فهرست مطالب امیر فرید

Problem Definition:

 One of the most important developments in writing in Islamic lands has been the emergence of the Six Scripts (Iqlam Sethe). The decline of the Kufic script and its replacement with the Six Scripts, as well as the wide use of these scripts, shows the claim that the emergence of these fonts was one of the biggest literary and artistic developments during the life of Islamic societies. Despite the importance and wide usage of these scripts, it should be acknowledged that sufficient research has not been done in the field of the origin and scripts influencing the formation of Iqlam Sethe. Therefore, this research aims at answering the following question: «What were the effects of the Kufic script, especially Iranian Kufic, on the formation of Iqlam Sethe?»

The current research is looking for the possible effects of the Simple Kufic and the Piramooz Kufic scripts in the creation and formation of Iqlam Sethe.

This research is done using a qualitative method. In terms of «applied» purpose and «descriptive» nature of the subject, it is of a descriptive-analytical type. The written and visual data in this research have been selected and cited using a library method and purposefully from among reliable specialized sources in the field of handwriting and calligraphy and to the extent of theoretical adequacy. The method of analyzing and adjusting the shape of the letters has also been done in four selected Simple and Piramooz Kufic scripts, as the base/origin scripts in relation to the Naskh and Thuluth as the target script.

Finally, from the shape analysis of the letters and the comparative study of the four-script single letters mentioned in 18 separate tables, this conclusion can be drawn that the Iranian Kufic script, or Piramooz, could have been a model, or at least, an intermediate link between Simple Kufic and Iqlam Sethe, because of its similarity in shape with the shape of the letters of the Iqlam Sethe.

Looking at the surrounding can increase visual savings in the artists mind. This visual reserve can lead to novel effects in the mind of a creative artist. Soltan mohammad was one of the artists in the field of Iranian painting who had style and creativity. Spectators of his works, especially the mountains and rocks of her works Art, it can be seen that the works belongs to her. Therefore by accessing one of the most inspiring sources of inspiration in cultivating the imagination, That is nature around its life (mountains and rocks) that remains, and its adaptation to the sample of works left by her, can be achieved the influence of the natural environment in the works of Sultan Mohammad. This is the most important purpose of writing this article. Against such a goal, the main question of this research is that how much has the environment around her influenced the creation of her works? The method of doing this article was descriptive analytical, that it has been done with the help of library and field resources. After examining the rocks of Azerbaijan region was observed that many drawing forms are also present in the petroglyphs of Sultan Muhammad in the nature of Azerbaijan. This is seeing and being in such an area could have played a significant role in cultivating her imagination and art.

This study focuses on the localization of graphic design and user interface of digital products, taking into account the Islamic visual heritage and the Iranian culture of the audience, based on Gerard Genet’s hypertextual theory. The use of pre-text images of  Surah al-Kawakib version in the design of the Iranian calendar is a perfect example of multi-textual examples and references to Iranian-Islamic art, which is the relationship of the second text (Iranian calendar) from the first text (Surah al-Kawakib version); In such a way that if the first text did not exist, the second text would not have been formed. The French Gerard Genet expanded intertextuality studies more than other researchers and proposed the term hypertextuality as one of the types of transtextuality for the relationship of each text. This research tries to answer the question: which genetic hypertext and cultural models have been explained in the localization of Iranian calendar graphic design-user interface based on the version of Surah al-Kawakib? This article is descriptive-analytical and its information is collected through library and observational sources. The examples are the designed images of the months of the year in the design of the calendar, from the pre-texts of the Zodiac region in the Surah al-Kawakib version. This astronomical book was written by Sufi Razi and the illustrations of the Oxford Bodleian Library edition were created from the original treatise shortly after the author’s death. The way of designing ancient constellations are drawn without perspective and necessary details, and a kind of orientalization (post-Sasanian or Persian-Iranian) has taken place; And therefore, it has been a suitable choice for designing the Iranian calendar. This research is focused on the study of one example of Persian calendar localization in harmony with Iranian culture based on genetic polytextual studies and the influence of culture (Hofstede’s model) on the design of experience and user interface based on the pretext of Iranian Islamic art heritage has been investigated. Visual resources such as pictures of books are an important part of any culture and suitable for their use in hypertextual user interface design. Knowledge of cultural models is needed for designers in understanding the audience today so that designers can localize a product specifically based on the needs and expectations of their audience. The case study of the Iranian calendar is designed and localized based on Hofstede’s cultural model and according to Iran’s cultural index. High power distance index (with structured and guided access to information, symmetrical design on the home page and focus on traditions using images inspired by the book of Razi), Collectivism index (using formal terms in passive voice and giving users limited access to Changing or modifying the program (and on the other hand, the index of average femininity (with attractive and detailed images and colors), avoiding high uncertainty (by a simple navigation system, symbols and different color codes) has been done. Out of the six types of Gennet’s hypertextuality: Homogeneity (pastiche, charge, and forgei) and Tragonage (parody, travesty, and transposition), three of them, namely forgei, parody, and transposition, revolve around the graphic design of the Iranian calendar. Forgi is one of the most widely used formats, which has a reproduction aspect with imitation and similarity, and in a way, it is a continuation and complement of its previous and subsequent works in the months of the year and pages similar to the calendar. In the category of tragongi, parody is a change that is used by increasing and decreasing the constellations of the constellation version in the design of the calendar by accepting the changes in both traditional and more modern ways. Also, the last type of transposition (substitution) that by adapting the pretext of Sural-Kawakb version, changes are made in the form of symbolic references in the hypertext of the user interface, which refers to the effect of Surah-al-Kawakb’s pre-text. A book whose image design style is post-Sasanian or Persian-Iranian and they are drawn simply, without the third dimension and necessary details, and a kind of orientalization of ancient constellations has been done, and for this reason, it is quite suitable for use in the localization of Iranian calendar user interface design. More and more complete research in the field of culture and its representation in the design of experience and user interface of digital products should be done, especially in Middle Eastern countries such as Iran, which ultimately aims to improve the user interface design of applications and websites based on the culture of their contacts, with the aim of meeting the needs of local users.

The way Fereydoun sits on the throne, or sitting royally, shows his special and even extraterrestrial position. The characteristics of the king's throne, the clothes and tools that he wears, as well as the position and composition of his drawing, can all be a sign of the sensitivity that the painter has towards the first person of the story centered on Fereydoun. This research has been done with the aim of identifying and classifying the way Fereydoun sits in the pictures of the Shahnameh of Shah-Thamasbi in the composition of the mentioned pictures and to identify and identify the pictorial features resulting from these elements in the pictures. In order to achieve the results of the main question of this article, it has been compiled as follows: 1- What visual characteristics does Fereydoun's position and sitting position on the king's throne have? In this research, the linear analysis of the king, the throne, the scepter, and the placement of the king in the composition of the painting have been discussed, and after the description and analysis of the data, the researchers have come to the conclusion that out of the nine paintings examined, the type of sitting of Fereydoun on the royal throne It is meaningful and corresponds to the content of the text (the unique character of Fereydoun in the Shahnameh). Generally and specifically, the king's throne is divided into two important categories: two-part and three-part thrones. Also, in most paintings, the figures of the king have crowns and luxurious clothes, and in the hands of Fereydon or his assistants, a cow-headed mace is seen, which is a symbol of his kingship. The composition of Fereydon's placement in the painting also attracts attention and has a central state. All of these cases show the lofty, important position and have the divine meaning.After describing and expressing the pictures, from the data of the previous sections, the three main keywords of this article can be respectively; He examined the throne, the body of the king and its composition:After examining the images, it can be concluded that we are facing two important categories of royal thrones, and all the examined thrones in these nine images are composed of the following components: 1. Sitting room 2. Support 3. Crown above the bed support 4. Platform under the bed 5. Chair 6. Roof above the bed or canopy.In the studies carried out on the pictures, Fereydoun is sitting on the throne, except for two pictures (lamentation over the death of Iraj, handing over the royal throne to Manouchehr) who is sitting on the ground. In the painting "Lamentation over the death of Iraj", Taj Fereydoun falls from his head due to the grief of the death of his child and is sitting while holding Iraj's head In the painting "Handing over the royal throne to Manouchehr", he is sitting on the carpet next to Manouchehr, which is a confirmation seal of Manouchehr being the king. At the beginning of his reign, Fereydon held the gauser mace in both hands. One of the most important identifying features of Fereydon is the cow-headed mace. in his hand, this mace is one of the symbols of Far Kiani, in the next eight images, the mace is in the hand of one of his attendants.

While doing research in Islamic art, especially decorative art, we face alphabetic samples that despite the similarity to the overall structure of alphabetic text cannot be read. Although these shapes have been drawn in the frame of alphabet of the text, they do not convey a meaning to be read. These figures, which are similar to the inscriptions, have been represented in the present study as quasi -writing. Faced with these examples, what has convinced the audience to accept – or doubt – them as writing, is déjà vu and similarity between the examples and the structure of letters in the Islamic alphabet. This research has been conducted with the aim of introducing this category of quasi-literature in the Islamic Arts. As a result, quasi-documents are divided into two groups, and each group includes two smaller divisions. The first group includes the inscriptions which are fully covered with Kufic-like quasi-texts. The second group includes inscriptions that resemble handwritings. Of these two groups, the second one is more likely to accompany other decorative designs. In many decorative inscriptions; the formal and structural elements are entangled together to the extent that their distinction and reading is simply not possible. In the third group, it is possible to identify letters of the Islamic alphabet, though they are not legible. In the fourth group, the inscription is partly readable, inscribed along with the quasi-writings that cannot be read. The purpose of this paper is to introduce and classify this type of quasi-writings in the Islamic art. In this regard, the main two questions are as follows: 1- What are the reasons for depicting quasi-writings among the inscriptions? 2- How and within which structure have the quasi-writings been inscribed? To achieve this purpose, methods of visual analysis have been used in terms of the inscription samples of the Islamic period. The statistical population and samples have been chosen from the wide array of inscriptions of Islamic art.The use of writing in the Islamic arts, except to save and record the entries and text-based documents, which are associated to knowledge and information, could have been developed due to a different reason that has been more associated with decorative aspects (that could also be called the motif-centered texts). This type of texts that may fall in the framework of inscriptions is seen in much of the Islamic crafts and was mostly provided as ornamentation. This extensive field may include tombstones to clothing and carpets. Numerous examples of these products in the early Islamic periods testify to the application of texts as ornamentations. Messages on inscriptions should be considered as having an important function, but decorative function of inscriptions should be regarded as a more important one. It is not in vain to say that inscription or writing may well be expected as another category of decorations along with geometric and arabesque decorations in Islamic art.As well as the decorative inscriptions, there are writings – or in a sense quasi-writings – that are not legible. This ineligibility is not because of scrambled handwriting, overflow and compactness of writing elements, etc, in fact these quasi-writing signs have not been drawn to be read, since they have not been formed based on rules of Islamic scripts, but due to their general resemblance to the form of the Islamic alphabet, or a style of writing, they look like writing. This similarity is underlined by compliance with the structure of Islamic alphabet, vicinity to other decorative systems, compliance with a specific base line and of course the topic of déjà vu.Fantasy or orientation on familiar topics like literature, perhaps physical structure and visual perception error may be considered among the main reasons for it. In fact, ambiguity with textual similarities leads to an illusion in the eye.  This ambiguity has been a means that for certain purposes – which will be referred to – has helped the artists. Because ambiguity is a tool and phenomenon of comprehension institutionally and essentially, and scientists fight error, while artists welcome ambiguity ... in this perception, a type of unrealistic comprehension replaces the real comprehension. The succeeding view of comprehension is perception of objects which occur to our minds through inference which signs have been entrusted to our memories. Comprehension is something that is focused on due to deviation and digression from the truth.It is necessary to systematically deviate from the norm. In fact, similarity of decorative writings with what which is not in fact writing (and only deemed as writing because of its similarity to Islamic alphabet) has lead to creation of types of decoration, especially in Islamic handicrafts.

Salient points and regions in the Nastaliq SiahMashgh scriptBased on eye movement trakingSiahMashgh is one of the pure artistic manifestations in the Nastaliq script. Combination in SiahMashgh is one of the most significant explorations of calligraphers. Therefore, proper knowledge of the frame of the page is essential in this area of research. What are the most salient points and regions that the audience looks at the most? Also, what factors will attract more viewers? These are the two main questions of this study. We use a descriptive research method based on the experimental results and the analyses of the data we collected using an eye-tracking tool (OGAMA, an eye movement measuring software). The purpose of this research is to identify the most important places in Nastalig SiahMashgh piece. The results of this experiment, on the target group, showed that in a vertical black screen, the upper part of the board and the right side of it have the most attention. Changing the thrust angle of the pen and the tip of the pen are other factors that attract attention. Additionally, familiar phrases have also attracted the viewer's attention. Although this attention attraction could draw the target group to a salience point, it did not mean the participant stopped at one point, but there was eye-rolling throughout the painting, even the themes.KeyWords: SiahMashgh script. Salient points. movement traking. OGAMA

Suprematism is one of the movements representing the link between the political and artistic revolution, invented by Malevich, whose basic form is a square, rectangular and straight line. In his view, the supreme reality of the world is pure emotion, which is independent of other things, and this thinking required new and unrepresentative forms. In his opinion, art has already entered human life in combination with other elements, but now, the time has come for its independence, and in this regard, he chose simple geometric shapes, squares, which are the most explicit form of expressing the human will and blackening its surface, the simplest act of sensitivity. A man thought. At one point, Malevich became interested in the works of Matisse, Lejeune, Picasso, Cezanne, and the Post-Impressionists, and this tendency influenced his art. His influence on Cezanne is evident in the formation of his works from geometric elements, as well as Ernst Mach's view of the environment as separate units in Malevich's work, and other factors similarly formed the basis for his work. He is also a prominent figure in the discussion of the revolutionary features of the Russian avant-garde. During the Civil War, the new Soviet government was concerned about the destruction of old Russian museums and collections, to which Malevich, by publishing a text, considered the art of the past as an obstacle to the new art and reacted to it. He added that the process of living and moving forward in time knows what it is doing and should not be hindered; So if he is moving after destruction, he must be allowed to continue on his way. The main question of the present study is how Malevich's works were formed under the influence of factors in his life. Codified geometric compositions in Malevich's works, when they are the focus of the work and when they are in the context and the direction of the components of the work, and the factors influencing the formation of the works are among the objectives of the research. The research method is descriptive-analytical and the collection of materials is a library. Distinctive features and characteristics are described in detail in each decade, and from each of the four decades between 1940 and 1900, the visual characteristics and structure, of the three works are briefly arranged in tabular form. Based on the results of this study, it can be said that the circumstances in which Malevich was present and his influence on the works of artists such as Cézanne, color theory in the nineteenth century, his efforts to invent a style to express pure emotions and other factors were effective in shaping his works. The marked four decades are noteworthy. He also used geometric compositions in all periods, which eventually found most of the codified geometric compositions in the fourth century of his works. Malevich seems to consider the origin of nature, the human figure, landscapes, and other things as geometric compositions and uses simple geometric forms to represent the elements in question.

The acceptance of writing the Quran by Mohaghagh script begins at a time when the Kufi script is no longer widely used. The development and application of Mohaghagh script in Quranic transcribing, as the most important script in the Islamic world (especially in Iran), has lasted for about five centuries, from the 12th  to the 16th century A.D. This expansion was along with the usage development of this script, from manuscripts to inscriptions in this era. The capacity of Mohaghagh script not only in letters and words shape but also in easy transcribing, in comparison to its ancestor Kufi script, is the replacement reason of this script in the Quran transcribing. Calligraphers are more interested in this script transcribing for the Holy Quran than other six pens during these five centuries. This popularity is obvious from remained Quranic manuscripts and inscriptions in that era. Researching to find out the reasons for this reception and finding the formal features and social effects in the spread of Mohaghagh script is the most important goal of this article. Also, why this script was widely accepted in Quranic transcribing in the mentioned centuries, is one of the main questions of this research. In order to achieve the goals and answer the questions, this research uses library and field studies. But the method of achieving the results is to study and analyze the remained examples of the Quranic transcriptions in the 11th to 16th centuries A.D.

We face a lot of shortcoming for naming something in Islamic Art. Also for understand specialist things should com to mind Multiple Tips. This titles are understanding for many short peoples. Usually this people are Islamic art specialist. So expect few people of master of art, few people can name for many of Islamic art fields. In the meantime Islamic calligraphy is very critical, because have few research for Islamic calligraphy. Now if a student art want detect between two kind styles of one style, he don’t understand. It is important that though large number of Islamic calligraphy, we cant see report of how diff two style. Now in the face with Naskh, this deficient comes further to the eye. Naskh is one of important kinds writing in Islamic calligraphy. Because a Muslim Writer writ Goran by Naskh. And in all of history and loaf period Naskh was create and most widely used. But we cant see a research of this tip. Many of tips are name of location or names artist. For example Naskh irani or naskh E Nirizi. That in the event they are a kind of special Naskh styles. Also in Islamic calligraphy style is called accent (Lahje). This research is for find that, what different is between Iranian Naskh and Ottomans Naskh. In Iranian Naskh to Ahmad e Nirizi and in ottomans Naskh to Hafez Osman. We face a lot of shortcoming for naming something in Islamic Art. Also for understand specialist things should com to mind Multiple Tips. This titles are understanding for many short peoples. Usually this people are Islamic art specialist. So expect few people of master of art, few people can name for many of Islamic art fields. In the meantime Islamic calligraphy is very critical, because have few research for Islamic calligraphy. Now if a student art want detect between two kind styles of one style, he don’t understand. It is important that though large number of Islamic calligraphy, we cant see report of how diff two style. Now in the face with Naskh, this deficient comes further to the eye. Naskh is one of important kinds writing in Islamic calligraphy. Because a Muslim Writer writ Goran with by Naskh. And in all of history and loaf period Naskh was create and most widely used. But we cant see a research of this tip. We face a lot of shortcoming for naming something in Islamic Art. Also for understand specialist things should com to mind Multiple Tips. This titles are understanding for many short peoples. Usually this people are Islamic art specialist. So expect few people of master of art, few people can name for many of Islamic art fields. In the meantime Islamic calligraphy is very critical, because have few research for Islamic calligraphy. Now if a student art want detect between two kind styles of one style, he don’t understand. It is important that though large number of Islamic calligraphy, we cant see report of how diff two style.

At the present time, considering the rapid wide functions, which are expected to line and calligraphy, writing and focus on Nastaliq is an urgent need. Due to the limitations of Nastliq issues and the lack of a comprehensive resource for the study of its components, it is the most required research. The aim of writing this article is to achieve scientific results with an emphasis on the fundamentals of visual arts. According to this study, after studying the Nastaliqs geometrical forms and compare them with each other, we hope we will be able to achieve similarities between them. Structural features of the letters can be examined from different aspects, but this research focuses just on form features of the Nastaliq letters. For example, the strengths and weaknesses, the start and the end of each letter, the word position and the relationship between negative and positive space. So this research will be based on quantitative aspects. After gathering data, all measured by computer, we can say that, the first part is indicating the letter identity. Given that the end of the letters in Nastaliq move upward and negative space of the letters appear at the end of them, so this feature let the letters combine with each other. The size and position of the letters are related to the baseline. Also the relation between close and wide angles follows a logical structure which is shown statistically in the table.

Calligraphy in plaster molding has long been a unique platform for professional designers and decorative calligraphers due to the ease of molding the plaster and the longevity of the work. Since the origin of the Kufi alphabet used in plaster inscriptions is simpleKufi, it is generallybelieved that the common letters must be drawn alike. However, as exemplified in the phrase under study, the molded cornices have taken different approaches in shaping the characters. In this study of the Kufic inscriptions molded in architectural designs, ten examples with similar words have been selected to examine the form and quality of the variations of the same phrase.
Islamic architecture has systematically evolved over aperiod of300years from the Seljuk to the Ilkhanid. This period is remarkable for numerous plaster inscriptions and molded cornices in its monuments, most which are in Kufi. Focusing on kufic inscription, the main research question of this study is how the designers and calligraphers managed to create variations on a common phrase.The basic assumption is that the calligraphers have created unique shapes of the same letters all derived from simple Kufi. Accordingly, based on the analysis of the letters in the selected examples, it is concluded that the calligraphers have treated similar words and phrases with an approach involving unique character design.

An excellent work of art can be considered from several aspects. And Bisonghorishahnamaas a master pieace also has capability to be analyzed from different directions.This manuscript contains twentytwo images, which fifteen’s of those have separateinscriptions, that shows the visual importance of inscriptions in images, and also theimportance of studying the influence of inscriptions in images. These inscriptions playing important role as an interface bridge between written and illustrated parts of book and connect them to each other. As the usage of grids helped to calligrapher in writing the texts, also as a hidden chart helped to painter in creating a better composition. Artists of this manuscript have used a define visual elements to create unity althrough the manuscript, and it wouldn’t be possible but with intelligent supervising of a person which had enough knowledge and dominant to both parts of calligraphy and painting. The main purpose of this article is examine ways to achieve a harmonions colletion in both in forms and contents and also answer to these questions.1-What has been the bases of position, size and location of inscription in image?2-What are relation ships between forms, line and design?

There is no doubt that we can observe a full of sense and exiting dance of line in the works of those artists who have been educated in a land in which there is the culture and people whose taste in expressing their feelings and their pure and theosophical inside thoughts lead to poem. If a nation is loyal to a word or ambition within centuries, we can follow close ties and common interests when these come into drawing and appearance, these are the result of a common spirit. There is interest in the kind of line and way of drawing it within history which has become the symbol and trait of a nation in order to become the identity and basis of Iranian patterns. There is a special kind of "grow" and "movement" in Iranian patterns and models which are inspired to the viewer through a special kind of line. This makes the patterns independent to time for the addressee. A curve is related to man nature and because of its smoothness makes people feel calm and comfort. The joint shape in most of the Iranian arts over the centuries is the main point in this investigation. Smoothness and curve is revealed in most aspect of Iranian arts for example bas-relief of Takhte Jamshid and figures gesture in the book of Shahname Shahtamasbi. Among all kind of curve, one of them is more popular and common in Iranian arts for example wrinkle of clothes in the paintings and on mosques tiles. The basic shape of it somehow looks like a tear, which is also revealed in Iranian calligraphy. What makes Iranian calligraphy distinct from other ones is its tendency of curve and movement in spite of assertion. Choosing and investigating this basic line which has been formed in the bed of curve and arch can present the special national taste of the people of a land and it has emotional and mental response within people spirit. The line basic movement of has been rooted in the Iranian mind in all of the centuries. With regards to this matter, this research studies history of curve in the nature of people and its use in Iranian art. Here by Iranian art we dont mean a specific art and technique but we mean to achieve a generalization and a clear curve which exists in the spirit of Iranian patterns and forms. The line element is one of the most important visual and eternal aspect of the Iranian art. This element as an joint sprite associated Iranian arts in spite of many evolutions over centuries. This research aims to answer below questions: 1-Is there fix line and pattern which are in conformity with individual and national taste of Iranians? 2-What elements have line and form been made from and what concept do they have? 3-What is the place (status) of line in Iranian patterns and when and how it is used?