Naghsh Mayeh
Year:2012 | Volume:5 | Issue:10|Papers Count:10

The current research indicates that Zen ritual and Zen art are closely linked and both assert the same principle. here is the painting adopted as the basis for the analysis of the Zen school of thought. Interacting with art.The key question is why the Zen art has ritually persontations.The paper is an effort to answer the question based on studying the cases of Zen paintings (both in the past and at the present time) as well as considering the philosophy of the Zen laid in artistic creation. Moreover, the similarities between the Zen paintings and poems could be mentioned as another proof for the high impact the ritual Zen might have on its art. Each piece of work, whether poems or paintings, is consistent with the philosophy of the Zen. This paper aims to show the close bond between Zen ritual and the creation of the Zen poetry within the area of the Zen painting.

According to some narrations, Prophet Muhammad did ride, at the time of his ascension, a mythical creature called Buraq. There are various descriptions about Buraq: A horse (black and white), greater than Mule, faced like a man, with the head of a horse, a neck like a camel, the breasts like of a lion, the legs like the legs of a cow, the tail like an elephant, the saddle decorated with a grain of pearl.In some other Muslim beliefs, Buraq, is portrayed resembling a roadster with a woman's or an angel's head and the tail of a peacock. This image is seen in most of the Islamic miniatures of the story of Prophet Mohammad’s Ascension.Although authors such as Ibn Hisham, Tabari and Ibn Sa'd described wings on the legs of Buraq, using them to go forward, in some old texts, Buraq is mentioned without wings.Some recent narrations have described the ascension of Prophet on the Buraq having wings.According to narrations and forms presented on Buraq, it can be regarded as an animal/ human hybrid creature, whose animal features are dominant. Its features can be put into four general groups: 1- without wings 2- with wings 3- with the appearance of Saggitaire 4- with a Sassanin Phoenix peacock's tail.Research background: No extensive research has been conducted regarding the physical structure of Buraq and the study of appearance and presentation of a general categorization of its features. Most researches center on the topic of the fictional narratives of ascension and Buraq. This study aims to study the main structure of the appearance of Buraq in Persians miniatures with the subject of the Ascension of the Prophet Muhammad and also provide a classification based on the physical structure of Buraq and its capabilities based on its portrayed forms. It also aims to present the evolution of its appearance and physical abilities from simple shapes without wings to complex shapes (apart from the works in chronological order) as well as their similarities and differences with other imaginative creatures.

Arthur Danto, one of the prominent philosophers in the domain of the contemporary art, aims to understand the complicated aspects of contemporary art based on a new approach.It is understood that under such a situation many previous traditional principles as aesthetics, style, representation, form, content, etc. have not only lost their significance, but also are challenged by the emergence of new works of contemporary art. The most important and challenging issue these works of contemporary art may bring about is how to distinguish between artistic works and non-artistic ones. The philosophy of art brought by Arthur Danto has its root in this sudden confrontation, which emerges by the artists of pop art such as Andy Warhol, and his controversial Brillo Boxes. After this confrontation, Danto decided to show that the previous principles fail to define and distinguish the contemporary art. He showed that the best method for defining the art is to pass over the traditional definitions.For this purpose, Danto introduced the theory of Artworld as an alternative for defining art.According to this theory, art can be judged and the works of the artists such as Marcel Duchamp (Readymades) and Andy Warhol can be studied based on a comprehensive attitude towards the contemporary artistic trends and moving beyond the previous theoretical limitations chosen as a new method of aesthetic criticism.

Archin motifs and its manifestation in Iranian art and architecture There has been always a profound relationship between the conceptual arts And architecture. in the past, there were many artistic works with an integrated pattern or a single motif with multiple presentations in art and architecture. one of these patterns is Archin motive which is shaped like a triangle or a come with descending steps. Emphasizing the more identified patterns, the current paper is an effort to find the foundations of the Archin motif, both the meaning and identity, and to consider the infrastructures of Archin in khozestan and Mianrudan conceptual arts and architecture. The paper is based on the interpretive-historical research methodology and evaluates the applications of Archin motifs, its evolution in art and architecture as well as the its historical foundations. In brief, the domes and other applications of Archin motif stem from the architectural traditions belonging to Khozestan and Mianrudan region regardless of probable technical and identificational differences.

In this paper the comparison between the paintings of Mohammad prophet, s ascension and Jesus prophet, s resurrection -a selection of Merajnameh Shahrokhi from Harrat Tiymourid, manuscripts works and Bizantin murals-results to a world of motifs and their manifestions in art. Motifs abstracted from these two fields-ascension and resurrection -arc interpreted as such things like: cloud, wing, boragh, banner, cover, cup, cross, hat and cloth, with an emphasis an common and difference paints in this subject. It depends on the heritage & idea thoughs before revival era.

In survey of Byzantine Art History, the special influence of Persian art legacy is unique.The imitation of Sassanid diverse designs, particularly symmetrical motifs, has been customary in Byzantine art. Iranian artwork, which was poured down in to the Byzantine in different ways, caused transition of this motifs and patterns. The lucrative trade in textiles woven, with various design, metalworking objects, and also hands off the area such as Antioch, or political relations and even military conflict are considered as main cause of cultural exchanges in that period, which gradually made penetration and transition.Sassanid elements and motifs, with variety of reasons, including religion, religious movements, and area that were under influence of Iranian culture, were accepted from Byzantine artists. Although Sassanid symmetric motifs were accepted in Byzantine art, Byzantine artists linked these motifs with their religious culture and past Greek and Roman, occasionally they made change in its topics and concepts. While in many cases they have been exactly imitated and copied from Sassanid motifs, or concepts and style, as far as it is created a mix style from Iranian- Byzantine art.

Most Persian ancient works of art, presented in different eras, were adorned with animal motifs. Some inspired by the natural and tangible animals while the others developed on the basis of cinasinational as well as un fanilias animals. Imaginational motifs were amony the ones highly capturing ancient Iranians who made efforts to create them on various canvas.Although prohibited by Islamic rules, such motifs did not vanished and were, yet not considerably, appreciated. however, in the filth century when Iran was dominated by saljuqes kings, imaginationl motifs, guined much popularity.Based on library and document studies, the current paper aims to study the reasons beyond such popularity during the salqus era, and then concentrates on the ceramics adorned with composites beasts motifs belonging to that era.

Barze Qawale or Bard Qawale is located near Ramavand village where is suburbs of Kouhdasht in Lorestan.This archeological yard is one of the biggest and most important fields of Sasanid era in Lorestan. The recent researches on Sasanid archeology focused on the Fars & Kermanshah geography so finding architectural pieces of Sasanid era can widely become a new subject in the design establishment of this period in Zagros & Lorestan. This paper introduces Barz Qawale moldings and aims to show off one part of molding art & Sasanid era's decorations in the mentioned field.

Since beginning of art history, there has been the human figure observed in different fields, from applied arts to painting and especially in sculpture. In many of historical periods, the figure tends to be realistic. After that in the early 20th century, artists avoid this kind of realistic figurating and were inspired by abstraction.But also this metod did not last very long, And in the middle of the same century, it was replaced by another mothod. Thus, there was a tendency towards abstraction, absolute formalism, elitism, monism, which are basic elements of modernism. During the latest decades of previoues century, around the 1960s, it was replaced by anti form post modernism, popular, pluralism which emphasize representation of the facts and avoidance of abstraction. these ups and down in the way of figurating especially in sculpture are worth studyius very much.This essay tries to study ways of human figurating in modern period of sculpture and followed by post modernism and evolution of aesthetics principles rising on this period.Moreover, at first this essay tries to pay attention to review of famous point of views, components, opinions of some commentaters and intellectuals in these two periods. then, after the introduction of some of the most influentional sculptors of each two periods, which have paid more attention to human figurative the essay tends to practically explore and study the aesthetic elements applied in display of figure in their works.

Pottery is one of the most ancient arts which has been always regarded as a manifestation of the beliefs, the myths and the thoughts of various nations. The potters depict myths, literature and religious customs to very beautiful and note-worthy artistic works.In this regard, the pottery of Seljuqs era are of a particular place; these pottery in terms of drawing and subject are far more various than the prior works.Among the themes seen on the drawings on this pottery are the ones related to literature and particularly the narratives of Ferdowsi? s Shahnameh. This article is a quality research in which the themes of the drawings on seljuqs pottery have been compared and analyzed, using a narrative and comparative method. Finally, the author comes to the result that Ferdowsi? s Shahnameh has casted a profound impact on the potter artists and consequently on the drawings on the pottery.