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

The remains of water transmission management systems for urbanization and on a wider scale for agriculture show the importance of water for the governments and residents of the Iranian plateau. In this arid and semi-arid land, there is little permanent water that can solve the problem of water for urban and agricultural use over a long period of time. It seems that the technology of using Qanat in dry and watery areas was the best solution to avoid water shortage and to cross the lowlands and heights of neighboring lands. The typology of this technology in the Sassanid and Islamic periods in the Fars region is one of the goals of this research. What were the measures of the Sasanians regarding the water supply and management system through digging well and Qanat? With the change in the political and religious systems, after the arrival of Islam in Iran, which changes occurred in the management of the water transmission systems through well and Qanat? These are the issues that the current research seeks to answer. The upcoming research deals with the methodology of digging well and Qanat in the Sassanid and Islamic periods with a historical-comparative-analytical approach and using library-field studies. The Sasanians valued water and its management through Qanat and used their own special method in its construction and with the arrival of Islam in Iran, this technology continued to exist in a different way.

The formation of tomb buildings reflects the culture and beliefs of a society by considering environmental and geographical reasons. In this regard, the eastern regions of Iran have a significant role to the development and evolution of architectural tombs of during the Islamic era. Dastgardan County is located in the city of Tabas, south Khorasan province and east of Iran. During the archaeological survey of this area in 2015, a tomb building was identified, which has not been studied in terms of its architectural function and construction history, so it is necessary to conduct the present research. The research method is a descriptive-analytical. In the process of this study, it has been attempted to introduce and analyze the architecture of Dastgardan tomb building based on library resources, field study and preparation of plans. Since no historical inscriptions were found in this building, It is not possible to correctly determine the historical background and identity of the building, but according to the plan, the physical and texture elements in which the tomb has been formed. The result was that the original design of this building was derived from the tomb monuments in Khorasan with a square form in the early to middle centuries of the Islamic era. Also, by comparing the cultural data and the structural elements of the building, its construction date can be attributed to the late Seljuq to Ilkhanid period, it can be attributed to the late Seljuk-early Ilkhanid period.

The altar is a symbol of a holy place. The tradition of decorating altars, which is repeated as a stylistic form in the Islamic period, is related to the religious philosophical concept that emphasizes the concept of this holy place. Based on symbolism, the center is the supreme example of holiness and pure reality  as all other symbols of pure reality (such as the tree of life, the fountain of youth, and so on.) are also located in the center. In this research, the concept of the decorative motifs of trees and vases in the altar is analyzed considering the sacredness of this place. The present analysis seeks to answer this question: what is the relationship between the symbols of water and plants represented in the altars of the Islamic period and their earlier visual patterns in the pre-Islamic art in Iran.

This study is descriptive-analytical in terms of methodology. The data collection method is based on library review, and data analysis was done qualitatively. The principle of evolutionism is based on the fact that every cultural phenomenon should be considered the result of a long chain of changes along a time-space line.

The intellectual principles of evolutionary theory are based on a belief in an evolutionary line, a beginning, an end, and milestones that can be called moments of leap or fundamental change. In this approach, the shapes and their changes in the works were taken into consideration; it depicted how an art form spread on a territory or a historical aspect. This principle is noteworthy that some components of a certain culture and practices or customs may remain in the same culture for a long time after the transformation of other components. According to Taylor, two important laws about religion and culture exist. The first principle is the unity or the psychological sameness among human beings. The second principle is the pattern of human evolution or intellectual progress over time. The cultural and intellectual evolution of human and the basic homomorphism of the human mind are related to each other. The principles of evolutionism can be analyzed for the symbols of water and trees in Islamic altars. Persian myths have described the two symbolic elements of water and trees in the holy places and considered them to represent the center of the universe and the origin of life, respectively. In the verses of the Holy Quran, these symbolic trees are mentioned and described. The descriptions of the Tubi Tree, the Sidra al-Muntahi Tree, the olive tree along with the description of the paradises with flowing rivers show the place of these symbols in the holy book of the Quran. In these verses, the connection of faith, piety, and goodness with the symbols of water and the eternal tree is evident. In fact, these descriptions of the heavenly book in the form of an allegory, derived from the archetypes, are about the sacred tree and correspond to the evolutionary process of this symbol. The evolution of elements from the ancient texts (the pre-Islamic religious texts), i.e., the symbols of the tree and the water of life, can be seen in the text of the Qur'an, as the most recent religious text. They  have found an evolutionary and allegorical form and are continuous with the element of goodness and salvation. In this evolutionary process, a change in the meaning of symbols of the tree of life and the water of life can be seen: that is, a change from eternal life and immortality in the material world to immortality in connection with faith in the metaphysical world. In fact, the symbols have become sublime.

On the basis of intertextuality, there is no text without a pre-text, and on the basis of the theory of evolution, it can be emphasized that in the field of sacred water and plants, the oldest art forms have been established and continued from the past. These components of Iranian culture have been continued in their original form or along with evolutionary changes in the arts of the Islamic period, especially in altars. The tree of life appears with a tree and plant motif, and the water of life is represented by the symbol of a jar or cup. Based on these documents and the first principle of evolutionism, a mental and religious pattern related to the sanctity of natural elements can be identified in the minds of Iranian people. With the religious transition that happened in Iran after Islam and the domination of monotheism and monotheism, the idea of praising one God and the mystical view of the world, as the signs of the Lord, created the ground for the use of natural symbols of water and trees in altars. This common feature of respect for nature in pre-Islamic Iran, which bore many similarities with ancient civilizations, is a form of human psychological unity in accordance with the first principle of evolutionism. In Iranian altars, the sacred tree is located in the center of the altar, and sometimes it is wrapped in the form of an abstract plant motif on the pillars of the altar. The pot or jar is also at the bottom of the tree or column or on top of it. While the divine verses, which are the sources of blessing and life-giving, are revealed on it. In fact, the jar is the medium of receiving grace from heaven. The evolved forms of plant elements have evolved. Arabesques and khatais replaced the leafy trees of the Sassanid period with systematic rotations, and the jars, at the top and bottom of the columns were sometimes decorated with plant motifs. And this course of semantic and formal evolution in the design of water and tree symbols in the altar is in accordance with the second principle of evolutionism, which means progress and evolution over time. Continuity of prayer at the altar and communication with the Almighty God, accompanied by the symbols of the tree and the jar, is reminiscent of heavenly descriptions of believers’ connection with the heavenly trees, flowing streams, and the cups filled with pure wine from the heavenly streams.

aaaLion and dragon have been represented as a symbol and myth due to a number of reasons and their unique features. In Islamic age, concurrent presence of lion-dragon is found in contrast with each other in Iranian artworks, a simultaneous presence that was not found before the advent of Islam. The main aim of this study is to investigate on the way that these two concurrent symbols present in artworks of Iran. To achieve this goal, recognizing symbolic concepts of lion-dragon are studied in three areas: myths, Islamic beliefs, Iran literature which are studied to an extent by which they can pave the way to investigate these artworks and their concurrent presence. In other words, the image and imagination that is provided for the addressee by these three areas is the cornerstone of the study. The current research which is based on descriptive and analytic studies aims to answer these questions:1-what does concurrent presence of lion-dragon in artworks of Islamic age mean?2-Is the concurrent presence interpreted as a battle between Good and evil and the dominance of one over another; or does it show a kind of solidarity without any identity? The symbolic presence of dragon-lion has always been seen in a battle in artworks that is conceptually the symbol of perpetual battle between lightness and darkness, Good and evil. But it is significant to define a more accurate meaning depending on the kind of art and the place of this symbolic role.

Islamic art inherits the ancient tradition of illustration and motif, which was developed under the religious teachings of Islam. The desire for happiness and blessing in the form of written expressions and word repetition observed on the pottery surfaces of the Islamic period, is part of this legacy. The study of Elamite inscriptions as one of the oldest civilizations in the world, shows that the concept of blessing and abundance is one of the important themes of these writings, which is especially illustrated in scenes dedicated to Elamite works. In Elamite art and on Islamic pottery, inscription is associated with the concept of blessing and benevolence, which are placed next to pictorial symbols. In the pottery of the Islamic period, the text is decorated with an abstract plant symbol. The concept of blessing and fertility can be considered as one of the main aspects of human thought. Blessing and fertility is directly linked with human life. Thus, it can be represented as text and image on artwork. The present study seeks to discover how the concept of blessing and fertility appeared in ancient Iranian art, particularly in the Elamite civilization, and how this concept is represented in the pottery of the Islamic period. The purpose of the research is to explain the philosophical concept of blessing in Iranian art and to identify symbolic characters on Iranian-Islamic pottery. This research aimed at comparing the methods of expressing blessing in the oldest Iranian arts with symbolic examples in the pottery art of the Middle Ages of the Islamic period. The type of research is fundamental with respect to the purpose of the study. The research method was descriptive - analytical and data collecting is via library study by taking notes and image. The data analysis is qualitative. The findings indicated that concept of blessing emerged not only in written texts and inscriptions on seals and containers, but also in the form of animal visual symbols such as birds, fish, plant symbols such as the tree of life, and abstract symbols such as zigzag lines, circles and spirals, stars, and divine symbol. Written inscriptions revealed the concept of blessing, felicity and prosperity in the form of prayer decorated the Islamic pottery in Middle Ages. The same pictorial signs symbolizing blessing in Elamite art are also depicted on pottery next to the word blessing.The concept of blessing and fertility is one of the main aspects of human thinking. Blessing and fertility is linked with human life. Thus, it can be represented as text and image on works of art. This study seeks to answer the question. What is blessing and fertility symbol in ancient Iranian art, especially in the Elamite civilization and aspects of this concept in Islamic pottery. The main hypothesis is the emergence of the concept of blessing and fertility symbol for inscription, As well as icons in Elamite art and culture, its continuity in the Islamic pottery especially the works of Nishapur . The reserch method was descriptive - analytical and data collecting is via library study by taking notes and image. Thte analysis of data is qualitative. Based on research findings, blessing have appeared In the Elamite writing of art on stamps and with animal symbols such as bird, fish and plant motifs, the tree of life, and abstract symbols, such as zigzag lines, circles and spirals, stars and divine symbol. Written inscriptions with concept of blessing, good luck and prosperity for prayer,decorated the Islamic pottery.

With the arrival of Islam in Iran, the knowledge that had a strong connection with religion flourished in this land. Although in later periods schools were established independently from mosques, because of the religious studies in schools, the connection between mosques and schools was recreated again and they were called mosque-school in Islamic architecture. The integration of the two functions of mosque and school led to spatial innovations and creativity in the architecture of these buildings. Therefore, the architecture of these buildings had quite a special importance in the history of Islamic architecture. This article is based on the assumption that the body of Iranian schools from the Seljuk period to the Qajar period has evolved; It seeks to find the structural characteristics of Iranian schools in each historical period and also the evolution of their spatial arrangement by examining the models. For a better understanding and more specific analysis, the evolution of the spatial arrangement, typology of the structural system, and the relationship of traditional schools were conducted for the mentioned schools. This typology includes topics like structural system, spatial layout, structural communications, how to connect educational and worshiping (prayer) areas, methods of defining space (closed, open, and covered). The data were initially presented using a descriptive method and then they were evaluated through an analytical and adaptive method, and in terms of historical-interpretive approach, it was accomplished with typological analysis method and using library sources, collecting data from historical books, mapping, documents and receipts reading. Study results show that schools in each historical period in order to meet the needs of students, have found specific structural characteristics and this has led to spatial changes, including residential, educational, and worshipping areas. For example, the porches of traditional schools initially had an educational function, and students gathered on the porches to discuss. In some cases, they also had been used for praying purpose. As a result, according to the present study and the case studies, the body of traditional schools in terms of the characteristics of the main components (porch, dorm, madrasa, etc.) and spatial arrangement, have passed evolutionary developments during the Seljuk period, Timurids, Safavids, Qajar.

The civilizations of Iran and China have had cultural exchanges for a long time, and significant artistic commonalities between the two countries in different historical periods are evident. One of the common artistic manifestations between these two civilizations with a rich cultural background is pottery. Among these, the dragon is one of the symbolic motifs whose presence can be seen in the oldest literary sources of Iran and China. On the other hand, the role of the dragon has a special place in the Islamic era in Iran and the Ming and Yuan eras in China among the art of pottery. The dragon was mostly used on pottery in the Timurid and Safavid periods and can be an imitation of past examples. One of the most important necessities of the research is a comparative study of the design and role and symbolic recognition of the dragon in Iran and China. So far, no independent research has been done on it. Therefore, the purpose of this study is to determine the role of the dragon in the symbolic concepts of Iranian and Chinese art? How did the role of the Chinese dragon enter the art of Iranian pottery directly and without changing its nature? Since Chinese art and culture are somehow intertwined with the dragon and China is basically the birthplace of the dragon, by examining the role of the dragon on the pottery of the Timurid, Safavid and Ming periods, we can better understand and examine the reasons for differentiation and sharing in pottery. The present research has been done with a comparative approach and based on a descriptive-analytical method and its data collection has been done in a library method. The results show that in Iran the role of the dragon is similar to each other and also with the use of decorative elements and plant motifs in the pottery of this period are different in terms of shape and size. The Iranian artist has paid attention to its Chinese meaning and meaning, and in the pottery works of this period, the dragon is sometimes depicted alone and sometimes not alone. But in the Ming Dynasty the shape of the dragon was different and the artist portrayed the dragon as the main role alone on the pottery.

Our knowledge of the seals of the early centuries of Islamic Iran in Iran is very little. So far, limited traces of these seals have been found in archeological excavations in sites such as Neyshābūr, Siraf and Kangavar. Also, a small number of these seals are in museums and private collections. One of the valuable collections of seals of the early centuries of Islam is kept in the National Museum of Iran, which have not been studied so far. Therefore, studying the seals in the National Museum can partially compensate for the lack of information about the seals of this period. The purpose of this article is to identify the typology of these seals, and to find out the time of construction as well as the artistic style used in these seals. Using a descriptive-analytical method, this article is an attempt to introduce these stamps and to typologically investigate and analyze the writing style and decorations used in them. Finally, the information obtained from these stamps with similar stamps has been measured and evaluated. The results of this study show that the seals of the National Museum of Iran can be classified as ring seals and, in terms of shape, in two groups of quadrangular and oval with a flat surface. The seals are made of opal and hematite and their line is of the Kufic type, which is divided into five types. Apart from a seal that has a geometric pattern on the border, other seals have no decorations. In terms of the writing style, the collection of seals under study is dated in the period from the second to the sixth century AH. These stamps seem to have been used for personal use due to the short scripts on them. For engraving on seals, a shallow shaving method has been used. The lines of the seals are negatively engraved and, in their design, the dimensions of the seals are taken into account so that the height and length of the lines are in harmony with the dimensions of the seals. The sealings are simple phrases and, in terms of content, they can be categorized into two types of religious phrases and people’s names. The first type, which is seen in four of the seals in the collection (seals No. 1, 2, 4, 5), includes phrases that show aspects of Islamic beliefs in praising God, asking for help, and request forgiveness from God. The second type is seen only in one seal (Seal No. 3), in which the abbreviated name of the owner of the seal, whose identity is not known, is stated. Examination of the seals shows that both rectangular and oval shapes were used to engrave verses of the prayer and the name of the owner of the seal. Also, from a functional point of view, the introduced set of stamps should be considered as personal stamps because these stamps do not have official government titles or names related to the administrative geography of the Islamic era.

Carpet designers at all times, under the influence of indigenous religion and culture, use symbolic patterns on carpets. In the Islamic period, Iranian carpets were influenced by the culture and religion of their time and benefited from Islamic symbolism. These symbols are very diverse, but what is at stake are the symbols that have their roots in pre-Islamic Iran, but have re-emerged in Iranian-Islamic carpets. The present article tries to classify and analyze these symbols by comparative-analytical method by examining ancient motifs, then answers questions such as why these motifs are applied to Iranian carpets in the Islamic period and how these motifs correspond to Islamic thought. Due to the wide range of symbolic motifs with ancient themes, in this research, only three symbols will be discussed and analyzed, which include symbolic motifs; Phoenix is ​​the battle of lions and cows and is the symbol of Forouhar. It can be seen that symbols can survive as long as they conform to the religious and political views of the society of that day. Among these, ancient motifs in three categories have been able to survive in the Islamic period; 1- Structurally as in the past but changed in meaning in accordance with the Islamic vision 2- Structurally and meaningfully as in the past but due to the fact that it does not conflict with Islamic thought has lasted and only some meanings have been added to it 3- To Structurally and semantically, it was the same as the previous period, although it did not correspond to Islamic thought, but it corresponded to the political thought of society and the monarchy.

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.

After the discovery of Iranian rock shrines in recent decades, the nature of these works has always been debated. Very faint and vague traces from the era of the emergence of these surviving works, the possibility of accurate and absolute chronology and absolute use for researchers and enthusiasts of difficult rock works. On the other hand, the rocky and cave nature of these neighborhoods has led most scholars to attribute it to the cult of Mehr; However, no evidence of the seal of worship has been discovered or identified in these sacred spaces. Rock shrines are among the valuable works of Iranian architecture that the nature of use and chronology of these works has always been discussed. In this research, Qadmagah shrine in Azarshahr city has been studied by comparative and historical studies-analysis method and seeks to answer the following questions: 1. What is the relative chronology of Qadamgah based on archeological and architectural evidence? 2. What was the functional nature of this handicraft space? This research seeks to provide a more acceptable history and function for this shrine through a comparative study and review of some details, while examining and recognizing this sacred space. According to this research, according to the available evidence, this handicraft space is a rock shrine (monastery) related to the Islamic Middle Ages. Accordingly, attributing this area to the ritual of love has been far from the mind. Finally, although the chronology of other rock shrines requires independent research, perhaps the dating and relative use of the Azarshahr Qadamgah rock shrine may pave the way for other similar handicrafts.

Murals are the main, media of human culture and civilization and the place and its long history in Iranian art is clear. There are specific forms of mural paintings in some Iranian architecture that are different from other usual wall paintings in materials, methods as well as implementation techniques. Unfortunately, these mural paintings are not studied certainly until now. Therefore, further investigation is needed due to the importance of this issue. Regarding to importance of necessity of art understanding before conservation, it is obvious that common conservation procedures on these relics (without appropriate understanding) have an inappropriate results on authenticity and integrity of the relics. Unfortunately, there is not adequate research about technology and conservation of these relics and related fields.  Historical points, manufacturing and used materials, effects of technological problems, as introduction to conservation plan were main questions. The aim of this research is the identification of history of development, and used materials and techniques in these historic paintings by field and literature investigations. Technological understanding of this kind of murals during the time by application of literature review and data explanation. Due to low information in Persian, European Marouflaged Mural has been studied more than Iranian relics. The research subject and case studies are studied in a qualitative and descriptive research method and the subject is considered with ten historical and theoretical aspects. These paintings are executed on the layer of cloth (canvas) and then installed on the wall that is known as a part of the architecture arrays. This research at the first library study is conducted and then according to the results, the field studies are carried out and finally, the data are analyzed. Knowing the number of Marouflage according to literature review, the identification of constituent layers of Marouflage according to field studies, and Understanding the differences between a common wall Paintings and Marouflaged Mural in Iran, are the results of this paper. In this paper, the process of formation of this type of wall painting in Iran was studied and present examples of this method in Iranian architecture are introduced and explained. some of the architectural interior surfaces are decorated by the textile painting by  Marouflaged in Ilkhanid, Safavid and Quajar period; funerary monuments with polygonal plan have the most decorative surfaces such as Soltanieh Dome, Sheykh Safi mausoleum, Maryam church, Golestan palace and etc. According to studies, there was technical change in manufacturing process of large wall paintings and ceiling paintings at Renaissance period. It resulted to production of new kind of murals which known as Marouflaged Mural. The research obtained appropriate results about production, manufacturing, historical samples and effect of technological problems on conservation of Marouflaged Mural.

Undoubtedly, paintings of Islamic manuscripts era, like other arts in this period are affected by earlier periods. The objective of this study is to evaluate the images in medical manuscripts that have been rarely mentioned in researches. Since these images have scientific content, addressing the issue and proportions of the art is not considered a priority in them. However, these images have a significant impact on understanding the implications of the text where no other word is expressive and only an image can explain the content. The main subject is about a book called "Tashrih al-Abdaan" by Ibn Elias Shirazi who has used drawing of the human figure to show different body organs. Being intrepidly simple, the images present innovations that have no similar sample in eight century. The aim of this study is to introduce and review the images in the book, the origins of these images and analysis of the figures that are stimulating in terms of proportions, simple sketching, and realism and so on. In this context, questions arise: Where are the roots of these images? In this study, descriptive-analytical and library research methods were used to collect information. While examining several manuscript of this book, I found similar features in images, which show that each version somehow has borrowed or copied some features from its previous version and only the discrepancy among the painters of images has caused differences in details. The results show that the use of dignity perspective by the use of color and change elements has helped to the classifying of parts of the body. Also using the element of imagination and the writing induce the mobility feeling. These figures can be analyzed from the aesthetics point of view, are influenced by the art of their time and have influenced the subsequent periods.

Quran is the most important text in Islam that made variant nations of Islamic world such as Iranain people to apply their best of art in decorating it. After beginning of Islam, Iranian artists had made every sheet of Quran as an exquisite work of art in the end of beauty by using gold. The aim of this study is defining the process of decorating Qurans by gold and the question is that the amount of gold to adorn Qurans how much has changed over the centuries. In Astan Qods Razavi’s museum of Qurans, it is apparent obviously evolution of Quran gilding from the early Islam to Qajar period. In this research using this splendid source, the trend of changes in decorating with gold is studied. At first few section in Qurans were illuminated but in later periods this illumination was expanded and gradually arrays were being seen which were monocolor in first and then other colors were added to them as the climax of illuminating and gilding Quran is in Safavid period and since then because of domination of lithography in Qajar period illuminating Qurans has decreased. By surveying this evolution, we found that gilding Qurans had raising and progressive process in comparison with early Islamic period. This discernment puts ahead a new horizon for aesthetics of Islamic art and explains influence of various historical period. Approach in this research is historically and it is done by descriptive-analytical method using library references and field studies.

This study aims to introduce and survey some of Iran’s zoomorphic ceramic statues during 6th to 8th centuries after Hijrah, coincident with SELJUQ, KHARAZMSHAHID and ILKHANID periods. The main object of the present study is to identify the most important formal and decorative features of Iran’s zooid sculptures during this period. Obviously, the study of different aspects of the aforementioned dimensions as well as the reasons for the boom in the construction of these statues during specific ages can enhance our qualitative and quantitative cognition toward these special artistic works in an Islamic art body. To this goal, 24 distinguished statues were selected from Iranian or foreign museums and were surveyed on the basis of above mentioned criteria. The major research questions in this project are: What are the reasons and domains of incidence of these forms in Iran’s Islamic middle centuries?
What are the most important functions and techniques used in the construction and decoration of these zooid ceramic statues in Iran’s Islamic middle centuries?
What are the similarities and differences of the aforementioned statues and those made in former periods and before the incidence of Islam in Iran?
The study was conducted in a descriptive -analytic methods and data were collected in a document library method. According to the findings of the study, zooid ceramic statues of this era are divided into two categories; category of independent or integrative application and a category with no specified application or merely decorative one. The most current decorative techniques were luster ware, enamel and monochrome glaze. Also, despite the extensive patterning from ceramic statues of pre-Islamic eras in aspects of decoration and especially figures forms, they have major differences with them. So that most figures are in arabesque, geometrical, zooid and human forms and in rare cases, they are inscription like. Of course in some cases, the above mentioned were Combined and side by side. But about the forms of these statues, besides the patterning of pre-Islamic instances, are perhaps influenced from new religious, political and cultural domains of this era such as the lifestyle of newcomer migrants or some SELJUQ kings’ names like Toqrol (in hawk statues) and Alp Arsalan (in lion statues) or some astronomical concepts.

Handicrafts and Traditional Arts has a Long History and Nowadays is the Most Important Discussions in the History of Iran. Attention to Wake and Personality has Redound that is Done Wide Studies and Searches about Them. Some Past Texts are Proceed to Handicrafts Particular, and Many Texts are Proceed to Handicrafts Variant Styles for Their Explanation, Description, Realizable and Resolution. In This Article is Uses of Library Studies Style. The Study of Past Texts is Very Important for Research in the Field of Handicrafts and History of Traditional Arts. These Important Subjects Consist: Recognition of Past Handicrafts and Traditional Arts, Research in the Art Names of Past, the Culture of Correlate to Past Handicrafts and Traditional Arts, Culmination and Prosper, or Infirmity in trade of Handicrafts and Traditional Arts in the Past Time, Taxonomy and Order of Handicrafts of Past for the Better Study, to Emendate Verbal Worlds of Handicrafts, and etc.

Murals are the main, media of human culture and civilization and the place and its long history in Iranian art is clear. There are specific forms of mural paintings in some Iranian architecture that are different from other usual wall paintings in materials, methods as well as implementation techniques. Unfortunately, these mural paintings are not studied certainly until now. Therefore, further investigation is needed due to the importance of this issue.

In the scientific literature, different definitions of this kind of murals which provided examples of them pointed out: Canvas murals, Oil-on-canvas mural, Marouflage wall painting,  Marouflaged canvasmural, Oil painting on canvas onto walls, Marouflaged Canvas, Textile wall hangings, Canvas painting adhered to the wall surface, The painting had been adhered to the ceiling by Marouflage, Mural painting on canvas, Used a canvas set in to the wall, Oil on maroufle canvas for mural painting, Fabric-based murals, Ceiling canvases, Painting Hung on the wall, Wall Cover, Oil on Canvas attach on wall, Oil on Canvas mounted on wall.

In Europe during the 17th century there was a movement away from painting on solid supports towards more portable painting techniques, giving rise to the easel painting tradition. Particularly in France, traditional fresco painting techniques were replaced by mural painting techniques similar to those used in easel painting. This new mural painting technique involved the use of textile supports that the artist could work on in their studio instead of on high scaffolding in large public places1. Marouflage is the term often used to describe this mural painting process, which involves attaching a large-scale painting on canvas to a solid substrate. The solid substrate is often architectural, such as a wall or ceiling. The complete canvas murals were often hung by specialized mural hangers, not the artist themselves. Experienced hangers developed techniques with adhesive properties that were able to bond, two materials which have widely varying properties, such as degree of expansion and contraction, porosity, etc. Ideally a marouflage adhesive needs the following characteristics: a viscous paste that is easy to apply, a slow to medium setting time, high initial tack and bond strength. Using a thick paste prevents dripping and unwanted mess during application. A high initial tack prevents the mural from falling during installation and slower setting times allow substantial working time so that the large murals can be properly positioned.

Regarding to importance of necessity of art understanding before conservation, it is obvious that common conservation procedures on these relics (without appropriate understanding) have an inappropriate results on authenticity and integrity of the relics. Unfortunately, there is not adequate research about technology and conservation of these relics and related fields.  The aim of this research is the identification of history of development, and used materials and techniques in these historic paintings by field and literature investigations. Technological understanding of this kind of murals during the time by application of literature review and data explanation. Due to low information in Persian, European Marouflaged canvasmural has been studied more than Iranian relics. The research subject and case studies are studied in a qualitative and descriptive research method and the subject is considered with ten historical and theoretical aspects. These paintings are executed on the layer of cloth (canvas) and then installed on the wall that is known as a part of the architecture arrays. This research at the first library study is conducted and then according to the results, the field studies are carried out and finally, the data are analyzed. Knowing the number of Marouflage according to literature review, the identification of constituent layers of Marouflage according to field studies, and Understanding the differences between a common wall Paintings and Textile Marouflage in Iran, are the results of this paper. In architectural conservation in Iran there is a perspective called Iranian-Islamic whose meaning is the influence of Islamic belief and thought upon tradition of conservation architectural works during Islamic era of Iran.

In this paper, the process of formation of this type of wall painting in Iran was studied and present examples of this method in Iranian architecture are introduced and explained. Some of the architectural interior surfaces are decorated by the textile painting by Marouflaged in Ilkhanid, Safavid and Quajarperiod; funerary monuments with polygonal plan have the most decorative surfaces such as Soltanieh Dome, Sheykh Safi mausoleum, Maryam church, Golestan palace and etc. According to studies, there was technical change in manufacturing process of large wall paintings and ceiling paintings at Renaissance period. It resulted to production of new kind of murals which known as Marouflaged canvasmural. The research obtained appropriate results about production, manufacturing, historical samples and effect of technological problems on conservation of Marouflaged canvasmural.

Islamic calendars are unique examples manuscript according to the appearance and content characteristics. They are valuable and considerable collections of Islamic art. This research was tried to answer these questions that; what is the evolution of appearance and content Islamic Calendars and, what is relationship between ancient Islamic calendars and contemporary calendars. The authors collected some manuscript calendars of Saljughi, Illkhani, Safavi, Ghajar and contemporary calendars and studied appearance and content characteristics of these calendars and their relationships. Principal hypothesis is of this research that there is a traditional illustration in Islamic calendars and their content. The main aim is to explain formal characteristics, aesthetic arguments and artistic characteristics of Islamic calendars. Based on the research results, old calendars of Islamic period associated with table and information was entered into it, and these charts have imitated of ancient Zigs (zig or zaeeche, astronomical table) from per Islamic periods. Numerical calendars were associated with the name of solar months (Houses of the Zodiac) like, Taurus, Gemini, and Cancer. Old calendars didn’t have any decorations, while the calendars of Safavid period were decorated and illuminated. Lastly calendars are simple without decorations due to the printing industry; these calendars have the same structures of ancient calendars.

The symbol of invisible character is visible in an appearance that initiated a crucial role in men life with the creation of human being and start of the thinking. Symbols are in various forms including animal, plant and geometry, out of which animal symbols attained significant position in different periods of man life due to similarity of human and animal. Through assessing various animal symbols in each period, a horizon can be obtained of intellectual viewpoints of that period. From among different periods of history, animal symbols existing on the potteries of 3rd and 4th century AH in Iran are the subject of the present study. In the mentioned centuries, the designs of the animal symbols on the potteries are not drawn attentively. Among the paintings on these potteries animals like horse, goat, fox, falcon, camel, lion, pheasant, partridge, dove, fish, hoopoe and cheetah are used. In this study, the reason is discussed for the symbolic use of these animals. The aim of the study is theoretical which is implemented in an analytical-descriptive methodology by the use of documents. The goal of this study is identifying the beliefs and views of the pottery artists of the period. The results show that large numbers of animal paintings are used on potteries in 3rd and 4th century AH.Among the paintings, both real and imaginary animals are observed. Each of these paintings is a symbolic indication of a particular concept in human life. Certain paintings are designed attentively and some others are weakly designed.

Dragon motif is one of mythological motifs that had a special place among other designs in Iran pottery art especially after Mongol period and according to the same subject, often thought this pattern is completely to be Chinese and imported.But being the examples of earthenware and tiles with similar motifs of dragon in collections which are maintained in different domesticand foreign museumsprovided the motivation of study ahead, in order to prove the existence andapplication of this pattern before the attacks of Mongols to Iran It is obvious that analyze of modality of Dragon pattern on the potteries and tiles of Iran in Islamic period can illustrate an important mythical part of Islamic and Iranian art and show modality of effect of pre-Islamic or far eastern patterns on Islamic pottery of Iran. Objects of this paper are identification of dragon symbolic meanings, process of its evolution, the oldest period of its application and its different kinds in Islamic period of Iran. Towards these objects, first selected typical examples of Islamic potteries and tiles with dragon pattern and then surveyed their technical and decorative aspects as quality of drawing and coloring. Towards findings of survey, the dragon pattern has long record in Islamic pottery of Iran before arrival of Mongols that its roots is in Old Iranian myths and literature, as well as astrological and Sufis contexts. Also this pattern was used in different figures sometimes in form of a panther with two horn, sometimes as a octopus with three head and etc. But after arrival of Mongols often has drawn as like as Chinese dragon with long body similar to snake, dense hair, flaky skin and mass of fire and clouds.