جستجوی مقالات مرتبط با کلیدواژه "صفحه آرایی" در نشریات گروه "هنر و معماری"

In addition to being an architectural museum from the Islamic era, the Sheikh Ahmad Jami collection in Torbat Jam city has a rare and unique collection of Qur, ans that have not yet been studied. The opening pages of these Qur, ans, with delicate decorations and page layout, are thought-provoking and worthy of study. In order to investigate the principles of page layout and structural analysis of the opening pages and the endings of the Qur, ans, the matching of size and dimensions, margins and text, distances and proportions and color were studied, as well as the artistic aspects and structural system of the pages. The Qur, ans of the 8th to the 13th centuries AH had unique features in terms of page layout and decorations, and in the discussed Seljuk, Ilkhanid, Timurid, Safavid and Qajar periods, the page layout and decorations of the Qur, ans have undergone changes. The objectives of the present research are: 1- Investigating the visual values of page layout and decorations of the opening and ending pages of the preserved Qur, ans in Sheikh Ahmad Jami, s collection 2- Adapting the page layout and decorations of these pages from the 8th to the 13th century AH. The questions of this research are: 1. What are the characteristics of page arrangement and decorations of the opening pages in Qur, ans preserved in this Museum from the 8th to the 13th century AH? 2. What are the differences and commonalities in page arrangement and decorations of these Qur, ans? This research has been done with a qualitative approach and a descriptive and analytical method. The statistical population of the Qur, ans in Sheikh Ahmad Jami, s collection and the sampling method have been chosen purposefully by selecting prominent cases and borderline and terminal cases. The findings show that in the opening and completion of 10 examples of the studied Qur, ans, the Naskh and the Thuluth scripts are the most frequently used scripts. The gilding and decoration in the early Qur, ans were primitive and simple; depicting the use of geometrical principles. Over time, the gilding and decoration became advanced, complicated and mixed with scripts. So, since the fifth century, the decorative Kufic script became popular in inscriptions, the decorative elements of which are knotted representations and arabesque decorations. In the Seljuk period, simple arabesque and limited colors, especially gold, were used in the decoration of pages. In the 7th and 8th centuries AH, with the advent of the Mongols and the Ilkhans, the style of writing and page layout of the Qur, anic manuscripts became more complete. The dimensions of the central inscription are wider in the 5th and the 6th century Qur, ans, and in the following centuries, the inner or outer margins occupy the most space of the page; which can be seen in most of the Qur, ans of the collection. The outer margin in most of the studied Qur, ans, occupies a wider area comparatively. In more than 88% of the cases the Naskh script has been used, while the rest represent the Muhaqqaq script. 38% of the Qur, anic manuscripts are written by translators; mostly in Nastaliq. It was also found out that about 44% of the manuscripts have a seal of recognition.

Studying Islamic manuscripts and different art, which enriched them as masterpieces show that different factors and elements are employed to obtain artistic vision and composition. Calligraphers, painters and illuminators works of art are unified in a pleasant and beautiful appearance. The Islamic manuscripts are written in different types of scripts, languages but almost all of them are written in Arabic alphabet, which is written from right to left. A ruler called Mastar is used to adjusting text rows in the pages. However, sometime the text is written diagonal. One of the factors, which caused to develop a new form of writing and as its consequence, a new form of combination in calligraphy and painting in Persian manuscripts, which is writing texts diagonally. Writing diagonally started at first in the scientific manuscripts and it developed in the 9th century while Nastaliq script selected for writing artistic manuscripts. Then in Safavid (1501-1721 A.D) and Qajar (1796-1925 A.D), periods writing texts diagonally became more complicated somewhere it is heard to read the text. Writing text diagonal resulted in a variety in page layout and also it resulted in using all the page space for writing. Writing text diagonally in Islamic manuscripts at first was appeared in scientific manuscripts. In Addition, some necessaries such as lack of enough space for writing, comments, corrections or translations caused to write text diagonally. Writing diagonally at first was appeared inevitable but Muslim artist used it as a decorative element in the page layout. The diagonal texts in first poetry books are special words, which separate prose text from poems. In scientific manuscripts, the words, which were written in the tables, were diagonal due to   the length of the words and limited spaces for writing. Writing diagonally then appeared in the last part of text, in the end of manuscripts or before a painting or illumination in the manuscripts. The oldest manuscripts which have diagonal writing in the text is a work of Saadi belongs to 721 Hijri .Writing texts diagonally then was extended to margins and made a different type of layout. This enable copyist to write different works in a codex, but also it created a diagonal illumination:  Diagonal Tazhib, on top of diagonal text, which became a usual ornament in Shiraz manuscripts .The oldest manuscript which have some complete works in margins, which are written diagonally, is a collected work from 754-756 Hijri. Making texts diagonal are often seen in literary texts and became a main factor in manuscript layout .There is not a study on the origin of diagonal writing and its improvement. The authors here try to find the early manuscripts with diagonal writing, how it became a decorative factor and how it influenced other elements in manuscript decoration. Diagonal writing both as artistic calligraphy or usual handwritings are studied here .Some early manuscripts studied and the oldest diagonal writing were identified from 10th century, which appeared in scientific manuscripts before literary works.

The present study, alongside the value of the manuscriptology of Quran, makes a visual study of the opening pages of a collection of Qurans that have been preserved in Astan Quds Razavi from the 6th to the 9th century AH with the aim of laying stress on the layout, proportions, decorations and illumination. In this research, it is intended to find answers in connection with the layout feature of the opening pages in the Qurans that have been preserved in Astan Quds Razavi from the 6th to the 9th century AH and also the similarities and differences existing in the layout of the mentioned Qurans. Thus, in the above-mentioned Qurans, after the introduction, the opening page of the Qurans was examined, analyzed and discussed in terms of layout and decorations and notable results were obtained in this regard. It should be stated that the current study has been conducted by using a qualitative approach in which a historical, descriptive and analytical research method has been employed. Further, this research has been classified and then analyzed while having targeted statistical population and sequential sampling in the direction of maximum differences and similarities. Based on the findings obtained from the present research, it has been demonstrated that the layout of the Qurans’ opening pages has had an evolutionary movement from the 6th to the 9th century AH. In the Seljuk period, we observe that scribing and calligraphy have had significant growth and the sextet hands were also regulated and systematized. Moreover, during this era, skilled well-known scribes wrote the words of Allah on the surface of the paper. In the mentioned period, Kufic and Riqa’ scripts were applied more than any other scripts in the writing of the Quran. In the decoration of the Qurans, geometric forms consisting of regular polygons, circles and arabesques limited to twisted lines and limited simple bergamots and colors such as brown, vermilion, black and especially golden color were used. In layout proportions, the priority was the blank space and the artist paid special attention to this issue. It should be also noted that the greatest surface, in most cases, has been dedicated to the central inscription and the upper and lower inscriptions in some Qurans did not have equal proportions. From the first periods, the artists were familiar with the ruler and cleverly took into consideration the lineation and line space. These artists even accurately placed the sign of verses over the last verse, which also continued in later periods. In the Ilkhanid period, it can be seen that composition and layout became more consistent and more orderly and the layout principles were more closely respected and the blank space was reduced in this era. The use of golden and azure colors, along with colors used in the previous periods, became widespread. Geometric forms kept their place alongside some naturalistic elements such as arabesque foliage and colorful Khataei designs in the page. Motifs of flowers and cloud-shape margins and hachures and sometimes arabesques in this period, along with verses, featured in the central inscription. Scribed Qurans in the Timurid era were principled and systematic in terms of structure and using naturalistic elements and elegant designs. The maximum use of the blank space of the margin by wide lassos with azure rays of light in the opening pages attracts the attention of the viewer. In addition, dynamic proportions were found more than the static proportions in the aforesaid Qurans. The application of golden, azure and vermilion colors, along with other various colors, was among the main characteristics of decorations in this period. Also, in proportions of the components, the greatest part has been allocated to the epigraph after the lasso and the central inscription, and the smallest part has been dedicated to the lower inscriptions. Verses have been also written on the inscriptions with Sols, Riqa’ and Reyhan scripts. Finally, it can be mentioned that since the beginning page of the Divine Word has been considered as the most important part in the writing of Qurans, it has also been of crucial importance in terms of layout, proportions and illumination in the page. Therefore, the art of scribing, from the 6th to the 9th century AH, has advanced from a simple and unadorned form towards integrated and elaborate designs, and decorations in Qurans have been also considered as an aesthetic element in layout. Further, the composition of proportions and division of the components were based on a certain order. Hence, geometrical structure, proportion and balance are of great importance in the layout of the Qurans under study and the scribe has observed these principles based on the science, technology and art which have been popular in his own time and thus has created beautiful and unmatched compositions.

Old sources are silent about the layout system in Iranian manuscripts. Only some contemporary researchers try to retrieve this system relied on the analysis of a number of these manuscripts. M. Amin. Mahdavi, in a paper titled "Evidence for grid layout in Persian manuscripts" attempts to determine the location of the text format on a page, on the basis of review of 84 different versions; uses a chess plot that divides the page into a horizontal and vertical network structure. In his article "Recherche sur le Module et le trace Correcteur dans la Miniature Orientale", Chahryar Adle also justifies the layout of “Futohate Homayon”, based on the chess infrastructure. Using such an infrastructure means that, on the one hand, the four parameters of the length of the header, the length of the footer, the width of the outer margin and the width of the inner margin should be from the proper relation or at least by an additional 1⁄2, as claimed by Adle, with the length of the page in the parameters of the header and footer lengths and with the width of the page in the parameters of the outer and inner margins; and on other hand, the parameters of the header length with the length of the footer and the width of the outer margin with the width of the inner margin, also show significant proportions. However, there are some Timurid versions, which lack some of these qualities in some of the parameters, and therefore the method proposed by these researchers cannot justify the system governing their layout. The present research has tried to determine how these manuscripts are made layout, in the form of three Quranic versions which are now preserved in the National Museum of Iran. The approach of this research is quantitative and the method used in it is descriptive analytic case study. The results of this discussion showed that there might have been another way of design, not based on the principle of dividing the sides of a page into equal parts, but on the basis of two-page design on the face. In this way of layout, the designer divides the length of the bi sheet into n equal parts, assigns 1⁄n of the middle to the inner margins, and the same amount from the top or bottom of it to the margin of the header or footer. Then, using some geometric methods, which mainly relate to the drawing of the main rectangle's diagonals such as bi sheet rectangles or page rectangles or sub-rectangles such as rectangles derived from the page frame and guide lines; determine the location of the other dimensions. The latter method is not only compatible with the construction of a book in the Islamic Middle Ages, which is based on a bi sheet, but also allows the designer to choose the frame appropriately, without the need for the use of the sophisticated numeral system; provides a framework for the inclusion of illumination or text, in which the length ratio is always proportional to width.

The emergence and continuation of different styles and patterns for the layout is in all incidental age groups that we see every day. Ancient Persian culture has its own surviving artwork such as Behzad’s work, which can be a good model for publicity and social purposes. One must note that language and dialect type is as important as decorating pattern of the pages and the pattern’s cultural originality.The main purpose of this research is to study the principles of Behzad’s worksheet in the Herat School. The questionis, what is the composition and layout feature in the images and can it be a good model for today?The images of the Sa’di version of the National Museum of Cairo are a model for introducing a graphic-orientedapproach. Researchers in the field of painting attribute paintings of this edition to Behzad. The research methodologyis a descriptive and analytical paper which is a specialized consideration of the layout of the page such asMargin, Grid, Piling and Paste Image and Post, considering the capacity of the images. The findings indicate thatthe versions of the above version have the ability to make a proper layout for a layout. Based on the pillar systemof the same images, columns can be introduced. Similarly, observed placements and margins can be the guide forthe page designer in the same areas.

Websites, are considered as one of the message tools with unique properties on modern communications. For this purpose, taking into consideration of page layout and graphical value or structure, influences on making better relationship. The research objective is to determine what patterns are followed by IRIB TV Channels web pages structure, to introduce TV Channels websites and their graphical properties and develop art knowledge development in the field of design of the websites. The research method is descriptive-analytical method. The statistical universe includes 21 samples of IRIB Channels webs homepage and the samples were selected electively. In this research, case study of IRIB TV1 Channel is taken into consideration. Therefore, initially, substitution of separated elements by collecting the images from these websites and using computer and finally their relationships and configuration of effect for awareness of production mode and web pages functions and understanding of specialty concepts of work result. This research attempts to answer the two following questions: What properties do graphical structures of IRIB TV Channels Webs have? What are the differences of IRIB TV Channels Webs with each other in terms of graphical structure (model)?
This research shows that IRIB TV Channels have more used elements of "Image" and "Color Surfaces" in their structures and most structure of IRIB TV Channels Webs is based on golden ratio (about 57.1%). IRIB TV Channels Webs contain long and busy homepage which should be recovered and changed to access the pages with proper configuration , site activity and attractive page layout for attraction of more user.

Annotations are adding notes on the margin of pages. In manuscripts of Quran, verses and chapters are explained in annotations around each page. The annotation of Quran started and continued since Prophet Mohammad (peace be upon him). But when the book designs advanced, the appearance of manuscripts of Quran became more complete because Qurans pages always had the richest art and decorations. The annotation was constantly neglect in explanation of the aesthetic features of writing Quran therefore, this study aims to get visual aesthetic features in the annotation of the selected manuscripts in 10th to 14th century AH. In total these are 23 manuscripts of Quran and it describes the common patterns of the structures and organizes the components of them. The reason for this selection is that the annotations are common during the Safavi and Qajar periods. The results show, the annotation of the selected manuscripts of Quran have the best feature of divisions in dimensions and their composition of elements follow the current standards to form harmony and coherence in visual image. So that, their aesthetic aspect are preferred to readability. This study is based on analytical- descriptive method and accomplished through library sources and observation.

The arts of book owe theirprogress and development to the high status of the holy Quran and its authority for the Muslims. Following the advent of Islam in Iran, inscription and ornamentation of the Quranic pages gained an especial significance and the richest ornamentations and proportions appeared in the first pages of Quran manuscripts.Page layout is one of the dependent and significant arts of the book and Quran inscriptionwhich establishes a proportionate relationship between the components of a page. In this research the page layout principles in the opening pages of Quran manuscripts from the 5th to the 12th Centuries of the Hegira were studied to better identify the masterpieces of the Islamic art.The results of the research showed there are similar roots in divisions, proportions and compositions of the opening pages of Quran manuscripts from these periods which confirm that thelayout traditions and achievements have been passed on. The opening pages of Quran manuscriptswere significant in followingharmonious and golden ratios, logical divisions and arrangements of the elements and using the possibilities of inscription and free spaces in organizing the pages.They were designed based ona geometric model. This paperwas conducted usingdescriptive- analytical method, based on library sources and observation of thecollectedsamples.

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?

With the appearance of Safavid dynasty that Iranian independence interwoven with Shia thought, formed governmental foundation, Epopee Writing was considered aiming expression of authority and courage of Safavid Kings as well as legitimacy of Shia thought i. e. Heidari Invasion (HamlehHeidari), authored by MirzaBazel and Past Epopee (ShahnameMazi) by GhasemiGonabadi are two sampels of this type. This paper tries to study a special version of Past Epopee (ShahnameMazi) which is accompanied with another heroic epopee named Zafarnameh (The Epistle of Victory) (Timor Nameh) by Hatefi in a special form. This research aims to investigate the particular features of these illustrations like: page layout، composition and production motivations of this unique version. This article have been written by descriptive-analytical research method and the information was gathered using the library. The results show a modern page layout in book design in writing verse and poem in vertical tables and margins simultaneously tries to indicate Timour and Shah Esmail personalities as high-rank authority in composition. On the other hand،the creator of art work in order to show Safavid substitution with Timurid, has deliberately drawn Shah Ismail I, beside Timur and also has emphasized on their superiority and great inspiration in composition.

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?