NEGAREH
Year:2009 | Volume:4 | Issue:12|Papers Count:10

The first perfection of calligraphy in Islam was manifested in a script called (kufic) which reached the apex of it’s beauty in the late second century. This was first applied by Arabs. As it is clear from it’s name, this script belongs to kufah and was accepted as the only suitable script for writing Quran.The most important and necessary research of academic domain on kufic script is understanding the significance of letter structures. meanwhile, Quranic manuscripts are really important due to their significance in Islam. All af letter structures. meanwhile, Quranic manuscripts are really important due to their significance in Islam. All af these manuscripts which are available in the museums across the world, have not been appreciated properly. The process in This survey is descriptive and purpose is acquaintance with evolution kufic script and recognition of structure dominat upon in this script. In this survey, in addition to the review of kufic script in the present manuscripts, two principles have been considered for recognizing the letter structures: 1- The kufic script evolution in the Qurans of first to fifth century. 2- Structural review of the Kufic script design in these centuries. To access these two principles, after recognizing and collecting the kufic script examples in the existing Qurans in these five centuries and after analyzing their letters, some examples of each century have been reviewed in separate tables. Then, based an the horizontal and vertical axis of each letter, one af the examples has been evaluated. In the end, on account of its rhetorical capability in its powerful and consolidated structure, this script has provided a kind of balance with the background and this consolidation and rhetorical capability can be an appropriate example for graphic designers of modern letters.

Prayer rug is one of the hands – woven which has been designed and woven in small size for the Moslems from the dawn of Islam and they used it in their rituals.But it is not obvious, when these carpets got ornated with altar (Mihrab) design or vault design on them. And it is possible that the vault design has been used in some hand - woven works before Islam. Many remainders have been left from the patriarch (Ilkani) dynasty with altar on them. Also, during that era some elegant and beautiful altars out of gypsum have been created throughout Iran which the most famous is Aljayto Altar in Isfahan but there is not enough ducuments about altar pattern rugs of that period and our most informations about them are from travel accounts which in them there are a few pointed to such hand-wowen . In paintings created during Tymurian Dynasty, the Altar design can be seen on some hand – woven works depided these paintings. There are more documentary remainders left from Safavid Dynasty era and two samples of these carpets can be seen at Astan Qods Razavi Museum. Imam Rezas Holy Shrine has been a suitable place for creating or donating Artistic works from far past time, because of its value esteem among the Shiite. Among them, it can be referred to elegant carpets, some of which pertain to the Safavid era hitherto.The major part of these hand – woven works have Altar (Mihrab) design (or vault design) on them. In this research, these works have been reviewed and described according to their place of weave.

The design and content aspects of Persian Decorative patterns are the valuable Carriers of Iranian culture secrets. One of the most important motifs which has always been considerable in Iran and even during religious variations didn’t (theuse of it has lasted) change, are the Birds and mythological winged creatures that can be seen in many Iranian crafts especially in textiles. The present research aims to explain the changes of these textile motifs during Buyid and Seljuk period. Selected periods contain many case studies and it should be noted that in this era, there aren’t the effects of foreign art influences especially from China, that changed the tradition of drawing birds in Persian arts (could not be seen). The Research method was the visual analysis of designed patterns to evaluate the changes of their shapes and their composition in the form of textile design Results have shown that during the Buyid period, motifs have been continued as the Sassanid tradition combined with the Islamic themes, were more subtlety in pattern design, combination with background and structure of whole designed textile. The birds’ front view and various combinations with Life tree motifs should be considered as the inventions of this era. In fact, the Seljuk period was the persistent and increasing wealth of artistic tradition of Buyid period. More complex motifs and compositions of the previous period and combination of front and lateral views of birds are the significant features of this period.

Khavaran-Nameh, is a book of poetry written by Ibn-e-Hessam, which is illustrated by Farhad, the painter from Shiraz, in the late 9th/15th century. The illustrations belong to Shiraz school of the Torkaman Period. This book inclues systematic tabling and precise mathematical proportions. The poet, the illustrator and the tabulator (jadval kesh) have worked together in harmony. The sides of the frames of the illustrations have a constant proportion in all illustrations and in some, the frames are broken or zigzaged (pelle ie). In addition to demonstrate. the general principles of drawing the tables and frames of the illustrations, this study seeks to explore the reason of breaking the frames, for the reason of strict geometrical principles, the frames of the illustrations seem to have changed when the illustrator recommended it. Some of the key concepts to which this study pays special attention are the unchanging, constant length of one side in all of the illustrations in Khavaran-Nameh.

The outward and writings features and the methods of using seals in documents of Islamic era changed greatly from Qazan-Khan era. These changes were simultaneous to reform of governmental and official system of Ilkhanian and they were in line with Qazan-Khan,s trend to Islam. The oldest documents left from Iran also relates to this era. Sealing their letters, Mongols followed some special methods and they used some seals such as Altun-Tomqa, Al-Tomqa and Ghara-Tomqa. They usually sealed next to the date or the financial figures of the document and sometimes on the top of the command. There is not much known about the methods of sealing on documents in the next eras until the Safavids. Because of the great governmental system in the Savafids era, different types of seals and the methods have been registered such as ten governmental seals in Shah-Solmon era and three high-ranking officials in keeping seals with these titles «Mohr-e-Homayoun», «Mohr-e-Sharaf Nofaz» and «Mohr-e-Angoshtar». In this article different kinds of governmental seals and the rules of their using in lslamic documents specially in Ilkhanid and Safavids periods will research.

Horse in pre Islamic and in Myths, religious archaic texts, Shah nameh, historic periods and remainder works, including very vital and valuable function and always has been praised . Horse in that period, has had customic, economic, battle, banquet,hunt, transformational , decorational, ceremonies and etc functions . Also in post Islamic, point to horse in some verses of Koran, Iranian – Islamic texts and Horse books (Faras nameh), expresses good nature and importance of this creature. Generally the motif of horse in Iranian culture and art history, particularly in Persian painting, has had a superior and worthy place. Also in Mahmoud Farshchian,s works horse has been apparented in different purporstes. But the aspect of discrimination of horse motif in Farshchian works, in addition to functions of past periods and recreation of works, is presence of symbolic, psychological and special artistic expression of this valuable creature. Horse in his Works, is free from every function, profit and aim, and has shown as sign and symbol of soul, rebel, refinement, freedom, sublimity of soul, and most profound meanings of secret in human existence that less has been seen in past works. In this article, at first, place of Horse in historical periods and then in Mahmoud Farshchian works has studied. Hypothesis of this article is based on emphasizing on creative view and in particulary express of psychology and Semiology of Horse in Mahmoud Farshchian works. The theory of research has written based on descriptive -analysis method and also aim of this article, is the survey about position of Horse and its artistic expression and decoding of psychological and Semiotic concepts, where has appeared in various subjects of Farshchian works.

Comic strips have special expressive potentials among varions styles of illustration. The main subject in this article is that if it would be possible use such potentials in commercial advertisings in graphic press. In this essay which has done by descriptive – analytic method, has been tried to express that there is possibility use comic strips in publications” advertisings, because of their attractive images, they make much effects and influences on adudience”s mind. Of course publications prepare the way for such visual advertisements, because these collection of continues pictures need to more time and attention to introduce a commercial have. In advertismental comic strips, designer tries to introduce a commercial product by the visual abilities based on a story board. And of course through out the story necessary informations about product expresses.

The aim of current research is to evaluate children`s paintings and this research emphasis on hands of children who have encountered with hard of work. The children who live with us but in fact they separate from us, their paintings can indicate their world. In this respect, we use method of extemporaneously to release completely their internal senses through mental discharge and state internal senses far from conditions. Therefore, it is necessary to evaluate studies in the field of extemporaneously definition. The most important result is as follows the children indicate automatically their massage from indecent and rude accidents of labor space through colors and images and they show their disgust and anger. Result shows that the aforesaid method can be more successful in proportional to former methods in automatic psychoanalysis of persons.