Motaleate-e Tatbiqi-e Honar
Year:2019 | Volume:9 | Issue:17 |Papers Count:9

Iranian and Indian Art in Safavid period has a lot of attachments to each other that its effects are visible in abundance of decorations. In that period of time, astrolabe-making especially in Iran and India went a new way and delicate and prolific decorations covered the entire space of the astrolabes. As regards to that the astrolabe has been studied more scientifically regardless of its visual features. The main purpose of this research is checking motifs and decorations of Iran and India’ s astrolabes which made in 10-12 century AH (1618 AD) and the effect of the Safavid astrologers on Mongolian astrolabes. This research in a descriptive-analytical method studies Adler Planetarium and Astronomy Museum astrolabes to answer these questions: What is the type of motifs and decorations of Iranian Safavid and Indian Mongolian Astrolabes and what are the similarities and differences between them? What is the effect of the Safavid astrologers on Mongolian astrolabes? There are 13 Safavid astrolabes and 8 Mongolian astrolabes in Adler Museum which has been studied in this article. Significant feature of these astrolabes is delicate motifs and ornaments which distinguishes them from other astrolabes. By studying and analyzing motifs, decorations and shapes of samples, similarities and differences have been identified. Safavid Astrolabes have their own style including: the abundance of Quran verses and Persian poems (specially this poem: Gharaz Naghshist Kaz Ma Bazmanad, «دنامزاب1امزک1تسیشقن1ضرغ»), pattern of motifs, high elegance of the rete’ s cutting, richly decorated alidades. Indian astrolabes also with various thrones in terms of dimensions and technique, sighting tubes attached to their alidade and additional bows in rete, have a different style. With all of this, common motifs and decorations in terms of content, type and mode of construction, also a lot of similarities between these two groups, including: triangular thrones, using Plant motifs (Eslimi & Khatayi), Nastaliq calligraphy and delicate cutting in different parts of astrolabes, clearly represent their impact on each other.

Sarbisheh County in the south Khorasan province has always been affected by the cultural and social behaviors of the immigrants and nomadic tribes, due to its special geo-graphical location. The result of these immigration impacts is shown in the present paper to illustrate the relationship between the pottery motifs obtained from the four chapters of the archaeological excavation of the area of Kahnek in Sarbisheh and the motifs used in the traditional hand-woven of this area, especially mentally-weaved rug and Kilim. It is tried to examine the possible similarities and/or differences in designs and authenticity on local heritage practices in these handmade things, deemed as masterpieces created by the Bohlouli-Baluchi tribes and the native art of the city. The main question to be answered is whether there exists a meaningful relationship between the aforementioned motifs and what areas are possibly involved in such relation. By using a descriptive-analytical method, a comparative is made on extracted drawings. To do so, field data collection, imaging of samples, interviewing with artists and studying library documentation are used. The study shows that there is a meaningful relationship in drawings of traditional pottery and handicraft motifs in the region. Simplicity and combination of geometric designs together with abstract designs inspired by plants, objects and nature are among the most common motifs that can be easily observed, however, human designs cannot be identified in Kahnak pottery (except in a number of hand-woven things). The use of motifs and similar forms in pottery and hand-wovens in the region clearly demonstrates the impact of culture, environmental conditions, beliefs and ideology on the art works. Having not found any similarities in case of some pottery motifs, it was inferred that they might be adopted from other regions, most likely from Neyshabour pottery species.

Handicrafts, due to cultural and economic capabilities, have recently been featured in some countries as one of the subcategories of creative cultural industries and countries such as China, South Korea and the UK have made precise plans in this regard. Turkey, which has long cooperated with Iran in the field of handicrafts, is one of the leading countries in the field of cultural industries. So, the study of its developments of the formal education system of handicrafts can be speculated in promoting Iranian handicrafts education. So the main question is: What are the current features of the structure of Turkish and Iranian handicraft formal education system in adapting to the approaches of creative cultural industries? The purpose of this study is to achieve innovative solutions in promoting the Iranian handicraft training system. This qualitative study based on library, documentary and field research, compares the goals, methods and plans of these two educational systems. Results showed that Turkish craft training goals and programs compared to Iran have more capabilities being in line with the approaches of creative cultural industries, especially from the point of view of such experts as “ Susan Lackman” . Paying attention to economic goals as well as cultural goals, raising the possibility of specialized education, providing appropriate courses in different levels of education and establishing the relationship between the university and relevant institutions are among the schemes having been considered in Turkish handicrafts education system. In Iran, regarding the content, these changes have partly occurred in the latest high school programs and less in the latest master handicraft program. Therefore, it is necessary to have a comprehensive look at the.

Timurid period is one of the brightest periods of Iran regarding various arts such as architecture and painting, and Baysonqorid Shahnameh as the masterpiece of Herat painting school that made in royal library of Timurid prince, Baysonqor Mirza in 833 AH, is one of the most magnificent remain opuses of this painting style. In 6 images of 22 images of this manuscript, royal buildings are painted which used as castle and palace that in the first view, the azure tile decorations bring the facade of Timurid buildings to the viewers mind. Drawing plant, geometric and inscription motifs of these buildings were done carefully. 5-images buildings have Kufic and Suls inscriptions. This research tries to answer this question that what are the features of building inscriptions of Baysonqorid Shahnameh images? The main aims of this research are comparing building inscriptions of Baysonqorid Shahnameh Images and buildings of eastern territory of Timurids, since the beginning of formation of this dynasty in 771 AH till the year of constructing this manuscript in terms of type script, colour, decorations and location, and also examining the importance of these images in architectural studies of Timurid based on their inscriptions. The reserch informations collected by library method and presented with descriptive_comparative and analytic method. The research results show that most of the features of Baysonqorid Shahnameh inscriptions are consistent with inscriptions of buildings of Timurid eastern territory. Based on the text of Suls inscriptions of the images of Zal and Rudabeh and Golnar and Ardeshir visit, the depicted monuments in the paintings are inspired by the buildings of Baisanqar Mirza. Since many buildings of Prince Baysonqor or other Timurid rulers in Central Asia have been destroyed over time, these images can be considered as a reliable source in the reconstruction of their architectural and decorative features.

Iskandarnā ma Naghali as the last version of Alexander’ s story in the Safavid era, which was republished and illustrated in Qajar dynasty, became one of the most popular folk tales of that time. The story of Alexander has got a special place among folkloric literature due to the various versions of its in prose and poetry and numerous narratives of it in Greek, Pahlavi, Farsi and so on. Thus, the vast and combined flavor of this book, which reflects the Islamic and Shiite thoughts of the late Safavid dynasty and, on the other hand, the Iranian and pre-Islamic myths, is a good platform for studying the visual art and changing the culture of this era of Iranian history. The tumultuous story line of the book is full of historical, heroic and magical motifs. Although it has historical and epical content, it is also full of strange people, creatures and supernatural events. In describing some creatures such as seven armed, elephant-legged Shapour, mythological term, Metamorphoses can be used. This means that the appearance and capabilities of such phenomena has been changed especially by supernatural means. The aim of this study, is describing and analyzing the specific transformed sample and study its pictorial and mythological roots. The method of this research using library resources is descriptive-analytical and the images are analyzed by Panofsky’ s Iconography. Using Saturn's representation in Islamic iconography for creating the figure of Shapour by Manouchehr Khan Hakim is one the results of this study. Also interpreting this specific illustration according to similar and relevant examples has revealed the cultural, religious and social aspects of the Safavid and Qajar dynasties.

Weaving is one of the main techniques of the Bakhtiari tribe and their handwovens have diverse designs, techniques and methods inspired by the artists' minds and the de-sign and pattern of woven materials are closely related to the culture and nature of the Bakhtiari area in the highlands and valleys-Zagros rivers. The geographic location of the area, especially the twist of communication networks and rivers and other environmental elements, have played an important role in shaping the archeological data and the artistic features of artworks: one of these works of art is the Bakhtiari nomadic handwoven motifs. The best archaeological data is for adhering to the motifs of handwoven and pottery. The purpose of this research is analyzing the common features of Bakhtiari handwovens with prehistoric pottery in the southwestern region of Iran to explain the subject. The research method is descriptive-comparative along with analysis and data is derived from library studies and field surveys (To access the Bakhtiari handwoven) and the research approach is historical. The research question is How can we explain the adaption of motifs of Bakhtiari handwovens with pottery (archaeological findings) in southwestern Iran in prehistoric era? The results of this study show that Bakhtiari handwovens are rooted in nature around their lives, beliefs, culture and traditions in southwestern part of Iran and there are many similarities between motifs of handwovens and pottery. many of thesemotifs such as geometric, plant, human, animal motifs and other, such as rood (Chilipa), Maander with prehistoric motifs in the southwest region of Iran (Jafarabad, Joy, Bandhal, Choghamish, Suziana, and Chaharmahal Bakhtiari province copper-stone period such as the Sourak hill, Khanmirza, shahrekord and the Hafshejan hill) are matched.

Ornaments are one of the primary characteristics of Islamic art. Therefore, it's imperative to explore the influential elements of the development of the ornament patterns. In order to have a fair judgment and a clearer picture of the issue, we need to have a proper methodology in studying Islamic art. Scholars have applied various methods and approaches that led to various results and consequently caused disagreement and conflicts among them. Perennial philosophy and historian are the two known approaches for studying Islamic art. The historians aim is studying Islamic art within its chronological scheme and analyzing the artworks in limited historical documents in the light of the Hegelian philosophy of history. Perennial Philosophy, on the other hand, believes the eternal truth of religions and seeks to investigate the origin of Islamic art within a religious tradition beyond chronological and historical borders. In fact, these two approaches highlight different aspects of the nature of Islamic art. However, dealing with these approaches sometimes result in different findings and a lot of conflicts among researchers. So, exploring various methods of studying Islamic art is a matter of importance. Thus, the present inquiry aims to answer what are the factors and features of shaping Islamic patterns based on Perennial Philosophy and historians? And in what ways are they different? Applying a descriptive-analytic study, we aim to provide a more complete understanding of Islamic patterns as well as different approaches for studying them. Also, this paper attempts to articulate how these approaches studied art. To address the issue, we selected two books of leading researchers of the field Keith Critchlow, a follower of traditional values and Perennial philosophy, and Gulru Necipoglu, a historian of Islamic art, then their ideas were explained and compared.

Badi' al-Zaman al-Jazari is a scientist,designer and engineer of Islamic civilization in the sixth century AH who lived in the Diyarbakir (South east of turkey),and has 50 new machines in his book “Al-Jami' bayn al-‘ilm wa 'l-‘amal al-nafi' fi sina'at al-hiyal (A Compendium on the Theory and Useful Practice of the Mechanical Arts)”has described and illustrated.This book,which is a documentary of his scientific,engineering and artistic abilities,has been copied and exploited many times,with at least 20 copies are available in the museums of the world,but in our country there are few studies,especially about the artistic aspects of this creative designer.In this descriptive-analytical study,library data and historical manuscripts have been observed,analyzed and adapted.The statistical population of this research is the illustrations of three manuscripts (715 AH edition,no.3306 of Berlin and no.2477 of Paris),which,for the statistical sample,have been selected in inaccurately 3 pictures of them and in trivial copies,has been studied comparatively.The main questions of the research,which sets out the purpose of the research,include what are the differences and similarities between the illustrations of the various copies of the book of al-Jazari?How do the illustrations of this book evolve over time?What are the features of various manuscripts?Therefore,the present manuscripts were examined and it became clear that the manuscript of 715 AH was fully artistic and based on the Abbasi painting school,but since the writing of this book was taken away,the artistic aspects of the images were reduced,so that the images of the two other versions have turned into technical and geometric illustrations,and have much less artistic value than the 715 AH version.