Naghsh Mayeh
Year:2009 | Volume:1 | Issue:2|Papers Count:11

There are different kind of accomplishments and researches done about the specifics of pottery in Sialk .It seems there are no information with regards to this issue that can be searched but the purpose of this essay is to try and show you a new view of pottery designs belonging to this civilization. This view is about the knowledge and introduction of the source of these animal designs on potteries and helps us to understand the process of the latest knowledge on archeology about the Sialk hills revision plan.

These stamps with their patterns are the documents of civilized history of old Persia. In forth millennium A.D. there were new developments in the system of commerce and contracts due to the production of stamps. The stamping of all kinds of objects and dishes was a sign that they belonged to their owner and as a result the value of them were evaluated according to their owner, the maker and seller of the stamp. Even though there have been many sources with regards to Iran's art and history and even studies done on stamps but there is still a necessity to view them from different aspects and to study these stamps according to their design, pattern, history and the area they were found in, so we can find a way to know about old times and to make research an easier process to find information in. In this abstract we will try to use this very same technique to describe and by referring to the available table you can find out about the development and growth of this work of art easily and efficiently. We hope that this point of view shows a simpler, easier, deeper and a more efficient process in the way we wish to search about history.

You can find the roots of Qajar painting in Iranian arts from old times. With different cultural and political movements that occurred in Iran after Safavid era; the effects of western art appeared in Iranian painting especially in the Qajar era. You can find traces of this effect on verism paintings in this era. In the beginning this verism was in opposite direction to the abstract painting, But after passing of time artists found the solution by compiling symbolism in painting and verism of western arts together. This compilation itself had an effect on the Iranian painting too. Qajar era was the peak of its power with regards to the combining of this art and regarding its contents is a point taken in to consideration in this research.

Plasterwork has been very popular in Iran since olden times. Iranians mostly used this art as a decorative means in architecture. Most of this art works belong to the Sasanid era. Before this era there are some works that belong to Aechemenid era but most comprehensive of those belong to the Sasanid era. The designs that were used on in the Sasanid era were natural, botanical, beastly, geometrical and human designs. The Islamic culture inherited its design from Sasanid era. And by accepting its style, geometrical and botanic designs and using it in art works was able to attain perfection. Most of this effect is seen on plasterwork in Islamic buildings during the first centuries of hegira.

The Symbolic role of the sun comes from religious beliefs of the Iranian people and is a reflection of their ideological, philosophical and Islamic thoughts seen many times in our history and is quite tangible. This design that has been inherited from our ancestors has located itself very well in Islamic works of art despite religious, cultural and social changes. Since it carried deep and meaningful thoughts it was very easily accepted by Islamic mysticism.As a result it has permanent indicators that could direct itself to the right side with all these changes. Maybe the inspection of this research is the most important factor in the shaping of its conclusion i.e. considering the route of sun symbol and its placement from old time to the present and its flexibility towards of social and religious changes and its proper placement in Islamic thoughts and mysticism.

The design of Islamic pottery is a reminder of some familiar forms that have roots in Iranian Ancient myths and literature and the repeated usage of these designs after ancient times revives some forgotten memories for people that are in their subconscious. In fact the Iranian art and culture that has flourished in the Islamic period is the continuation of their beliefs and thoughts in the past. In fact many designs in Art works came from holly visions of Ancient Iran. Because of this we will first define the holly vision then explain about its differences and then its place in Ancient Iran. Even today the holly vision still remains in then Iranian's subconscious and it shows itself as fine minute designs in Art works especially in pottery and ceramics during the Islamic ages. You can see this holly vision in different periods of history. Iranian artists like to present spiritual and mythical meanings as symbols and ciphers placed in the form of beautiful designs. In this essay we will consider the designs which have some signs or symbols of holly vision in Islamic ceramics and pottery.

Since the beginning of time Iranians believe and pay importance to ghosts, angels, demons and incredible creatures. They use their imagination and belief to create them in their minds. From the Iranian painters point of view the angel is precisely the same as the materialistic human who God had mercy on and gave him wings to fly as a pledge so that he could go higher than this materialistic world. In each period angel have different characteristics depending on social and political status of that time. In this essay we will first consider the wing element in works before the Islamic era and then we will consider their views about angels during the era before and after Islam. Finally we will analyze the painted wings and their differences in a few paintings.

In Iranian Art mystical Concepts and Symbolic signs have always been affective methods in conveying thoughts, religious and ceremonial insights. For this reason, symbolic concepts and mystical Literary and artistic works have been assigned a major part of Iranian art. Probably no other symbol was known more than the winged circle in different tribe's culture and this is why today in the modern world we can still see this sign in different companies and organization logos and trademarks. For this purpose we study the falcon sign which was the sun's symbol in all ancient civilizations and has a deep relation with this sign, then will consider the meaning and symbols of the winged circle on those civilizations. We hope that this research will be useful to all who wish to know more about this mystical sign.

Tower of Lajim Savadkooh is one of the Al-Ziad's ruler's mausoleums, who had ruled in that area. This building is one of the most valuable monuments built thousands of years ago that has excellent architectural characteristics and decorations- wonderful masonry, is a live documentary in history of Iran's Razi school architectural changes in the 5th century A.H. But now this beautiful mausoleum is now exposed to the danger of becoming debris. Despite conservation and renovation activities made by the Institute of Cultural Heritage Organization during the last 50 years, there are still some noticeable damages that could lead to the destruction of the building if left unattended. Its beautiful masonry consists of two Kufi and Pahlavi inscriptions with some Muqarnas knots and Phylarbandy are unique for its time (the first stages of masonry revolution). In this essay we will consider these building from historical and architectural point of views and their decorations that are also very unique.

Since the first decade of the 20th century Painting has been considered seriously and has developed even more so during the recent decade. The attempt of researchers and art critics of today have developed the range of Iranian painting's perspective and based on valuable documents. These have been collected during decades of search conclude that researchers work on gathering and cataloging was based on aesthetical and historical viewpoints. As a result taking into consideration the documents in hand, by viewing some of Mohammad Siaghalam (famous painter of 9th century's) works, who was one of the famous Iranian painters of his time, we realize that because of his imagination and the ability to draw extraordinary creatures, he is considered the best in his field of work. In this research according to documents we analyze the composition of initial elements and their arrangements in his works. Accordingly we will refer to documents of this period and compare his works with the Spanish painter's, Pablo Picasso (1881-1973).We hope that by analyzing and considering his works, it will lead to deeper research with regards to his work and a new perspective in the way we see Iranian painting.

Textiles are considered the manifestations of each civilization that have roots going back to thousands of years ago. This craft art is divided in too many different branches, one of the most important ones being tapestry. This research is the study of tapestry which is based on historical view from middle ages up to now. Therefore these hand-woven’s concluded the noble cultural concept of its creator, this research is based on the cultural, political and belief effects being in aEuropean society. Besides the examinations, we realized that during a long period the creation of these hand-woven’s was based on the past heritage and beliefs by having a seeking creative case. Therefore this research aims at being familiar with European tapestries, so it will lead to deeper research. The method of this paper is according to library and recorded materials based on a historical and pictorial sources.