Naghsh Mayeh
Year:2014 | Volume:8 | Issue:20|Papers Count:6

In this article, we have tried to develop analytic conversation from modern harmonic aesthetic aspect point of view in four themes " Awareness, Freedom, Responsibility- Accompanying and Time -Interpretation" in Sartre and Lukach World-wide- evidences of World -wide awareness and temporal generalities and its effect on Mosleman's visual world -one of visual generalities of Iran art Society. In this analysis, fundamental concepts have been away from their traditional body and their natural belief and they were interpreted in world - wide to day meaningful of reasoning frame, also thought basis recognition manner, emphasizing on critical thought, and conversation logic end of fundamental concepts certainty domain and limited confidence and also this fact that, interpretations or truths of each temporal generality is the result of their approaches to the world, and it is clear that, only one of interpretations, or truths is different from other interpretation or truths and it is not final.Research method is approaching, conversation analysis, and starting to comprehend nowadays. The result shows that, final goal is to understand world -wide awareness and temporal generalities from aesthetic recognition point of view of existence in each step of generality processing, and making the pluralist truth in order to realize proxies in himself and others and admission of responsibilities due to aesthetic thought of ourselves.

The view of today cities due to technology improvements and discontrolling of comsuming ideas changes to a cold, rigid and lifeless building. This process makes the citizens became faraway from nature and brings some mental disorders. Urban art with making happy and cozy places can reduce this tension to some extent. Tehran as a symbol of political and cultural authority in this country, is noticed by any Iranian and tourisms. This article is aimed to by analysis some elected statues in Tehran, will gain abilities and losses of urban art in capital. This article has been written using the research, historical and descriptive investigation methods and the library sources have been used to aggregate information. The square element is one of the most city public spaces. It prepares a place to establish a statue among the other places. The role of statues will increase through squares so they with their special structures can identify the city and the places where they are established. By considering this fact this letter is trying to choose some urban spaces and analysis them in order to investigating the way of making urban sculptures in Iran through recent deceads.

It is not applicable to understand the wisdom in Islamic art without attention to Quran and prophetic instructions. These two Islamic art origins have been well appeared in the feature and content of Islamic architecture specifically in mosques. Sheikh Lotf Allah mosque has been widely researched as one of the apparent symbols of this issue, However, there are always a lot of mysteries and secrets undiscovered in it.In Sheikh Lotf Allah Mosque, there is an organized precise order, geometry and mathematics are regarded as integral components in the structure of the mosque. Thus, objective of this research is to look for new dimension in this Islamic art enterprise relying on wisdom numbers. In this process, the study on the numbers applied in both structure and decoration of Sheikh Lotf Allah mosque, their relationship with Quran concepts, and the prophetic instructions on basis of the Abjad letters calculations have all been considered. The result of this research carried out by descriptive- analytic method shows that number 9 may be regarded as golden number in Sheikh Lotf Allah mosque. This number has been repeated in the structure and decoration of the mosque. In addition, if some of the concepts relating to the structure and decoration of the mosque could be calculated on basis of the Abjad letters, Sejdeh surah or the holy name of Hazrat- e- Fatemeh, number 9 or one of the its multiples might be made.

Mahmoud Saba (Mahmoud Khan Malek-ol Shoara Sabaye Kashani) can be considered the best example and model of modernity in painting in the Qajar era. He neither lost his essence and his roots, nor was saturated in the principles of Western art. Indeed, the pillars of his perspective were innovation and creating new images by mixing Iranian artistic tradition with the principles and rules of European painting. In his precise and photographic paintings of buildings and other scenes of Tehran during the age of Nasseredin Shah, he used his great talent in perspectives and reproduction of the quality of light. His simple and unpretentious works embodies international evolution and reflects his age and time. It is for this reason that his works has both artistic and historic merit. Methodology of this interpretative- analytical research is based on the phenomenology of "Edmund Husserl", and the data brought together from documents, books, art works, and paintings.

Artificial Light applies to create concinnity and artistic works, but its improper and unprincipled usage creates light pollution that is a persecutor and sometimes harmfull for human. Neglecting essential design and ergonomy seem to causes the light pollution. In this research, we considered the factors of light pollution in the commercial places sampled from the Jomhoori-e Eslaami street of Tehran and used statistical analysis to show that there is a direct relation between neglecting essential design and making light pollution there in.

Among the artistic works of Islamic artists, the calligraphy and the book formatting/pages layout of holy Quran has special significance as the major ambassador/messenger of Islamic art. The Muslim artists have employed their utmost ambition/motivation by benefitting their knowledge, enthusiasm and ability so that to present this divine speech/book in a best possible and beautiful form to the humanity. Meanwhile, the Qurans of Safavid period are considered as the elegant and precious Qurans due their format/layout, illumination, imprint diversity and coloration. The kings of Safavid dynasty were the best supporters of art and artists and the calligraphy of holly Quran was included as the art under considered in that period. As a result, the calligraphy and book writing were considered as the valuable arts during that period. The Sols, Nasta'ligh (Persian calligraphy) and Naskh calligraphy styles arrived to its perfection during this period. Since then, the valuable copies of holy Quran have been left which have decorated several of the internal and foreign museums of the world. After investigating the characteristics of book formatting of Safavids, considering the problems in accessing the holy Quran, some samples of elegant handwritten copies of Safavid periods present in the Quranic treasure of holy threshold of Imam Reza, library of holy threshold of Qum, national museum of Iran and museum palace of Golestan are selected and investigated in this article. This article has been written using the research, historical and descriptive investigation methods and the library sources have been used to aggregate information. Its major objective is to study the attributes of book calligraphy and illumination of holy Quran during Safavid period.