فصلنامه نگره
پیاپی 22 (تابستان 1391)

Architecture is an art to regulate space، and one of important elements in architecture is a nature named garden which is a part of architecture. But، always for comprehend architecture of garden and relationship of its elements, there are many obstacles. Perhaps in this situation, the most useful way is referring to tourists’ travel account، and verifying the pictures of hand writing copies. In miniature of Tabriz school, nature exists as a supplementary factor. This research is done with the goal of verifying the impressionable of miniatures of Tabriz school from Iranian garden architecture in first part of 1th century of Hejira, similar and deferent points of these two elements are introduced by verifying the selected miniatures of Tabriz school. Research method is based on descriptive، analytic and comparative reasoning and presenting statistical charts. The theories of this research shows: The trend to realism in Persian paintings, which originally appeared in Bihzad paintings in Herat school, like a continuous line, has connected paintings of late ninth century to tenth century of Hejira. and by moving Behzad to Tabriz the miniaturists of Tabriz school، by following Behzad’stradition, without disconnecting with ideal conceptions in his paintings, have focused their view point on nature, human and his life; but obvious differences are seen between miniatures and garden architecture that most of these cases emphasize on effect of garden architecture of Timurid epoch on garden architecture of Safavid epoch.

Social customs and traditions have been changed in different periods of the time and with the changes of governments and have always manifested in new forms. These differences could be seen in the ceremony of mourning. Mongols in the beginning, because of their primitive life, had certain customs that prominently were appeared in their daily activities. They had acted based on costumes which had rooted in their beliefs, even years after attacking Iran and establishing government. Although after following Islam, some of these traditions underwent basic changes, some others remained the same. Having political aims, the patriarch decided to write historical books and illustrate them (such as the Shahnameh). These kinds of books are combinations of historical course of events of patriarchies period which their traditions outstandingly observed in them. Abu Saied’s Shahnameh is one of theimportant manuscripts of that period which its illustrations show the traditions of their time. This paper studies on illustrations with the subject of mourning. Now the main question is that: How these illustrations reflect Mongolian mourning traditions? Check the roots of these traditions in four paintings with the theme of mourning is the main purpose of this paper that its method is descriptive - analytical study and The information is compiled Through the library method. Based on this research, those customs that had related to mourning ceremonies of that time are mentioned and have been studied in illustrations. Also the most important resulting findings say, these illustrations show common traditions that patriarchies perform in their mourning and it is compatible with what is in the historical sources of the people’s customs on that time.

With the appearance of Safavid dynasty that Iranian independence interwoven with Shia thought, formed governmental foundation, Epopee Writing was considered aiming expression of authority and courage of Safavid Kings as well as legitimacy of Shia thought i. e. Heidari Invasion (HamlehHeidari), authored by MirzaBazel and Past Epopee (ShahnameMazi) by GhasemiGonabadi are two sampels of this type. This paper tries to study a special version of Past Epopee (ShahnameMazi) which is accompanied with another heroic epopee named Zafarnameh (The Epistle of Victory) (Timor Nameh) by Hatefi in a special form. This research aims to investigate the particular features of these illustrations like: page layout، composition and production motivations of this unique version. This article have been written by descriptive-analytical research method and the information was gathered using the library. The results show a modern page layout in book design in writing verse and poem in vertical tables and margins simultaneously tries to indicate Timour and Shah Esmail personalities as high-rank authority in composition. On the other hand،the creator of art work in order to show Safavid substitution with Timurid, has deliberately drawn Shah Ismail I, beside Timur and also has emphasized on their superiority and great inspiration in composition.

Manufacturing metal and earthenware objects, is important for human being since the prior ages of history up to now. Because these type of art are epitomize of Believes, Myths and is the reflection of ideology of civilization circles and arena of meaning and immortal glory of human cultures.These work’s motifs are explanatory of physical and spiritual heritages which these arts have been grown in that area and settlement. In the other words, in manufacture, polish and decoration of these dishes, we can recognize economic improvements, historical challenges and social condition behind of artistic effects of them. We can see salient maturation in various types of arts, especially in make and polish golden and silver dishes, which are infusing of ulterior cultural and artistic ages and also Islamic ages.Reason of these purports transfer, from Sassanian art to Islamic art, is the presence of Sassanian non-Muslim artists and Samanian new- Muslims in Nishapur. In Islamic prior centuries, because of embargo of golden and silver dishes, pottery art became more important and value and artists, renewed the valuable motifs of metal dishes of Sassanian age by preservation of scholar values on porcelains of Samanian age, in the full beauty and nicety. The hypothesis that we are testing that, in analytical essay, is compliable in a manner that motifs, formed on potteries of this age, is continuity of the same figures on golden and silver dishes of Sassanian age in Islamic age which this time is in divine and spiritual space with religious thought and consideration to Iranian civil qualities and natural cultures, eager to freedom of hegemony of Arabian regimen on renewed Iranian- Islamic art arena. Of course, creativity, the spirit of innovation and construction in art of this age cannot be decreased as an imitation and mere adoption of the past generations heritages. Although Samanian age is the newborn thought age, civil creation and Iranian art’s glory, which is formed by motive of Islamic gratefulness, benevolence and aesthetics, Iranian Renaissance in the Islam frog. Method of concepts adjustment is analytical- historical and descriptive and the method of subject collection and applied data in the essay is librarian.

In Qajar era,Iran wasstronglyinfluenced by Europeanindustrial developmentsand other attractions and welcomed the arrival oftheirideasand products. Thisprocesshas graduallyinfluenced on Iranianart, butcertainlysometraditionsremainedstable.Therefore, a kind of continuity in late Safavid era painting with Qajar style was seen, these western techniques started from late Safavid era and peak in Qajar period, Not only in scenes and the composition and landscape and epidiascope and European nature writing, but also work in various manufacturing techniques are apparent. Therefore the main questions of this article are:What was used techniques for artistic expression In Qajar period? Whether same techniques were followed in Safavid era or using western techniques and imported vestige brings new vestige?This type of research is applied and describes methods through library and a laboratory studies result of scientific analysis techniques for understanding the structure has been used. Knowing more secrets and techniques used to protect and better restoration is considered as the results of this paper.

Centuries ago،human being،having limited facilities،started to create art works on cave walls in order to achieve some of his everyday life goals. These art works enjoyed different liturgical and magical accepts. The passage of time،the progress in science and technology،change of the materials،diversity of the tastes and ideas،etc. caused art to be used in different other aspects of life. One of the branches of art which has a wide range of multifaceted definition and performance and run the executable, is graffiti. In today’s world،graffiti is considered as one of the symbols of urban،pop art. Although, Painting،colors and other decorative elements for beautifying the architecture have been commonly used since the ancient era،yet،by the change in the cities, structure and the appearance of new urban terms in modern world،graffiti has also changed. Todays،graffiti is not only found on walls and by common tools like brush and paint but we now witness a variety of artworks which can compete with other branches of art such as minimal art and has borrowed many of their characteristics in creation of new stylish works. This study tries to represent some of the delicacies and capabilities of the modern graffiti and environmental graphic in Iran which can be used as a mean to beautify the urban environment -as the main role of this art- decoration and as the structural principals of minimal. This study aims to represent a comparative- analytical study of graffiti with a look at modern arts such as minimal art and to help to identify graffiti and how to enjoy the capabilities of this art for making the environmental art and wall artworks dynamic throughout the city. This study is a practical one،based on descriptive،analytical- comparative principles. The collection of data in this study has been library- based and field- based. at first،the minimal art and graffiti have been introduced and then the similarities and differences between those  have been elaborated on and that minimal art can represent possibilities for graffiti artists by which they can create unique artworks in Iranian graffiti. at the end،the use of minimal art in modern graffiti and environmental graphic in Iran has been discussed on and suggestions for effective use of this art in urban environment of Iran have been represented.