فصلنامه نگره
پیاپی 15 (تابستان 1389)

A comprehensive study in the implication of «architectural decorations» and «mural», reveals that there are some shortcomings in the application of these two phrases, specifically in the Islamic art, that sometimes challenges the content of art in the instances of these works. This study follows a discursive method, based on word stemming, matching the concepts and analysis of examples to show that most of the works in the Islamic art resources that are known as «architectural decorations», are murals that «being decorative «is just one of their objectives roles. In these resources, «architectural decorations» is used mostly instead of «mural», and mural art is narrowed down to some special rare methods, applications, despite its vast wide function applications usage. So inattention to aspect of mural art in such works will indicate its transcendent values the same as decorative art. In this case not only the position of Iranian past mural cannot be seen properly, but also introducing the visual culture of Iran in this regard in the field of visual arts and architecture (art, especially in Iran and the world) meet with some short comings. Therefore considering the following factors opens a new direction, horizon, in terms of concept and application of these phrases: First: Definitions and characteristics that are expected from the concepts of «Mural «and» decoration». Second: the concept of decorations in architecture has several Instances which Design mural is just a small part of that. Third: «Decorative» work has some features that are just seen in some of these Designs. Forth: Most of the Designs that cover the surface of the buildings are actually true examples of Mural art

Entrance inscriptions of lodging were rooted in people religious beliefs and represented identity and character of makers and owners of lodging. More remaining lodging of Qajar have decorations and inscriptions on their front pieces. These inscriptions Enjoyed special beauty and all of them have special grace. They were not only applied in make urban spaces beautiful but also answer spiritual needs of people and show the increasing importance of them. Today inscriptions are very simple and there are less aesthetics and propound only religious aspects. In Qajar and the first part of Pahlavi period with more tenden to use the 1th whit coming style and excited sentiments imprinted the symbols and sign of ancient persia in front lodging. In the second part of Pahlavi period by useing international style entry façade went to simplicity and took them locality by decorative stone and cement and the factor of removing decoration in this style carsed to waste inscription. In Islamic revolution period tried revive this art and in This research recommended several paragon retain entry front inscriptions.

This Research studies on characteristics of the pottery statues in the pre historicperiods of Iran. The pre historic period in Iran begins by food collecting step andendures till the historic period. The oldest works in this period are goddesses ofbeauty and fertility. In following periods having pottery industries developed newsculptural works appeared which possessed more visual qualities than the precedingworks and looked like pots. These objects include such features that could be foundin those of similar types. Such features can be mentioned as exaggeration, potlikenessand ritual functions.

Previous studies of the Arjan cup have considered its archaeological context; chronology; and iconography. this study has only zed the ideal aspects and also uisual calture of images of Arjan,s cup by aesthetic view points. The images portrayed in the Arjan bowl are structurally divided into a series of consecutive episodes, the sequence of which is organized along ideological grounds. This correspondence between content and structure reveals itself first to the viewer across a division of five registers and one rosette separated by concentric circles and intertwined guilloche bands. Carefully distributed among these registers lies a universe of miniature forms inhabited by 112 human figures, 66 animals of 33 species, diverse trees, and various artifacts commissioned the work, from taking infinite care to unify and integrate its decorations (and narratives) within a highly(Neo-Elamite) individual format is valuable.

Because of the greatness and magnitude of ascension event for all muslims, muslim artists, also have noticed to this event. And in different periods of time artists have always tried to show this great event, in their art works. Due to the special attention of rulers and people, and having greater freedom to express religious beliefs in Iran, artists almost have created images with theme, but in another Islamic countries because of the limitation of artists there are few artistic works with the subject of ascension (Meraj). And sometimes artists have used symbols to show this wonderful event. In this paper have been answered to the two following questions: 1-Works obtained from the artist have related to which part of the ascension of the prophet? 2-Do muslim artists have similar points of views to the event of ascension? This article also has been compiled with the following parpse. The study of painting with the subject of ascension and expressing the similarities and differences of them among various periods.

Bereavement issues are always regarded by artists to depict them. By studying and surveying of images which are associated with mourning subjects during the height of Persian painting periods, and structural analysis of these images, could be finding out an special methods in illustrating contents with the subject of mourning and relationship between images and text. Also by this way could suggest visual methods and styles to illustrate mourning issues in contemporary era. This article has tried to analyze visual structure of paintings with the subject of mourning in periods of Illkhans, Timurid and early Safavid. In this research association of mourning subject with visual structure of illustrations in boom periods of Persian painting has been analyzed.

Subject of this paper is study of image traits of four pictures by subject of Guy and Chawgan. Which has related to prescriptions of Guy and Chawgan Mathnavi that it is composed by Heravi poem of Teymuri date. Subject of this poem is description of love a simple man to a prince that he is reputed to racing and Chawgan game. There is beautiful image of Chawgan playing of prince in Mathnavi. In reason of importance and grace of Chawgan game¡Iranian painters always are attended to that and illustrated it mentioned in the ancient Farsi lectures. There are few manuscripts of Guy-o-Chawgan in the Iran and other countries libraries. Subject of this study are four pictures. Which are related to manuscript that is kept in Amitazh museum in Russia. It has illustrated in 1525 in Tabriz style of Safavid period. The last picture has founded in library of golestan palace and unfortunately only this illustrated manuscript of Guy and Chawgan Mathnavi is remained in Iran that has illustrated in Tabriz style of Safavid period. This paper comes from part of research conclusions of study with the title «Traits of Guy and Chawgan Images» that has introduced the different manuscripts of Mathnavi. It has evaluated the purport¡technology of paint¡structure and relation between text and picture. Results of this study shows that the number of figures in the images are. Specially increased in Tabriz style of Safavid period. Other result shows that the vertical symbols and screening are simple and somewhere artists has breaking the structures. The colors are variety and shiny. Gray colors have used in the background, One of the important matters is that the painters did not pay attention to relation between subject and pictures.