جستجوی مقالات مرتبط با کلیدواژه « فلزکاری » در نشریات گروه « هنر و معماری »

Inkwells are tools considered in relation to the art of calligraphy. Until now, no study has particularly been done on the metal inkwells of the Metropolitan Museum. Therefore, this study addresses the Iranian metal inkwells, belonging to the 11th-16th centuries AD (5-10 A.H.), in terms of their shape, decorations, and patterns. In the middle centuries, metal inkwells were highly popular and exported to other countries; this fact highlighted their importance and beauty among other Iranian metal works in Islamic era (Shea, 2018, 45). In order to determine the features of these Iranian metal inkwells in terms of shape, decorations, and motifs from the 11th-16th centuries in the Metropolitan Museum, this study first addresses the metalworks of the Seljuk and Safavid eras; then, it identifies and analyzes the common designs and decorations of inkwells in terms of vocabulary, usage, and appearance.

This study examined and compared 6 Iranian metal inkwells preserved in the Metropolitan Museum, belonging to the 11th, 12th, 13th, and 16th centuries (5, 6, 7, and 10 A.H.), with and without lids; most of these works belonged to Khorasan region in terms of shape (the type of lid) and decorations. For this purpose, a brief history of the art of metalworking from the 5th to the 10th centuries AH was provided; the inkwell terminology was extracted from reliable encyclopaedias. Then, the samples were examined in terms of shape and composition of decorative surfaces. Decorative motifs of the inkwells were also examined in terms of plant, animal, geometric, constellation, human figures, and calligraphy categories, including  the use of floral Kufi or Naskh scripts by providing analytical tables and motif frequency diagrams. Data was collected in the form of library and documentary reviews, and images were collected from the website of the Metropolitan Museum.

This study used 6 samples of decoration, including plant motifs, animal motifs, human motifs, constellations, geometric motifs, and calligraphic inscriptions. Plant decorations were the most common, and geometric motifs and constellations were the least common ones. They made use of a  variety of khataei motifs, including round flowers, Shah Abbasid, and leaves along with chiaroscuro or morassae as well as ivy stems and scrolls often leading to animal heads or filling the background with geometric and human elements, constellations, and so on. . Horses, lions, gazelles, rabbits, and wolves were the widely used animal motifs that were placed among geometric frames or within the scroll ivy and arabesques, and in their background.. It was noted that animal motifs were placed in a regular rhythm at certain distances and faces of the inkwells, or they were symmetrical. Geometric motifs included sun and cross (chalipa) motifs and seven circle patterns. Human motifs were depicted in the samples on horseback or in the form of constellation motifs. Constellations were also associated with human and animal motifs due to he conventional illustration method. Calligraphic inscriptions were used on the lower and upper bands of the inkwell as well as on the cover. Additionally, Kufi and Naskh scripts with prayer phrases  for health, dignity, and happiness of the owner of the inkwell were the most common ones. Metal inkwells, used in different periods of Iranian art, indicate the importance of calligraphy in different regions of Iran such as Khorasan and Isfahan. Decorations and motifs, used in the works left from the 12th and 13th centuries AD (Seljuk period), contained mostly plant motifs, despite the flourishing of astronomy in the Seljuk period and by Iranian scientists. In the tradition of carving metal works of the Khorasan School, dense plant motifs, arabesques, decorative ivy in repeated patterns were widely used and filled the space of objects in a balanced, proportionate manner. This tradition waspreserved in the 10th century as well, and the application of Iranian Tasheer and painting patterns-- such as the intertwining of plant-animal motifs and the elegance of carving-- was doubled. The decorative motifs of metal containers such as inkwells reflected best the recorded history of religious customs and beliefs while representing religious and ceremonial celebrations as well as hunting and fighting rituals.

Most of the inkwells were baseless, and the division of the decorative space in the inkwells with domed lid was carved on three levels, but the inkwells without a lid or with a flat lid had only one surface for decoration, on which all the elements were arranged. Therefore, the variety and coherence of motifs were presented more in the dome inkwells. The 6th and 7th century (AH) inkwells all had a connecting ring and plate around their body, but the 10th century (AH) inkwells had a connecting ring on the tip of its dome-shaped lid. Results showed that five inkwells from the 5th to 7th centuries were round or had flat lids with a dome in the centre of the lid, embedded on a short vertical base. Their motifs were mostly plant motifs, followed by human and animal motifs,  calligraphy decorations, and constellations. Two of these constellations were influenced by the astronomy developed in  Khorasan School by Iranian scientists. In the 10th century inkwell, animal motifs and twists of plant motifs were more elegantly and naturalistically drawn, close to the art of Iranian Tasheer.  Also, the shape of the inkwell was based on towers and derived from the architectural patterns of a long cylindrical vertical base and a domed lid, symbolizing the sky. In total, plant decorations were the highest in number and geometric motifs (sun, Chalipa, and the seven circle pattern) as well as the constellations were the least common. Horses, lions, gazelles, rabbits, and wolves were widely used animal motifs that spotted among geometric frames or within the scroll ivy and arabesques. Human motifs were depicted on horseback or in the form of constellations. Calligraphic inscriptions were used on the lower and upper bands of the inkwells and on the lid. Kufi and Naskh scripts were the most used motif in decoration of inkwells.

Sasanian art is an original and progressive art that includes a coherent set of images in different scales, from depictions on stone reliefs to depictions of small and large metal vessels in various forms. In the metal containers of this period, various depictions including different themes and traditions are manifested. Many studies have been done on these dishes, but the narrative field of depiction in them has not been studied so far. However, the narratives depicted on the metal vessels of this period are very important from the literary, historical and religious point of view and provide important and practical documents in describing the cultural, religious and historical conditions of that period. Therefore, with a new look, these questions are raised that what narratives and themes do the depictions in Sassanian metal containers contain? And what is the relationship between these traditions and the literary, historical and religious texts of the Sassanian period? Also, investigating the traditions and themes engraved on Sassanian metal vessels and discovering the traditions hidden in them is the aim of this research. The research method is descriptive-analytical and the method of collecting library information. By placing the illustrations on the metal vessels of this period in three categories of literary narratives and themes, historical narratives and themes, and religious narratives and themes and analyzing the findings from it, it can be said that the literary narratives and themes in works such as the story of Bahram and Azadeh, Tree Asurig, Yadgar Zariran and Panche Tantre have been considered in depicting literary themes on Sassanid metal vessels Also, the narratives of bravery and warfare of the Sassanid kings can be seen both in books such as Ardeshir Babakan's workbook and in the metal vessels of this period in the form of illustrations of the hunting and bravery narratives of the Sassanian kings. Finally, the narratives and religious themes in the book of Avesta and Bandheshen have been taken into consideration in the illustration of Sassanian metal vessels, including the illustration of the narratives related to the goddesses and their supernatural powers, the story of creation and other religious topics.

Metalworl art, manufacturing and decoration of various types of metal works during Islamic era, is one of the most important achievements of art in the fifth, sixth and seventh century AH at the same time as the seljuki and Mogul. this art at this time was able to conquer much of the geography of Islam and in particular Iran, mousel, syria and egypt, with the genius and creativity of Iranian and Muslim artists, become one of the most prominent arts of the mentioned periods. mousel metalwork School during the Boom of Mousel city and during the rule of Badr al-Din Lolo, (1229-1259/ 637-611), one of the most active schools and poles of metal production at the time, which - according to the manner of making and decoration of works that were ineffective, had great beauty and great use - was able to achieve significant prominence. Now many of the works of this school are decorated with the museums and collections of the world. In this article, two metallic works of two metalworkers are examined and analyzed, basin of ahmad zaki alnaghash mouseli and flower pot of ali ibn hamoud mouseli.the present study is fundamentally objective from the perspective of the research method, it is descriptive-analytic.the method of collecting information is also a library and search in museums.

In the Seljuk period, the decorative motifs of metal works reached the peak of prosperity and innovation. Among the motifs , the combination of  " Man - calligraphy " as a new development in Islamic art and the Seljuk period considered . The nature of the relief only to create beautiful images and forms can not be , but the designer in the show themes difficulty trying to show the inner meaning by thinking and belief true in societies in those days, taking into account the effects of political , economic and cultural era have had The nature of these motifs cannot only be the creation of beautiful and decorative images, but the designer has tried to show an inner meaning based on the true thinking and beliefs in the societies of those days, taking into account the political, economic and cultural influences of each era . The question that is raised is : a mix designs " Man - calligraphy " on the metal works Seljuk What are the themes and meanings ? The initial assumption placed more emphasis on the decorativeness of most of these motifs, but with the research and investigation, it was realized that that the motifs in addition to the themes inscriptions include prayers, good wishes , advice and coded meanings and underlying belief in witchcraft to meet Bella and repel evil eye , friendship , support and desire to communicate and life products . also have their effect . Muslim artists based on their religious teachings us to understand the concepts and ideas of these people they lead and influence of religion in his art . The aim of this study the roots of the secret and inner meanings fine print "Man - calligraphy " is . This research is descriptive - analytic and data from literature , articles and websites are valid.

Although Islamic artists were reluctant to represent living creatures in many decorative motifs, especially in the Islamic Medieval Ages, the script formed with human faces, animals, and mythical creatures remains a significant subject in the study of Islamic art and architecture. These scripts are mostly used in metalwork, but there are many examples in pottery decorations, especially in the early Islamic centuries and in Nishapur. So far, no research has been done on figural inscriptions, but researchers have addressed this field when working on other subjects such as talking tree, waq waq motifs, and some special objects. To our knowledge, Richard Ettinghausen’s classification and typologies of the figural inscriptions in the study of a container from the Cleveland Museum, known as the Wade Cup, are the strongest research in this field. The main issue in this article is the study of these inscriptions, regardless of whether they are considered as a kind of recreational scripts or a subset of waq motifs, and by looking at the formation, and thematic and temporal characteristics of the inscriptions one becomes more familiar with possible thoughts of patrons and artists. This study aims to accurately name this type of inscriptions based on the analysis of samples and their origin, themes, and various forms, which in turn helps to find out the reasons for using this type of script. Questions: What is the formal classification of figural inscriptions in non-architectural works at the time of study? What is the figural inscriptions’ meaning in art media such as pottery and metal, and is there a connection between the shape and the idea behind it? A descriptive-analytical approach has been used in this study. All the information was collected from library documents. The statistical population includes pottery and metal objects with figural inscriptions, from the early centuries to the seventh century AH in the Islamic world and the early European samples. Sample selection was done according to the 5 classifications presented in this article and also the introduction of new samples to help reach the research goals. Research results showed that figural inscriptions can be divided into five categories: 1- ornithomorphic, 2- human head, 3- zoomorphic, 4- a hybrid, and 5- animated inscriptions. Ornithomorphic and one of the zoomorphic inscriptions are among the early species, while animated inscriptions are evolved examples. In the study of themes, two main themes, including religious concepts and wishes and prayers related to good fortune, along with two sub-themes, including the signature and name of the artist and special poems were identified. As an interesting point, a correlation between the theme and the form was observed in several figural inscriptions, so that in the wishes and prayers related to inscriptions with the theme of astrology, the constellations with the concept of auspiciousness and astrology in the motifs were observed. Also, in the ornithomorphic inscriptions in Nishapur, a considerable number of vessels had the name "Ahmad" engraved in the center of the vessel. In our opinion, the name Ahmad was chosen as it is one of the Prophet Mohammad's names, and its combination with the bird-like design should be seen as a kind of correspondence between form and theme and the Prophet's ascension to the heavens. Both of these cases mentioned above, show a correlation between the form and theme and thoughts and ideas of the artists. In the Islamic field, due to the greater quantity, diversity, and the possible precedence of Nishapur specimens over the recently introduced specimens in Susa and Basra, Nishapur can be the origin of the use of such portrait inscriptions in the Islamic world. Based on the coins obtained in the Sabz Pushan area and the Tepe Madrasa, the production of these inscriptions in Nishapur dates back to the second half of the second century AH; to the time of the Samanids and most likely to the pre-Samanids.

Familiarity of Iranians with copper metal and its smelting industry dates back to at least the fifth millennium BC. Metal that has been used in various historical periods from ancient times to the present to make various tools. The formability of this metal has revolutionized the history of human civilization and has multiplied its use. In addition to the manufacture of war tools and industrial tools, a large number of metal artifacts have survived throughout Iran's history. Some are related to copper metal or its alloy. In addition to copper, access to other metals such as silver and gold also led to the presentation of handicrafts of these metals for Iranian art. Many researchers have tried to introduce historical works in which scientists such as Arthur Pope, Robert Dyson, R.W Frey and Mohammad Taghi Ehsani are seen. What is quite clear is the admirable skill of the Iranians from these metals and the making of precious cultural relics that have been left for us. However, the direct and systematic introduction and study of the technical and artistic features of these works have not received much attention, and on the other hand, they end the history of metalworking in the Qajar period. But the continuity of this art has not stopped moving in the contemporary period, but has given it a special dynamism and meaning. What distinguishes this article in the first stage is the typology of techniques and methods of metallurgy in the historical period of Iran, which after many studies and studies have been classified into six groups. Half reliefs, reliefs, sculpture, meatballs, lattice and sculpture have been the result of this collection. The second issue is the position of Iranian metalworking art in the contemporary period. The cities of Isfahan, Borjard, Tehran, Shiraz, Tabas, Kerman, Kermanshah, Mashhad and Yazd were studied through surveys and field interviews. In these cities, the history of metalworking, design and role, productions, creativity and innovation, and the method of performing the art of metalworking have been researched and researched by the required artists. Certainly what adds to the scientific value of the work is the comparison of these elements in different cities. The research is basic in terms of purpose and descriptive-analytical in terms of method and nature. The method of collecting library information is specifically based on field data. The most important and characteristic features in each city are; Use a variety of steel rods hachure and Without hachure and metal on metal movement in Isfahan, The use of Warsaw metal in Boroujerd, motifs or traditional Iranian motifs in a new format in Tehran, the use of indigenous and symbolic motifs in Tabas engraving, Stamping in Kerman, designs of historical monuments in Kermanshah, gilding on other metals and gilding on stone, using three metals gold, silver and copper with different applications and competition of these three metals and gold products with native designs of Yazd, all of the features of engraving is in every city.

Bionic is a science that human designing and making her own life-style appliances inspired by nature and existence system and from the past to the present day, can be seen the patterning of nature can be seen in the art and archeology of civilizations. Regarding the usage of Bionic, it should be noted that this science covers a wide range of fields of research and is used in many fields of technology. Cow-head mace is one of the weapons in the New York Metropolitan Museum and it belongs to the Qajar period. The Cow- head mace structure has a formal and physical appearance similar to that of a cow animal and this work seems to be made According to bionic science. The importance of this significant issue has made the necessity of the present study. The research purpose is to identify the usage of bionic science in the design and making of the Cow- head mace in the New York Metropolitan Museum. The study question is: -How has bionic science been used in the design and making of the Cow- head mace in the New York Metropolitan Museum? The present study was done by analyzing library and documentary information with a descriptive-analytical approach. The case study included Cow- head mace in the New York Metropolitan Museum and the design and make of the mace was analyzed from viewpoint of the bionic science. Results show that the Cow- head mace example of the Metropolitan Museum was designed with bionic science and inspired by cows head structure and its weaponry performance is similar to the horn function in the body system of a cow in general, the design and construction of a mace in the shape of a cow's head, along with its symbolic use, has increased the efficiency and performance of this weapon

Niello is a decorative art technique on the engraving surface of metal and that usually use to create contrast and look good of engraving motifs on metal surface. Today, Tabriz and Ahvaz cities in the east Azerbaijan and Khuzestan provinces are considered as the main centers of Niello art. Also Most of the Tabriz Armenian and Mandaean tribes in Ahwaz have occupied this Artistic industry. Therefore, the main purpose is to introduce the Niello technique in the Tabriz and Ahwaz and the comparison of decorative motifs among two Native tribes art in the different geography. So the research questions are: 1- What are there the decorative motifs in the Tabriz Armenian and Ahwaz Mandaean Niello art? 2- What are the similarities and differences in the decorative motifs of Tabriz Armenian and Ahwaz Mandaean Niello art? So the library, documentary and field information are analyzed with descriptive-analytical-comparative approach. Results indicate that have been used more than herbal, herbaceous, geometric and abstract decorative motifs in the Tabriz Armenian Niello art and most of the decorative motifs on the Mandaean Niello art are herbal, animal, human motifs which are depicted as scenes from the landscapes, nature and geography of Mandaean life in Ahwaz.

Oil lamps had a great diversity in form, ornaments, and production techniques during the Islamic era. They were widely used due to the "simplicity of light production", "availability of raw materials such as tallow, fat, and wicks", and "suitable dimensions and weight". The advancements in metalworking, especially during the middle Islamic centuries, made various kinds of metal oil lamps to be produced. Several metal oil lamps are kept in the Harandi Museum of Kerman, which have never been brought to the attention of researchers and have not been introduced despite their importance in terms of forms and ornaments. The purpose of this research is to study the typology, explain the manufacturing techniques, introduce the origin, and analyze the relationship of these oil lamps with samples from other lands. The questions are: What types of these oil lamps are included in terms of form, ornaments, and manufacturing technique? How is their influence with the examples of other lands? The samples were collected and studied in the field (in the Harandi museum) and some data were used in a documentary method (published studies). Typology and analysis have also been done based on the comparison of Harandi samples with published works. Based on the results, the oil lamps of the Harandi Museum are divided into spherical, teardrop, and hexagonal in terms of shapes and structure. Some of them have linear or circular ornaments, Kufic inscriptions, and additional decorations, generally the body parts of birds. In some oil lamps, the tank and the place of the wick are integrally cast, and in others, they are cast separately and in two pieces. Also, the shape and dimensions of the handle and the presence of the base have affected the ease of use of oil lamps. Based on comparative chronology, all samples belong to the middle Islamic centuries, especially the 6th century AH. This time coincides with the Seljuk rule of Kerman (Qawardians), one of the brilliant periods of Kerman's history. Also, among these works, two groups of "official and comprehensive" and "local and regional" works can be seen.

Metalworking artist Mahmoud Dehnavi is one of the famous metalworking artist in the field of contemporary Iranian engraving, whose works are kept in museums and private collections. Rhytons are one of the most important works of this artist, which have been designed and made inspired by the art of the Achaemenid period. Metal Rhytons with animal heads are important Applied and ritual works of the Achaemenid period and they have a lot of religious, ritual and artistic importance. Therefore, the importance of Rhytons and the source of inspiration for these works by Mahmoud Dehnavi, necessitates the present research and in this research, have been identified the properties of Achaemenid Rhytons and engraved Rhytons of Mahmoud Dehnavi and the similarities and differences of these works. Also, the questions raised in the present study include two cases: 1- What are the properties of Achaemenid Rhytons and engraving Rhytons of Metalworking artist Mahmoud Dehnavi? 2- What are the similarities and differences between the Achaemenid Rhytons and engraving Rhytons of Metalworking artist Mahmoud Dehnavi? In the present study, documentary information have been studied by descriptive-analytical method and comparative approach and case studies include 5 works of engraved Rhytons by Mahmoud Dehnavi, which includes a Rhyton with a horse's head and 4 Rhytons with a goat's head and these examples have been compared with two examples of Rhyton works with horses and goats head of Achaemenid period that are most similar to each other. The research findings also show that among the 4 engraved Rhytons of Master Dehnavi with a goat's head, 2 samples are most similar to the Achaemenid Rhyton and these are designed and made in a conical and elongated shape and the other two examples of Dehnavi's Rhytons are designed to be slightly rounder and more cylindrical. In the case of horse-shaped Rhytons, the Achaemenid sample is made with more elegance and more natural than the work of Master Dehnavi.

metalwork of Art - industry in Mosul city, was one of the most important metalworking schools in the Islamic period, especially in the sixth century and the seventh century AH and during the reign of the Al-Zangi family, and in particular, Badr al-Dīn is the most important ruler of this family. artists and artisans of this period managed to exploit and influence the techniques of making and decorating metalwork from past civilizations And the adjacent Sassanid civilization was introduced into the Islamic world,and in particular the Seljuk civilization and the metalworker of Khorasan,Producing the best works by utilizing creativity and innovation in the construction and decorating of native identity, culture and customs of Mosul. among the famous Mosul products, one can mention the watersheds of this school, one of the most important products in the field of metal containers. Shoja bin Monet Mousali is one of the most prominent waterfalls in the Mosul metals School. which, in terms of cognitive and aesthetic and sociological and ethnological values, can be a good source for identifying the society and the people of Mosul in the seventh century AH. The water has been decorated with the most advanced casting technology and is decorated with the most qualitative decorative design, that is, silver coinage. Stories motif-playing are the kind of common themes of the time of Mosul society (aristocratic and sublime class). the threads on the body of the water are: Sport, music, dance, hunting, fighting and dressing. This paper is of fundamental type, descriptive-analytical research method and library information gathering method.

Engraving on silver is one of the branches of art and metalworking. This art is considered to be the most prominent branch of metalworking art in Tabriz and is also known as Tabriz style engraving among silver artists. In the silver art of Tabriz, the technique of engraving the surface of silver metal is used. Artists in the classification of various metalworking techniques refer to engraving and carving as a sub-branch of the art of engraving. However, there is a big difference between engraving and chasing in terms of execution technique. In Isfahan chasing, there is a lot of variety of pens, but the number of pens in the art of engraving on silver is 4, and the artist makes the pens himself. The artist uses a pen and hammer to place the tip of the pen on the metal surface, and the artist removes chips from the metal surface with the sharpness of the pens, using the force of his hand, without the use of a hammer. The most important factor in the formation of Tabriz silver engraving was the presence of Armenian metalworkers in Iran. A group of metalworkers living in Van, Turkey, migrated to Iran from the northwest, first in Jolfa and then gradually to Tabriz and the central cities of Iran. Among them were a number of silversmiths. By living in the city of Tabriz, these people followed their previous profession and art and raised many people. Influenced by Iranian culture and art, Iranian-Armenian artists have taken common creative genres from Iranians and organized new artistic ideas. The history of the Armenians is so intertwined with the culture of modernity and prosperity of Iran that the study of the passage from the traditional world to the contemporary world is not without mentioning the names of a number of them. In various fields, because this lineage of Iranians had closer relations with the West due to their religious closeness to the Europeans, they made it possible to transfer different cultures, arts and sciences to Iran. But what made this art flourish in the region of Azerbaijan was the public acceptance of the art of carving Armenian silver. Thus the core of the art of engraving on silver metal was formed by Armenian immigrant artists. Of course, it is necessary to mention that many Armenians had settled in Tabriz before this date. The purpose of this article, after introducing engraving on silver, is to identify the evolution of form and the common role in engraving on silver in Tabriz. The main questions of this research are: What has changed in the art of making and decorating the art of silver engraving during this hundred years? What is the history of using motifs in the art of engraving? The nature of this research is based on descriptive-analytical method and the method of collecting information is library and field. In the field method, by referring to Tabriz silver engraving workshops, visiting the Qajar Museum and personal collectors, interviewing artists and experts, and taking photos of existing samples (old and new) to collect The information was collected and then the collected information was examined and analyzed in terms of shape, role, construction and decoration techniques. The statistical population of this research has been selected from 22 works engraved on Tabriz silver during the last one hundred years. The method of analysis is also qualitative. Finally, the results of the research show that silverwork has changed its use in form after its expansion in Iran. The works of Armenian artists have had special motifs and techniques from the beginning, and over time, there have been changes in its decoration and motifs. Thus, in the historical study, considering that about 100 years have passed since the migration of Armenians and the development of this branch of metalworking in Tabriz, the art of Armenian metalworking can be divided into earlier works (first 50 years) and later works (second 50 years). ) The basic forms of tea utensils were such as cup holder, teapot, tray, sugar and various cigarette boxes. But in later periods, depending on the lifestyle and tastes of the audience, different forms of dishes have been used. Attention to the economic discussion in the collection of silver objects and luxury were the factors that expanded the form of silver vessels. The roots of silver engraving motifs in the first 50 years after the migration of artists were influenced by common motifs in Armenian art and Iranian metalwork motifs in the first millennium BC and marginal motifs in the metalwork art of the Islamic period. In the second 50 years after the establishment of silversmithing in the city of Tabriz, its form and designs have been influenced by the metalworking art of previous periods and the social and cultural indicators in the society.

Iranian metal lamp stands, especially from fourth century onwards, are considered as one of remarkable pre-modern lighting devices from medieval Islamic period. They are, as it is clear form their names, kinds of tall stands on which they would put an oil lamp to make a space as light as possible. During medieval Islamic period, forms and designs of Iranian metal lamp stands have gone through major changes and developments. Among their outstanding forms there are lamp stands with concave bases and hooked feet, which have been appeared and flourished during fifth and sixth century A. H. While Lamp stands probably appeared for the first time in the early Islamic period in Iran, their exact origin is not clear. They may be derived from some neglected forms of ancient Iran or from other neighbor cultures of Islamic Iran like Byzantine. In all it is undeniable that these products featured by Iranian design culture in the Islamic period. Therefore, the main problem to which this study has been dedicated is to depict the process of developments of Iranian metal lamp stands from Medieval Islamic period and thus to introduce their main typological characteristics. This essay studies on the developmental process and typological characteristics of metal Lamp stands from Islamic period in Iran. In this research, we tend to either figure out the step by step evolution process of these Lamp stands or show how to study the other historical devices. The main question of this research is what the typological characteristics of metal lamp stands of Iranian design are. Here, in order to go through this question, I have applied descriptive analytical method of research. The method of data gathering for this inquiry, therefore, is obviously that of desk study. Thus, I have followed and considered the development process of mostly bronze and brass Lamp stands from medieval Islamic Iran. And, studying the most important changes in design styles, the route that they have passed from the beginning of the Islamic period until eight century A. H., is recognized and depicted. Furthermore, I have decided to choose a new approach to the history of object’s design suggested by Vyas, an Indian scholar. According to Vyas, in order to be a major landmark a moment in the history of an object should indicate five kinds of changes: changes in design and structure of devices; changes in appearance of them; changes in methods of manufacturing; changes in the ways they have been used; and finally changes in objects’ relationship with their users. Therefore, according to these principles the most important change steps during development process of Iranian lamp stands from Islamic period can be characterized in three main typological groups. While first group contains lamp stands with concave bases and hooked feet, the second one consists of lamp stands with domed bases and hooked feet. And, Finally in the third group there are lamp stands only with domed bases and no hooked feet. It seems that, due to expansion in cultural and political relation of Islamic society and Byzantine world, the prototype of lamp stands has emerged under the Mediterranean influences. There has been survived candlesticks from Byzantium that share a great deal of elements with our lamp stands from group one. Especially, concave bases has to mentioned here. Nevertheless, at the same time, one can speak of the influences coming from pre Islamic Iranian design features when it comes to hooked feet. These characteristic feet are always present in the design of lamp stands and only disappear in the objects of the third group. The other characteristic feature in the design of these devices are their tall shafts. Although rarely are they intact, but it is clear that some of them are modular with globular units, while others are made of pierced metal sheets. The influences of architectural columns are evident in design of some of these shafts. Bases are also important. Whereas, bases of lam stands in the first group are characteristically concaved, bases in the second group have been through a remarkable change and introduced simple domed shapes on hooked feet. Still in the third group, these doomed shaped bases have become stepped in profile. At the end, it was revealed that the design development process of Iranian lamp stands of medieval Islamic period has been ceased as soon as their application has been reduced in Iranian society. It has been observed that the cessation of these lighting devices has coincided with the flourishing industry of known Islamic candlesticks manufacture.

In exploring the archaeology of the Iron Age in North and Northwest of Iran, the study of metallic materials is particular importance due to their technical values. Because the Base of the Iron Age chronology is northwest region in Iranian plateau, especially the Hasanlu Site. in fact, during this period the metallurgical Techniques extends to another region of Iranian plateau. In this research, we studied the methods of making metal objects of Iron Age in north and northwest of Iran. the metallurgy of these two regions was compared in terms of Technical and making methods. Also, the methods of making in the Iron Age sites of Northwest of Iran were compared with the North sites of Iran, especially Mazandaran. Therefore the Metalography test was done on Metal objects of Iron Age sites, such as Gohar Tepe site near the Behshahr City and Lafurak cemetery of Savadkuh City in Mazandaran in the North of Iran and the Iron Age sites such as Hasanlu, Kurdlar Tepe, Haftovan Tepe, Ziwyeh and Masjed–e Kabud cemetery in the Northwest of Iran, a metal sample was selected from each site for Metallugraphic test. In this research, using scanning electron microscope to studies the methods of Metal objects. The results of this test show that the most methods of making War tools discovered from the Iron Age of Northwest of Iran, such as Hasanlu have been casting and the most ornamental objects that discovered from the Iron Age in this area are made by hot hammering. The most of the Metal objects from North of Iran are made by hot hammering. Also the Metal objects discovered from the Iron Age sites in Nortwest of Iran compared to the Mazandaran represent a more complex in decoration and construction method. Based on results of metallographic tests and images prepared by scanning electron microscope, it was found that on hammered products, mechanical work such as forging was done after casting. For this reason, their microstructure is differend under a microscope. On the microscopic images of Bronze bracelet from Hasanlu, Bronze arrowhead of Kurdlar tepe, Bronze necklace of Masjed-e kabud, Bronze daggar of Gohar tepe and Iron daggar of Lafurak cemetery, coacial beads are shown very closely together with small dimension. In fact small size of the beads indicate more mechanical-thermal work. Ancient metalworkers used the metal tensile to make the Bronze alloys more flexibility, this thermal treatment improves flexibility property of the Bronze alloy and upgrading the recrystallization process of beads. On images of sample which have been discovered from the Northwest region, the number of beads with brighter color is more than beads with darker color, because, they have more tin.

The changes that have emerged after the Sassanid defeat by the Muslim Arabs and the religious changes that have emerged in Iran have had a dramatic effect on the arts, industries and techniques of the early Islamic centuries. One of these arts is metal art, which is more evident in various Islamic periods, especially in the Buyid period. The study of the evolution of Iran's art of metalworking during the Islamic period, and especially the period of the Buyids, illustrates the fact that the growth, development and early development of metal art has taken place along the ancient traditions of this land, especially the traditions of the Sassanid period. But combining the ancient traditions with the Islamic worldview has also created a strong spiritual relationship between the artist and the artwork on one hand and a deep and eternal bond between appearance and meaning on the other hand. It should be acknowledged that without the works of pre-Islamic metal art, it is impossible to understand the effect of the Sassanid decorative style on the early Islamic art of Iran. The continuation of the method of decoration of the Sassanid period in the first century of Islamic rule, especially in silverware, is quite evident, to the extent that some of the remaining examples are mistakenly attributed to the Sassanid period, and only the inscriptions on them make them distinct. Thus, there are a number of medals or coins and dishes with symbolic, court, hunting scenes, and some visual subjects that belong to Sassanid art, and on some of them the name of their owner is written in the Pahlavi letters. The purpose of this study was to investigate the fact that a large part of the principles and techniques of the Buyid period are derived from the Sassanid-era metalwork, and the artists of this period, using their culture, refer to the Sassanid kings. The most important questions that the present research seeks to answer are as follows: what are the common visual features of Sassanid and Buyid metalwork? What are the most important transmissions from Sassanid metalwork to Buyid examples? And what are the main reasons for the transfer of themes and patterns from Sassanid metal containers to the Buyid works? This research uses a descriptive-analytical and comparative method to compare the metalworks of the Sassanid and Buyid periods. The information is collected using library sources and examples of museum works with an attempt to provide a comparative presentation. Some of the examples of metalwork show the expression and reflection of common motifs and themes, the style and method of art of Sassanid art in the Buyid works. Subsequently, the reasons for the continuity and influence of the Sassanid art have been analyzed. As a result, it became clear that the paintings that have been part of Iranian symbols and used to be drawn as Sassanid motifs, are the main patterns and themes in Buyid metalwork. The most important common visual features in Sassanid and Buyid metalwork include symmetry and contrast, proportionality, enclosed framed designs, formal features, repetitions, and abstract patterns. The most commonly used animal designs are lion, eagle, peacock, goat and cock; vegetable motifs include Aggressive Leaves, Tree, Slavic and Abrasive motifs, and symbolic motifs are the Tree of Life and the role of Gilgamesh which are depicted on the Sassanid and Buyid metalwork. Animals in these two periods are often enclosed within circular frames, and the empty spaces around them are filled with plant designs and abstractions. Common themes include topics such as litigation, court, war, hunting and symbolism. In response to the questions posed in this study on the role of Sassanid metalwork on the Buyid examples and the important reasons for the transfer of these motifs, it can be said that using the descriptive-comparative method and with reference to visual and library sources, the influence of Sassanid motifs on Buyid metalwork has been investigated and according to the images presented in this research and the presence of feminine and decorative motifs together, it was discovered that the artistic elements used in the Sassanid metalwork can be clearly identified in the Buyid metalwork alongside further common features in the metalwork of these two periods.

The Egyptian Metalwork School, and specifically Cairo, is one of the centers for producing metal work in theMuslim world, especially during the Mamluk era. This school was able to produce and present significant qualitativeand important qualitative and aesthetic work in the calm atmosphere of the society of those days. The similaritiesof Egyptian metal works with works produced at the Mosul Metalwork school, show the close relationshipbetween the two schools, and in particular the impact and modelling of Egyptian artists in the construction process,the shaping, decoration and decoration themes are of great significance. Egyptian metal works, while preservingtheir own identity, are influenced by the Mosul metalwork school in the ways they are constructed and decorated.In this article, eight studies of the Egyptian metalwork school are studied, analyzed, and introduced from a cognitiveand aesthetic point of view. These works are kept at the Victoria and Albert Museums, the Naha al-Saeedcollection and the Cairo Islamic art museum.

Among the artifacts of Safavid and Qajar, which show the artistic taste and ingenuity of the artists of this period, kashkuls are an example of these works. Dervishes kashkul or more Gnostic, mystical wine ship, the artwork and one of his tools and part of Sufi culture and life and piety, which appears to coincides with the genesis of Sufism during the safavid period. During the Qajar period oit reached its peak considering construction, application and beauty perspectives. An example of this effort and artistic design is seen in the style of the prince sadriddin aqa Khan’s series related to this era. India (archipelago) is orgin of kashkul. It came to Iran and spread due the relationship between the Dervishes and Sufis of Iran and India. This article introduces kashkul, kashkul collection of the Sadr al-Din Aga Khan as well as checking and analyzing it from a technical, aesthetic and historical perspective. Meanwhile, two western scholars (Anthony welsh and James Allen) have two different views on the design date of the building and its maker artist. Anthony Welch states that this work belongs to the 11th century and the Safavid period according to his comments and James Allen considers it to belong to the nineteenth century and the Qajar era. This article is a fundamental

Metallurgy is one of the most significant branches of the art of Islamic era which had a special place among all other eras. In addition, one of the suitable ways to study and do research on inscriptions is the metalwork’s art. Safavid era is one of the flourishing ones, in which artists under the influence of Shia religion, have illustrated verses and aphorisms in the form of inscriptions on the metal works. As a result, the authors of this article have tried to study the inscriptions of Safavid era with regard to metal plates by using both a descriptive method or library-based study as well as field studies or museum-based ones. Moreover, in order to increase the quality and accuracy of this study, they focused on some of the valuable plates available in Astan Ghods Razavi museum. The result of this study shows that the metalworkers of this historic period usually paid attention to religious themes in the inscription of metal plates, the themes which consist of the names of Imams, Salavat, and some verses from the Quran. Sometimes some beautiful poems can also be noticed on these plates which point to the usage of these plates.

The art of metalwork is an Iranian form of handcraft that dates back to thousands of years ago. Each art piece representing the culture and custom of the people from the era it was made.
The achaemenid and Sassanid dynasties are two of the main outstanding pre-Islamic eras, from which valuable and priceless pieces of art have been left behind. The art from these dynasties contain various patterns, however it seems that it is mainly the animal patterns that draw the viewers to themselves.
The most predominant post-Islamic era in the art of metalwork is the Seljuk dynasty. Metal mirrors are examples of arts and crafts produced in Iran during both pre and post-Islamic eras. The mirrors were mainly round, occasionally with a handle, crafted out of metal, engraved and ornamented with patterns. Metalwork is also one of the active forms Chinese arts and crafts, and the pieces from the various dynasties mainly Hun, Tang and Song are decorated with uttermost precision. The beautiful and delicately decorated mirrors made in the Seljuk dynasty are very similar to the mirrors made in China. This similarity has brought up the question that whether the origins of the Iranian metal mirror making is China. This historical research has been theoretical and based on findings from books and documented resources. The aim of this research, was to find and show the characteristics of the metal mirrors from each country, based on the pieces of art left, in order to ascertain the thought and reasoning behind the making of these pieces. In conclusion, this research has found that the metal mirrors made in Iran during the Seljuk dynasty, were influenced by Chinese techniques.