NEGAREH
Year:2009 | Volume:4 | Issue:10|Papers Count:9

Story at first, specially before coming the Quran words, was only an instrument for telling folks, myths or unreal events among the people of the Mecca. In the Quran, but storytelling became an art way to readers guidance. Study of the Quran stories reveals that the stories in this holly book have two aims. General aims which every story has as the first, and the Particular and valuable aims like marveling from the history, invitation to think, analyzing of the prophets ways and God knowledge as the second. To understand the narrative style of the Quran is a great step in conception of the Quran stories. In the Quran, illustration is a consummate instrument for narration that previous researches have not attend it. Research method in the present research was descriptive. Seven stories of the Quran stories were selected randomly for the purpose. Results revealed Quran stories are away and empty from the aimless imagines and unbelievable legends that were and even are norms now in the common writing stories. Looking at the life events as the real things, and presenting the perfect aims in the form of the guider stories accompanied with the grater and glorious images is the method of the glorious Quran.

The Iranian world has a well-established Tradition of images that goes back to anitiquity. The structure relation between text and image become increasingly intricate in illustrated manuscripts, at least from the middle of forteenth century onwards. These links can be observed through the composition and layout of the paintings. These relations seem to be expressed in some Persian poetical texts. It would be interesting to know if this relationship between painting and text found during the classical period of Persian painting had some theoretical basis. The Theory know as the "seven principles of painting" can throw some light on the subject. Although probably drawing on an earlier litrary tradition , this theory appeared in Safavid Iran, and this theory represented an attempt to link painting to calligraphy in order to give the former some sort of legitimacy in Islamic Art. The study of such a theory can through some light on the relations which existed between calligraphy and painting. Some technical aspects will also be discussed through the study of the seven principles of painting and related terminolog. These seven princeples apear in a number of texts on the art, such as Abdi Beg Shirazi’s Poem, Dust Mohammad’s Preface to Bahram Mirza Album, Qutb Al-Din Mohammad Qissakhan’s Preface to Shah Tahmasp Album, Qadi Ahmad’s Gulistan-i hunar and Sadiqi Beg’s Canon. The Historical Circumstances which made the formulation of this theory will be also considered .The earliest referece to seven principles of painting seems to have been made by Abdi Beg Shirazi in his Rowzat al-sifat, without naming them.But Qutb al-Din Muhammad Qissakhvan names them in his preface to Album: "As in calligraphy , which has six styles, in this technique (i.e, painting) seven styles are to be found: Islami, Khata’i, Farangi, Fassali, Abr, Daq, [Vaq], Girih." The list given by Sadigi Beg is slightly different: Islimi, Khatai, Abr , Vaq, Nilufar, Farangi, Band-I rumi.Qadi Ahmad gives almost the same list as Qutb al-Din.Khatai in his list to be in second styles of Persian Painting. All the operations described by these authors seem to deal with book painting and bookmaking. But this should be noted that the seven principles of painting were not limited to bookmaking. The most spectacular and earliest painting which decorate the borders of Persian manuscript pages are something of an enigma. Border paintings demonstrate to the full the Iranian love of nature and also the way in which the early 13th century Chinese elements had become totally absorbed. Corn-poppy, lotus motif and jujube were all borrowed from Chinese art and called Khatai. In this article the variety and style of Khatai motives in Persian art were studied.

As to the new condition of Ottoman government in 15th and 16th century, and also regarding the legacy of Byzantium empire, artists of this country were inspired by many resources in their artistic traditions, the art of Iran being the most important. Due to many reasons, Iranian artists crossed the Ottoman borders and brought with themselves a wealth of capabilities and experiences besides manuscripts, so that the Iranian influence is so detectable.Finally in the mid-16th century, Ottoman artists cultivated a native miniature art style which was different from the Iranian influences, and possessed many national characteristics.This article, briefly discussing the second Tabriz school, tries to touch upon the formation of Ottoman school and compare it with the Iranian counterpart.

The big and main Mihrabs of Iran mosques are often made and decorated of two arches. This style has been usual since the second half of fourth century, however, this style is less usual in the making of mihrabs of Fars mosques atleast from seventh century to ninth century. Some of these Mihrabs have been added to pre-Islam religious buildings which have been given the function of mosques and their carvings are not so brilliant. Most of Fars mihrabs have been carved out of stones and the mihrabs of mosaic tile in the tomb of Khafr’s Caliph are absolutely unique. In this essay, the mihrabs of stone mosque of Istahban, stone mosque of Darab, Atabaki mosque of pasargad, Khajeh Fazl-ol-doleh mosque of Lar, Baqdadi mosque of Shiraz, Tekieh Mashreghi and the tomb of Khafr’s caliph are introduced and the charactristics of Fars mihrabs will be analyzed from seventh century to ninth century.

Composition is an indispensable part of each picture or visual art & it is crucially salient that the quality & features in Iranian painting basically depends upon a variety of other elements such as the artists view, taste of the art fan, influence of different art schools, previous arts as well as non Iranian elements. Figurative compositions in (Reza Abbasi) arts benefits from making use of lion in a smooth and parallel way, in addition he employed traditional visual methods which brings about a rich set of paintings including Iranian rich paintings. But of at the end of Safavid era and due to a great deal of changes in structure of economy, society, noticeable series of changes were imposed on this art. One of the upheavals was tending to have a materialistic thought, focusing on realistic & avoiding mystic atmospheres. Other changes can be named as possessive & artificial composition technical principle an aesthetic view. Late in Safavid dynasty by (Reza Abbasi) students such arts started to Burgeon & in Qajar they reached the peak and glorified in the best way. Such an art was greatly supported y Qajar officials which was an aid to establishing the art at the time & helping that to enter a new phase. In this article an attempt is made to have a contrastive & analytic view of (Reza Abbasi) as Isfahan school representative & works of two Qajar painters, (Mirza baba) & (Mehr ali). In the end this conclusion can be drawn that Iranian art in this field in the passage of tradition to modernity & by assimilating some European elements & change of fans taste had gone through dramatic changes & use a result the figurative composition of artists were in flounced. Gifted artists of Iran managed to blend previous traditional & new elements to creative a new style for art which was its own of great value.

Since long ago hunting has played a special role in human life. In different periods artists has represented scenes of hunting in their artwork including carpets. Those carpets which have reflected hunting ceremony especially in the Safavid period are among the finest and most valuable historical carpets. This article first attempts to explore the concept and statue of hunting in Iranian culture and art, and then to examine and compare the ways this event has been reflected in Safavid and Qajar carpets. By gathering data and illustrations from libraries and web sites and in a descriptive and analytical method, I have tried to answer these questions: What is the place of hunting in the culture and art of Iran? What is the situation of motifs of hunting in the pattern of carpets and in what relation do they stand with other parts of the pattern? In respect of form and content how have the hunting motifs been represented? While hunting scenes are reflected in the Safavid carpets in a decorative way and related to other floral and abstract motifs, they are manifested in a realistic and narrative way in the Qajar period. Moreover, in the first these motifs are located within a spiritual and otherworldly atmosphere and in the second we are encountered with a more earthly and material one.

Artist The selection of point of view in picture making for children’s book, apart from its positive usage especially for better transmission of painters, contexts and massages to children, has different sorts which with a scientific recognition we can open new ways into children’s world and from this ways we can develop painter, s works quality. In this essay that has been done in descriptive-analytic method, types of points of view including, opposite, blending, limpid looking, up, down, far, near and rotation have been analyzed. Besides, childrens, book painter in Iran (grope A) has been analyzed. However the point of view in picture making has different sorts but children in their paintings just focus on three types of them containing opposite, blending and limpid looking. therefore it, s necessary to focus on children, s views and his imaginary world from children, s book painters. This essay has been prepared to gain access to these purposes.

Light is one of the most important and fundamental phenomena around us. Although its most important use is lighting but only a little research is done about it. Infact only a bit is searched about its beauty. This properly creats by Other techniques and inventions. Aim of this articleis to answer the following questions: 1-What is the use of lighting in graphic field? 2-Is lighting needed in graphic field? 3- What are the methods of lighting. 4-Can lighting be useful separately? On the basis of these questions we suppose that: 1-Lighting adds attraction to the environment. 2- Lighting plays important role in publicity. 3-Lighting has its own special important. 4-Lighting can have its own place. For example with the help special projectors in the dark sky special effects can be made and we can say that lighting is a new phenomena in graphic field. With the use of these techniques in cities as a graphic environment by organizations is increasing day by day. With the help of lighting we can better the environment and we can reach the latest technology. In the last we can say that lighting in graphic field can attract viewers. he Lighting has been used in Iran in recent years and is expanding day by day research of this article is in descriptive manner. These informations have been collected from the library.