Naghsh Mayeh
Year:2013 | Volume:5 | Issue:15|Papers Count:10

In the land of Iran, Muqarnas is always considered by architectures as a sublime and magnificent art to the extent that the trace of this decorative element may be found in most different historical eras. Muqarnas is essentially a geometric decorative which its objective at the first place is the creation of light and shade, induction of lines and at the second place is providing more surfaces for presenting delicate decorations such as brick laying, plaster molding ,mosaic tile work and painting. In the Safavid era which is one of the most important and influential eras of Iran, Muqarnas has been displayed as a magnificent element. The aim of this research is distinguishing different kind of Muqarnas and its application in architecture in Safavid era. The result shows that it was the evolution of Muqarnas and it was identified as a completely decorative element and it was often made by using materials such as plaster and tiles. Methods administrative: library, applied, analysis history and …

This paper aims to study and analyze documented evidence on the art of steelmaking in ancient Iran. The importance of steel and steelmaking as one of the most practical art forms in the Iranian civilization; and a lack of extended and exhaustive documentation in this context, specify the necessity of research like this. Iron had played a fundamental role in human life from the first millennium B.C. which some of its examples can be seen in the manufacturing of the handy goods, hunting, battles, and also ornamental elements. By utilizing this metal, humans had in fact reviewed their spiritual approach over time. The paper is an effort to analyze the art in ancient Iran and have a review of the evolution of steelmaking, while taking into consideration the social, cultural and economic conditions, thoughts and beliefs as contributing factors in human life.The research method was based on documents- library data.

Ilam is the only period in Iran’s history in which we can see the use of women’s theme in artistic works and this shows the superior position of women at this stage of history. The present paper tries to have a new look at the role of women’s theme in Ilam’s seal, which is to investigate the relationship between the figures and people’s common culture and tradition. We try to have a better understanding of seals which have a woman’s figure on them. Since the unique characteristic of Ilam religious is matriarchy, the question, i.e. "what is woman’s motif?" becomes important.This paper tries to answer the question by documental studies and library research. We hope that this study leads to more specialized studies and research on Ilam’s seals.

Mazandaran province with numerous urban and rural areas is one of the most important centers of traditional hand-woven carpets in Iran due to diversity and redundancy of its artistic characters. Mazandaran rural traditional hand-woven carpets such as Metkazin are artistic and useful products which show the growth of innovative and creativity by weavers during the time. Weaving background in mentioned village and original plans and coloration, of its traditional carpets plot the fame for this artistic product and placed it in the list of Iran’s innovative handicrafts .Metkazin coarse carpet reflected general characteristics of Mazandaran traditional hand-woven arts and moreover components of native culture and the environment around weavers. Their plans and designs use nature as a template but some of the unique features rooted in the thought and life style of its weaver.In this paper tried to consider Metkazin coarse carpet features such as pattern, design, weaving based on librarian and field studies, within documenting Mazandaran handicrafts and exploring native arts of this region; introduce the patterns of handwoven products of this region. We hope with this article, we will have a small role in introducing and reviving the hand-woven products of this region.

Among the ancient visual samples available which are available, some represent human thoughts. Nowadays, there are some motifs which philosophers study on them and interpret those based on modern sciences such as mythology, sociology, psychology and particularly semiotics. This method is also use for contemporary motifs and artworks, as they are immediately judged and interpreted by experts and mediators as soon as the artists create them. The great masterpieces repeat in different ways again and again by others during the time or their motifs are used in different artistic reproductions. Inner concepts of them are rooted in thoughts, beliefs, nature and unconscious of all people. Among such motifs in contemporary visual arts, Scream-by Edvard Munch- represents the anxiety, confusion and fear which are hidden in human unconscious mind. It can be considered as a kind of archetype and may have been influencing people everywhere all the time. From a semiological point of view, over time the Scream has changed into a special motif defined as an Icon. This paper intends to describe symbol, sign, and icon, and to find the reasons that work of art endures over time and become a motif that the future generations will always repeat it consciously or unconsciously. The applied research method is descriptive-analytical via library data collection.

Stamp is a cultural ambassador and the smallest securities which can passes the borders without passport, Therefore Messages and images on the stamps express the government’s official view on the social, cultural and political spheres and from this point of view, the sensitivity of the design of the stamps for the government is very important.During the Qajar era, lion and sun or king’s images were only images on the stamps and only the two first ones were considered as symbol of Iran.At Pahlavi era, many stamps printed with images of ancient architectural designs or Achaemenid and Sassanid kings, announcement of changing name of Persia to Iran of, Ancient sports, Commemoration of Iranian figures and celebrities. But the most striking feature of stamps of this period was their dedication to portrait of king and royal family. But with the victory of Islamic Revolution on 11 February 1979, pictures and themes of Stamps were completely changed. The pictures of events occurred on June 5th, 1963; September 8th 1 1978; February 10th and 11th 1979, War with Iraq and martyrdom, Women in society, Imam Khomeini and the symbols of Iranian culture, were depicted on these Stamps. The research was conducted based on the descriptive - historical method and the gathering information was based on data library and after referring to the history of stamp and how it entered to Iran; we consider the stamp design in Iran with an emphasis on the stamps of three decades after Islamic Revolution.

Music is an art which could effects on human body and mind in various aspects. Nowadays, the widely usage of music in therapy methods by Psychoanalysts represents the power of art influence on the human. Music, due to its vague and metaphorical language, leads the human mind to the connotative signification. The connotative signification is belonged to associate of subjective images of mind. Music creates a sense of the experiences which are similar to those experiences that are recorded in our minds as our identification, and because of those we have mixed feelings by hearing the music.Modern painter who tends to introversion can benefit this mental association as a raw material in the process of fantasy, imagination and creativity. We want to find out that could music awaken and stimulate endogenous modern artists and specifically abstract painters (in this research) during creativity process from different views such as semiotics, psychology and neuroscience.

Advertising flags have an important role as a subdivision of environmental graphic in the city. This graphical media uses in different ways such as advertising, introducing, informative or decorative. Graphic designers in addition to design environmental graphic items like billboards, sign shops, different kind of pictograms, and at the same time advertising flags create a new informative and advertisement system which resolved the population needs. It is obvious with the increasing development of telecommunication and technology in modern world, there is a necessity to have this item along with the other environmental graphic items. These graphical elements have special characteristics like the other ones, and in their design different elements and qualities should be considered; for example frame, composition, color, etc. It should be noted that some of the most important of these elements and visual qualities have some roles in the design of advertising flags which with considering those we could improve the beautification of the city.According to the importance of these advertising flags in environmental graphics; unfortunately, there is no comprehensive research about it and in such circumstances, a comprehensive definition of the functional role and ultimately achieve to a specific model seems necessary.Therefore this paper first discusses the definition of advertising flag and its variants and its role as a subcategory of environmental graphic studied and finally, the visual elements of this environmental graphic item are analyzed. Research method in this paper was historical and data collection was based on documental-library data.

Color is one of the most important factors in Iranian valuable works of art; meanwhile coloration in Iranian works of art in addition to traditional norms and conventions that have been transmitted from generation to generation of artists to other artists always influenced by other factors such as social beliefs, religion, spirituality, culture, etc. The color can be considered in one of the most functional Iranian craftsmanship meaning textile in the Islamic period. Obviously this handicraft affected by aforementioned factors which we see a lot of creativity by Iranian Artists in this field. Valuable time in the presence of at of textile with beautiful colors can clearly be seen in Seljuk to Safavid Period in Iran, because the textile art is one of the most revealed one in Islamic art. The purpose of this study was to investigate the factors that affect the artist on choosing colors of fabrics, what factors influenced the artist of The Islamic period used some particular colors? Whether influenced by his environment? Or influenced by age, culture and tradition? Or only uses his personal taste? In general we can say that the aim of this study was to identify the position of the colors in the fabric of Seljuk to safavid Islamic period. The research method on this paper is based on documents- library data that after collecting and analyzing are presented.

A group of signs in the works of the New Traditionalists - Saqqa Kana’s artists- has roots in religious beliefs. One can categorize these elements into religious beliefs of mobs and the pure Islamic Wisdom. Some of these signs such as dot and circle in the realm of Islamic Philosophy, the importance of lectures, personalizing the letters, world of images or supernatural, etc. can bring the interpretation of modern art close to the way the philosophic interpreters did it for the Islamic art. Iran’s modern art, as well, has the capacity of being interpreted in different ways; Even if these meanings and interpretations were not the aim of the artist at the first place and they denied presenting them. With this approach, the present paper, after providing an introduction to the fundamental Islamic, aims to have a more detailed reading of some of Saqqa Kana’s works and shows that these Islamic Philosophy symbols, besides having decorative values, communicates the massages that can be find in the traditional and sacred form of Islamic art. The documentary and library sources as well as a group of artistic works of the founders of Saqqa Kana movement paved the way of the present research.