Naghsh Mayeh
Year:2011 | Volume:4 | Issue:7|Papers Count:11

During a long process of change and evolution, Persian painting has been able to achieve codified aesthetic principles (in representation of both space and architecture) including: 1. The conceptual and symbolic depiction of architectural elements.2. The presence of all the recognition components of a building together.3. The role of architecture as the painting background.4. The use of Iranian architecture arrays and design.5. The use of multi-scene tradition.Such innovative principles fully emerge in Sani-ol Molks illustrated version of one thousand and one nights. Based on the accomplished analyses, the book is the most voluminous Iranian decorated one and then it could be referred to as the reflection of the latest efforts made to maintain the Persian painting traditions.The recent approach can be taken into consideration as the result of a change in the painters objective attitudes to rather subjective ones which are highly influenced by the western painters views and artistic methods, Sani-ol Molk could become familiar with during his travels to Europe.It seems 1. The concrete or realistic representation of architectural elements.2. No representation of whole architecture structures and elements 3. Considering the architectural space as an objective place.4. Changing the architectural arrays and designs.The research result have been based on the case study analyses and then one hundred cases have been taken among all Sani-ol Molks paintings in the illustrated version of one thousand and one nights. Data collection is librarical, along with referring to case studies.

Mysterious meanings and symbolic signs in Iranian Art have been always applied to explain the religious thoughts and opinions. Taking a glance at the Iranian art there have been always concepts of wing, winged human, birds, composing animals and also the wing symbol and sign during different periods.Choosing a path through the pages of Iranian history (ancient Iran, Mesopotamia, Islamic periods and afterwords). It would be possible to detect the wing design in relieves, seals, paintings (even those on potteries) and weapons. This symbolic meaning explains a huge part of Iranian art and reviews the religious affairs and goodness.From the logical and mathematical perspective, art and mathematics are really similar, because they both emphasize on the concept of proportion, symmetry and balance. At first the article analyses the symbol and concept of the wing from the ancient to Sassanids era. Then some samples of the wing design are presented to consider such a design from mathematical and geometrical point of view.

Concerning the goddess design on the Catalhoyuk wall paintings and Anatolian kilims, various hypotheses have been put forward by researchers. In some studies, the appearance of goddess figure on the Anatolian kilims has been justified and in some others, it has been refused. Regarding James Mellaart's goddess theory (goddess theory was raised by him for the first time), the study made an attempt to examine the goddess design in the Anatolian kilims and with reference to other works survived from Catalhoyuk, it found evidence regarding the presence of goddess on the Anatolian kilims. In addition, it analyzed some kilims to elaborate the features of goddess figures on Anatolian kilims. As to the fact that the main origin of northern Khorasan Kurds is from Caucasus near Anatolia, this study attempts to study and compare the designs created in both regions. In order to examine these similarities, a number of figures and designs existing in the Catalhoyuk wall paintings in Anatolia with designs present in the weavings of northern Khorasan Kurds were compared. In conclusion, the results show that there is a significant similarity among the samples of this study.

The battle against the dragon is of the subjects in Shahnameh that has been repeated for several times and lots of figures pertaining to this are available in visual versions of Shahnameh and other different workshops. Following Mircha Iliad's pattern in which a historic character is portrayed as a legendary hero, Khavaran Nameh that is an imitation of Shahnameh, tries to visualize Imam Ali as a legendary hero. Imam Ali's battle against the dragon, as other subjects in Shahnameh, has an epic and mythical content. His Holiness the First Imam confronts the dragon that is a symbol of evil and defeats him by his sword of justice.

Calligraphy, as a prominent art incorporated into Iranian and Islamic architecture, conveys messages and brings beauty to the eyes of the beholder. The key messages in architecture are directly expressed by inscriptions. Different types of inscriptions are shaped by lines of tiles and in the form of mosaic works, multiple painted patterns, tiles, or bricks. Verses of Quran or names of Shiite innocent Imams are used in decoration of facings to create a special sense, whether in form or intent, in traditional structures.Despite numerous recent studies carried out by scholars on mosque architecture in different eras, Qajar period-as one of the most influential period on Iranian attitudes, belief, and culture-has often be neglected by aesthetes or researchers. Many of such buildings, like mosques, have been constructed during this era; however, no comprehensive studies have been carried out to identify and analyze the patterns and designs observed in these places. Masjid-en-Nabi (Prophet Mosque) -a prominent building showing the elegant decorations of Qajar architecture in Qzvin-is not an exception.Numerous inscriptions of suls, nasta' liq, and mo' qali calligraphic designs have been employed to represent religious themes.The present research uses filed and library studies to have a closer look at religious themes in calligraphic designs of Qazvin Majid-en-Nabi. The placement of inscriptions, content of hadiths and verses of Quran, and the reasons for selecting them are studied as well.This study hopefully opens a new horizon to more comprehensive and specified researches which will help us extract the implicit meanings and richness of Iranian culture in Qajar period.

The present article is the result of a library and field stud. It first identifies and introduces the designs of carpets woven in Sistan and then compares them with the ancient pottery designs of the third millennium B.C (Bronze Age) discovered from around Shahr-e-Sookhteh. The results of this study reveal that various animal figures, plant and geometrical designs are actually considered as the symbolic continuation of cultural processes and can be one of present ways for a culture to think about itself and have an important role in structuring the creative processes of future. Formation of these common designs which are regarded as cultural and belief reflections of ancient Iranian tribes refers to the evidences achieved. The shape of burial in Shahr-e-Sookhteh is probably influenced by the climate, history, culture, and what ever those people believed in.

The essay is a study on Galachi's glazed bricks (as a part of painting documents referring to 900-500 B.C.) from the visual arts perspective. Introducing the Mannas and the artistic style belonging to that era, the author tries to discover the line, color, form and structure of these bricks. Although the thesis has an astute approach to the temple relevant decorations including different types of glazed bricks, it analytically consider the style, techniques, forms and the color variation in order to investigate the Mannaen artistic as well as scientific aspects and the methods of form beside space formation. It is worth mentioning that the painting on Galaychis glazed bricks are fully embedded with the power of innovation scarcely witnessed in the works of that era. As a result, those paintings have changed to the artistic works with more natural style and freedom of action and have brought about new outstanding words to humanity. they have also influenced their afterward artistic works in a very considerable manner. The motifs and findings, buried under the temple in Galaychis palace in the ancient city of Izirtu, are the most important documents and characteristics of national, social, architectural and artistic identity of the Mannean civilization.

The aim of this research is to investigate how the Hasanlu cup and its inscriptions refer to the period of time it chronologically belongs to as well as how such inscriptions indicate a number of tribes appearing in the same period. To achieve such a goal, it would be necessary to take a historical approach.It could be generally mentioned that the cup is a sign of an artistic delicacy and craft proficiency originated from Hasanlu area whose name is much highlighted in the history of art and then is decided to entitle every piece of art belonging there. Therefore, the three thousand year-old inscriptions on the cup are compared to the ones traced in ancient near east civilizations (particularly small Asia and Mesopotamia).The result of the research indicates that the cup and its inscriptions depict a set of traditional, familiar and mythological scenes. In spite of being applied within different locations and periods of time, such scenes introduce the technical features and artistic style of their own time and the place of origin. Then, it could be concluded that Iranian ancient culture and art (B.C) were not totally distinguishable of what presented by ancient near east nations.

The discussion about sacred art has a special place in all societies, with every style and level of attitrde and belief. According to their traditional background, large or small scale religious communities have indeed a kind of sacred art. This is due to the fact that such an art actually reveals the transcendental face of religion that is utterly intangible and makes efforts to presents it within religious and conscience framework.Religious with Holy books and traditions depict all aspects of their sacred arts (either meaning or face) based on those sources.This article investigates the place of visual elements in calligraphy embedded in Islamic sacred art and then it approaches light as a sacred concept. In addition, the article evaluates the direct and indirect effect visual elements may have on the demonstration of infinite sacred concept through bi-dimentional images. Therefore, general features of the sacred art are initially described and then the Islamic definitions and samples of scared art are presented.

Evaluating the samples of metal work, the candle place is always referred to as a practical object which might be able to demonstrate the methods applied for metal inscriptions as well as possible. Then, the candle place made of mud, belonging to 6000 B.C, could be taken into considasation to prove the important role ip used to play in Iranian history of Art. During the laters eras like Qajar, Safavid, Teymorid, Soloukid, Ilkhanid, Saljoqid, many candle places were made and Fortunately are well protected by museums either locally or internationally. the various designs on the cursive bodies of candle places indicate the enrichment of Iranian art to create scripts as well as paintings. the first Islamic centuries witnessed very large and heavy candle places that gradually turned to very delicated ones with various parts, 8 or 9 centuries later. This Illustrates how those artists were aware of Islamic philosophy and idealogy, the chronological demand, evolutionary trend of art, science and technique, and the social requirements. This article tries to introduce the candle place and its inscriptions as a demonstration of metal work artists used to imagine so that they could develop art.

How colors are applied to provoke the aesthatic appearance of urban areas, could be regarded as one of the most significant questions. Then, it should be mentioned that colors placy a very crucial role in citizens behavioural patterns. As very impressive social elements, colors not only bring massages and convey meaning to their urban audiances, but enhance the visual attraction as well. This, however, has been always underestimated or even neglected in the case of Tehran as a very large city, where the colors are shaded by the lifeless gray left as the result of excessive air pollution, population boom and the huge number of motor vehicles.Hence, if very well identified, systematically organized and scientifically opted, colors would be able to pacify the inbaitates visual sense and help them concentrate even in chaos. Thus, it is necessary to point out that, every graphic designer, dealing with colors, merely takes the outer layers or clusters of the urban equipments, furniture, buildings and streets. Consequently, urban designers, architects and inclustrial designers are in charge of how to examine forms, masses and whatever belonging to urban spaces. The current study is an effort to firstly define the graphic design as a whole and then to provide the concepts of urban graphic and the relevant aspects. Next, color and their associated topics are dealth with. The last chapter presents a study conducted within the district no.5 to demonstrate how colors are being applied in Tehran and how they positively or negatively influence the city. The methodology is based in the field as well as librarical - documentational study. There are also photographical samples to enable the analysis and examine the currently applied colors.