فصلنامه نگره
پیاپی 24 (زمستان 1391)

One of the subjects that ever thoroughly studied in researches regarding Iran’s temporary art in Qajarera, is women’s role in different aspects of social and artistic life. A woman’s role in original sources written by Qajarhistorians, was not noted as an independent subject or in a detailed way. This is a result of historians focusing their effort on narrating the political events of the time and the lifestyles of kings and people of authority rather than elucidating the social life of women. Thus they have made various implicit indications of women’s social and artistic life here and there through their compilations. This article studies the Qurans written in fine Naskh font by four anonymous female artists and calligraphers of Qajar royal court who used to write in fine Naskh. Two of these ladies were Fat’halishah’s daughters, named Banoo-Omolsalameh and Zia-alsaltaneh and the other two were from Naser al-Din Shah’s era named Khorshid-Kolah-Khanom and Maryam banooNaeeni.The first two have dedicated their Qurans to Fat’halishah and the other two to Naser al Din Shah. This article makes an effeor, however small, to study the works of these women and their Qurans which are currently kept at the museums of Golestan Palace, National Library, Hazrat-e Masoomeh’s holy shrine library and Imam Reza’s holy shrine library.

Iranian Moslem painters have observed the divinely world through the world beauties; aimed at finding out the worldly instances and understanding the eternal realities. These beliefs have affected the portraiture in Iranian traditional painting; therefore, despite of the western painting, the Iranian painting has been rarely served the creation of the iconography. Regarding the above mentioned points, the portraits in Iranian traditional painting are unique, while they have been painted based on specific patterns. This methodology led some researchers to a fault judgment; so that they have observed the portraits as similar and rigid ones. However, the Iranian traditional portraiture has been affected by different social factors.In this article, social development indicators, from the Sassanid to the Safavid era, has been studied and the major developments in portraiture has been analyzed. Iranian artists, in addition to applying traditional rules and patterns, they also experienced their own personal styles. Turning towards western art, made artists to ignore the traditional method of portraiture, as a result, this kind of art changed its direction towards realism. In this article the historic, descriptive and comparative methods have been used.

One of the key areas that is involved in Iranian historical identity is Persian Painting and Reza Abbasi is one of the largest elite artist of this area. Many studies and researches have been conducted on Reza Abbasi and his works. Nevertheless, the middle period of his life is still an aura of mystery. This period was a time of rebellion and freedom, which has’nt ever happened in the life of a Persian artist since then. In this paper, based on historical sources of Shah Abbas the first, and research conducted on the artist,s works with sociological approach, we try to achieve a comprehensive analysis of the Reza’s mid-life. Using documentation practices and Library method, we attempt to explore the second period of Reza Abbasi’s life and artwork. According to the comments in the sociology of art, giving view of the scope of individual contact, and the relationship which was so close to the community that makes daily human subjects as a single element for Reza Abbasi to consider. In fact, a realistic and critical view of society has offered in his skilled work.

Research on the Iranian Potteries In addition to familiarity with the culture of rules over this land reveals thecontinuing effects of this art in different periods. The Methods of construction and decoration, especially the motifs as the main decorative elements of pottery, are the most visible documents of influences continuation in these objects. In this article compares Qajar ceramics with ones of Safavid and the influences of construction, decoration, design, and motif of Safavid samples are surveyed on same Qajar objects. Result shows that among types of ceramics which produced in Safavid, methods of construction and decoration of the blue –white pottery, pottery that painted in black under a turquoise glaze (type of kubachi wares), luster ware, and Gambroon pottery were continuing in Qajar that their accepted influences are obvious in form, colour, design, and motif. But among all kinds of produced ceramics of Qajar, there are a group of polychrome wares that have been manufactured in high levels. Although construction style of this group have not much changed but their motifs, color and design style are different with Safavid samples and showsspecial style of Qajar art. However among design and motif of some samples of these polychrome ceramics which produced in Revived period there are subjects that have been inspired from Safavid history. Enameled porcelains inspired from Chinese imported samples is one of the other these period ceramic productions that had not been produced in Safavid. Also potteries imitated from Iznik samples for europeancollectioners are one of the other groups of special productions in this period. The compilation of this article is descriptive, analytical, and comparative and has been extracted from library and in a practical way.

The present article analyzes the contemporary post revolution wall painting art and the symbolic, social and cultural capital dominant on it that are indications of social and political changes, actions and field of power within the scope of painting and state field of power. The main hypothesis in the article is that the wall painting art is produced while being influenced by the field of power in every period and to test the mentioned hypothesis there are considered the post revolution wall paintings in the city of Tehran. The way the present artists act, the position and place of this artistic field in social, political and art situations, the type of the capital and their habitus, all are the major questions considered within this paper. The research method is also based on Pierre Bourdieu sociological views and tries to analyze the genesis of wall painting field in social space after the revolution. The conclusion shows that the style of the specified period wall paintings is the result of a meaningful differentiation from the pre revolution paintings and is based on the cultural capital which is itself resulted from the current political governance. The dependence of wall painting to the field of power, in the height of revolution andsimultaneous with its victory, connected this art to the main focus of power, the Mass and revolutionary forces, and was supported and confirmed by the revolution after its consolation and establishment of field of power.