abolfazl abdullahi fard

One of the artistic features of Islamic arts is geometric patterns in decorative elements of Muslim artworks. These geometric patterns are one of the most widely used patterns in Islamic art and architecture, created by the combination of geometric forms such as triangles, squares, rectangles and circles. Geometric patterns existed before Islam, but they get a lot of attention during of Islamic period. On the other hand, the development of these patterns in architecture and handicrafts can be considered as the achievement of the Seljuks. This period is considered as one of the brilliant periods of Islamic civilization in historical, cultural, artistic, and scientific developments. That not only has vastly developed in the field of artistic decorations, also accounted as the golden age of technological and industrial progress. One of the industries that has reached its peak of prosperity in this period is the art of metalworking, which is evidenced by the metal vessels remaining from this period. The metal works of the Seljuk period show the change and evolution of metalworking art from the Sassanid period onwards. They express the special features of the Khorasan school, which included the cities of Great Khorasan, Neishabour, Herat, Balkh, and Merv. There is significant variation in the metalwork patterns of the Seljuk period, such as geometrical patterns. These motifs are sometimes spread over the field of work and are sometimes enclosed within a circular framework. But, most of them include rosettes. Since it resembles a flower or rosette we call this pattern a geometric rosette with an outer ring that forms a central star by a variable number of "petals" that are encircled. Their geometric structure shows that these patterns have a special drawing method. The purpose of this study was achieving the geometric patterns and proportions and drawing methods of these patterns. According to that, studies on rosette patterns in this period were very few. Recognition of available patterns on the metal vessels of this period and drawing patterns can be effective in expanding them. This research is exploring to answer these questions that what geometric patterns and geometric proportions have been used in the geometric patterns of metal works in the Seljuk period? And how can that geometric pattern be achieved? According to that, in this article, an attempt has been made to use descriptive-analytical methods, and by using library studies and providing step-by-step models, the drawing methods of geometric patterns be presented in the four Seljuk metal works in the Hermitage Museum. Hermitage Museum is one of the largest museums in the world and there are many Islamic works in it that part of them belongs to the Seljuk period. Its metal works include geometric patterns, especially rosettes that the knowledge of them can lead to more variety and newer geometric pattern drawing. According to that, four samples of Seljuk metal works in the Hermitage Museum were analyzed in this study. It includes a bronze plate from the 11th century, an expanse of silver in the late 11th and the early 12th centuries, a bronze pot from the 12th century, and a bronze pottery dating back to the late 12th and the early 13th centuries. The proposed drawing method of this research is based on six-pointed star divisions that are written in the book "Geometric Concepts in Islamic Art (Illustrated collections of the International Islamic Festival) by Assam Al-Saeed and Aisha Parman. In this book, two methods of dividing six-pointed stars are explained. There are different divisions in six-pointed stars; one, concentric stars drawn from hexagonal hemispheres, and the other from hexagonal corners. In this research, the desired geometrical design has been drawn according to the points derived from those divisions. In this study by drawing the geometric patterns of four Seljuk metal works in the Hermitage Museum, it was concluded that discrete geometric patterns in these works are based on a six-pointed star that is combined with polygons and circles. The composition of these patterns is based on hexagons, and according to the hexagonal divisions based on the six-pointed star, it can be understood how the existing geometric patterns on these four Seljuk metal works can be drawn. This analysis indicated that despite its simplicity, the practical geometry applied to designing such geometric patterns in the four Seljuk works in the Hermitage Museum can be interpreted according to the divisions of the six-pointed star. Based on this study, it was found that these designs have a circular shape that can be seen in the decoration space independently of other designs, and angular and curved forms were used in drawing them. These patterns are sometimes seen independently and sometimes in combination with Islamic patterns.

eaning in the contemporary world new performances by artists; It undergoes changes. The initial study of the works of the artists, Habib Moradi and Bassem Dahdouh, contains similarities in their apparent reading, and it seems that the frame or frame plays a key role in creating our apparent similarities between the artists' works. This element, as a small part of the image, does not imply any meaning by itself, but the way it is presented and present in a painting overshadows the overall meaning of the work and has the ability to change it. For this purpose, the selection of artists is occasional and the selection of works is purposeful and with the priority of having multiple frames in the paintings. The goal is to achieve the points of difference/commonality in the works introduced by the two artists from the perspective of Mikhebal's image ventricular approach. How and how to define frame and framework in the works of two artists and the interaction of frame/framework with the human body on meaning are the questions that were answered. This research is descriptive-analytical and comparative and the information is extracted in the form of a library with filing tools the mentioned artists have been interviewed in order to fill the study gap in this research. In the studies it was determined; Meaning in the works of two artists has a lot to do with how the frame is presented, and therefore the frame in the works of both artists is the center and the center of the work, with the difference that the pollinating property of meaning in art is layered and spiral, but in the works of Dahdouh The face is linear. According to Mieke Bal’s approach, the pollination of meaning in artists' works is as follows: In Moradi's works, the meaning of fluidity is in the form of a spiral, and in a nested and circular form, the meaning is transferred from one layer to another, but in the works of Dahduh, the meaning in the image travels and spreads along a horizontal line. In his art, Moradi uses the interference of frame within frame, and therefore the meaning in his works is multi-layered and is completed when passing from frame to frame. In both groups of artists' works, the reflective nature of the mirrors and the self-repetition of the frames according to the defined diagrams were observed. In all the introduced works, the human body is in the bond of a series of belongings and the frame and frame surround the body and give it a productive meaning. In one of the interpretations, the frame and frame in Moradi's works play the role of the power of reason as the heart of the image, and in the works of Dahduh, changing human thoughts is the way to her liberation.

Safi al-Din Abu al-Fatah Ishaq, nicknamed "Shams al-Din" and known as "Sheikh Safi", is a mystic and poet of the seventh century AH. He is one of the famous mystics of Al-Jaito and Abu Saeed Ilkhani eras. He was born in 650 AH in a village called Kalkhoran (Kahrlan) near Ardabil. During his life, he was accompanied by great and knowledgeable people of that time, including Maulana Jalaluddin Rumi, Saadi Shirazi and others. After his death, the tomb of Sheikh Safi al-Din Ardabili was established by order of his son. A beautiful and precious box was also made by his order. This box is located under the dome of Allah (God) and in the mausoleum of Sheikh Safi al-Din, where it was his home and monastery. The engraving used on the box seems very attractive because of type of ornament using different techniques. The present study attempts to decipher geometric knots on the box with a different perspective. The purpose of this research is the structural analysis of geometric knots and the expression of transfer methods as well as the introduction of this type of knots and patterns to those interested in this type of art work. This research seeks to discover what salient features of the geometric knots used on this box. Furthermore, the current study deals with how these knots are drawn and what kind of drawing method they followed. The data of this research have been in the form of library-field (box photography). It is noteworthy that the analysis of the work has been done manually and software (Corel and Photoshop). The research method is descriptive-analytical, which is a qualitative and technical analysis. The results of this study show that the main knot of "Dah tond"(ten sharp) on this box has been implemented in a rotating manner and has been multiplied by a quarter. The method of being rotating and also the type of reproduction caused a series of other instruments such as termites (dolls), pubs, crackers, seeds (rhombuses), six loose, eight suns, six bands, etc., depending on the type of space as well as the design, is added to this knot in the final composition .

Hafte Arang book shows the strength and glory in the structure of Safavid period paintings. Despite the efforts of researchers to explain the structure of paintings, there is still a need for research on the secret relationships between the elements and structures of paintings. The issue is how the artist deals with the structure in the works in question, so for this purpose, two drawings of an artist from the book Haft Avang Jami were selected. These paintings are attributed to Sheikh Mohammad. The reason for selecting these works is purposeful and there are many commonalities in the appearance of two paintings, which seems to be intentional and requires research. The aim is structural and formal adaptation of these two images. The questions include: What are the structural features of the two paintings of Sheikh Muhammad? What can be the use of using a similar structure in works? This study seeks to answer the research questions with a structuralist approach and with a descriptive-analytical research method and Comparative and the use of library resources. In the studies, four cases were studied: the frame, the placement of the figures, the position of Yusuf and Zuleikha, and the dark-light contrast in the drawings. In both paintings, there is a person watching the scene and Sheikh Mohammad has expanded her frame in the second parliament. The two figures in both drawings function structurally the same despite their different personalities. In the second work, the host and in the first work, one of the halves, which is separated from the others, both have the function of creating sequence and sequential movement in the spiral movement of the drawings, and if they are removed, the spiral frame fails and has no connection with There are other figures. The most important meaning that can be obtained from the analysis of the structure of drawings is that; In the second parliament, the painter implicitly praised his supporter, Sultan Ibrahim Mirza, and thus sanctified him and his government.

The path to divine wisdom and mystical closeness requires enjoying heartfelt reasoning-based light arising from the light of the lights. Seyed Heydar Amoli believed that mystical closeness was dependent on the spiritual travel of the soul. Creatures of the universe take benefit of the divine grace who is the light of the heavens and the earth, surrounded by His grandeur. This light glow when the servant becomes a mystic and says Labbeik (Here I am) to take a mystical path towards the divine light. Describing the divine path, MirHeidar discusses the Prophet Mohammad’s ascension who saw Allah through the heart as he ascended to the sublime positions. Spiritual observations of the ascension night have been illustrated by the painters, and the MirHeidari’s illustrated Me’raj Nameh, also called Shahrokhi, is one of them. An important point to attend to in Me’raj Nameh paintings is the selection and quality of the visual elements including golden clouds, which also poses the following questions: What are the illustrated and spiritual position of golden clouds as regards the prophet’s mystical closeness in ascension? And which embodiment qualities do they involve?This research was descriptive-analytical which maintains that golden clouds are a blend of embodiment of divine path for the prophet. In this connection, the painter has created golden clouds as airing from the holy glowing of the prophet as he believes that these golden clouds are the brightening embodiment of the prophet’s soul.

The tomb of Shah Ismail Safavid is located at the end of the Kandilkhaneh near the Dome of God in the tomb of Sheikh Safi al-Din Ardabili. A very exquisite and delicate chest is located under the blue dome of the tomb of Shah Ismail Safavid on his grave. This box of different maps and designs that have been executed with a very diverse and beautiful techniques in a coherent geometric system. Geometric knots are one of the types of designs used on this box that can be seen in all aspects of the work. This research tries to untie all the geometric patterns on this valuable work and find out how to draw it. The aim of the present study is to decode the geometric knots used on the box of Shah Ismail Safavid. The question of this research is, what drawing method did the geometric knots of the mentioned fund follow and what is the secret of its knots? The research method is descriptive-analytical, which is discussed by analyzing a historical work. Data collection is by documentary and field methods. The findings also show that the three types of suns "eight", "ten sharp" and "twelve sharp" can be seen in all aspects of work with different compositions. The "ten sharp" sun is far more useful in performance. The type of division of the general work space as well as the type of tools created with the mentioned nodes are different in all its aspects. Despite the variety and multiplicity of nodes in the work, a special unity and coherence has been created in different parts of the fund. The nodes used on this box When drawing in a quarter circle, their suns are drawn and in the square or rectangular frame, of course, other parts are also drawn based on the type of knot. In general, suns are formed by a five-pointed star or a cracker. The different parts of this box are in the upper and lower rectangular cubes, each of which is like a painting with various motifs such as Islamic, Khatai and inscriptions that are executed in a bed of geometric motifs with special colors and in a way They have exhibited Iranian-Islamic artistic features.