Motaleate-e Tatbiqi-e Honar
Year:2018 | Volume:8 | Issue:15 |Papers Count:10

Nasta’ liq is a clear indication of the nature and aesthetic taste of Iranians and undoubtedly the most beautiful and finest line between Islamic lines as far as the “ bride of the Islamic lines” called. In writing hieroglyphics, the attention is mostly paid to the arrangement of word to reinforce and develop a sense of beauty and tranquility in the viewers. In this regard, balance is one of the line graphics in nastaliq. The visual quality is of utmost importance, as there hieroglyphics balance or lack of it in a work, it is very impressive to see the final. In this paper, the balance has been studied in works of two famous calligrapher of the Safavid style (Mir’ emad) and contemporary (Amirkhni) in the form of letters, rearranging words and combining them into rows and cross, from the different aspects. The visual quality between the two periods, using the library and see the works of comparison and analysis, the questions such as; How to create balance in hieroglyphics, the balance of this line and use the quality in two ways Safavid and put contemporary reflection and scrutiny. The results indicate that the balance in the composition, in addition to the visual beauty and strength, can be studied in hieroglyphics from the two aspects: 1) based on the measurement of the horizontal line perpendicular to the base 2) based on the energy exchange letters and words of rotational, vertical, horizontal, inclined and concentrated. The overall balance of Mir’ emad Calligraphic works is more important than Amirkhni works, Mir’ emad put more emphasis on its existence in any combination.

With regard to representative characteristic and communicative nature of photograph, and on the other hand, expressive and esthetic capabilities of photography, it can be stated that as human being uses language in various ways and thus creates one of the linguistic types, i. e. prose, verse, and poem, the photographer is also able to create photos with functions and qualities similar to linguistic types by using his intellectual and emotional faculties and with the help of technical facilities and expressive capabilities of the camera and photo edit. In other words, photograph, just like language, can adopt the functions and roles of citation, communicative, soliloquist, and artistic. Therefore, the aim of this research is to compare photo with the linguistic types. Also, the raised research question is that by what factors a photographer can create photos similar to linguistic types? The method of this research is descriptive-analytic and comparative, and information collection is librarybased. The results of the research indicate that some characteristics of linguistic types can be identified in photo; in the way that some photos have the functions of referential, reportorial, and citation just like prose and convey some information to the audience. Some other, similar to verse, give the audience a visual enjoyment due to their form, and another category like poetry has ambiguous quality and makes the audience to think and contemplate. Drawing on frame (horizontal or vertical), angle (up, low, left or right), as well as other expressive functions of camera (aperture, shutter speed. . . ) on the one hand, and different photo editing features (low or high contrast, color temperatures and … ) on the other hand, the photographer can capture photos with various features and modes.

Religious thoughts presented through beautiful artistic forms have always had a deep effect on humans. As traditional forms of art were often used for expressing religious ideas, these ideas were diffused from one civilization to another. Artists of other civilizations used these forms to express their own religious beliefs. The present study seeks to compare and contrast the underlying ideologies of two needlework arts, namely, Iranian dervish embroidery and Japanese Sashiko. The main research questions are: 1) What was the basis of dervish embroidery on the garments of dervishes and Sashiko on kimonos? 2) What specific cultural exchanges took place between Iranian and Japanese culture? The findings suggest that the foundation of both types of needlework is geometric shapes with equal orders that are based on numbers and colors and aim at expressing deep ritual notions. Rooted in Iranian Sufism (which is no doubt based on Quran and Islamic tradition), dervish embroidery draws upon numbers, colors, prayers, and geometric shapes that all contain deeply concealed secrets. According to the theory of rippling diffusion, which refers to transfer of Iranian culture toward the east, and with reference to historical documents from the Far East, Japanese culture has incorporated many Iran› cultural influences and used a number of Iranian artistic motifs in its art. As a result, Sashiko has sometimes been interpreted with regard to ritual thoughts concerning the divine incarnation within nature as well as respect for nature and its elements. The research method is analytical-comparative. For the purpose of recognizing the motifs and colors in these two types of needlework, some pieces of clothing and their patterns will be analyzed and discussed.

Belief in the effect of the status of celestial bodies on human life events has long been common among different ethnic groups. The Astrological Concepts in Iranian art have been used as decorative engraving in metalworking and other applied arts in different periods but in the illustrated Falnama of the Safavid era, these concepts were not used as decorations, but in their original nature, as a tool for predicting. Forecasting through astrology in the Islamic period has been faced with the prohibition of religious institutions. With regard to the determinant role of religion in the Safavid dynasty, this question is raised that how forecasting through astrological concepts were started in illustrated Falnama of the Safavid era and what steps have been taken to legitimize it against the prohibition of religious institutions? In this paper, to address this issue with a descriptive-analytical-comparative method, four Illustrated Falnama: the Dispersed Falnama, the Topkapi Persian Falnama, the Dresden Falnama and the Falnama of Ahmet I have been studied. In the present study, the presence of the concepts of astrology in the images of these four manuscripts was first examined, then the way of illustrating the concepts of astrology and the legitimization strategies are adapted to this prediction method. The result of this study indicates that the astrological sentences in prediction were not used in the oldest version of the Falnama due to the religious prohibition and were used in the augury text. But in the next manuscripts, these concepts are directly depicted in the drawings, by using some solutions such as the use of Quranic verses in each image, religious icons along with astronomical theme, and also angels to legitimize the use of Astrological sentences in prediction.

Iranians and Armenians have lived together for a long time and have influenced on the language, culture and traditions of each other. In the wake of an Armenian group migration to Isfahan in Shah Abbas era at century 17th AD/ 11 AH and in consequent of church establishment in Jolfa of Isfahan, some copies of Armenian texts consisted of Gospel (Armenian scripture) and some prayer books have been written in Isfahan. The coincidence of this trend with the tradition of Quran decoration of the Safavid era in Isfahan and the existence of some similarities is the motivation of this research. This study seeks to recognize the similarities and differences between the Armenian gospels illustrated in Jolfa of Isfahan and the Quran illumination of the Safavid era. Considering the descriptive-analytical nature of this research, the information is collected and reviewed through the written sources and studying the related papers and books. In this research, after reviewing the decorative motifs of Armenians’ old manuscripts and composition patterns of them, an overview of Safavid era illumination have been considered. By comparing Armenians artworks before and after migration to Jolfa, their interaction has been analyzed. According to the carried out investigations and comparisons in the current research, decorative motifs of Jolfa Armenians can be considered a follower of Armenians’ illumination although, illumination of Jolfa Armenians has more delicacy in comparison to the illumination of Armenians’ manuscripts before migration. But its motifs have more rooted in Christian religion and Armenians illumination than Islamic motifs. On the other hand, it can be said that decorative motifs of Armenians’ scripture were partially affected by the illumination of Isfahan school regarding the appearance and the details of the image, but the content and the generality of the motifs have followed the old schools of the art of Armenian illumination. Also in regard to indicator’ s properties of Safavid era illuminations in Isfahan, influencing qurans’ illuminations from Armenians in this era seems to be unlikely.

Sassanid stone reliefs that were carved on the mountains are the main part of the artistic heritage of this ancient era, but the art of stone reliefs have worn by the rise of Islam and its spread through the country, then Qajar dynasty, especially Fath Ali Shah, has revived this art after 1200 years. There are some stone reliefs remained from Qajar era, that have significant similarities with Sassanian artworks. The purpose of this study is to compare the stone reliefs of the two historical eras to determine their similarities and differences, and also to introduce the characteristics of the stone reliefs accurately. This study seeks to answer this question that; Does Qajar dynasty create their own stone reliefs affected by the Sassanids? This study uses the descriptive-comparative method, and the presented information is the combination of library and field research. The results show that Qajar dynasty has been affected by the Sassanian art, they have had common purposes such as; propaganda to stabilize the central power and create a kind of national convergence about the character of the king. But the single purpose does not necessarily lead to the same results; therefore, despite many similarities between the stone reliefs of Sassanid and Qajar eras, the significant differences are also visible.

Although Nastaliq script was used as a significant writing style along other six types of calligraphy until the mid-Safavid era, it was gradually more welcomed and turned into the most important script in the succeeding eras. “ Rashida Shahnameh” , written by Abdul Rashid Deylami, falls within the Shahnameh manuscripts in the Safavid era while “ Davari Shahnameh” , written by Mirza Mohammad Davari in Nastaliq script, is the last manuscript of Shahnameh in the Qajar era. The calligraphy styles performed in these two versions demonstrate a part of the history of calligraphy in Iran from which some of the changes and developments in script and calligraphy during the Safavid and Qajar eras can be detected. Resorting to library-museum resources, this study seeks to investigate the differences in writing styles, shapes of letters and words written in Nastaliq, and also the connections between the scripts and the graphics in the two aforementioned versions of Shahnameh, through a historical-comparative and analytical study. The results of the analyses reveal that the script of “ Rashida Shahnameh” was directly influenced by the Miremad Style, prioritizing visual beauty over text readability, in which a continuous connection was established between written and textual spaces. Contrary to the popular tradition in manuscripts, Davari Shahnameh was not ordered by any rulers; rather, the artist› s taste was the main cause of creating this manuscript and it also prompted fundamental changes among its audiences. Text readability, visual beauty, and lack of consistent connection between text and graphics were observed in this version of Shahnameh. Moreover, the letters and words, despite their similarity to the third-Qajar-era style (the Kalhor Style), are structured independently of it, and, seemingly, the corrections attributed to Kalhor, which are also seen in the works of some of his contemporary calligraphers, had been a prelude of Davari’ s style.

There are 25 underglaze painted tiles in Vazir Bathhouse of isfahan that have not been studied and identified yet. These tiles are among the few remaining Kubachi tile samples in their original installation location, which remain untouched from looting. Identifying and introducing the Vazir Bathhouse› s tiles are very important to recognize the Kubachi potteries, since the proof of the Kubachi nature of the Vazir Bathhouse› s tiles will be effective in reevaluating the Isfahan region as one of the Kubachi pottery production centers. The main objectives of this research are introducing the Kubachi tiles of Vazir Bathhouse, the study of motifs and their content through comparative comparisons, and investigating the probability of their production in Isfahan. The required information in this research is provided through field method and library studies, and the research methodology has been considered to be historical-adaptive with regard to the subject. Since the motifs used on the Kubachi tiles are very diverse and different, a few similar tiles can be found in the museums rarely. Therefore, it is necessary to pay attention to all the motifs such as the motifs of plant, birds, human and also decorative margins, and from the outcome of these studies, the general features of the Kubachi pottery were achieved. The flower stone body of the tiles, the way of their underglaze painting, as well as matching the comparative criteria such as the similarity in the coverage and the face of human motifs, the themes, the composition of the spaces and the sharing of some of the motifs and even the way of painting them, left no doubt that the tiles of Vazir bathhouse are Kubachi. The study of Kubachi potteries and tiles found in Vazir Bathhouse indicates the significant role of Isfahan region in the production of these potteries. Following the artist› s migration route, the impact of the Isfahan school of painting and the themes depicted on the Kubachi potteries, the studies of the artistic style and technical studies such as petrography indicate the importance of Isfahan region in production of Kubachi potteries, especially colorful types.

Achaemanid art is one of the most important periods of Iranian ancient culture. In different periods of time, it has been considered as the determiner of the Iranian identity. The art of this era has been analyzed and investigated in different ways. According to the range of the available studies and the intertextuality which is the approach of this study, the research question is that whether the Achaemanid art follows the Elamite civilization, or transgresses, imitates, absorbs, and integrates it? The purpose of the study is to make easier to follow the common artistic traditions and rituals of the old eras in different periods of time, which return the remains of the motifs, designs, and traditions back to Achaemanid era, and ignore the role of the Elamite civilization. This study uses the descriptive-comparison method and intertextuality approach to the artistic rituals, traditions and motifs, in order to find the way of oweness of Achaemanid civilization to Elamite, in comparison to other foreign and also neighboring civilizations. So, based on this division, and the intertextuality approach, the context of explaining the multiplying and the dependence of the motifs, artistic traditions, and rituals will be provided. The other purpose of this study is clarifying the way of using the intertextuality approach in the art of the ancient era, and also determining the degree of extension of this relation. As the result of this study, the Achaemenid art is introduced in different periods of time in architecture and its related arts, for example; the forms of ascending stairs, landscape gardening, rocks and petrographic traditions, and also in using the simple and hybrid animal motifs, hybrid, as developer and extender of many traditions and motifs of the Elamite art. We show that the durable motifs and traditions in Iranian art in the next periods of time should not only be owed to Achaemid era, but also to Elamite era, by strengthening the relationship between the Achaemenid and Elamite art as compared to other foreign and neighboring civilization and indigenous people.