فصلنامه نگره
پیاپی 17 (بهار 1390)

This article by focusing on a painting of Sani –ol- Molk, entitled "Dialogue Harun al-Rashid, and J. Barmaki " in “The Thousand and One Nights” book has been studied and investigated the factors affecting on its formation. Sani-ol- Molk in this book based on the life of Iranians on the early reign of the Naser-e-ddin Shah has depicted Naser-e-ddin shah instead of Harun al-Rashid, and Amir Kabir instead of J. Barmaki. With historical evidences and evaluation of visual symptoms was trying to answer this question Why Sani ol-Molk has replaced characters? Due to the murder of J. Barmaki by order of Haron, another time the murder of Amir Kabir has been occurred in a same way. Similarities between the two ministers in their authorities of the chancellery, marriage, death and its effects after their murder, were the reasons that caused to finding out, maybe the similar fate of the two ministers, has forced the painter to replacement.

The Safavid period in Iran, called the radiance of textile art. In this period, migration of Persian artists and craftsmen to the court of India had a huge impact on the textiles and handicrafts. Comparison of Gorkanid Indians motifs and designs in fabrics and textiles with Safavid Iranian art, suggests that, Hindi weavers have created works under the influence of art in Iran that distinguish them from each other as hard as possible. This affection is quite obvious in the textile fabric designs and methods of weaving silk, brocade, scarf, patchwork and velvet. In this research has been done the Identification a number of Hindi fabrics and reviewing and comparing their designs and textile patterns in the Gorkanid period with the textiles of Safavid period. Gorkanid dynasty was under patron of Safavid kingdom. During that time, Persian art affected on language, architecture, fabric weaving and handicrafts of India. Persian weavers not only employed in Indian workshops to educate local weavers but also supervised fabric production.The purposes of this review are:-To study the common fabrics produced in Iran and India in Gorkanid era-To identify the similarities between motifs and designsThe research methods in this review are historical, descriptive and comparative and required information and documents obtained through library research. This study shows that the structure of designs can be categorized as; medallion- Mihrab- all over design- Moharramat and lattice. Also different motifs can be seen in the fabrics including: decorative, animals, botanical, geometrical and figurative designs.

Most of previous researches about Iranian garments concentrated on showing common visual features of various eras and rarely tried to investigate the technical process of cloth design and showing the design of garment, how to cut and use of textiles and how to connect the pieces together to achieve the final result. This paper aims to show the designing process of Parthian garments as one of the richest series of Iran's clothing design, through overall form of garments and how to shape the textiles to create them. Through historical documents and case studies, we’ve tried to recreate these garments, on a Standard figure to show the technology of that era. During reconstruction main shape, cutting and sewing various parts are shown in serial diagrams, to display design stages of popular fashion in men and women dress. Results show that Parthian clothing was the continued evolution of the Achaemenid clothing and was influenced by Greek art which only was visible in women's clothing, especially in western areas of Iran. Design of Men's clothings, were limited, which were included of pants hanging from the belt composed of two separate leg and the upper cover, a simple tonic or been riding jackets and mattresses and in both cases had a simple rectangular shape cut. Schematic ornaments of men's clothing was folded soft cloth that fixed by using decorative stripes. Women dresses in most cases consist of various fabric parts without stitching. These large fabric parts are connecting by metal joints. Garments consists several parts that worn on each other to shape the final form. Using of various textiles, laces and decorative stripes and necklaces changes garment to a sophisticated form and variety of forms that origins from a basic simple shape.

Always beautiful and rich fabrics is considered as the main features and characteristics of the Orient because dress as a manifestation of art, has originated in East and in some sort indicates the authority, pomp and glory of clothing, especially in Asia. In this paper, textile designs in three Achaemenid, Parthian and Sasanian periods have been studied. For this purpose, first with referring to religion, culture, symbols and beliefs of each period, important motifs used in clothing and textiles during each period has been reviewed and changes of each period has been taken into consideration. Weaver artists of those mentioned eras, while paying attention to the public taste and public opinion, they were not indifferent to Innovations and their efforts were on offering the textiles with high quality and various patterns. That's why this profession was the last great boom and can be stated based on the diversity of designs, in the ancient Iran, especially in Sassanid era there have been equipped weaving machines.

Knowing Iranian gardens and the specially belong to those factors lead to recognition of symbolization from nature. Undoubtedly, one of the best manifestations of the appearance and meaning that emerged from the Iranian beliefs is Iranian garden. If we like to know Iranian garden as an example of Paradise, which is located a pool on the middle of it where four streams go out, then would be the closest sample to this archetype. Fin garden in compare with some other Iranian garden under evaluation, because of its two linear and width wise avenues in spite of many differences in appearance quality near to each other and because of brooks in the middle that cut off their axis in the pool inside the Villa, will be one of the most nearest samples to its own instance. Kashan Fin garden regarding its construction (space making factor), output (view making factors), and aesthetics (decorative factors) among other Iranian garden in its own historical time has the most complete decoration on garden and their factors also refer to philosophical meanings or symbolic pictures. In this regard, the frame of the contextual study of Kashan Fin Garden was closed. In this issue by the theory and method of semiotic science tried to work on meanings, values characteristics and special semiotics systems in the features of Iranian gardens, and how different factors in Iranian garden effect on each other and they produce which values to make a relationship among the most accepted scientific principles of semiotics factors and environmental design of Iranian gardens` features. This paper is the application and methods of doing it - is descriptive, inquiry. Sampling was based on selection and the analysis of information was qualitative.

Overwhelming presence of nature in the most imaginative fiction books for children raises this issue How can the salient presence of the nature help to expression of story, in most illustration works in children`s books? Among the elements of nature, plants have the most ability to express emotions and concepts in the atmosphere of picture. The present descriptive research used an analytical method. The main purpose is to show the expressive features of nature which illustrators utilized to achieve the desired atmosphere.The obtained result shows the nature in special illustrations of the children story books has a main role in expressing of story concepts as well as in showing place and time situations.It is necessary to say that happiness, pleasure, sorrow, sadness, fear, worry and spiritual are the current concepts in the Iranian children`s story books which all find natural forms using visual elements.

Millennium BC in the ancient Iran, the artist man, creating works in his transition from naturalism to abstraction and tried using what's happening in his life, reach a kind of pictorial and abstract visual expression As if this abstract expression has especial visual rules and sensitivities. One example of this tendency can be sought in ancient Iranian earthenware designs. This course of study designs and the movement toward abstraction, represent the thoughts, beliefs and values and criteria contained in the works. The results showed that the ancient Iranian pottery designs in their development and transformation gradually takes away from the creation of designs And instead of addressing the details of nature, travels through the abstraction. This search and attitude towards abstraction in Ancient Iranian pottery decoration have some similarity with the works of the west contemporary painters, especially Op art artists; an attitude, which in the years 1960 to 1970 with the title of visual painting or retina, pays attention to some abstractionism based on arranging geometrical figures with emphasis on visual effects and look motion through the work area. This research was done in descriptive analytic approach and data collection was done in library method.