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

In the late Safavid period and the period of Nader Shah, Poets such as Moshtag, Asheg, Tabeb Isfahani, Lotfali Azar Bigdeli and ... followed the original Indian poets instead of Indian style. With the establishment of monarchy in the dynasty of Qajar and the establishment of relative tranquility, masnaths, sonnets, rubais, parts and secrets, which is another of his other moral and educational writings for prose. Of the 9 manuscripts identified by this poet, a copy in the Tabriz National Library and a copy in the Marashi Library of Ghom, three copies are in the Library of Malek Tehran, three copies are kept in the Library of Majles and one copy at Tehran University; Obviously, due to the diversity and variety of works and strength of the poems and the contents of the poem, the critical correction of this work, especially in order to identify its poetry as one of the scientific and literary capital of the country, is a necessity. . In this research, which is devoted to a full version of Golpayegani's Divan, based on the style of its text, the information is gathered in a library way, and in the lightness analysis, a case study of 6700 bits is also available. The findings of this part of the research show that, by following the style of Khorasani's poetry in the poems and imitating the style of the Iraqi poetry in Ghazaliyat, the successful poets, especially in the influence of Elementary, Farrokhi, Hafez and Saadi, are considered.

Throughout the history of human civilization, genealogy writing has been one of the ways of providing genealogical information, which has been written in different forms such as ancestor list, family tree, genealogy, pedigree, etc.).                                             
In ancient civilizations, genealogies are part of the cultural material that, in order to identify and check the lineage of each family, they have been a source of pride for that culture and civilization. Genealogies or tree of life are among those manuscripts that are abundant in Iran. It is available in the form of a booklet and a scroll .These versions require research and visual reading. Currently, very limited studies have been carried out in this field and they are still pristine and first-hand.
There are several copies of such works in libraries and museums, which require deep cultural and anthropological research. In this article, one of these manuscripts, called "Tohfa Suleimani or Sabhat Al-Akhbar (926-974 A.H.)" which was written by the order of one of the Ottoman kings named Shah Suleiman and according to the narration of Yusuf Ibn Abd al-Latif has been chosen to be studied and analyzed in terms of the motifs in this genealogy from the perspective of Panofsky iconography. This manuscript is kept in the library of the Islamic Consultative Assembly of Iran under registration number 17966. This booklet is written in Naskh calligraphy on 72 pages. It has a grid and golden circles and black, red and gold symbols which are simultaneously and comparative deals with the narratives of several dynasties including Ottoman Turks, Iran, Prophets and Mongols and their classification in different countries over time.                                                                           
 The intention of iconography is to describe the subject and content of this artwork through Erwin Panofsky's three-step reading, i.e. description, analysis and interpretation of the image. The process of analysis is from the whole to the parts and in three levels of pre-iconographical description, iconographical analysis and iconological interpretation, from the general description of what is evident to the analysis and interpretation of the hidden layers of meaning and content in the work.
The purpose of this article is to analyze and examine the images, relationships and visual arrangement of the pages in order to discover their meaningful relationships. In order to achieve this goal, the following questions were raised: 1. What were the goals of the Ottoman rulers in ordering this genealogical copy? 2. Based on Panofsky's theory, what hidden meanings and concepts do the arrangement of text and motifs imply?
This research is of qualitative analysis type and analyzes data based on iconography theory. The first step is to describe the preview of the version. This stage is a primitive level and a natural subject. The second level includes the decoding of images in the framework of artistic meaning. In this case, unlike the previous case, we are not dealing with a tangible meaning, but with something reasonable, that is, literary content. The third level deals with the intrinsic and inner meaning of the image. It takes into account the time and place of image creation and the prevailing culture at that time and place and the wishes of the forerunners. This level is a combination of interpretation that combines data from various sources and includes cultural foundations, available contemporary texts, texts transferred from past cultures, artistic backgrounds and such things. Data collection is a library and in some sources references are in the form of URLs. The studied version was prepared from the first-hand documents of the Majlis Library and in the analysis of research cases and referencing, books and articles from reputable websites of Iran and the world have been used.
As a result of research and in order to obtain answers to the questions of this research, it was found that after many conquests, the Ottoman family achieved relative stability in the kingdom, especially during the rule of Sultan Suleiman. In this period, in order to elevate their government and acceptability among the subjugated tribes and superiority over their neighbors, they created works of this kind. To give more legitimacy and stability to their kingdom by connecting their ancestors with divine prophets. Also, by capturing Baghdad and other Islamic cities and establishing an Islamic government, the Ottomans benefited from the cultural influence of the peoples under their rule. Paying attention to relative roots is one of the honors that was especially important among ethnic groups, especially Arabs and Muslims, and the tradition of genealogy has been remembered since these days. This also caused the creation of many genealogical manuscripts during the Ottoman era. After the conquest of Baghdad by the Ottomans, the influence of Baghdad book-making, especially the genealogical branch, can be considered in the form, simplicity, and black spacing of motifs. On the other hand, following the transfer of Iranian artists and writers to the Ottoman art workshops, Iranian influence can be seen in the copies of this Ottoman era.
In the reading of the different levels of these images, it was determined based on Panofsky's three levels, the template used in this version consists of several circles that are connected to each other by simple black lines and creates a form of a genealogy booklet in which the oldest human ancestor at the beginning and the last ones are on the last pages. From the examination of the beginning and end of these lines, the narration of several levels of the history of different dynasties is comparatively going on in this version. This format has turned the book into an ancient infographic that depicts the entire human history up to the 11th century AH simultaneously in the most complete and simplest way possible.
The approach of the discussion resulted in the fact that the thinking used in the way of arrangement and visual arrangement of the genealogical maps of this version was the result of the spirit of its time and like other Ottoman works, it was influenced by the atmosphere of Iranian book design. In addition, this version borrows the thoughts of the Byzantine painting tradition and the Baghdad school. These influences are repeatedly evident in the composition of the symmetry, spiral, fringes, and golden halos. Also, all the colors are metaphorical and formed according to the mystic-Islamic symbols ruling the time. The purposeful use of golden, red, blue, and black colors in different proportions for different people and families shows this claim. This version, while being abstract, has the most allegory and color perspective and authority. The existence of Iranian, Baghdad and Byzantine painting characteristics in a new fusion, shows the roots of the formation of the work and speaks of the creation of a new style of Ottoman painting based on these principles.

The expansion of territory and defense of the existing territories has been one of significant importance to the rulers throughout history, therefore, equipping the military and designing new war equipment  was a constant devour for all power institutions. In fact, the construction of war equipments for the purpose of defense, consolidation and expansion of the ruling power has always been the concern of said institutions in different ages.Ilkhans have also needed to build military equipment such as various types of armors and weapons to ensure their authority inside and outside their territory. They needed efficient weapons to show their glory and expand their territory and maintain their power. Therefore, skilled weapon makers were hired. Meanwhile, the attention of Iranian painters has recorded the history and details of war scenes and weapons used. Weapons and war equipments from the Ilkhani period are very rare and have artistic features. Today, despite archeological excavations in Ilkhani sites, not much information has been obtained about these equipment. In the meantime, paintings of the Ilkhani period, due to dealing with battle scenes, are considered as suitable sources to know about the types of war equipments of this period. In other words, the paintings left from the Ilkhani period are pictorial documents that provide us with an image of the war equipments popular in that era. In fact, the realism of paintings in the Ilkhani period compared to other periods of Iranian painting makes it possible to rely on them in order to gain insight about the shape of weapons and to reconstruct the weapons of the Ilkhani period. In addition, writers such as Rashid al-Din Fazlallah Hamdani have recorded the culture of the Ilkhans in Jame al-Tawarikh manuscript in the order of history. The pictures in Jame al-Tawarikh provide us with the details of the life of the Ilkhans. Also, travelers like Marco Polo and Ibn Battuta, who saw the court of Ilkhans and recorded their observations, are considered valuable sources.The present research is to study and analyze the paintings of the Ilkhani period, historical books, texts and travelogues, not only to study the types of war equipment used in this period, but also to present a scheme of them for further familiarization. The purpose of this article is to examine the form, decoration and use of the weapons of the Ilkhani period. in this regard, the present study is a historical, descriptive, and analytical research, and based on manuscripts and written historical sources, aims to answer the question of what kind of war equipments were used in the Ilkhani period? What form and decorations these war equipments had? If the forms and patterns of the war equipment in this period, indicate the military rank of the owner? And if these equipments had a military use or they were just ornamental?The findings of this research show that during the Ilkhanate era, a variety of swords, maces, spears, bows and arrows, defensive shields, armors, helmets and catapults were used during campaigns in the fields of war, and that except for maces with animal heads, other equipments had military use. The evidence shows that arrows and bows were among the most used war equipments in this period, the most frequent of which are in the book Jame al-Tawarikh and Demot's Shahnameh, and it is less common in other manuscripts left from that period. The drawing bows in this manuscript are similar, and only in the book of the Manafe al-Heyvan, a different bow is used. The arrows were carried inside the slings decorated with animal and plant motifs.According to the paintings of this period, in addition to military use and hunting and court ceremonies use, bows and arrows were sometimes used as gifts to the Emperor or Khan. After the bow and arrow, the most abundant are the war maces, which are the most numerous in Demotte Shahnameh and manuscripts Jame al-Tavarikh. Their difference is in the cross-section of the maces, which are multifaceted, winged, spherical, and maces in the shape of animal heads. Winged, round and multifaceted maces are used for military purposes, whereas, maces in the shape of animal heads are more like ornamental maces. This variety of mace in the paintings shows the importance of this war equipment among heroes and powerful people. In the paintings of this period, the mace can be seen in the hands of kings, officials, warriors and heroes in battlefields, hunting, court ceremonies and hand-to-hand combat. The image of a mace is not seen in Manafe al-Heyvan and Al-Athar Al-Bakiyah.Spears come third in popularity. The image of a spear can be seen in the manuscripts of Jame al-Tawarikh and Demotte Shahnameh, but is not present in other manuscripts. Bayonets without blades, short and long, are connected to a long wooden handle, and sometimes a small flag is installed on their upper part.The sword can be seen in all the examined manuscripts, but with less focus compared other equipments. The depicted swords have thin and curved blades and were placed inside a decorated scabbard. This goes back to the fighting style of the Ilkhans, because the Ilkhans were skilled horsemen whose army consisted of cavalry with bows and arrows who aimed shot atop horses. Also, the infantry were mostly equipped with war equipments such as spears, therefore, one of the largest volumes of equipments belongs to these two types. The image of the sword can be seen in court ceremonies, battlefields, hand-to-hand combat and fighting with legendary creatures in the hands of heroes and officials, and in some paintings in the hands of the Prophet and his companions.In terms of military equipment, the most abundant are helmets, which, in addition to covering the head, have a hanger to protect the neck. Most of the manuscripts helmets have a horn-like appendage at the top, which sometimes ends with a cloth ribbon or a bunch of hair. The drawn helmets show the military position of the people, in other words, the helmets of commanders, soldiers and heroes are distinctive. The shields depicted in this manuscript are round and circular, they look easily portable and sometimes their surface is decorated with geometric, eslimi, plant, and animal motifs. Only one example of a shield in Jama al-Tawarikh manuscript is preserved in the University of Edinburgh and one example in Jama al-Tawarikh manuscript is preserved in the Diz collection, a shield in the form of a teardrop (kite) with lion motifs, plant and eslimi motifs, has been observed.Most of the depicted battle armors are full-length armors that cover the entire body in layers. But in the paintings of Demotte Shahnameh and Al-Athar Al-Bakiyah, the battle armors are half-length, layered, and made from cloth or leather. The armor of this period also shows the military position of the individuals. another war equipment worth mentioning from that period is the catapult, whose four forms are depicted in Jamia al-Tavarikh and during the siege of the city by Ilkhans.The greatest abundance, diversity and changes in the form of war equipments of the Ilkhani period are shown in the pictures of Jame al-Tawarikh, Demotte Shahnameh, and there are similarities and differences in the form of each of the war equipment used among the manuscripts. This can be seen even in Jama al-Tawarikh manuscripts and even though all the manuscripts of Jama al-Tawarikh were done in Rab Rashidi and under the supervision of Rashid al-Din Fazlallah Hamdani, however, there are differences in the form on war equipment in Jama al-Tawarikh manuscripts.The equipment depicted in the two manuscripts of Jamia al-Tawarikh preserved in the University of Edinburgh and the Khalili collection are drawn very similar in form. These similarities can be seen more in bow and arrow, archer, spear, armor and shield. Meanwhile, the manuscript of Jame al-Tawarikh preserved in the Topkapisera Museum is depicted in the form of some war equipments different from the other two manuscripts, and in this manuscript, maces in the hands of leaders and commanders with different forms are very noticeable.In terms of form, the greatest similarity between war equipments in the paintings of the Ilkhani period can be seen in the form of bow bag, shield and layered armor, and the greatest difference can be seen in the form of mace and helmet. The motifs used on the war equipments of the Ilkhani period are mostly for decoration and are sometimes influenced by the art of China and Iran. These motifs can be seen in Jame al-Tawarikh with simple shapes, curved lines and sometimes animal motifs. The variety of motifs mentioned in Demotte Shahnameh is more and more delicately displayed, especially on the quiver.

The famous Kitâb al-Diryâq of the National Library of France, which was written and illustrated by Muhammad ibn Abi al-Fath ‘Abd al-Wahhab ibn Abi al-Hassan ibn Abi al-Abbas Ahmad in Rabi‘ al-Awwal 595 A. H. in Iranian Kufic script(cursive), is famous for its beautiful writing and page images. The page layout of this manuscript, which is centered on the arrangement of text and its creative combination with images, can be considered as an excellent example of typography in the history of Iranian calligraphy. The purpose of studying this manuscript is to analyze its script and typography elements to introduce it as a source of inspiration for contemporary typography. Typography, as a branch of Graphic Design, has specific principles and rules, that applying them in a work of art would turn it into an outstanding one. The al-Diryâq book available in the National Library of France has a high level of such characteristics. The principled and well-considered layout of the text, the variety of font sizes in the lines, the variety of colors and the original composition have made this manuscript very rich in terms of graphics. In the arrangement of letters, words and lines, the positive and negative spaces are carefully adjusted. The form proportion in the calligraphy of this manuscript is well considered and the elements of the composition are well adjacent. This manuscript has many and valuable graphical aspects, and the scribe's artistic taste has had a significant effect on the beauty and uniqueness of it and its script. Among the distinguishing items of this manuscript, is the common way of writing during the production of it. The book size, the colours , the pagination, the style of illustrations, the type of paper and many other things that were common during the Seljuk era had an effect on the distinctiveness of the manuscript.Typography means the arrangement of letters and words based on aesthetic principles, in order to convey the written message as best as possible. The type of arrangement of letters and words and changes in the form and size of letters can be effective in connecting the typography text with the subject and conveying the message as much as possible. But typography, in the sense of arranging letters and words in order to convey the written message as much as possible, has a much longer history and it can even be claimed that it goes back to the history of the alphabet and writing. Along with many examples obtained from great and ancient civilizations, we also come across examples of typography in Iranian historical works. In Iran, the title of typography can be referred to more diverse and abundant examples, including calligraphy, which includes calligraphy and other types of it, letter design and the simultaneous use of script and image, which is contrary to the meaning and definition of western typography, which emphasizes the use of typefaces. With these definitions, typography in Iran is older than typography in its western and contemporary sense, and as a result, we can get an approximate meaning of "Iranian typography". As a branch of contemporary Graphic Design, typography in Iran is widely used in the design of posters, book cover titles, magazine layouts, etc. Considering the need of contemporary Graphic Design to the support of Iranian visual tradition, the examination of the typography of the Kufic script of the Paris al-Diryâq as a script with Iranian origin and visual richness in the field of typography can be a source of rich inspiration in this field, which has been less studied. Typography analysis of this manuscript can be used in the contemporary typography. The Kufic script of the Kitâb al-Diryâq is arranged and composed throughout the pages of the book in such a way that by further examination of it, the very precise and well-considered principles intended for typography can be obtained. All the pages of this book are arranged according to the rules of typography with the arrangement of words and letters. Also, each of these pages has a unique composition and arrangement, follows the principles, and has a special visual appeal. While the page grid is fixed, it has a high capability for creating various writing and page layout, and varies based on the text and the importance of the letters, words and sentences. The words in the page layout of this manuscript are sometimes normal, exaggerated and unusual. Despite having novel features and rich compositions as well as unique typography, this manuscript has been less investigated in terms of typography and graphical aspects. The present study tries to investigate the typography of the Kufic script of Paris Kitâb al-Diryâq by recognising the graphical aspects of its calligraphy and analyzing the its typography, so that its capabilities would be known and used in contemporary graphic design. This paper studies this manuscript from the perspective of graphical and typographical features, in addition to examining the Kufic script of it. Based on this, this article seeks to investigate what kind of Kufic script is written in the al-Diryâq manuscript of the National Library of France? How much legibility and Visual space does this manuscript have? What is the baseline, line spacing, kerning, tracking, leading, and text structure? The research method of this research is descriptive-analytical and its data collected through library information. The analysis method of this paper is based on qualitative studies, and in terms of purpose, it is fundamental. The result of this research shows that the al-Diryâq manuscript of the National Library of France, with the help of the Iranian Kufic script (cursive) and the personal style of the artist, the regular and beautiful rhythm in the letters and lines, the high readability of the writing and the unique compositions, has the characteristics of a proportional typography. All typography characteristics are applied in it, which is rare in its time and shines in the history of Iranian typography. The letters have a certain and regular spacing that creates a kind of rhythm. There is a calculated distance between the letters, which leads the eye from one word to the next word and leads to a more fluent reading of the text. Each part of these texts is separated from other lines by a certain size, which has a great effect on the order and beauty of the book's typography. The common diameter has created a lot of harmony in the letters.Circular compositions create symmetry and divide pages into two parts. The arrangement of words on both sides of the circle has created a different, symmetrical and beautiful composition. The similar structure of the letters makes the script strong and stable. As a result of grading pages, each page is divided into several parts, each of which has its own different texture. Fluent visual reading and understanding of the written message is easily possible. At the same time, the compositions are very innovative and unconventional, which is rare in its time. Dynamic, visual appeal, formal harmony and flexible grading have made this manuscript distinctive in terms of graphics and typography. Therefore, the al-Diryâq of the National Library of France is considered as an excellent example of typography in the history of Iranian calligraphy among Its contemporary and later manuscripts. Also, this manuscript, while respecting the principles of typography, has creative deconstructions in the composition, which distinguishes it in the history of Iranian manuscripts and shows that it has the ability to influence contemporary graphic design and can be a source of inspiration for many graphic works, especially typography.Table No. 1 deals with the study and analysis of the graphical aspects of the Kufic script of the al-Diryâq manuscript of the National Library of France, as an excellent example of typography in the history of Iranian calligraphy. Table 1: The study of the Kufic script of the al-Diryâq in the National Library of France, as an excellent example of typography in the history of Iranian calligraphy

Garshasp-nama is a poetic and agonistic story about the adventures of Garshasp ancestor of Rostam, which was written by Asadi Tusi, a poet of the 5th century. There are 39 complete and incomplete copies of Garshasp-nama, few of which are illustrated. The purpose of this essay is to introduce the British Museum version with the number or.12985 and the date of writing 981 AH/1573 AD and explore the visual structure and formal characteristics of its paintings to gain more knowledge of historical and abandoned Iranian documents and knowledge of the visual culture of the past. This illustrated sample has 8 illustrations that have the pictorial and stylistic characteristics of the Qazvin school. The present article tries to answer the question, what are the formal features of the index and the common aspects of the paintings? The descriptive-analytical and historical research method was conducted in a qualitative and inductive way. The results of the study showed; the illustrations of the edition are depicted in two themes of war and banquet, which are more prominent in the development of the theme and artistic expression due to the epic theme of the work. Although in contrast to the characteristic feature of Asadi's poems in describing the scenes of marvel, we are faced with the cautious and naturalistic approach of its writers. The centrality of the hero's character in the image and his facelessness, attention to the richness and color effects as well as the proportional composition are the most important common visual features of Garshasp-nama's paintings.

From the earliest centuries in Islamic civilization, illumination was used in manuscripts because it was used in conjunction with calligraphy. So Muslim artists have paid attention to it. One of the exquisite and artistic copies produced in the middle of the ninth century AH (846 AH), during the Timurid period in Harat, is the Nezami’s khamsah (Add ms 25900), which is preserved in the British Museum. This manuscript has been studied many times by researchers due to its excellent illustrations. Some of them are attributed to Behzad. This manuscript has 316 folios and its Dimensions is (leaf): 19.1 × 12.1 cm. This manuscript has been written by nastaʿlīq script and it has 19 miniatures and 5 Illuminations.Although this manuscript has a lot of great illuminations. But unfortunately the illuminations of this manuscript have not been specifically analyzed up to now. Therefore, the aim of the authors in this article is to show the approach of the artist or artists in designing the illuminations in this manuscript by showing the amount of diversity used in the structure of illuminations (390 inter-text panels) in this manuscript. As a result, these questions were raised to achieve this goal. 1- Considering that there are many decorated panels in this manuscript, how much variety is used in these panels? 2- Is the date of design of the illuminations coincides with the date of writing the manuscript (Timurid period ninth-century AH)? 3- How can small intertextual panels in this manuscript (390 panels) be classified? This article has been done by descriptive and analytical method, and the necessary information has been obtained from library sources and study of manuscript illuminations.This manuscript has four full decorated pages at the beginning of the manuscript. At first glance, they look similar, but studies have shown that they are different in detail. This manuscript has five Title pages, four of which were decorated in the Timurid period and one of them (Sharaf nameh section) was decorated in the Safavid period. The decoration of each of them is different from the other. In addition, this manuscript has 390 panels in the text. The first study was done on the size of these panels. The length of all these panels is equal to two of the four columns of the text, but in contrast, their width is different. 50 inscriptions (panels) were randomly selected from the beginning to the end of the manuscript and the ratio of their length to width was determined. The length of the inscriptions was a fixed number A and the width of the inscriptions was a variable number B and the ratio of a to b in each inscription was considered to be N. The numbers obtained for N were divided into three groups: Inscriptions whose n is less than 3: wide, Inscriptions whose N is between 3 and 3.99: Normal, and Inscriptions whose N is more than 4: Narrow. Results of the study: 7 inscriptions less than 3 (wide inscriptions), 12 inscriptions more than 4 (narrow inscriptions) and 31 inscriptions between 3 to 3.99 (ordinary inscriptions). So the percentage of inscriptions will be equal to: wide 14%, narrow with 24% and ordinary inscriptions 62%. Studies have shown that the width of the inscriptions varies, although a large group of these inscriptions (62% of them) are about the same size. In the second part of this study, the panels were classified according to their structure, Patterns, and colors. For example, 22 inscriptions without medallions: 21 inscriptions of Arabesque ornaments only, 1 inscription of Khatai ornaments only. 368 inscriptions with medallions: 64 incomplete inscriptions. 304 complete inscriptions: 164 inscriptions with Arabesque theme only. 131 inscriptions with Arabesque and Khatai background design and 9 inscriptions with Khatai and ... Studies and comparisons showed that the decoration of each panel is different from the other. It is necessary to mention that panels in the Sharaf nameh section remain incomplete and they also belong to the Safavid period. It was also found that Arabesque ornaments were used much more than foliage (Khatai) ornaments in illuminations, and ultramarine color uses more than golden color.Prior to this research, some researchers had noted the diversity in the design of frontispiece. But it is important to observe this amount of variation in the small textual inscriptions in this manuscript. It is very important to see the great variety in the panels of this manuscript. Because the illuminator or illuminators, due to the large number of panels and manuscript papers, could easily execute many panels like each other without the audience noticing the similarity. Therefore, this attempt to create different frames and panels in this manuscript can be considered as originating from the thought and worldview of the decorator or the decorators of this manuscript. By studying other examples, it is possible to attribute this kind of attitude to other illuminator or illuminators in Islamic civilization.

Badi 'al-Zaman Abu al-'Izz ibn Isma'il ibn Razzaz al-Jazari is a Muslim scholar of the sixth century AH who spent the last three decades of his life in the region of Diyarbakir (ancient Amidia) in Turkey during the reign of three rulers of the Artuqid dynasty and had passed away in 602 AH. He had the title of "Chief of Operations", which meant Chief of Engineers. He is one of the most important scientists and artists of "Sina'at al-Hiyal" who has been in the scientific and artistic field of producing efficient, useful and, of course, wonderful products in his time. "Hiyal" is one of the most practical scientific tools in Islamic civilization, which is the science of the solution to change and launching to meet the various needs of life; from the design of timepieces to solutions for easy withdrawal of water from wells and springs, to the construction of devices that are needed in medicine and have other applications, all are defined in the field of Hiyal. If there are different mechanisms in the devices, this science is close to mechanical engineering and the people who have done research in the field of Hiyal have been mechanical engineers, but in many ways, the science of Hiyal or at least the "Sina'at al-Hiyal" that aspect Art is being considered as part of the history of product design (industrial design) which, by using art and creativity, has identified the needs well and provided appropriate answers for them. Jazari was an inventor and has written a description of his innovations and the development of the innovations of his predecessors in an engineering and artistic way in his book entitled "Al-Jami' Bayn al-'Ilm wa al-'Amal al-Nafi' fi Sina'at al-Hiyal (A Compendium on the Theory and Useful Practice of the Mechanical Arts)". Numerous manuscripts of this book are kept in libraries around the world. Before this research, 20 copies of it were officially introduced by Iranian researchers, and in this research, 4 more copies are introduced for the first time. This book, with other titles such as "Fi Ma'rifat al-Hiyal al-Handasiyya", "Aja'ib al-Sana'ei", "al-Alat al-Rahaniah" and "Kitab al-Hiyal", is apparently the only book left from Jazari, and has 50 automatic devices invented or completed by him, in 6 groups Introduced and illustrated. Elephant water clock is an example of products designed by Jazari that is of special importance and is considered as one of the manifestations of the progress of science and technology in Islamic civilization. This device is an automatic water clock that could display and announce time along with symbolic functions, before the advent of hands clock. This product is an artificial elephant with a four-column palace on the back. A person sits on the neck of an elephant with a hammer in his right hand and an ax in his left, holding two beautiful cups on either side. Inside the palace, a secretary is sitting on a circular platform holding a pen. Above it, two dragons turn their tails around an axis and their heads protrude from the palace. At the top of the palace is a dome and on top of it sits an eagle. The other two eagle heads are visible in the front view of this device, on either side of the person sitting on top of the palace. Above this person is a graded page with 15 cells that represents time. The way this important Jazari’s invention works is that inside the elephant's belly, there is a water tank and a container with a small hole in the bottom floats on this water tank. Gradually, over a period of time, the container fills with water and sinks slowly into the water, pulling down the three chains to which it is attached. This, according to a controlled mechanism, causes the eagle to rotate over the dome and release a metal sphere, which in its path, from the top of the palace, reaches the mouth of one of the two eagles and from there falls into the mouth of the dragon. The weight of this metal sphere causes the dragon to descend, so that the sphere falls from its mouth into one of the two cups next to the elephant, making a resounding sound. Meanwhile, the person raises and lowers his hands to indicate the passage of half-time, the secretary spins on a circular platform, and on the top plate of the palace, the size of the half-unit changes. In the next half of the time, the same thing happens on the other side of the machine. The method of this research is descriptive-analytical and there is a partial comparative approach in the study of samples. During this article, the collected library data and manuscripts of Jazari book have been observed and described and based on these data, analysis and study have been done. The study population of this study is all known manuscripts of the book "Fi Ma'rifat al-Hiyal al-Handasiyya", which led to the identification of new versions of this book. The illustrations of the original shape of the elephant water clock in these versions were examined as much as possible. Out of 24 manuscripts, 11 had the mentioned image, 9 copies were definitively devoid of this shape, and the status of the other 4 copies remained unclear in this regard because did not have the necessary access to determine the presence or absence of this image in them. In the next step, 11 images of the elephant water clock were displayed and analyzed, and by presenting a summary of its illustration in the form of a table, a kind of comparative study was performed. In general, it can be said that 8 examples of this image are paintings with good, average and poor qualities, and the other three examples can only be called illustrations. Also, 3 examples of these images can be defined in the Abbasi International School (Baghdad school), two of which were depicted in the workshop of the court of the Artuqid and the other one in the workshop of the Mamluks. The other 3 copies can be attributed to the style of Indian Mongol painting. It is "Sina'at al-Hyial" that, in addition to the mechanical functions of the product, pays attention to the user interface, user experience, aesthetics, identity and symbolization. This study showed that the international language of Jazari in designing a leading clock in his time, as a scientific achievement, showed the superiority of Muslims, and its installation in the city of Diyarbakir, which is a destination for foreign businessmen and ambassadors, could be a sign of domination of Muslims over other nations. The nations whose symbols were used, namely India, China, Egypt and Iran, were in fact the greatest nations of the civilized world at that time, and in a way, showed the scientific, political and cultural superiority of Islam over these nations. It can be said that the use of many signs and symbols of the world by Jazari, such as the Indian elephant, the Chinese dragon, the Egyptian eagle, the Persian carpet in a completely advanced and progressive product in its time, indicates the existence of product design process in Jazari work, and brings it transcends engineering and closer to the concept we know today as industrial design.

The first manuscript which has been identified in the technology of making luster glaze (enamel) is the book Arayes al-Javaher. This book was compiled by Abulqasim Abdullah Kashani in 700 AH and was very effective in making the luster glaze at that time, and introduced for the first time to the world in 1313 AD. The book Javaher Name-ye- Nezami was then introduced as the oldest and most detailed historical written document on the luster glaze, where more than 26 luster formulas have been included in the book. This valuable book was compiled in 592 AH by Mohammad ibn Abi al-Barakat Neyshabouri. Previously, it was believed that Javaher Name-ye- Nezami is the oldest written document on the luster enamel. But, the emergence of book of Jaber ibn Hayan, called al-Durra al-Meknuna in recent years, by Ahmad Yusof Alhasan, revealed correctly how the father of chemistry, Jaber, deals with luster enamel formulas. He was undoubtedly the source of chemical knowledge for other scholars in later centuries. It is very important that the emergence of glass in the second century was coincided with the emergence of the painted luster glass. At the moment, the manuscript al-Durra al-Meknuna was the oldest written document on golden-colored paintings (luster enamel), where it had widespread formulas in this field. This book also contains more formulas about the luster enamels than other historical books and can be important in terms of the origin and nature of the luster -plated technique. The treatise can be divided into four main themes. The first is on the manufacture of coloured glass. The second is on lustre painting of glass and the third is on the colouring of gemstones with descriptions of two furnaces for this purpose. The last one is concerned with the treatment of pearls and gives recipes for glues and other related materials. On the other hand, the treatise contains 118 recipes for talawih (lustre painting of glass), in addition to nine recipes inserted by the editor, al-Marrakishi. However, other books have limited number of formulas, for instance, Arayes Aljvaher and Javaher Name-ye- Nezami have two and thirty formulas, respectively. In a typical process described in the book, metallic ingredients, mainly burnt silver, burnt copper or copper compounds, iron and its compounds and cobalt blue, plus other materials such as cinnabar, magnesia, realgar, orpiment, sulphur, and vitriol, are pulverised individually in vinegar or citron juice and mixed together. Glass articles such as cups are painted and decorated by the colouring mixture and are then introduced into the smoke chamber in the oven. When the cups become black, they are withdrawn and allowed to cool. Then, they are washed until the colour appears, while by introducing them again into the fire, the colour intensifies and changes. Sometimes they are introduced into the fire once again and the colour becomes brighter. The furnace designed in the book is a type of traditional wood burning stoves, where it has four shafts and a fireplace chamber. Inside it, there is a relatively large chamber for the arrangement of ceramic products. In the upper part, there is a circular door that houses the entrance and exit of the furnace to arrange the products. This kind of furnace has been widely used in most regions of Iran. In relation to the term “Zarrin fam,” various items have been mentioned in the literature such as glaze, enamel, ink, talawih, luster, gold glaze, felez fam (metal fam), but in this research, the term “enamel” has been used. The book “al Durra al-Meknuna” has several formulas, so it is recommended that these formulas to be tested on glass and glaze in the future.

Qajar era coincided with influence of west culture, art and industrial inventions to Iran. Some of these events derived from political exchanges, and inlet of new inventions and industries like printing devices, photography camera etc. and brought a considerable effect on Iranian traditional art. Lithography devices entered Iran after lead printing and was among industries that transferred the book designing practices to new emerging printing industry and changed it. In this paper, we try to compare two documents from Qajar era. One manuscript, and another lithography oeuvre and both are related to first decade of 20th century, layout practices in the transition from manual version to lithographic version are discussed. The author assumes that the artists involved in the printing at Qajar era, in addition to transition from layout traditions of manual versions, they transferred the image interests and Qajar ornaments to lithographic printing. The most important achievement of this era is stereotype of the idea and political goals and interest to symbolic images. Therefore Lithography had effected on the Qajar layout meanwhile by making stereotype from manuscript and traditional bookmaking too. The ornamentations of flower, leaves and arabesque designs, and images of crown, king, angel and geometrical divisions common in manuscripts and some written ornaments such as stamp assumed in the form of image stereotype in lithographic books and emerged in governmental documents by prevalence of lithography. These stereotypes have their origin in ancient era and old convictions and turned into symbol of culture and Iran history in Qajar era. In this paper, layout patterns and its ornaments have been analyzed in the transition from manual version which led to production of Qajar image stereotypes. This research is carried out in comparative and analytical methods, on the remained and available documents from the Qajar Age, with purpose of understanding the changes of Book Layout Principals, the changes which had been made on traditional methods since the Qajar age until contemporary age. For Understanding the method and style of design and Layout in Qajar era, from traditional style in transition to the contemporary time , by  Studying Two Qajar era Documents by Approach of Influence of Printing on Traditional Layout and Establishing Image Stereotype. Given the influences of lithography, it seems that one of the achievements of layout design in this era is creating clichés and symbolic figurative templates that represent people and political and governmental interests and taste and transferred   them to contemporary age. A lots of  ornaments have been taken from  manuscripts such as panels and borders and some of them depended to calligraphy art .Almost clichés was effected from Sasanian period with concepts of  power, for example Crown of kings, another of them pointed to power of God like angels or sun . The most achievement of stereotyping in Qajar makes connection within culture and politics in the other hand within Government and people, with effect from lithography publication. In this way lithograph had great effect to nationality as a intermediary of culture of pass time.

Because of complex ambiguities, non- explicit meaning and different interpretation facilities of Hafiz poems, have few visual capabilities than other lyrics of Persian poets. Therefore a few number of illustrated manuscripts of his Divan is available and major examples are also belong to the Safavid era and after it. The main issue in this study is Introduce and study one of these exquisite and obsolete example that created in 926 AH and is now keep in library of Princeton University in America. This valuable manuscript has 6 miniatures that the aim of this paper is to explore the interactions between poetry and images and also Accuracy in visual features. The method of study is descriptive-analytic and Information collected through library resources and direct observation. The results in answer to the general question "How are the qualities of the visual elements of miniatures in relation to the lyrics?" show: Painters as far as possible with common contractual practices, has shown his loyalty to the lyrics. He utilizes spiral arrangement of human elements, selection of symbolic color and allegorical space, trying to instill picture in accordance with the mystic terms of Hafez's poems and has created the visual space fits with the theme by repeating symbolism and forms in similar topics.

The written element of script is considered as one of the basic elements used in writing and manuscripts and the main purpose of this research is to derive and study an unknown style of script that has written in Lataif-Al-Tafsir book. It was also known in manuscripts during the history of calligraphy. Traditional calligraphy has been used with various shapes in different parts of Islamic realm, in a way that in each place, it took its own specific zonal style and sometimes with the introduction of writers and calligrapher, it took a new shape. Thus, in several manuscripts written in ninth/fifteenth and early of tenth/sixteenth century in India, a particular method can be found that within a different and unknown style of calligraphy can be seen. This way of writing has been named Bihari in some appendix. However, until now, a definite analysis of visual features of this style and its relation to traditional calligraphy has not been introduced and only we can see concise ideas and hints about this script in appendix. With this purpose, a manuscript from Lataif-Al-Tafsir book (Library, Museum and Document Center of Iran Parliament, No. 12298) is chosen and the morphology of its script will be studied by historic, analytic and comparative style. Until now, the features of this style have been considered lesser in appendix. However, the visual analysis of Lataif-Al-Tafsir's script and its comparison with styles of traditional calligraphy can be effective in knowing this script style.
With this introduction, in this article it is tried to specify the main features of scripts in manuscript and derive the relation of this script with traditional calligraphy in order to partly show the unknown features of the script. In the present article, the main hypothesis is that, given to the diversity and variety of scripts, different methods in script of manuscript known as Bihari script use the features of traditional calligraphy and within the initial letters are similar to Naskh and distance between letters can show some features of early Kufic scripts. Thus, whatever makes the features of this script different probably return to the combination of characteristics in different scripts that is also accompanied with some new features such as exaggeration in the size of letters, contrast in the weight, frequent use of kashida and variation in letters, by this it took a different feature. Another hypothesis is the use of qalam in writing this script that it seems most letters were written by the nish of qalam and kashida was written by the whole nib of qalam. This shows the extensive capability of traditional calligraphy in writing and calligraphy, and it is important because of its unique features which can help reaching a new look in type design and providing different contexts in this field of graphic design. As a result, script of Lataif-Al-Tafsir's manuscript and similar examples known as Bihari are inspired from naskh script which were combined with some features of different scripts and were known among Indian Persian speakers during ninth/fifteenth and early of tenth/sixteenth.

One of the worthy works in the study of history of Persian painting is illustrated manuscripts that contain Persian painting evolution. In this article, we will present the most historical and important illustrated manuscripts of “Nezami's Khamseh” with attendance of the World Heritage Committee and UNESCO representative in Iran that was registered on 16 January 2010. This prescription is important because if we consider death of Zabihulla Safa in 619 H.A, then the death of the author of this work is less than one hundred years away, but according to the foreign and Iranian written sources, another version of the oldest "Nezami's Khamseh" has been proposed and this prescription could be one of the nearest to Nezami’s work and has been manipulated less than other manuscripts. Although this work was registered in 2010, it is propounded to the oldest version of "Nezami's Khamseh" in the Iranian and foreign reference and evidence. For identifying this prescription from Tehran University, the oldest version introduced to the art of information should be amended. The current article aims to introduce the “Nezami’s Khamse" from Tehran University and then compare it with the JALAYERI version. The Tehran University Khamse, has been written in 21*30 cm size and has four headers in Lazuli, Golden and Black colors that have been benighted by Khatayee inscription and illustrated with 17 paintings from Mongolia duration.
The Tehran University Khamse, has written in 21*30 cm size and has four headers in Lazuli, Golden and Black colors that have been benighted by Khatayee inscription and illustrated with 17 paintings from Mongolia duration. These paintings were created about its description of words and related to their texts. We can see a kind of strong combination with Sols, Naskh, Nastaliq and Broken scripts that have been sorted professionally. These scripts include “the poems of Eskandar nameh, Haft peykar and Leily & Majnoon”. The kind of paper is “Samarkand” too and uses in the other eightieth century scripts. Although there are Mongolian and Chinese cultures, a little influence of Seljuk duration is able to see in these paints. In fact, the paints are link between writing and painting of Seljuk and Mongolian periods. This version was not ordered by royal palace, because was far from some elegance method of writhing in the other similar scripts and we can say; this version was for business and selling targets, because before attack and domination of “Timor” was common in Shiraz. Therefore Shiraz was trade center for its security in that period.
In the result of article we perceive that an Iranian artist painted his work in the celestial and heavenly imagination firstly because his mind is joined by Literature that was influenced by traditions, believes, Islamic theosophy, social conditions and he considered to mystical concepts about the sorting of objects and some elements and their usages too, but it had faded gradually in the end of eleventh century was shaped terrestrial so far from celestial implications that was influenced by European paints. This perceptible changes and metamorphose was slow and gradually among four centuries but had been exist all days and its rate of changes completely depends on social, political and cultural conditions in its period and times.

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 artists of the Timurid era were fascinated with the illumination of literary books and this enhanced the art of book illumination in the mentioned era. The principals which are eminent today in the realm of illumination did not exist at that time; however، the artist was unconsciously engaged with these principals and elements. One of the outstanding masterpieces of this era is the Baysonqori Shahnameh. This artwork had a great influence on the art of Persia in which many of the forthcoming Shahnamas including the Tahmasbi Shahnameh were greatly influenced. The various features that are significant in the structure of illumination including the division of lines، the influence of decorative motifs and patterns، and the space for text and writing are chief characteristics for analyzing the manuscripts of this study which include “Monzar learns chess for Anushirvan” for Baysonqori Shahnameh، and “Keykhosor commands the call of Tous” from the Tahmasbi Shahnameh are analyzed from a comparison and comparative method. Despite the many similarities between the two manuscripts (the division of lines، three column layout، the use of symmetry and patterns)، differences include the methods applied for diminishing absolute symmetry in each page which is significantly different in each manuscript. Furthermore، in the Baysonqori Shahanmeh، the pages are less crowdy and elements have been applied modestly; however، in the paintings of the Tahmasbi Shahnameh، the artist has abundantly used patterns and various elements. Aims of the research: 1-Understanding the features that efficient in the structure of book illumination. 2-Considering the division of lines، three column layouts، the use of symmetry and patterns in the illuminations. Research questions: 1-What is the place of book illumination in the two manuscripts of Shahnameh Baysonqori and Shahnamheh Tahmasbi? 2-According to the principals of book illumination، are the two manuscripts similar to each other?

The genetic criticism in its current usage initiated when some of the critics and those who were interested in manuscripts, especially French manuscripts, founded the “Institute of Works and Manuscript Preservation” and published a specialized journal in this field named “ Origin”, and by this they practically started their studies on avan-texts and the way the works come into being. Despite the other kinds of criticism which work on the final text as something fixed and established, genetic criticism, on the other hand, starts its job from movement to fixity. Avan-texts, including handwritings, letters, notes, expanded plans to write a text, memories and so on, are the truth and the silent movements of the published text. The study of these factors reveals the author’s unfinished words, the possible world, probable creativities, plans, expected methods, obsessions, and temptations which are not present in the published text and pave the ways to the other critical approaches. At this point, a genetic critic attempts to delineate the borders between the texts, and to clarify how the mechanism of each work functions to flourish creativity.