نشریه مطالعات هنر اسلامی
پیاپی 19 (پاییز و زمستان 1392)

The Qajar era can be named the manifestation of wall paintings carefully drawn on the walls of houses and mansions. Wall paintings، in general، are considered as the most collective method of adding depth and beauty to inner-architectural spaces. In the city of Yazd، social، economic and trade development created a sense of competitiveness as residents strived to decorate their houses using the state-of-the-art embellishment techniques; henceforth، they invited artists from neighboring or far cities including Tehran and Shiraz to beautify their houses using their talent and expertise. The historical house of Malak al Tojar was built 140 years ago amidst the historical and trading center of Yazd in the Panjali bazaar. The Malak al Tojar house is one of the most eloquent and exquisite Qajari houses of Yazd. The interior is overflowing with mirror-encrusted stalactite and rose and nightingale paintings judiciously applied on stucco; the paintings of this unique house are believed to be related to the artist Lotfali Souratfar Shirazi. This paper attempts to analyze، via a historical and descriptive method، the explanations behind the development of this specific component of decoration in Yazd especially in the Malak al Tojar house with its exclusive wall paintings. Furthermore، the wall paintings of this house will be analyzed whether they were painted by Lotfali Souratfar by comparing the paintings to his other artworks. The results reveal that a difference in the aesthetical structure and a tendency toward the West which is acause of class fluctuation and merchandise are the main reasons behind the manifestation of such arts. However، although the paintings of this house are related to the Shiraz school، by comparing the paintings to the other works of Lotfali Souratfar، it is found that the paintings are not related to him. Aims of the paper: 1-Understanding the reasons behind the development of wall paintings2-Analysis of the wall decorations of the Qajari Malak al Tojar House of YazdResearch questions: 1-How did cultural and social features cause the development of wall paintings in Yazd during the Qajar era? 2-Are the wall paintings of the Qajari Malak al Tojar House of Yazd painted by Lotfali Souratfar Shirazi?

The hand-written copy of the Miraj Nameh of Mir Haydar which relates back to the Timurids is a remarkable collection of visual arts with a religious theme. The artists of Islam have endeavored to illustrate this highly spiritual event and to convey the message of God to the most pleasant and exquisite manner indulged within patterns، motifs and colors. According to the holy verses of the Surrah of Miraj، the miraculous journey of the Prophet is classified into three stages: the earthly، the heavenly and the ascent to the holy throne of God. The selection and layout of each stage have an exclusive visual element which reflect and illustrate the significance of each phase. All the effort of the artist is to convey the transition from the earthly to the utmost heavenly stage and to portray the journey from the worldly plenitude to the divine monotheism. Aims of the research: 1- Understanding the visual characteristics of the images based on the holy verses of the Quran. 2- To reach the monotheism of God with the help of the Miraj nameh and the holy verses of the Quran. Research questions: 1- What are the visual features of this manuscript that reinforce the impact from the surah of Miraj? 2- Can the images and its context elaborate on the teachings of monotheism?

The Holy verses of the Al-Rahman Surah are exceedingly valuable in regard to visualization. The main theoretical framework of this research in based on artistic imagery theory by Seyed Qotb al Din، the contemporary Quran theorist، in which an analytic-comparative method and library research is applied to describe the theoretical Quranic principals of Seyed Qotb and their explanations on the selective verses of the Al-Rahman Surah in order to introduce an instance of a miraculous phenomenon in the illumination of the Holy Quran. In respect to the findings، the artistic imagery theory of Qotb al Din is associated to the artistic image and aesthetic visualization of the Holy Quran and has a miraculous means of expressing abstract human denotations، internal approaches and human deployment. Aims of the research: 1-To understand the principals of Qotb al Din’s art theory. 2-To describe the artistic and visual values of the Quran and its mental means. Research questions: 1-How are the principals of the Qorb al Din’s theory concurrent with the illumination of the verses of the Holy Quran? 2-What elements are used in delineation of the verses of the Al Rahman surah and what is the relationship between them?

Prominent and leading designers in the field of traditional art and carpet design commonly have their own specific methods in handling and establishing designs. In order to analyze their works، the researcher must initially identify the methods and means of design. The carpet design works of Bahadori can be distributed into two groups; namely thematic and non-thematic. In the formation of the carpet design method of Isa Bahadori، theme is the main feature that has made his works a unique art piece. In this research، by analyzing the thematic works of Bahadori and introducing the characteristics of his works accomplished via library research and exploratory method، the influence of theme on his approach on design based on traditional forms of carpet design، space layout and the use of infrequent motifs. Aims of the research: 1-Identifying the effect of theme in the creation of carpet design methods2-Understanding the characteristics of carpet designs based on the themes of BahadorResearch Questions1- What are the principles of creating thematic carpet designs? 2- How does thematic carpet design affect the process under which designermethods are produced?

The Safavid Mihrabs of the sixteenth-seventeenth/tenth-eleventh centuries in Kashan and Tabriz and also the Transylvanian Mihrabs of the fifteenth-eighteenth/ninth to twelfth centuries were found in Oushak, Manisa and Ghiordes of Turkey and exported to Saxony churches. The historical and geographical connections between Persia and Turkey in various ages has created many phenomena exclusively within the carpet-weaving industry.By studying the current similarities and differences, the specific carpets of both regions and their degrees of influence can be documented. The mihrabs of both sections are small in size, have borders with warm colors and enjoy inscriptional decorations with religious contents. The presence of Quranic verses and abstract patterns on inscriptions, the diversity of motifs in texts, spandrels, and margins, and also the delicacy of the weave and color variety are among the significant characteristics of Safavid mihrab rugs in contrary with Transylvanian mihrabs that have a plain background, inscriptional borders with geometrical and abstract patterns, limited color variation, large weaving following a solitude design in contexts and spandrels. Investigation shows that the mention rugs are similar in terms of design and a few decorative elements including inscriptions, lanterns and vases and are unalike in other features. This paper is organized via a historical, descriptive and analytic method. The analysis is accomplished through a comparative and contrast manner. Aims of the paper:1- Understanding Safavid and Transylvanian rugs and their structural elements and applied motifs.2- Understanding the influence of Safavid and Transylvanian rugs on each other in terms of design, patterns and color.Research Questions:1- Can the structural elements and motifs of the mihrab rugs of the Safavid and Transylvanian era be classified?2- What similarities or dissimilarities can be found among the design, color or patterns of the Safavid and Transylvanian rugs?

The artists of the Timurid era were fascinated with the illumination of literary books and this enhanced the art of book illumination in the mentioned era. The principals which are eminent today in the realm of illumination did not exist at that time; however، the artist was unconsciously engaged with these principals and elements. One of the outstanding masterpieces of this era is the Baysonqori Shahnameh. This artwork had a great influence on the art of Persia in which many of the forthcoming Shahnamas including the Tahmasbi Shahnameh were greatly influenced. The various features that are significant in the structure of illumination including the division of lines، the influence of decorative motifs and patterns، and the space for text and writing are chief characteristics for analyzing the manuscripts of this study which include “Monzar learns chess for Anushirvan” for Baysonqori Shahnameh، and “Keykhosor commands the call of Tous” from the Tahmasbi Shahnameh are analyzed from a comparison and comparative method. Despite the many similarities between the two manuscripts (the division of lines، three column layout، the use of symmetry and patterns)، differences include the methods applied for diminishing absolute symmetry in each page which is significantly different in each manuscript. Furthermore، in the Baysonqori Shahanmeh، the pages are less crowdy and elements have been applied modestly; however، in the paintings of the Tahmasbi Shahnameh، the artist has abundantly used patterns and various elements. Aims of the research: 1-Understanding the features that efficient in the structure of book illumination. 2-Considering the division of lines، three column layouts، the use of symmetry and patterns in the illuminations. Research questions: 1-What is the place of book illumination in the two manuscripts of Shahnameh Baysonqori and Shahnamheh Tahmasbi? 2-According to the principals of book illumination، are the two manuscripts similar to each other?