Naghsh Mayeh
Year:2013 | Volume:5 | Issue:16|Papers Count:7

Western veranda of Isfahan's Great Mosque which is famous to Sofeh Ostad is made in the Seljuks era which was ornamented at the time of Shah Sultan Hossein Safavi at ultimate beauty and ornamentation and it has lost its primary image. The ornamentations applied in this veranda included of geometric decorations, arabesque designs and the inscription which has given a special beauty and flaunt to this place. These decorations have had religious applications and information giving besides creation of beauty, also, they have caused blessing in the space and make human feel presence of God in this spiritual place. The objective of current research is to introduce decorations of this valuable treasure, application of these ornamentations and an aesthetical perception from these ornaments by reliance on existing resources and observance of this veranda. The method of this research is by descriptive analytical method and the data are gathered by library and field study.

Investigating the art of portraiture, one of the fundamental artistic expressions engaged with a range of artistic forms, deems crucial. Portraiture, in different forms, offers recognizable likeness of a given character with various political and social functions. As such, it is promising to study the aspects of the portraiture functions. Due to our being unfamiliar with this artistic medium, it is commonly believed in Iran that portraiture is a Western artistic form incompatible with our local aesthetics. The present article seeks to bridge the gap and deepen the readers' understanding of portraiture in paintings, mainly through reviewing its functions.

Throughout the art history, thinkers and critics categorize the variations occurring during the evolution of forming schools into different types. Margaret Finch, the art historian, considered four approaches in which some combinations of art and social interests are joined with visual features. The approaches entitled "ritual approach, emotional approach, classic approach and concrete approach". Each one of these definitions and approaches can govern an artist's works, attitude and view and affect his created work.Based on this study definitions given on each of the approaches, the browser is the question, how can this form of thinking based on the description, analysis and comparison of Iranian films in the history of a particular period pay?The hypothesis is verified, the comparative study of selected films in four Persian Book of Kings (Shahnameh Patriarch, Baisonghor, Tahmasp and Rashida), which are very common, some approaches have perpetuated over the centuries, despite changing political conditions social and cultural well-tells. Compared to the other four paintings with a common theme of "pulling the cord" in this epic from four different schools and get their visual similarities and differences of each approach emphasizes understanding the principles and interests of schools Khaskh painting of a theme pay be their main objective paper. The epic graphic image patriarch stressed the descriptive mode and display emotional aspects of descriptive and emotional approach emphasizes Baisonghor epic painter, with formal and regulated by the style typical of the classic art of painting in Iran makes sustainable future and ultimately, of ritual, of Tahmasp Shahnameh, with emphasis on color as an expressive element, using formal contracts, to have flourished in the Safavid era end of school in order to express aspects of observable effect, according to the terms of use and time, the objective approach makes manifest.The general approach used in this study, the comparison is based on the observation, analysis and thorough deliberation on the image and matching them together, done.

Brocade is one of the noble and traditional arts of Iran, which has an ancient history in art of this land. Brocade is a kind of delicate and precious cloth that their warps is of pure silk and their woofs is of colorful silk and braid thread, and has been noteworthy as a valuable present for the purpose of preparation of royal cloths and ritual usages. This cloth has been knitted during different historical periods, which means since Achaemenian and its production have had ups and downs during the next periods, until it has become supported by the government, like other kinds of art, in the period of Safavi dynasty, after Isfahan became the capital and the best craftsmen were invited to Isfahan. The production of brocades reached its highest point in this period with different and patterns and varied colors and stamps such as: human beings, animals, birds, plants and flowers(trees especially Cedar), Islamic patterns, and also prescription and calligraphy. Nowadays Isfahan is famous as the center of traditional Iranian brocades, however because of some reasons such as expensive materials, people's unfamiliarity to this art and its limited usage, small amount of attention is paid to it. In this article we intend to survey patterns of this cloth during contemporary period of Isfahan, after taking a curt study about brocades.

Interpretation is one of the most important approaches of semiotics, which has a special place in art criticism, particulary relevant to the study of art, regulations and myths. Explanation of semiotics, the proper approach to be followed in understanding the effects and in some cases creates ambiguity.Including relevant studies in semiotics and ornaments of motifs of Islamic architecture shows two views of the roles and meanings brought about by the Islamic regulation, there is a first view, explicitly or implicitly believes any attempt to attract Concepts special symbolic motifs of Islamic architecture excreted by the second view on the transfer of meaning is emphasized through architectural decoration.This paper explains the basic concepts, describe the needs of scholars and explained from the perspective of semiotics, the sample documents in a manner features semiotic and symbolic motifs and Islamic architectural decoration searched and analyzed the data.

In the postmodern period, we perceive the arrival of creativity and innovation in the fields of art that the technology has caused these developments. During the postmodern pluralism and with the endless extent of facilities, many methods can be seen in the fields of art that have caused the use of industrial products and factorial supplies instead of traditional materials and artifacts. The role and importance of light in the different fields and branches of art is clear to everyone. Sculptors are aware of the role of light in creating balance and harmony and they always considered that. How to use the light in the structure of work can be effective in calling the audience. In the middle of 20th century, we see a new perspective in the works of some artists whom had applied the electric light device as the material and content and even as the aesthetic approach of their works.This study is conducted based on the descriptive- analytical approach and data collection is done by library method. This article is to study the status of light as an effective and dependent phenomenon in some of sculptor's works of postmodern period in respect of art element in this era. At the end of this article it can be understood that postmodern artist is able to overcome the technological world and its tools in the field of sculpture and he has changed the light element which has an immaterial foundation to a dependent and controllable element and has displayed it tangibly in the framework of a statue.

In the postmodern period, we perceive the arrival of creativity and innovation in the fields of art that the technology has caused these developments. During the postmodern pluralism and with the endless extent of facilities, many methods can be seen in the fields of art that have caused the use of industrial products and factorial supplies instead of 72 traditional materials and artifacts. The role and importance of light in the different fields and branches of art is clear to everyone. Sculptors are aware of the role of light in creating balance and harmony and they always considered that. How to use the light in the structure of work can be effective in calling the audience. In the middle of 20th century, we see a new perspective in the works of some artists whom had applied the electric light device as the material and content and even as the aesthetic approach of their works.This study is conducted based on the descriptive- analytical approach and data collection is done by library method. This article is to study the status of light as an effective and dependent phenomenon in some of sculptor's works of postmodern period in respect of art element in this era. At the end of this article it can be understood that postmodern artist is able to overcome the technological world and its tools in the field of sculpture and he has changed the light element which has an immaterial foundation to a dependent and controllable element and has displayed it tangibly in the framework of a statue.