NEGAREH
Year:2013 | Volume:8 | Issue:26|Papers Count:7

Whilst preserving rules and principles of Islamic art and maintaining a celestial aura, in Safavid era Sultan Mohammad demonstrates unprecedented values in his paintings; he focuses on his contemporary social occurrences, namely tyranny and injustice, in a fantasist (unrealistic) atmosphere by manipulating forms and colors, avoiding empty space and using ornamental details, particularly through his choice of metamorphosis.Thus the article surveys the inward aspects or in other words expressionistic aspects in a scenery seemingly “unrealistic” and to that end we describe and analyze the images which Sultan Mohammad the painter uses in his works and “secretly” reveals the rigidified and transfigured faces of the man -under the pretense of a scene apparently (imaginary). In fact as part of the results of this survey images beside celestial figures -apart from his fantasist imagery -depict social and protesting aspects and consist of the combination of these two worlds (celestial and terrestrial) in a single scene -and reach a theme profounder than the predetermined title suggests.Furthermore, answers are sought here to questions such as whether the circumstances of his time and tyranny over people caused the depiction of suchingeniousscenes, or these images are merely regarded as decorative achievements. Finally, to find out the consequences of this approach and to conclude the research, body parts and faces depicted by him in some of his paintings are referred to, through which he expresses his intentions: bodies and faces in his imagery fall into three categories:1. The portrayal of supernatural and heavenly faces borrowed from the world of ideas, or in other words, the world of Suspended Faces.2. The merging of animal bodies and human faces or vice versa, for instance in case of prophet of Islam’s stallion (Boragh) or devils and demons which leads to his version of Strange Creatures or mythography.3. The facial representations expressing humans’ inner moods or in other words his contemporary people’s mental-spiritual moods.Since the results of this research are expected to unveil the structure of his paintings, some of his beautiful works are addressed here Research method: descriptive-analytic, Data used: printed material.

Through the history of art & religious civilizations, there are always sacred & spiritual artworks that endeavor connect humans with spiritual worlds, of which the most obvious manifestations are sacred portraits. Portraits of the pious humans give the opportunity to represent spirituality and divineness in form of human images that have always been taken into especial consideration by religious civilizations. These portraits have special characteristics so that if they are put together, it seems that they possessa united and collective essence. Therefore recognizing the common characteristics of sacred portraits in religious civilizations is the main goal of this research. In this essay by means of analyzing and explaining the ideal portrait and expressing the different viewpoints of experts in this area, it is tried to recognize the common characteristics of the sacred portraits and the ways artists have manipulated them in their works. Using analytic and descriptive methods based on description of existing cases of portraits from some of the religious civilizations and besides exploring the artists’ perceptions of sacred portraits in various civilizations which are developed from the ideal portrait, some of the common characteristics of these portraits are recognized. The results of this essay show that there are common characteristics in sacred portraits in religious civilizations through which a perfect portrait may be conceived. As a result main common characteristics include: extended and arched eyebrows, big and almond like eyes, extended nose, small lips, altar like and broad foreheads.

Iranian rural carpets are major sources for the study of Iranian rural art and culture. Applications of motifs and colors of these carpets reflect the culture, customs, art and lived experience of the local people. The presence of common aspects in frames of Kheshti rugs and their colors, indicate the presiding spirit of the works, inspired by their interaction with nature. There are differences in both the appearance and technique thus to better recognize the Kheshti rugs of different regions of Chaharmahal and Bakhtiari province it is essential to study the visual characteristics of motifs within the frames. The aim of this paper is to better recognize the Kheshti rugs’ motifs, describing and categorizing these motifs, and increasing the knowledge to distinguish the rugs coming from these regions and also besides exploring each and every motif theoretically, the visual components, color, size, abstraction or simplification of motifs, etc have been taken into account.The following questions have been focused on:1. What are the most frequent motifs in kheshti carpets coming from the different areas of the province?2. What are the differences between the rug motifs of these areas?Drawing on published material and field research, the method in this article is comparatively analyzing documents, books and the Kheshti rugs’ motifs from different areas of Chaharmahal and Bakhtiari province leading to a comparative study of the Kheshti rugs’ motifs from different regions of the province. Kheshti rugs’ motifs vary greatly and change depending on the weavers’ taste, but the general theme and motifs within the frames mostly involve vegetation and trees while birds and beasts are less frequently depicted.Kheshtirug motifs coming from the villages of Saman, Farrokhshahr, shalamzar, Sefieddasht and Ardalare abstracted but in Chalshotorand Shahrekordrugs are more realistic.

Accessing the uses of color in carpet enables us to open a window into the designers’ viewpoints and the way they treated colors in carpets. In analyzing carpets, apart from the practical aspects, color and the way it is used is underlined in the aesthetics of carpet. The purpose of this research is to offer a way to measure the color proportion by considering the effect of light colors on audience’s perception of color in the carpet. The research was conducted by experimental method and by taking into account the properties of color scattering in carpet, resulted from the scattering of scheme and presence of a dominant color in the background, which also relies on Agden Nicholas Rod and FransGerritsen’s color theory. This paper by introducing hypothesis of height of colors in carpets, through three case studies of carpets from the Safavidera, and by using Image J color analysis software, during two tests of Pure Color Measurement and color value assessment, develops color analysis. The paper seeks to answer the question as to whether or not the use of color in the carpets complies with any rules. It indicates that the colors in carpets are used as interlocking layers which only through analysis become recognizable and increase the illusion of convexity. Hence the results show that one of the most important phenomena in taking on carpet colors is the phenomenon known as virtual color height which can be achieved by forming the contrast of saturation in the margins to create a kind of virtual depth obtained by increasing color distances and eliminating simultaneous contrast. Using this method can help the carpet designers with picking the right colors and add to the richness of Persian carpet colors.

Literary works have provided a noticeable context to consider and depict the architecture of bathhouses in miniatures. These paintings have a considerable correspondence to reality. Comparing the characteristics of such works with the architecture of bath houses lead to the results which indicate the paintings bear many features of these bathhouses, which in turn reveal a certain kind of realism in such works. The aim of this paper is to study and compare the architecture of bathhouses and their illustration in Persian painting in order to determine how close they are to the reality or being depicted realistically. Therefore using historical and descriptive methods the existing illustrations of bathhouses in Persian paintings are studied and compared to the bathhouse architecture. 23 instances of Persian painting have been studied and compared to the bathhouse architecture. The results indicate that many features of a bathhouse from architectural spaces, installations, structure and lighting are depicted through various methods. Also principles like size, diagram, geometrical shape and special proportions are evident.

Astonishing growth in the advertising costs on one hand and uncertainty of companies about their effectiveness on the other hand have caused a major concern for the company managers.During the past several decades, the use of the humor in advertising has increased.The aim of this paper is to make a better understanding of humor in poster design arts and advertising through focusing on the uses of humor in poster design arts and advertising, and reconnoitering the advantages and disadvantages of it using descriptive method. The research has been carried out through gathering published material.The results indicate that the methods for using humor, quality and the extent of it in poster design arts are determined by the theme. They also show that there are many advantages to using humor in posters, such as: humor in poster makes the messages more entertaining and more memorizable.