Naghsh Mayeh
Year:2014 | Volume:8 | Issue:18|Papers Count:6

Safavids is the glorious acme and of the most outstanding periods of perfection of art in the history of Iran. It is a perfect and thorough collection of practical and decorous art works of which the Hall of Ashraf is one of the most valuable artistic creations that includes lots of beautiful designs in the form of elaborated plaster works, special brickworks, wall paintings, and interesting tiling styles to name just a few. This hall, which was once the King's place of residence and his harem, consists of the main hall with two rooms on its sides all facing south. The designs included in the hall can be studied in two groups including the natural and Tajridi or abstract shapes and images (cedar trees, vases, plants, bushes, and Arabesque and Khotai shapes) and also geometric shapes and images (multi-pointed stars or Shamseh works of mihrab, regular and irregular geometric shapes, Boteh Jeghe or persian paisley patters, interwoven ropes, …). All these shapes and images accompanied with various colors specifically golden and azure colors have given a very particular and attractive outlook and flavor to the building. Attention is paid to recognize and get access to all motifs and to study the visual features and underlying hidden concepts.The findings of this essay firstly pointed that the plant images and shapes are of higher frequency than the other motifs and secondly the images and shapes are not just of decorative importance and in addition to the direct concepts they point at, they can be taken as documents which reveal beliefs and cultural and social aspects of the time period in which they occurred.

There are symbols and signs in Taghe-Bostan which is not controlled by symbolism system and for this reason this way can mentions multi meaning dimensions and deeper concepts of symbols. The reliefs of sasani king s period and recognizing of elements and applied symbols on the carvings like clothes of kings, sword, hunting scenes and other symbols are the aim of this study. Showing large status of king in all scenes is emphasis for importance and glory of king. The reliefs usually are in two languages of Pahlavi ashkani and Pahlavi sasani and it mentions introducing of characteristics of this work. The mythical figures of gods, animals, hunting scenes, and symbolic concepts used in carvings are the main subject of cliff rocks in Taghe-Bostan in this study. The important subject in Taghe-Bostan id finding other meanings which are hidden in symbols and for this reason we have used analytical semiotics in this study. The main aim of this article and selection of subject, is reviewing meanings and concepts of symbols which have existed in king s crown and gods. the method of study is descriptive-analytic type and is based on documentary-historical data obtained from cliff rocks and writer, personally have photographed some images from Taghe-Bostan.

Shortly after the accession of Fath Ali Shah of Iran, Napoleon Bonaparte was crowned king as the emperor of France and Italy. Since then, his efforts to create a European empire under the banner of France led to the numerous wars and because of that, Iran was come on the scene in order to help him with conquest of India and Great Britain. After sending the Iranian ambassador to France (Jauber), General Gordon with emperor's gifts were sent to Iranian court in company with few architects of war and modern art specialists and thus it made such biennials relations of France and Iran. Among presents was the glorious painting of Napoleon Bonaparte like the picture of Roman Empire on canvas.Shortly before Bonaparte had come to power, in the second half of the eighteenth century AD, because of the new developments in the European Community coincided with archaeological discoveries of classical civilization such as "Herculaneum" and "Pompeii", the ideal beauty according to disciplined era of ancient Greek and Roman, made Neoclassical art. Similarly, Iranian Qajar's painters have adopted a different approach to painting due to special attention to the political and cultural exchanges. This sort of painting was known as royal iconography. So, Fath Ali Shah determined to have his pictures painted like Napoleon Bonaparte, glorious Dominique Ingres's canvases, idealistic works of Jacques Louis David and subtle Francis Gerard's portraits by having painters, such as Mehr Ali, Abdullah Khan. There is no doubt that some elements of western style of art inspired Iranian artists because of the political and cultural relationship. Such a special political developments during Fath Ali Shah occurred in the context of modernity that led to novel school of painting. This study is conducted by using descriptive, analytic techniques and historical approach as well as library resources as the method of the study.

Economic changes in Europe, competition of European monarchs to find an ally against the Ottoman empire, recognition of Shiism, and safavid monarches' welcoming of the presence of Europeans in Iran led to their widespread presence in Isfahan. European travelers such as explorers, ambassadors, missionaries and etc. during their stay in Iran, recorded part of the written history of the Safavid government by reporting the events of those days in their itineraries. These studies suggest their views of different aspects of the history and culture of the Safavid era. Meanwhile, the major concern of the study is to investigate the garments of Safavids in itineraries and their correspondence with Safavids paintings, particularly with the school of Isfahan. To examine this question and its hypotheses, the most important itineraries written in this period were studied and compared with the paintings of the school of Isfahan. Also, the evolution of garments was necessarily evaluated and a comparison was made between the garments of early and late Safavid. As we know, due to the influence of political, social, and cultural circumstances, Safavid era painting was different from the period before and after it. It was therefore affected by the satisfaction of rulers, customers, and supporters of art and generally reflected in the images of the characters and their cover. As a result, it was determined that European itineraries, especially with the paintings of this period, can be a reliable source of clothing in the Safavid period.

Ghajar's earthenware and their specifications can be relevance between Contemporary and a period of time in Iran that some scholars have belief, they are clumsily continuity from previous periods and clumsily mixture with West and East art. A craft that with importation some present in Ghajar's court were getting affected and merchant's interest was imitation cause from previous periods. Also, importation new civilizations, newfound technology and Social and Cultural alteration that their result is as Colors and a pattern on this earthenware is a confirmation. With observation on some artworks from Iranian potter are exhibiting in foreign Collection and Museum, their consequence can recognize. Purpose of this Article is scrutiny on Effects factors and introduce some earthenware that keeping in foreign Museum and then present containers are caring in Golestan Palace. Method in this Research is descriptive- Analytic and data accumulation is Libraries and Field research.

Understanding the existing capacity in works which are familiar, indicator and indelible for the majority of general and special provides an opportunity to create new ideas. Being influenced by other works or different references by taking advantage of review tools, similarity detection and changes for creating another work, is defined as adaptation method. Adaptation has an interrelation with visual arts. Artists can create new concepts by relying on the fundamental aspects of remained works. Adaptation method is used in the Illustration Art Major to provide a proper context for understanding and clarification of visual themes and ideas and facility for the transmission of different messages through data recorded in audiences mind. In this article, taking advantage of this approach for creating and editing artworks, will be defined and explained in two ways of Intertextualite and Hypertextualite, and taking advantage of adaptation method, detection and recognition the themes and hidden talents in artistic and literary references by comparing and matching two similar works relative to each other will be used with aim of creating context to create new works. In the study and investigation of this paper, library and field methods are used to collect data. The results from this research show that independent and integrated illustration can be organized by using adaptation method so that its reprocessing practice is parallel with illustrator's desired method of visual expression.