiraz that belongs to Qajar era. There are many murals in the building of this garden which were done in the form of polychrome tiles or oil painting on wood that has embellished all over the walls and the ceiling of this three story building. Those paintings have various subjects and senses that in accordance with the subject sometimes they were done affected by the western painting and sometimes with the common methods. Some subjects were affected by the native and traditional culture and they have a lot of delicacy and accuracy in performance. The aim in the process of this research which has been done with library and field method is to recognize Eram gardens murals more beside describing and classifying its works. For reaching to this aim after introducing Eram garden and its history; besides classifying the works, describing and surveying of every existing subject and image have been dealt with. Subjects are divided into three main branches: 1-Mythical and archaic 2-Narrative 3-Ornamental imageseach branch involves several subordinates. Interstice the article in addition to surveying each of the above Subjects and finding the roots of some senses and subjects, the effect of western art in some issues and the methods of their performance are implied too. Tending to luxurious and thirst for power in those who had ordered those works can also be one of the reasons for variation of the subjects and the contents of works.

Pen box making is a kind of Iranian art that is placing in a string of handy craft in Iran. Its antiquity goes back to Sassanid era. At first, artists had made Pen boxes from metals which drawings on them were much unadorned and in embossing style. But in next times, the beautiful Pen boxes also have been created from the wood. In Safavid era the under lac-colored painting (oily painting) flourished and per forced the artists to making the Pen boxes from cardboard to execute their art on them. Firstly, the drawings on the Pen boxes were much unadorned (floral design) and had a close relationship to painting. But the entrance of western painting into Iran and familiarity of the artists with it, caused they have been a naturalistic regard to view. The artists painted on pen boxes completely in European style with the entrance the landscape making pen boxes from the Russia to Iran in Qajars era. As most of painters also were pen box designers, so the landscape making on pen boxes had been affected from landscape making of Safavid era to last of Qajars era completely.The study method has carried out based on nature, descriptive and data gathering method is based on library form.

Enameling is one of the most unique and a permanent Iranian art which connects present generation to the future as a cultural identity. In Qajar period this art like as other arts, have been new developments, so that at the time of Fath-Ali Shah, achieved the great progress and until the Naseredin Shah>s era it was seen as a courtier and aristocratic art, but in the latest time of Qajar period it was ignored. Enamels found in the Qajar era, which are kept in some museums of world, are examples of the worthiest artistic works. In Azerbaijan museum in Tabriz seventeen pieces of enamel works are kept which were consist of courtier>s women pictures of that era.In this article which has done by historical-descriptive method, after study on characteristics of this art in Qajar period, figures of paintings which used in those wears, enameling pieces, were compared with another Persian paintings based on available books & evidences, to distinguish the limitation time of these enameling revolution in different Qajar eras were evaluated and at the end some of the remarkable enameling artists whom working in that time were introduced.

After the Islamic Revolution in Iran, another revolution was also occurred in art and the graphic filed. So, poster art as a vital branch became alive in the mentioned field. Of course, products of this branch of graphic never been analyzed. The main issue in the present paper, relying on basic principles and knowledge of semiotic, is, making cultural posters, with a look at the aspects of sociology, with the analysis based on the works produced, and description of relationship between the production of meaning and communication and at last analyzing the posters of 23 years after the Islamic revolution in Iran. Methodology of the present research is descriptive and the method of analyzing is based on semiotic science. 50 cultural posters were selected as the research sample and with the help of semiotic ways were analyzed. It seems, the Iranian posters were seen and analyzed with this kind of research, for the first time after the Islamic revolution in Iran.

One of the interesting aspects of children’s paintings is transparency. Transparency is the quality in children’s painting that able the child to show the inside and outside, appear and hidden parts of things and characters at the same time. The same thing has been seen in religious eras especially in Persian Miniatures paintings, and also many illustrators have used this characteristic in their works. Using this method has helped illustrators make the best use of little space of their paper and expand the vision of the picture.Based on studies in this article which has done in descriptive method, there are several kinds of transparency in illustrations which after surveying put in categories in this essay.The results of this research has shown the influence of children’s painting and Persian miniatures in contemporary illustrations and also has made a codified form in different kinds of transparency in illustration which can underlie the new horizons in illustration.