Naghsh Mayeh
Year:2012 | Volume:5 | Issue:11|Papers Count:8

The art of islamic metalwork showed important progress in 8th and 9th century. In this period you can see beautiful engravings with rectangular or sometimes Kufi calligraphy or iconography on bronze or brass dishes. Metalworkers in this era engraved some historical events or Koran verses as a prayer for blessing. In This article for the first time one of these models in the national museum of Iran that have remained unnoticed so far by researchers, will be studied.

Discussing Islamic architecture without considering decoration is not perfect; because decoration is an essential part of Islamic architecture. A major part of Islamic architecture is devoted to decoration and it plays a spacious and valuable role to achieve the goals.These decorations could include the smallest parts of architectural material in the simplest possible way to the most leading parts of architecture like colottes, harems, with the most complex form of various kinds of materials in geometric and abstract ways.Decoration has used in Ali Qapu building are involve fresco, Keshtebory, stalactite, tongbory, tiling, layechini.

Philosopher has spotted human and phenomena to tow earthen and incorporeal characteristic since the oldest age and this viewpoint has expanded into the arts field.Art are physical manifestation of the message which the artist is going to express it and form, alongside other factors such as matter and techniques, is the most important aspect of the physical characteristic of arts.Form is a term which has different applications in different areas of science and human knowledge, and in the lexical view, has a wide range of semantic and is a subject which different point of views to it has caused different effects on art. Therefore understanding the concept of the form could help to have better perception of art meaning in various art fields.The method used in this research is analysis and data collection tools like library documents, table and etc. data analysis is based on deductive and inductive reasoning.

“Man” has always been a center of attention in many artworks especially in paintings. It is notably and remarkably interesting to see how an eastern and a western artist tend to express such concept visually. Dimensions of Man existence in Italian Humanist thought, became the manifestation of visual factors in Raphael's works and as the western attitude during the Renaissance has overshadowed any fields of art of its time, it has also progressed in Iran towards a position in the age of art to the extent that the man has changed any visual criteria of the period and established an evolution on visual perspective at its own era which is shown in Bihzad’s works. Seemingly the present study is the first one to consider the role and position of human being in Bihzad and Raphael's works comparatively.The aim of this study by the virtue of the approximate contemporarily of these two artists is considering the similarities and differences exist in their works on the concept of Man in terms of form and meaning. In the same line, according to the nature of the research and by the iconographical and iconological approaches based on Erwin Panofsky's theory the method used will be of descriptive, analytical and comparative.

Seljuk visual arts have been always admired by artists and scholars because of their attractiveness. In this research we have concentrated on visual elements of Seljuk arts, among them, lines, figures, colors, textures, compositions, features, content of the work, and expressions to understand and analyze aesthetic aspects of “birds' images” and their visual elements. We have analyzed historical, cultural, religious and political context of Seljuk era with a symbolization and illustration aspect to achieve appropriate visual elements.We have achieved Seljuk visual arts' elements present plain and simple geometrical figures with mild lines and gentle curve while they contain mythical and epical feelings and also rich colors have inspirational qualities. And finally we can say that Seljuk artists have used several different figures to enrich and beautify their decorative images.

In 1949 the first Iranian gallery, Apadana: the home of Applied art opened by Mahmoud Javadipour with the help of Hossein Kazemi and Amir Hooshang Ajodani. Before that there was no special place to show the works of modern artists and they usually show their works in foreigne cultural institutes and centers that were in capital.In this article we consider the impact of Apadana gallery on modern painting’s movement in Iran. The result of this research that applied by descriptive and historical method indicates that although its activity has been ended after a short time but it has an important role in progress of Iranian modern painting's movement. In fact its activity was not only applying a place to show the modern paintings but also was different things like sponsored seminars, painting classes, showing movies and slides and holding artistic circles that created the possibility of familiarizing public with modern art. On the other side the exhibitions hold on there; prepared an atmosphere to criticize modern painting exhibitions for the first time. More over; the artistic policies of its founders had an important effect on promoting traditional and Iranian tendencies in modern painting.

Designers are always looking for a way to create something which would be capable of making a pleasant interaction with viewers in order to deliver their visual and conceptual messages. One of the elements that has the visual and emotional meanings together is “Significant Form”, which contains reflections of those two in one. If we accept this description for significant form, we can use it cautiously with proportion and ratio to prepare aesthetic sense with satisfaction. Uniting visual and significant concepts can be helpful for viewers to discover new things in the design and also the sense of designer throughout creating which could show the highest point effects of art and design by the artist.

There have been various species of birds in Iran since old days, which may have influenced artists and ancient Iranian inhabitants in their drawings of bird’s figures on potteries and other utensils. Moreover, people's beliefs and myths about birds could have a role to play in this regard.The aim of this research is to describe and analyze bird figures in pre Islamic Iranian historical eras to find out which birds are drawn more, and also how close the methods used by artists in depicting birds have been to the nature.