فصلنامه نگره
پیاپی 40 (زمستان 1395)

During the eighth century, the Injuid period, Shiraz became a safe haven for continuing the traditional way of manuscript illumination with a few innovations. In this period governors of Shiraz supported the artists and under their support, valuable manuscripts were created. Many manuscripts, which is a testament to the prowess and artistry of the Calligraphers and illuminators of the Shiraz school.
Among the remaining valuable manuscripts of the Injuid period, the book called the “Tashi khatun’s Quran” is of utmost importance. Due to the high levels of calligraphy and illumination used, this copy of Quran possesses a high position in the history of the Shiraz school.
Considering the importance of the aforementioned manuscripts in explaining the place of illumination in Inju administration, in the present paper, we conduct a structural analysis about the illumination and decoration of this valuable copy currently kept in the Pars museum of Shiraz.
In this work, being a descriptive-analytical research, the data are collected through a combination of field and desk study. The study and thought put into illumination of this copy of Quran shows that the artist considered this type of illumination to be appropriate for the intricacies of the calligraphy (Mohaghegh), making the final Layout and composition coherent and harmonious. One of the other findings of this research was that the artist had used a geometric structure to organize the illustrations in this valuable Quran.

Zarih is an exclusive Shia structure, for which the ornamentations and inscriptions are carefully selected from the Shia believes views. Shir o Shekar (Milk and Sugar) was the fourth zarih that was placed on esteemed Mausoleum of Iama Reza (P.B. U.H.) on February 13, 1960 (mid of month Shaban). This zarih was designed by Mohammad Taghi Zofan and Abolhasan Hafezian supervised it and researched for selection of the inscriptions of the zarih. The inscriptions of this zarih contain Suras of Ya Sin, Al-Insan, divine names, Hadiths describing Imam Reza's grandeur, and the names of the Fourteen Infallibles, mostly inscribed by beautiful Thuluth script. Some changes have been made in the inscriptions owing to the reformations of the zarih, so that some of the inscriptions have been replaced with metal Arabesque forms, and some of the divine names were removed from the Zarih crown. However, other inscriptions have not born so many changes.
In this paper, it is tried to explain Shir o Shekr zarih in details as well as to mention the changes caused by the performed reformations. The question is if there has been any specific reason for selecting the inscriptions of the zarih, containing Ayahs, divine names, and hadiths in attribute to Imam Reza's grandeur as well as Shia people believes.
This paper is in descriptive analytical method and gathering of data and images were done in case and library study. The result showed that the texts inscribed on the zarih were based on the knowledge of the nature of the Ayahs and Hadiths and the pilgrims will make relationship with the zarih and specially the buried holder of them both visually and spiritually.

Calligraphy and Illumination are two main elements of the book layout and writing the Quran. Illumination of the Quran that have been implemented in the history of art in Iran has features and special characteristics are aesthetic. This art has been growing in history and in every period of illumination has special features. So that the finest Quranic illumination is the illumination of the Safavid era. According to Western experts believe some of the Quranic illumination only has beauty and decorative aspects. Some believe that in the appearance of the illumination motifs, hidden meaning. Now the question is that the Iranian Quranic illumination in the Safavid period has elegance and beauty more than the previous period what are the meaning and concepts? The main aim of this study achieves the deep meanings of the Quranic illumination in the Safavid period. To answer the question it appears that Quranic illumination in Safavid period has profound Islamic concepts and mystical. And some artists gilding to support artists prior experience, for the illumination inspired of the deep meanings of the Quran. Analytical method for this study seems appropriate. The method of collecting data, is a combination library and field with a visit to the Museum of the Quran, illuminated manuscripts of the Quran Is selected. The Statistical population this research is the Quran illuminated in the Safavid period. The eight volumes of them will be meaningful chosen. Finally, it can be concluded that. The motifs of illumination using Islamic concepts, like the concept of light, color and unity. Which is also mentioned in the Quran, as informed by the Safavid era artists were used to decorate the Quran.

Bakhshayesh, located in North Azerbaijan Province, is one of the traditional rug weaving areas in Iran and has a long history and a worldwide fame in this craft. Due to the cultural reasons in the area and the dominance of the famous Heris City, Bakhshayesh rugs are generally known as Heris rugs in the markets whereas they have specific characteristics and indigenous motifs which have not been studied independently yet. In this article, the evolution of Bakhshayesh designs from past to present has been studied. To this end, the history of Bakhshayesh rug weaving has been divided into periods of past (18th century) and contemporary (19th century till now) and the design, color and execution characteristics of each period are presented. A study of the present time designs of these rugs follows. The aim of the study is the identification of the evolutionary structures of Bakhshayesh rugs, their patterns and motifs and the weaving characteristics of this area. There is little past information about these rugs although they have a worldwide fame. As a result, the following research questions are asked: (A)- How has the variety of the patterns of Bakhshayesh rugs been developed throughout history?, (B)- What were the characteristics of the patterns and motifs of Bakhshayesh rugs in those periods?. This research is descriptive-historical and the conclusion is reached through a qualitative approach. Data collection method was field and library study. The results show that the main pattern of the present time designs in this area is Tajeri Medallion Lachak. The findings, also, indicate that the structure of the patterns of Bakhshayesh rugs at present enjoys less variety and are limited to Medallion Lachak which follow a specific design in three patterns of Laleh, Esmat and Tajeri.

In different chapters, sections, statements of Holy Quran we meet a very multifarious and fundamental concept as catholic and unique name of god (Allah). A Holy name that includes and recovers or reveals all other Holy names ofGod(Allah).Fore example in surah “Ta Ha/8 as well as in some other chapters or Surah and verses of Holy Quran God(Allah) say:" Allah-there is no god but he; His are the very best names. In my point of view thevery catholic and fundamental name of “Hosn” in the Holy Quran with its deeply ontological and unique as well as aesthetic aspects has been overlooked .In this article has been effort to explain very briefly some of this different overlooked aspects of catholic and unique Allah name of "Hosn".Hosn” as catholic and unique name of Allah includes all other his Holy names. Every name of God(Allah) is the very best name. Has been Emerged and dawn from the name of “Hosn” as unique and catholic name of God (Allah).This key name includes all Islamic thesis about every things. About "Aletheia "(Truth), "Agathon" (goodness) and "Kalos" (beautiful).

The teachings of Al-Quran and hadiths and sayings of Allah, including the creation of the universe and the creatures, Ygangykhda, resurrection, heaven and hell, the number of characters is reprehensible constitute the foundations of Shia thinking Artist.Dragon is an infernal creature in Islamic beliefs. In Islamic narratives, the meaning of the concept of dragon is animosity along with filth and evils. Iranian artist who is committed to religious principles, aesthetic criteria aside, considers his art as an arena for stating his beliefs and imagines these religious ideologies. In this research, we will study Islamic resources (Quran Verses and Prophet Narratives) for imaging dragon and religious monuments in which the figure of dragon exists. In fact, we study these cases to answer this question: why Iranian artist have used dragon. Is it a cultural borrowing and the artist have not considered his beliefs? Why this evil figure exists in religious monuments? This article, which is based on descriptive – analytic study, shows that Iranian artist had a bright and evident source for imaging dragon and used it in service of his religion. The artist is also aware of the meaning of Good and Evil and that is why he has used dragon to show eternal battle between Good and Evil. Of course it should be mentioned that artist maintain other concepts which are specific to culture, mythology and mysticism of Iran.

The Cypress tree is a symbolic element often used both in Persian literature (poetry) and Persian iranian painting. The main concern of this study is to find a relationship between the element of Cypress tree as used in the Persian literature and in iranian painting, and define that relationship. As such, the main objective of the present study is establishing a semantic and semiotic connection between the element of cypress tree as used in literature and iranian painting art so as to answer the questions regarding their relationship and implications. Thus, the element of Cypress tree in iranian painting and literature has been studied with an intertextuality semiotic method. Intertextuality is a concept based on the views of Kristeva and Genette. Genette considers hypertextuality as a kind of intertextuality which includes transformation and sameness.
In order to achieve the objectives of research, first paintings belonging to different schools and poems have been studied and among them paintings containing Cypress and its companions have been selected with purposive sampling and sampling has been continued until theoretical saturation is obtained.
The findings of the research suggest that there is an intertextual connection between the symbol of Cypress tree in poetry and in iranian painting; in addition, hypertextuality, in its transformational, ameness, augmentation, and replacement forms can be perceived.

Gagik king built the church in 10th century AD in the Aghtamar Island in turkey called holy cross. It was a unique example in the Christian art and one of the unique masterpieces churches in Armenian style. Relief of this church can be considered leader of relief of monuments of Christianity world. Many of the themes and style of the relief church is Sasanian style including motifs of plants, animals, mythical, human masks and kingdom motifs. This research studies relief of Aghtamar church and influence of Sasanian art with the descriptive and comparative way. The question that arises in this context: which Sasanian motifs affected on relief of Aghtamar holy Cross church and what was the reason for this motifs? The aim of this research is a comparative study of the Holy Cross Church Aghtamar motifs and designs and concepts Sassanid era and identifying common motifs in the decoration of the church. Based on these questions the research objectives identified by the Sasanian arts in decorative motifs carved church Aghtamar and understand the reasons for these patterns is in the Holy Cross Church. New wave effect of Sasanian products in 10th century AD emerged not only in Islamic countries but also in the Caucasus Christian kingdom and Constantinople, Sasanian motifs transferred to the Armenian and holy cross church by Islamic art. Including hunting scenes, motifs of animals, birds inside the medallion, senmruv and combined beats.. Some of the motifs in ancient Persia were signs Khvrnh. Some of these roles as represented freedom, but also a greater emphasis on the concept of the monarchy. These motifs are as symbols of the monarchy in relation to relief areas in the view of the church. Motifs of griffin and eagles in the southern facade of the church that represents the image of King Gagik and on the right side of frame, the bird with head of ram has shown .Their role as symbol of royal power and glory illustrates most clearly . Many of the motifs of the Church of Aghtamar originated at the end of Sassanid art. Although stylistic details show that the actual patterns that were working on artwork during the Islamic era. The traditions of Sassanid art heritage that has lasted for centuries in the art of other lands.