فصلنامه نگره
پیاپی 27 (پاییز 1392)

Knotted Kufic، one of the first decorative manifestations of Kufic، has various knots as its principal components. In previous studies، decorative Kufic، specifically knotted one، has always been regarded as a combination of plain Kufic with decorative motifs; but it seems that knotted Kufic is a unified whole resulted from the changes in geometric relations of alphabet letters and their compositions. Therefore، the purpose of this paper is to find out the context of changes of knotted Kufic alongside the study of geometric relations of its alphabet letters and their compositions to recognize the thoughtsin their formation based on the formal development of knotted Kufic. To this purpose، historical، descriptive and analytic methods and hermeneutic approach are used to describe and analyze the geometric development of knotted Kufic based on the mystical connotations of knot. As a result the relationship between development process of knotted Kufic and mystical viewpoints is revealed indicating that mystical geometry of space and time has affected the design of knotted Kufic inscriptions and is manifested in forms of loop knots، heart-shaped knot and endless knot. This mystical geometry is utilized in the design of knotted Kufic’s compositions as well to induce the concept of entanglement and disentanglement respectively.

This article seeks to study the interaction of structure and style in CursiveNastaliq to better recognize the artistic values in cursive writings of masters: Mirzashafi Hussein (Shfia)، DarwishAbdolmajidTaleghani and SeyedAliakbarGolestaneh. In the process of conducting this researcha great deal of published material has been studied anddescriptive and analytic methods have been used. The final and narrative evaluation is done through two methods of corresponding similar features in the studied material and comparing dominant factors of structure and style in calligraphy of Cursive Nastaliq، meaning a study into the principles and styles of the outstanding works of thesecalligraphers. Qualitative method has been used to analyzethe data. The results of this article show that although in the era of cursive style formation، the tendency toward the characteristic principles had been dominant، in the works of the master calligraphers inquestion، new symbols bearing aesthetic sense are apparent، which are obviously extent in the phase of cursive style formation، and despite the stabilization of the main structure of this script،it is refined againin CursiveNastaliq. This is an indication of the many interactions among characteristics of the principles and styles in this script، revealing visual similarities in the existing works، among which several cases have been selected and analyzed to demonstrate the changes proficiently. Since the author was faced with some instances with different structures and more potential than othersbecause of their more delicate calligraphy، careful and proficient selection of works was required. After the first stage of selection، works were processed with regard to their effectiveness on latter changes in cursive writing.

In the first half of the seventh century hijri (thirteenth century A. D.)، during last decades of Atbeks’reign in northern Iraq، Mosul school achieved a high position in Islamic from metalwork. The reputation of its products، therefore، has so far questioned the originality of works، most probably، other centers. Several significant pieces from the period in question have survived which scholars، based on stylistic characteristics، attribute them to Mosul metalwork،yet these works obviously differ in form and ornamentations from the ones made in Mosul. Here in this essay we selected and studied three instances of these works to determine their actual origin. The result of this research indicates that in spite of resemblance of some decorative elements in these inlaid brasses to Mosul metalwork and based on the extant evidences their attribution to this significant school of 13th century A. D. is not justified. We believe، on the contrary، they must have been produced somewhere in the western part of present Iran.

Rahim abad Garden built in Qajar era، is located at the end of Modares street inBirjandcity. The most significant decorations in Qajar architecture include: tile setting، plastering and mirror works among which the latter two are more noticeable in RahimabadGarden. Among the important characteristics of this edifice are stunning designs like animal busts، flowervases، arabesques and floral sprays. The architectural ornamentations of this edifice have not yet been studied. The motifs in this paper are explored in the context of artistic traditions of architecturalornamentations. Drawing on published material and interviews with the Birjand’s architecture experts، the method through which this paper is conducted is descriptive-analytic، in some cases comparative to historical instances. The results indicate the variety of ornamentations، naturalistic aspect of decorative motifs، installation of animal busts، and the influences of Sasanian art.

Needle work is one of the commonest and at the same time most outstanding arts among Baluch women، in spite of having been greatly well-known، in most of the research done in this field، less and less attention is paid to the formal structure of designs. In this research، with the purpose of a better clarification and representation of Baluch needlework art (located in Sistan and Baluchistan province) and its relational aspects of design structures with natural elements، on the premise that nature plays an important role in design of formal structure of Baluch women’s needlework it is attempted to find answers to these questionsas; whether there is basically a relationship between Baluch needlework designs with natural elements or not? If it is so، how can these illustrations leaning onnatural elements becategorized? Therefore، in conducting this research descriptive and analytic mehtods are used to find the answers to these questions. In order to do so،Baluch needlework formal design structures are examined in two groups of vegetative and animal designs. The results showed that Baluch needleworker women، in designing natural motifs، not only considered aesthetic relations and theirsurrounding environment، but also paid attention to their functional role proportionate with the geometric design style.

The mirror work is a Persian traditional art that has beenmainly used in indoor decorations of historical buildings، particularly religious ones. This art has always been exercised to realize the spiritual quality of building and portray the world of ideas in the thought of the mystics and Persian artists. It has also bridged the sacred and human zones. In this field of art، the mirror worker creates a structureof interlocking geometricaldesigns by cutting the mirrors into various shapes. Theseshapes are formed through calculation and mathematical relations and create an independent visual space. This way of envisaging space، helps to create avast visual space، so that the changes and styles of modern art، particularly OP Art painting، are comparable visually to this art. This article seeks to answer whether the aesthetic signs in Persian mirror work and Op Art painting are of equal position? Therefore we will studysome of the common aspects of these genres through the use of the analyticdescriptive method، drawing on published material and field research. The results indicate that: 1-The Persianmirror work hasdiscovered a well calculatedorganization of visual layers and arrangement of spatial relations which is presented logically via pieces of mirror. 2 The visual signs in Persian mirror work and OP Art painting،apart from the circumstances of time and place،have been applied similarly. 3-The visual signslike visual illusion، optical quality، color contrast، have been manifested in the art of Persian mirror work prior to their appearance in the modern painting aesthetic system.