فهرست مطالب حمیدرضا روحانی

Kerman was one of the most important pottery production bases in Iran in the Safavid era during the 11 to the 13 centuries AH (16 to 18 AD) and the products of its workshops have been exported to European markets in addition to domestic consumption. Iran was in the center of political tensions during the Safavid period and after that, and in general, the 10th, the 11th and the 12th centuries AH (16th, 17th and 18th AD) were the arena of East-West conflict. Iranian pottery enjoyed the direct influence of Ottoman, European and Chinese pottery and elements of Mongolian and Buddhist pictorial culture as well as European pictorial tradition. In general, the pottery artifacts of this period are influenced by the popular imported Chinese Ming and Yuan porcelains, and repeat many of their patterns and motifs. In the meantime, Kerman products are reminders of new aspects and innovative approaches and the Iranian spirit. It has never been enough to simply imitate imported species; rather, the products depict past traditions and national and indigenous beliefs, and sometimes manifestations of the region's biological geography. In the blue and white pottery and the species known as multi-colored Kerman, the human reaction to the events and ecology of the region can be traced. The vastness of this land, its elongation in latitude, and many topographic differences have caused a unique climatic and ecological diversity; with vast and scorching deserts, lush plains and pastures, glaciers and rich forests. Such biodiversity has led to different plant and animal species. The study of flora and fauna of Kerman region in comparison with the designs and motifs of artifacts and textiles shows the influence of artists from the ecology of the region in a direct and sometimes implicit way. Of course, the limitations of resources and climatic deficiencies and the hostile forces of nature have caused the image of the environment in the paintings of these people to be sometimes manifested in the form of dreams and ideals; in the sense that the people of this land, in the form of images and motifs, have dominated the problems of living on the edge of the desert and have reduced its adverse effects. In this way, they portray their desire to achieve stability and peace in life, which in some cases is the opposite of everyday reality. The purpose of this study was to investigate and analyze the impact of climate and environmental geography as cultural components in the formation of Safavid pottery in Kerman. Therefore, the main question of this research is as follows: What effect did the environmental components and biological geography of southeastern Iran have on the range of Safavid pottery motifs in Kerman? This research, which is developmental and done by descriptive-analytical method, is in the field of human ecology and in the field of anthropological studies, and its importance and necessity is in the category of culture and the behaviors that result from it. The method of collecting information is documentary (library research method) and field observations. The statistical population of this study is pottery and tiles of Kerman in the beginning of the 11th to the 13th centuries AH (16th to 18th centuries AD) and the sampling method in this study is nonprobability sampling. It is also possible to study under-glazed paintings based on observations of works at museums and auction houses. Also, the tiles and paintings of Ganj Ali Khan collection have been photographed in the field. The method of analyzing information is qualitative. In this regard, initially the climate, atmosphere and land form of Kerman is reviewed, following which the plant and animal ecology of the study area and then, samples of pottery from Kerman in comparison with it have been studied and analyzed. The result of this research reveals the artists' influence from the region's ecosystem in a direct and sometimes implicit way; among them are the motifs of wild carnation flowers, vine leaves, cypress and willow trees and migratory birds, and the repetitive motif of deer is influenced by the flora and fauna of the region as well. The abundance of carnation flowers and vine leaves is a visual indicator in recognizing the Safavid pottery of Kerman.

Shaykh Muhammed(active 1530s-90s), who was Safavid painter and calligrapher left no clear trace of his association with Safavid kings, However, historical evidence having been obtained from reliable sources confirms that an important part of the artistic activities of Shaykh Muhammed served Sultan Ibrahim Mirza - nephew of Shah Tahmasp- (prince governed in Mashhad over a thirteen-year period -962/1554-55 to 970/1562-63 and 973/1565- 66 to 974/1566-67). Qazi Ahmad reports that Shaykh Muhammed worked for the prince in Mashhad, where author and artist undoubtedly knew each other. Iskandar Beg Munshi, on the other hand, states that the artist entered Ibrahim Mirza’s employ in Sabzivar. Munshi Budaqi Qazvini mentions that the artist was with Sultan Ibrahim Mirza only in Khurasan. The recorded oeuvre of Shaykh Muhammed, consisting of several signed tinted drawings, and paintings, supplemented by a large number of attributed works, confirms the artist’s virtuosity and versatility even within the same media. Considering the fact that some attributes of Shaykh Muhammed’s works are attention to reality, separation from literature and treatment of the subjects of routine life, the main question to be answered in this article is: can a trace be found in his signed and attributed works to prove the relationship between him and the patronizing Safavid Sultan? To answer this question, three illustrations attributed to Shaykh Muhammed from the Sultan Ibrahim Mirza’s Haft Awrang (Seven thrones) and commonly known as the Freer Jami and a double page frontispiece in the six Masnavis of Jami (An incomplete Haft Awrang) attributed to Shaykh Muhammed that is kept in the library of Topkapi Sarayi, are presented and analyzed. The method of study is descriptive- analytical via library research. Two main pursues of this article are: 1- finding evidence regarding the attribution of paintings to Shaykh Muhammed and 2- exploring the connection between Shaykh Muhammed and his patron. The results of this study show that these paintings have similarities with other works which were attributed to or signed by Shaykh Muhammed. There are indeed certain affinities between Shaykh Muhammed’s paintings of elegant kneeling youths and the unsigned double page frontispiece in the six Masnavis of Jami. He also implicitly illustrates part of the story behind a literary narrative. The iconographies of these works seem to be related directly to the prince and specifically to his marriage to Gawhar Sultan Khanim. When the bride and her entourage arrived in Mashhad, Qazi Ahmad reports, several months of celebration followed until the marriage was consummated. In this way, Shaykh Muhammed has expressed his devotion to and association with his patron.

In the year of the Hegira 617, Mongols, continuing their conquests, reached Iran and brought massive destructions. Many main pottery centers of Iran were destroyed and never regained their past glory. At the end of this century, the production of under glazed pottery, known as the general title of Sultanabad (a region in Arak) pottery, increased in Iran. Examples of these products can be found in Kashan, Kerman, Bojnourd and other centers, which archaeological findings cannot give an exact answer as to the exact location of their production. It seems that proposing an approach to the study of these types is possible based on the formal elements. In this study, we tried to extract and classify the characteristics of the under glazed bowls in cases such as: shape of the body, composition structure of motifs and decorations through the comparison of various samples. This article attempts to answer these questions: what are the special indicators of Sultanabad under glazed bowls? And what formal indicative aspects stand out in the observation of these types? This research is based on library sources and uses descriptive- analytical method. Results indicate that bodies are generally shaped either conical or trumpet shaped, imitating the Chinese Celadon; and motifs including various ranges of plants, animals, humans, compounds, geometries and inscriptions, are placed in three general positions of scattered, circular and radial on the bowls. Also, the origin of some of the motifs was the continuity of Iran’s visual tradition, which is a remnant of a distant past; and others are under the influence of the Chinese visual culture which was widespread in this period.

In this paper, A mathematical model for cold rolling of symmetrical tri-layer strip is proposed using the upper bound theorem to investigate the plastic deformation behavior of the strip at the roll gap. With implementation steps to express in order to analysis of cold rolling process, can calculate and forecast the rolling power, rolling force, average pressure between layers and thickness reduction of each layer. In order to validity the theoretical model ,experiments on sandwich strip rolling are conducted by employing aluminum, mild steel (Al/St/Al)as the layers of the sandwich strips and results is compared together. It is found that all of theoretical predictions are in good agreement with the experimental measurements