Naghsh Mayeh
Year:2010 | Volume:3 | Issue:5|Papers Count:10

The purpose of this research is, in fact, to study Cedar's motif in Persian masterpieces, and to survey the relation between this motif and religious beliefs, traditions and Persian culture.Therefore, the Cedar's motif in the different art masterpieces from ancient era, intensity of its influence on Persian's beliefs or the influence of Persian's beliefs, religion and traditions on Cedar's motif and finally special thoughts related to this motif have been considered and investigated.Depicting Cedar's motif in different masterpieces can be a reason of its importance; this also can show special Persian's beliefs that had continued from ancient ages up to Islamic period. This motif has deep senses and because of that we can see it in different masterpieces in various situations.This article tries to recognize and introduce the symbolic and religious aspect of this magnificent motif as well as its sanctity. The method of this article is documental, and in conclusion we see that the cedar's motif is a symbol of liberty, liberalism, shadowing, youth, etc. and its effect on Persian masterpieces and beliefs and vice versa is undeniable.

Hero myth and its archetype (symbolic character of hero), have been in the unconscious of mankind during the history, and indicates that human being from each era and each region have aspired the same desires. Although heroes appear in various forms, we can declare explicitly that they pass the same stages. This paper attempts to explain and detect these similarities and in this regard, views of Freud about archetype and "Hero's Journey" mentioned by Joseph Campbell are used. To emphasize that the time and region don't impress the archetypical journey of heroes, studied heroes are taken from different regions without considering the time. Furthermore, man of today is not either independent of myth and heroes and we'll see that how modern heroes get through the same stages as the ancient heroes.

With temporary observation to historical, literatural and artical features, we found the meaning and role of bird has important position in Iranian society and its thinking. The role of birds has been highlighted in Iranian legend and story. With regards to this extended presence of birds, there is no complete survey in this field and also no attention to picture and birds drawing.In this research, the position of birds and recognization of its drawing, especially peacock has been surveyed. In literature and historical life of Iranian with different reasons and points of view from every phenomenon and important subject in symbolic way, choose substutive sign and with using it in text, picture and social life has built their cultural world. The goal of research is discovering and extracting these signs in cosmology and Iranian and other people thought. Artistic activities require to be attached with thought and history and culture. Iranian artist is supposed to study his cultural history with this kind of thought as a valuable treasure and import its concepts in profit of now and future in his art works.The importance of this research comes from these characterizes. Considering the research goals that is gathering and analysis of signs and bird symbols in Iranian legends and literature, the method of gathering information in this research is through studying documents and evidences in libraries and review of signs and symbols of legendry birds with librarical method and the review has been done from various valid resources and this method is a historical, Descriptive and analytic kind.

Myth is a window into the metaphysical experience, experiences which are beyond rational reasoning and therefore provide us with the best background to express profound human experience of communication with the source of creation, since profound experiences such as Miraj of Prophet Muhammad defy rational reasoning.Fabulous beasts play an important role in the world of mythic and Boraq Prophet Muhammad's vehicle in the night of Miraj, is a unique example of mythical fabulous beasts which act as an intermediary realization of human's metaphysical experience and encapsulate many symbolic concepts. The subject of Miraj, began to entice artists in the era of Ilkhans and some masterpieces were created in Teimuri and Safavid eras.In the present article, some illustrations of Boraq typical of two painting schools are compared.

The main aim of this research is the manifestation of Blue Water Lily in Mughal School. This school is a result of link between Iranian and Indian school. Many of Iranian artists went to India court by the invitation of the King and there mixed Iranian school with Indian style. Mir Seyyed Ali and Mir Mozafar were those famous artists on this group. In this text attempt to analyze Mughal school theoretically based on librarian studies and presenting some visual examples and then proceed to role of Blue Water Lily in Iranian and Indian culture and its bilateral effect of these two cultures on Mughal school.

Art of Kashan pottery has a long history we can see specific features during this long history that is qualified to be studied from different aspects. This art has been developed during very significant in Islamic errand in comparison with previous eras has much more importance among the eras that Kashan pottery has important is Ilkhani era. Production of glazed pots with Chinese & Islamic features accompanying with Iranian features has made the art of this period superior. In this article based on library studies aesthetics works of Ilkhani era has been studied. It has been tried to classify & dissever on these works from the point of artistic qualities such as imitation, expression & form.

Iranian miniature and epic are too ancient and dynamic persian arts, that have contributed each other from ancient times. The Iranisn epic developed and reached to its peak through the emerging of a jenius called Ferdowsi. Ferdowsi’s Shahnameh is full of mythical, imaginstive, epic as well as lyric and loving scenes, and is also an indicator of the Iranian artist’s point of view towards the world and his ultra impression look the exisetence, and all this concepts are seen in Shahnameh’s myths and heroes. Iranian miniature moved along with the thoughts with well-managed viwe and extremely used in Tabriz and Harat styles. Iranian miniature’s point of view towards the words is not a pure realistic one, because it is from the status to a normal man. In Iranian miniature space, time and place are not usually dealt with but they all come along with epic. All these concepts are seen in both arts. The pictures of Baysonghory’s Shahnameh are among the best and the most completed miniature of Harat styles. In this paper the epic of Shahnameh is compared with the pictures. This Paper has a glance at how we can make use of the potentiality of Iranian literature among them is epic, and how great artists have already fulfilled this important task.

Gabbeh, a variation of rug weaved by Iranian nomads, has maintained a crucial part in the Iranian culture. A galaxy of colors and designs, the traditional fabric has still retained its position as an embodiment of delicacy and art. Ironically however, many people have yet to know the handicraft.The present article is aimed to be a remedy promotional effort to the shortfall. It aims to introduce the landmark handicraft. It also aims to describe various designs of weaving which from antiquity to present have told the female Bakhtiyari artisans how to knit the warps or wefts.Also in light of the significance of design, color and texture in weaving a Gabbeh, the author reviews the traditions and customs the Bakhtiyari tribe, as major weavers of Gabbeh, practices and the climatic conditions they live in.The author has conducted a blend of field and library study in this research and hopes it would help live up to the status of the traditional Iranian hand woven craft and appreciate its creators' efforts.

Iran always fascinates westerns because of its geographical situation; and documentation from Iran is one of the important issues that can reflect its identity and culture as a mirror. In this research we proceed to French photographers who have important roles to portraying Iran from Qajar era to nowadays and introducing video resources on this issue.Documentation experiences some impressive changes during these years. In early years import cameras to Iran, represent traditional manifestations, preserving the past world, strange and wonderful aspects of photographing court, affected many of these photographers but with some changes in the country this documentary has a closer relation to reality and appears as an explorer witness.

This article edits for realization and cognition child's picture and declarative or expressive importance at adults art .You know of the first birth children have different attention worlds environment and material cognition. At this process, under environmental cognition, they records their developmental periods with learning language, material worlds and environmental events like symbolic pictures that become involves subject existence and nature.Also mentality or subjectively pictures that motivated child’s emotional and excitant reactions. We know child's picture (drawing) are pictures especially imitation pictures of reality that to be subscribe with mental picture. Among drawing and intrinsic picture there infinite cooperation and it's include each person's cognition.Recently records that this expressive or declarative wary child's emotion and the role of them at adult's art could to create make special works and individual.