NEGARINEH ISLAMIC ART
Year:2020 | Volume:6 | Issue:18|Papers Count:13

The Wonders of Creatures by Qazvini is a very comprehensive and complete book in the field of introducing strange and transcendent beings whose names are mentioned in religions such as Christianity and Islam in the form of mystical stories and guidelines. It has presented a picture of religious beliefs and stories that have been narrated in the past by the Holy Prophet (PBUH) and the Imams (AS). One of the beliefs mentioned in this book is the existence and role of angels and their place in the heavens. In this article, we examine the imagery of the three great angels of God, Israfil, Gabriel, and Michael, in three copies of the books Wonders of Creatures and Strangers of Creatures by Qazvini. These three versions include: French Library Edition, 463, National Library Edition 46-3343, and Tehran Lithographic Edition, 1283. The research method is descriptive-comparative. It can be seen that in modeling angels, they have been given a human model.

Mahabad, called Savojbolagh, Sablagh in the past, was the center of Iranian Kurdistan called Mokrian. The former Savojbolagh (now Mahabad) is one of the most important cities in northwestern Iran in the southern part of Lake Urmia, which was the center of Mokrian for four centuries. Based on the archaeological evidence, the city of Mahabad was built during the reign of Shah Suleiman (1107-1077 AH), by the order of the Mukrish ruler “ Buddha Sultan” . and grew and developed from the late Safavid era to the early Pahlavi era. Most of the remaining monuments of the Qajar and Pahlavi era of Mahabad are now the residential buildings of influential people in the city. Many of the buildings belonging to the affluent classes of the city have a wide variety of decorations, Therefore, the purpose of the present article is to discuss the features and types of decorations used in the residential buildings of the mentioned period in Mahabad. So it is necessary to answer to some questions about art styles and patterns that influence the formulation of these ornaments. Since there has been no coherent research on the decorations and architectural style of Mahabad buildings in Mukriyan region, Therefore, their study can provide a broader understanding of the artists’ efforts in creating suitable settlements. As a result, it was found that most of the decorative elements were influenced by the facades of the prosperous persons Due to the geographical conditions of the area, many of the decorations have been made with brick and stone materials. Although the decorative designs used in Mahabad are similar to those in cities like Sanandaj, However, these monuments built by native Mukrish artists.

The Seljuqs were a tribe of Turkmen Ghuzz whose rule was terminated by Khwarazmian. The works of this era are considered to be masterpieces of the Islamic epoch, among which are glassware art whose way of decorating and making has put it in a special place. In decorating these works, geometric, animal, written, human and plant motifs have been used. The purpose of the present research is to focus on identifying the plant motifs of this period and recognizing the most extensively used plant motifs. Therefore, the present research seeks to answer two questions; a. What are the mostly used plant motifs in Seljuks glassware? b. What are the most widely used plant motifs in this period? This research was conducted using a historical, descriptive-analytical approach with referring to library resources. A total of 54 works were used in this paper, among which 42 glassware were analyzed as a sample. The results of this study indicated that the plant motifs used in Seljuk glassware included motifs such as flowers, arabesque, fruits, leaves, buds, ivy and the placement of plant motifs along with geometric, animal and written motifs. It was also found that the most frequent motif was flower, which was implemented in various shapes. In addition, the mostly used color in decoration of glassware was green in different shades. In terms of the style of implementation and decorating tools, the most common way was using mold.

Artwork is considered as visual means of communication and representative of facts that have undergone dramatic changes in each era, influenced by social, economic, political, religious, and social conditions. In this regard, wall decoration is an important context for gaining insight into these changes. This study aimed to analyze the form and role of pottery in Safavid wall paintings through a comparative study with pottery of this period, focusing on the wall paintings of the Chehel Sotun palace. Chehel Sotun palace in Isfahan has always been regarded as one of the most important historic and cultural monuments of the Safavid period during the reign of King Abbas I and II. The murals of the palace reflect the thoughts and culture of the kings and perhaps the people of that time (Safavid era) and are in fact an expression of this period. The most important question in this article is: what are the reasons of using pottery figures on the murals and walls and what is their relation with the Safavid pottery? Data was gathered using both field and documentary methods and were analyzed by a descriptive-analytic method. Accordingly, after classification and typology of pottery forms in the Safavid period, the comparison with the paintings in the wall decorations of the Chehelston Palace of the Safavid period was carried out. Initial results from this study showed that the use of pottery figures in the Safavid wall paintings, especially the Chehelston Palace, was ceremonial.

Borkhar plain along with adjacent foothills in the past formed a cultural-geographical area called Rustaq Borkhar. The existence of numerous and diverse buildings belonging to different Islamic periods, along with the indigenous and rural aspects of this building, has created suitable conditions for drawing the general appearance of the architectural arrays of a region as a separate geographical-cultural unit. Accordingly, and considering cases such as the destruction of many buildings and architectural arrays in the region after the author’ s studies and also the introduction of some new and unknown examples, in the present study, the architectural arrays of Dasht-e Borkhar buildings have been studied and considered. To this end, the present research used a analytic-comparative method based on the results of field studies and comparative comparisons. The results of this research showed that the decorations of the buildings of the region from the early centuries to the late Islamic centuries had various techniques and was continuous. These arrays include arrays of plaster, tile, brick, mud, wood, stone, limestone, murals and paintings on wood which were used in buildings such as mosques, tombs, Takayas, minarets, schools, inns, castles, houses, pigeon houses, baths, gardens, refrigerators, mills and palaces. Among the decorative techniques, gypsum arrays show the highest level of application and technical diversity. Outstanding and prolific decorations, mainly dedicated to religious buildings and buildings with trans-regional and public use such as caravanserais, and other buildings with local and private use have benefited from simple and low-work decorations. Due to the multiplicity and variety of works of the Qajar period, the variety and multiplicity of decorative techniques of the mentioned period compared to other periods, showed a high quantity.

To get familiar with a society, recognition of the culture, human relationships, cultural roots, morals, rituals, and traditions of a nation is essential. To achieve this end, referring to the commonwealth’ s artistic heritage, which is gained through the collective experience and real life of its builders, is very efficient. In this research, the gravestones decorations of Darreh Shahr city were investigated with the aims of identifying their artistic style and discovering the hidden layers of material and behavioral traditions of the past inhabitants of this region using a descriptive-analytical method with an approach of cultural anthropology or ethnography. Accordingly, the main research questions were: (1) what is the artistic style of the gravestones decorations of Darreh Shahr? (2) what were the material and behavioral traditions of the past inhabitants of this land? The results showed that the artistic style of gravestones decorations is a common or realistic style of art. Based on this style, which relates to the social structures of that society and is based on the realities of life, the material tradition resources of this city include guns, daggers, one-sided or two-sided combs, carpet weavers, carpet scaffold, hookahs, turbah and tasbih, afatabah, scissors, and animals like horse, goat and dog. Their behavioral traditions include hunting, flocking, fighting against nature forces, hospitality, carpet weaving and acting on religious principles that, beside material traditions, should be performed by any tribal and nomadic people of the region, appropriate to their gender, for earning the social respect.

The golden age of the textile art/ industry in Iran without a shadow of a doubt was the 10th and 11th centuries AH (16th-17th AD). Woven fabrics of this era were a remarkable combination of visual aesthetics, composition, motifs, colors and textures which were put together in variable and versatile forms. One of these beautiful compositions that is often seen in the fabric structure of this age is the use of medallion form/motif embellished with plants, animals and human motifs. Several studies indicated the frequent use of this form/motif in the textile which can be an evidence that medallion is one of the most widely used motifs of this period. According to the above-mentioned descriptions, the main purpose of this study was to investigate the structural patterns of the motif/form of medallion on Safavid textiles In this regard, the research question was: what is the structural diversity of the motif/form of medallion in decorating Safavid textiles and what is the position of this motif/form in the composition of these fabrics? To find the answer to this question, 16 fabric samples existing in books and art galleries of Safavid period were selected and then their structural features were analyzed. The research method was descriptive-analytical and was based on historical nature. The data was collected from libraries and the Internet and the analysis was qualitative. The results of the research showed that the medallion form/motif existed both explicitly and in disguise in most of the Safavid textiles. This structure adhered to the symmetry system and showed new and orderly combinations in the text of the work. The greatest use of this motif in the textiles was transitional and in the form of1/2 and1/4

Decorative motifs in Qajar era architecture and textiles reflect the views of the artists in that era. The motifs are different from the aesthetics of the time and the level of idealism of the artists. The research objectives were to study the themes of decorative motifs in the Qajar architecture and textiles and to explain the characteristics of Iranian artists’ imagery in performing arts in the art of Qajar era. The main question of this article was how the romantic and epic themes of decorative motifs are in the Mahdiqulikhan bath architecture and the three cloth makers and their content matching. The method of research was analytical descriptive and information gathering method was documentary. The results of the research indicated that the content of the presentations has been mostly narrative and in the description of the event. The elements affecting the Mahdiqolikhan baths in Mashhad and the Qalamkar fabrics were in the form of mythical, epic, and life, which were rooted in people’ s beliefs. In addition to conventional and custom themes such as courtiers and nobles, historical, fictional, war and hunting scenes, the themes of flowers, girls, daily life, birthdays, and Islam and religion have been used. The general way of drawing motifs is often based on the artist’ s mental principles, without perspective, idealism in the limbs and sometimes similarity with reality and without observing the scale in the field to fill the text of the work, common space and according to the artist’ s idea in various works of art. The use of objects and the arrangement of background and clothing have all varied according to cultural developments and changes in trends in customs and beliefs.

In the history of Iran fighters have always been considered as an important social class. The research in the form of warriors’ clothing provides information that is useful in historical and sociological studies and is also used in the field of applied and dramatic arts. The 953 AH edition of the National Library of Paris is one of the largest and most widely used versions of figurines, created by the best painters, and most of the paintings belong to the warrior class. Examining the clothing depicted in these images can reveal not only the pattern of Safavid-era war clothing, but also the tradition of painting, and other factors that have influenced clothing’ s illustrations. The overall results of the research indicated that narrative painting has played a significant role in showing the costumes of warriors in the epic scenes of the Shahnameh, and painters have used clothing as a symbol to show the political and military situation. The present article was a fundamental-applied research in terms of nature. In terms of method, it was a historical-analytical research, and the method of data collection was a library-documentary one.

The mirror work is an Iranian art and it is a subset of architectural decoration. The history of this art in Iran dates back to Safavid era, and afterward it turned to one of the most popular arts in Qajar period. As a result, Mashhad became one of the mirror work sites very soon due to the Shrine of Imam Reza (A. S. ). In the Shrine of Imam Reza (A. S. ), numerous places and porticos are decorated with beautiful and various mirrors. Dā ral-Sī yā dah is one of the porticoes that has been decorated by mirrors as well as frescos and tile work. In this descriptive-analytical article, the author seeks to answer the questions that when was the mirror works of Shrine of Imam Reza (A. S. ), and in particular, the Dā ral-Sī yā dah portico done? Who and with what roles has been involved in Dā ral-Sī yā dah mirror works? What styles and patterns have been used in Dā ral-Sī yā dah mirror works? The findings indicated that the use of mirror works in the Shrine of Imam Reza (A. S. ) goes back to the late Safavid and early Qajar periods and one of the earliest documents related to the mirror works of Dā ral-Sī yā dah belongs to the late thirteenth century AH. Along with the artists, officials have been involved in performing the mirror works of Imam Reza’ s (A. S. )shrine and they have used plaster works, sandblasting (Jī vitarā shī ), colored glass, Qur’ anic inscriptions, traditions, God’ s and Imams’ names, paintings, Candlestick, vase, flower and leaf designs, and geometric patterns, especially strap work, for decorating the Dā ral-Sī yā dah mirrors.

Geometric motifs have always been an important part of traditional Iranian architectural identity. These motifs, which are formed using straight lines, create node patterns, that each has its own characteristics. Isfahan Great Mosque is one of the most important architectural buildings of Iran in terms of volume of decoration and use of numerous geometric motifs. Therefore, this building was chosen as a suitable example for vector pattern in this paper due to its special importance in the history of geometric patterns. In this regard, by gathering information through library studies, valid documents, and field research, first a suggested model of the topic (node tools) was presented, then samples from the mosque’ s tile geometry were extracted. Then after naming and drawing, their backgrounds, dials and frames were analyzed. The results showed that the nodes formed in the tiles of Isfahan Great Mosque were respectively five, six, eight, ten, eleven, twelve, fourteen, eight, twelve and nine. Their dials were in the forms of rectangles, squares, triangles and parallelograms. Also the shape of the frames included Lachaki, square, rectangle, triangle, semicircle, four-pointed star, five-pointed star, seven-pointed star, eight-pointed star, and Pabozi. The Lachaki frame was the most frequent shape in the existing knot frames.

One of the most common motifs in Iranian art is flower and bird. The companion of a botanical pattern along with a bird is rooted in Iranian art and culture. The present analysis seeks to answer this question: what are the concepts and roots of the flower and bird motifs in Iranian art? And how has it appeared in contemporary Iranian typography? The purpose of the study is to recognize the background and various forms of flowers and bird in Iranian art, especially Persian miniature, as well as to identify the mythological concepts of these symbols. According to the results of the research in Persian and Zoroastrian mythology, plants and birds companion is described in the form of the myth of Simorgh and the life tree. In Iranian works, Simorgh is usually drawn on the tree. Before Islam, the tree and the bird motifs was also seen in the works of art. In Islamic calligraphy and the drawing, the bird symbol is created through the conjunction of the letters. Iranian typography is one of the areas of the advent of flowers and bird motifs in Iranian contemporary art. In these works, the flowers and birds are sometimes used alongside the writing or sometimes in a separate form alongside the Persian text. The research method is descriptive-analytical. The method of gathering library content is through note taking and illustration interpreting. The method of data analysis is qualitative.