Naghsh Mayeh
Year:2014 | Volume:7 | Issue:17|Papers Count:6

In Saravan and Nahouk, is valleys and mountains full of animal motifs, including goat, horse, camel, cats, and rodents which have been drawn delicately and naturalistically, Human motifs that demonstrate the development of hunting and clothing culture, botanical motifs that belong to later periods and are being related to Zoroastrians, and symbolic motifs including winged man, and cup-mark devices which have been used for chronometry. Some motifs, for instance the goat, has been considered as a totem and even today the inhabitants of this region pay special attention to this animal and are eager to keep it in their houses, they believe this animal bring felicity to the house and is the best companion to lonely people. Do these motifs have been drawn by Paleolithic and Neolithic hunters in different periods of time? And has been related to hunting and worshiping rituals? The aim of this research is to study and introduce the rock-arts found in the Nahouk region in Saravan and to investigate the reasons why primitive people of that period have created these motifs, and how these motifs make their way to the lives of present inhabitants of the region. My methodology was field research and observation, and interviewing and I approached these materials with the help of Young's theory of Archetypes and Campbell's views about mythology. This research introduces rock-paintings of different regions of Saravan.

Graffiti is known as a subject of the street art, although there is difference between graffiti which is originated from essence of protest and street painting. Unlike graffiti, street painting is legal and even ordered by city authorities. Generally street painting includes subjects that are compatible to social and economic policies and even confirm them. It should be said that in this respect it is a kind of conservative art. Because of the using of wall as its medium and it today's emergence around 70s graffiti is considered as a postmodern phenomena which is accessible to public on one hand and its control is impossible on the other hand. The importance of such an uncontrollability is that everyone can uses it and in some cases this causes the antagonism of art experts and even people and in the other cases is confirmed by them. So there are a lot of different views about graffiti. Some people see it as a kind of art which uses the wall as an artistic medium. Some others believe that it's a medium used by deprived groups of society, mostly connected to the subculture young people to transmitting socio-politics devices or a form of advertisement while the rest believe that it's a vandalism activity. The lack of attention to different aspect and approaches of graffiti has cost a wide disagreement. In this essay we are going to prove that some of the graffiti works like many other art works contain social and moral expression and therefore graffiti in this respect is kind of art. Some graffiti works are created as a protesting movement in order to use art to transmit their message. There is also another aspect of graffiti which is use by street gangs to mark their territory. This aspect has neither relation to the art world nor has the content of second approach. Thus sometimes the separation of these approaches is difficult although it can be said that the graffiti ranges from the street gangs activities to art work.

Bird and Flower painting has a long history in person art in a way that brings the iconic motif of Persian culture. Anywhere we all seem to deal with this mysterious art. For a moment, however brief, we deposit our heart and soul into the magic and alchemy of colors. A many all of these arts, bird and flower pattern manifested itself in carpets, niche, celling of houses, decorating interior part of shrines, surrounded verses or verses written by several poets of sight. The history of flower and bird pattern dates back to the creature of Iranian art. It is one of the branches of painting that has a dramatic boom from Timurid era. This type of art gets the peaks during Gajar dynasty. The masters of this art had a long share in the development of flowers and birds painting. They have never forgotten fields associated with the passage of the art. They fallowed great and obscure teachers of Tabriz, Shiraz, Isfahan, Gazvin. Aliashraf fascinated by this type of art during Afshar and Zand dynasties. After Aliashraf, one of the bird and flower painters named Aghasadegh with a taste of fresh gave special credit to the painting school. Manifestations of flower and bird patterns get the peaks in Shiraz during Gajar dynasty. This pattern is indebted to Aghalotfali Soratgar Shirazie. His talent in this field becomes a novel approach for posterity that in this essay we want to find many views of his works.

Timurid period is one of the brightest periods of Islamic art and architecture. There was considerable in different fields of decoration in Timurid period. Designs in all areas, including illumination, metalwork, tiling and weaving has gone to the role of plant and graphical. The decoration in this period has been influenced by several factors that caused a linguistic turn and these factors caused many changes in the field of decoration at this period. The basic factor that saves the decoration of Islamic art from stagnation is being together plant motifs and geometric that has been begun from this period. The purpose of this study is reviewed these changes and their objects. This research has been conducted as a descriptive and analytical. The main result of this research is that religious and political changes, is the most important factor for changing decoration in the Timurid period and the periods after that.

In the late nineteenth and early twentieth century, the industrial and technological revolutions, showing the speed and motion by artists caused new experiences. Psychological and social motivations on Futurism and Sequence Genesis styles were different, But similarities in motions display, will interact these movements (Sequence style and Futurism style) Put together. This article will review these styles individually also the similarities and differences in the representation of the velocity on Sequence photographies and Futurism paintings will be studied.

This descriptive - analytic article studies Achaemenid clothing designs in the embossed engravings of stairs of East Hall in Persepolis Apadana. Eastern stairs of Apadana, Due to its beautiful artistic designs and Remain intact until drilling and the repetition of the same figures in Persepolis make them important than other Achaemenid works. Study process about clothing designs proposed by Heidi Marie Koch, Don Kan Had and Galilee Ziaapour and the designs have been amended, Then the designs of immortal soldier in Persepolis, Susa Soldier and King who was fighting with legendary animals, have been studied and The results obtained through these studies are analyzed by having Achaemenid clothing designs, and Achaemenid clothing design is presented with a new pattern. The results of these studies show that Achaemenid clothing design is not consistent completely with the design proposed by Koch. And between these designs, Ziaapoor design seems more logical than the other two samples. However, this pattern is not correct completely, consequently, this article is about these reforms and presents the new favorable pattern. On the other hand, the results will guide future researchers to design clothes in Achaemenid civilization.