NEGAREH
Year:2010 | Volume:4 | Issue:13|Papers Count:8

Mazandaran as the first offical government placc shia sadat has embreced new merous Imam. Since there was security in the region, many Imamzadeh and Sadat, during the migration to Iran, went to the Mazandaran and continued their life. Over time, Sari as the center of government, and as one of the proper cities, has been selected by Immigrants. Thence, near 290 Seyed In «Sari» and around it are buried.Shrines and Tomb towers have been built on the graves are considered as one of the brilliant examples of Shia art. Within each tomb, there is a wooden bin, which is a religious sign, and for the pilgrimage is made. Decorating of the wooden boxes, are very beautiful and valuable. These decoration can be classified under 2 groups that are «images» and «texts». Texts content by carving on the fund are included: «Quran», «Hadith» and «non-religious texts». Topic of this article is the survey of Quran verses used in decoration on lo boxes in shrines of imam zadeh in sari.

Sols calligraphy is one of the important kinds of calligraphy in Iranian and Islamic Art. This hand writing is drived from Kufic character. Ibn Moqleh, Ibn Bawab and Yaqut had a great Role in emergence, Completion and regulating its Structure and motion Features of Suls Calligraphy writing, have givena hage abilit to it, in vertical and horizontal ax is like letter and inversted form of letter (s) along with complicated composition, with the help of turning different letters. This writing has a steady, firm and solid state and has good Compability with epigraphy. Epigeraphy is started along with Suls writing from the era of Ilkhanidsup to now. Teimorid era is high point and peak of Suls writing.Qajar Period is subsiding point of Suls from the view point of figures, elements and letters power but even so, from the point of creation, Colors diversity and freshness less paralleled effects have been come into existence but as a whole, in Qajar period importance of Suls writing has been decreased but Nastaliq writing has been remarkably developed. Suls inscriptions of Safavid period have a good solidity from the point of different materials and performance. Because of numerous buildings, Suls Calligraphy has a great amount of development, and honored artists like Alireza abbasi have done a lot in this way. in a descriptive and analytic way, In present article Our to diversity and numerousness of Inscription works, we are going to deal with Technical specifications and difference of Suls writing on outstanding buildings as Jamee mosque.

Numerous manuscripts, which are illustrated in Shiraz in the short period of Iskandar Sultan, s government, indicate the latter,s art admiration and support for artists, miniaturists and book illustrators. Unfortunately, these artists, names have not been recorded, or recorded doubtfully. So that, most of Iranian-painting researchres have not studied the artists in Iskandar Sultan,s painting workshop and have just invatigated the illustrated manuscripts of that period. However, some miniatures of the manuscripts illustrated in Iskandar Sultan, s court, show some carpets which are simple yet representative of a special and unique style which indicates the changes in future Persian carpet designing. In this research, the miniatures which contain schemes of Carpets have been studied and the designers and creators of these miniatures have been traced by concentrating on pirAhmad baghshomali, s artistic life. This article has been done in a discrative anaytical methads.

When the Qajar dynasty started and Tehran elected as the capital, decorators of this period by following the orders of the owners of houses and palaces of Qajar period, have used the decorative elements of Iranian ancient art in the architectural decoration of Qajar period Buildings. In this article with use of comparative study between architectural decoration of two buildings of Qajar period in Tehran, that name is Amir Kabir house and Emam Jome,s house, that were accomplishmented under the influence of Iranian ancient art.Most of the decorations were accomplishmented in this bilding that was influenced of Iranian ancient art, contain recreat ran of usuall mutifes and subjects of Sasanid period.

During Achaemenid period, we can see various appearances of kings in Several positions. One series of postures shows him in opposite of different animals. Reliefs of Throne hall at Persepolis almost identified as the symbolic war between king and devils by mest of scholars and vesearch. But this research tries to show that ox or lion had never been the negative and evil definition in ancient Persian culture and we can’t accept them as devils. We tries to proof this hypothesis that this reliefs show the various aspects of king’s character and shows him in the various ceremony like haunting, sacrificing and devils fighting.In Achaemenid era kings during battle with animals have two purposes wartimes shows their power through Symbolic hunting and during peacetime identified themselves as a source of prosperity and regulating force of nature, people and universe that portrayed through the Symbolic war with Sphinxes.this articale tries to review the images of king from semiotic aspects and shows the various levels of signs as symbol, index or Icon to understand the meaning of each part. The structural viewpoint linked various signs with king’s character and Identity with mythological knowledge of ancient Iran. The results show that pictures should be the symbols of sacred power of king, his legitimacy and his character as the enemy of devils and patron of universe order.

The present essay studies about the images of sphinxes and harpeys and searches for the related definitions in the Ancient World. Then it propounds the presence of these symbols in the art of Islamic Era and descriptive the related definitions in a descrive - analytice method. Further, it expresses expansion of astronomical activities as an effective factor in appearance of such symbols in 6th, 7th, 8th centuries (lunar calendar). Sphinxes are considered by the Ancient World as the protectors of the temples and even as gods. Harpeys are creatures combined with the head of man and the body of bird which in the ancient cultures take the soul of the deads to the other world. Such creatures appeared in the Islamic Era on the metal dishes and potteries, so that in 6th, 7th, 8th centuries, they were the most common images on the potteries. It is obvious that such symbols are closely related to the concepts of grace and fertilization in the Islamic era. The expansion of astronomical activities in the 3rd and 4th centuries and later in Iran and writing the book: Constellations by Abdol Rahman Al-soufi, the way was paved for emergence of such creatures on the works of art.

The first challenge that the art museums are encountered is showing and preservation of new artifacts. New art has been flourished by young artists at the second half of twentieth century. These artists emphasized on new approaches as like as creativity, conceptual aspects and different methods in order to make free the new art from it’s traditional limitations. The base of new art is associated with prevalence of dead art, using of ready objects, artists interference, participating of viewer in artifact creature and using the new technologies in order to create. Contemporary art and its characteristics are parts of our art history and they need preservation, Presentation, investigation, education and finally showing in the museums. The New art Museums making one appropriate context for mentioned approaches. The beginning of Museums and new art challenge goes back to their essences. The usual duties of museums are preservation and showing the artifacts, but opposite of traditional museums, new art needs other aspects. Time and place limitations, arrangement, assert a logical relationship between collections and subjects are the main problems of the new art museums.Now, there is a question that, Is there any challenge between traditional museums and new art? And if yes, how can we solve this problem.In this paper, at first, I would like to propose the definition of museums, approaches, typology and new art in one hand and research for the six cases of same new arts in Tehran Contemporary Art Museum and their aspects in the other hand.