Naghsh Mayeh
Year:2014 | Volume:8 | Issue:19|Papers Count:6

The main characteristic of Seljuk architecture is the art of brickwork and for Ilkhanate Era's Architecture, it is acrography. The combination of altars of these two eras is not recognizable. Due to sanctity of altars, its decorative transformation occurred in a longer period. The artists performed their art in altars such as other construction components. The ancient works indicate that our artists have shown interest to Altar decorations from third century. They applied different motifs such as plants, inscriptions, geometrical and symbolic motifs to decorate altar. The altar construction was gradually developed from Seljuk Era to Mughal Period. The colors are more obvious in altars of Ilkhanate Era and the inscriptions are more manifested. Sometimes in the Ilkhanate Era, the decorative motifs are not well constructed and the layouts and backgrounds are not separated. The objective of this research is to a short history and investigate the function of plants, inscriptions and geometrical motifs in Islamic altars of Seljuk and Ilkhanate Eras and then, the objective is to investigate these motifs in 2 Islamic altars, i.e. Alavian Dome of Seljuk Era and Jamea mosque of Bastam of Ilkhanate Era that are covered in this study.

Photo has a fundamental role in personal and social recollecting memory. Every photograph specially private and family ones telling a story from the past that certainly existed, and now its trace incarnates in the form of the image. From this aspect and sociological view, private and family photographs shows or in other words builds an identification rooted in an audience past, standing in front of him the charmed, aged fascination and fatigue album and paper lost their color, At the same time amidst signs of a photo that might directly does not show him in its context, he follows the traces of his presence. Roland Barthes In his last book "Camera Lucida" concerning the discovery of his "race" amidst several old photos of her mother regained his identification. How to develop an identity in the context of private photographs leads to photo configuration. Moreover the identity construction not only is the sign of audience biological past, but also is relevant and dependent on his present existence. Photographic signs grounded from audience biological past restate the signs that eventually reconstruct the individual's identity and human race for an interested audience, even if they are not directly connected to his world.

Eastern carpet maker including Turkmen carpet maker, draw any motifs on own carpet and another crafts that is symbol of faith and ethnical beliefs. Turkmen have always combined the art with their life and beliefs and they use religious beliefs and philosophical insight as simple figures. Study of carpet of each area needs attention to the two concepts, time and place. In this research the contemporary time and Turkmen living in north of Iran is studying. Concept and structural analysis in one sample of Turkmen carpet that named "Choual Gol" determine aesthetic Iranian carpet. In this article, the goal is study of motif and color and another feature in Choual Gol carpet. This investigation with the descriptive method and library way absorb kind of plans and their relationship with symbolic concept.

Design is the planning and modeling of each process towards a definite target. Design is called to the knowledge of developing a plan or profile of any mental or actual image. Design is recognized as a specialty profession in art and industry which enjoys fundamentals, trend, objective and structure. The basic difference between this profession and other art fields begins from its lexical meaning which separates from the beginning the branch of drawing from its other professional branch, i.e., design. Design is the branch of combination of space and visual elements based on aesthetic principles and functional aspect of plan. What is created in terms of creativity and making a new eye-catching phenomenon is called professional design. In fact, design is an activity which gives form and discipline to life plans and its goal is to develop multilateral qualities for objects, processes, services and life cycle systems. To achieve the objectives of professional design, one should start by recognizing its fundamentals until evaluating a good design. As a member of a multi-specialty team, a designer should coordinate function and structure of design beauty so that in addition to apparent attractions he can successfully give identity to his design by innovation management and create a design that meets the needs of users with respect to performance. In addition to perennial problems for developing an innovative design, designers have been busy with restricting issues such as coordination of beauty and function. A good design should be based on function, beauty, comfort and standard.

Swastika is an ancient symbol that has appeared in many cultures around the world, but its origin is still obscure. Some believes that it is s sign of the Indo-Europe people, therefore chosen by Hitler as an anti-Sami symbol during WWII. Not only this sacred sign has not an anti-Sami symbol but also not a sign exclusive to the Indo-Europe culture. This sign as we will show in this article is a heavenly sign sacred to all cultures of the northern hemisphere before the migration to Indo-Europe people. Even used in parts of the ancient world which had no contacts with other parts of the worlds. In this article we will introduce the oldest Swastikas and will study its origins.

Women's representation in Isfahan school was idealistic but more naturalistic and it emphasized on material aspects in Qajar era. These differences were based on social situations and included: the influences from Europe, independence of literature from art and also new clients.This article is about portrayal of women and their features in Isfahan school in Safavid era and figurative paintings in Qajar era, plus the analysis of differences between women's representations in these two schools. The article answers the following questions: What are the women's features and their differences in Safavid and Qajar schools? What factors influenced the representations of women's figures in these two schools? We concluded that some reasons like European influences, clients of paintings and their personal desires affected women's representations.The artist in Safavid era Isfahan tried to create an idealistic and spiritual picture of women based on his literary heritage but in Qajar paintings women were represented without veil and modesty which served the pleasure of men or functioned decoratively. The applied research method is descriptive _ analytical with historical approach via library data collection.