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

Pictographs are a visual representation of culture, mentality, and different human-environment interactions in an ecosystem. The art of pictography is historically one of the most common methods for societies to convey their meaning that has been featured on stone-rock panels and frames and they have been produced and reproduced like media from prehistory to contemporary times. The diversity and abundance of pictographs in most zones of the Iranian plateau highlight the fact that their pictographs need to be further studied. This is worth noting because most pictographs were made by illiterate individuals, groups, and communities in the past. Since pictographs were made in stone-rock environments, Isfahan province was a special place for this artistic representation. However, Isfahan has rarely been the subject of archaeological studies of art. Hence, the pictographs of Dombeh Mountain near Isfahan city are the subject of our study. Since there are no precise dating methods for determining when the pictographs were made, this study aims to recognize and thematically understand the motifs and narrative scenes and experimentally analyze the pictographs of Dombeh Mountain. The research questions aligned with our goals are: 1. what motifs are found in pictographs of Dombeh Mountain in Isfahan? 2. What is the drawing style of pictographs of Dombeh Mountain in Isfahan? 3. What are the constituent elements of pigments used in pictographs of Dombeh Mountain in Isfahan? 4. What period do pictographs of Dombeh Mountain in Isfahan belong to? And 5.What regions in Iran and cultural data can be compared to the pictographs of Dombeh Mountain in Isfahan? Regarding method, this is a qualitative and quantitative study by gathering data using field, experimental, and documentary research.The results indicate that almost 90% of the human motifs were in front view, and the animal motifs were all in profile. Goats were painted more professionally, similar to their real anatomy. There were always two horns on their heads. Human motifs are mostly in front view in narrative scenes, including pastures, hunting, dancing, riding, etc. In ancient times, a ritual dance was performed during harvest or when praying for rain. In the study area, a ritual dance was performed during hunting as a thanksgiving ritual. Due to the regional climate, goats were mostly used as livestock by the local residents. Regarding the main pigment used in motifs of Isfahan, the result of analyzing red or ocher pigments indicates that they contain a high content of Fe, which is related to iron oxide or hematite mineral compounds, which is in red ocher. Furthermore, Al, Si, Mg, and K were identified in three analyzed sample points, which are usually found in clay compounds. These compounds, along with hematite, are the constituents of ocher pigment formed on limestone rocks.The painted scenes on Dombeh Mountain narrate ranching, farming, and recreational hunting. In fact, the painter painted a completely naturalist and realistic picture based on the everyday activities of the people living around him which indicates the dominant way of living at that time. Motifs of Dombeh Mountain in Isfahan are all created in a realistic style. The creators painted the pictographs with a lot of precision and elegance, and they were perfectly able to represent human and animal gestures and movements while dancing, praying, or hunting. From an aesthetic point of view, the creator has tried to include as many details and characteristics as possible in each pictograph. Another interesting point is that the pictographs are located in an area with a desirable climate and a seasonal spring, which made it a perfect location for a farming and ranching lifestyle (semi-sedentary). The climate, water, and vegetation of the area turned the subsistence economy into a proper choice of living in the area, and thus, almost all the areas surrounding the pictographs depended on this type of living. Most probably, this living system was dominant in the area in the distant past, and the pictographs were made by semi-nomadic communities.The investigations reveal that the pictographs are similar to other areas of Iran, such as the petroglyphs of Songon (Arsbaran), Bawki (Azna), Timreh (Khomein), Djerbat, Khore Hanjiran, Mahabad, Chalamber, and western Iran in terms of motifs (not the nature of the paintings). Regarding the dating of pictographs in Dombeh Mountain of Isfahan, animals and tools are noticeable. Comparing these motifs with the cultural information related to the Iron Age (e.g., horse, plow, bow, arrow, and yoke), the pictographs cannot date back to more than the 2nd millennium BC. Dating tools were used for the chronological analysis of pictographs in Dombeh Mountain of Isfahan in terms of morphological comparison to other petroglyphs and cultural information. Therefore, the pictographs can be cautiously dated back to the Iron Age, i.e., the 1st and the 2nd millennium BC, based on the animal motifs and the discovered tools.

Gypsum is one of the traditional materials in Iran that has been used extensively in historical periods, especially in hot and dry climates, in architecture and architectural decorations. In the Islamic era the peak of the gypsum stucco decoration is in 13 and 14 centuries AD. Color was used on stucco decoration to express the artistical and aesthetical effect of this art. Tomb of Seyyed Shams-din is one of the famous monument of the 14 century in Yazd. In the porch of the building, a stucco inscription in Kufic script has been executed in the form of mother and child. The background of this inscription has been executed with abstract plant motifs such as Arabesque. Blue, red and green colors have been used in the background of the inscription. Usually, in order to improve the quality of the paint layer, the primary layer was first applied on the plaster. Due to the passing of the time, only a small part of these colors remain. The conservation of the remnants of the art of the 14 century requires an accurate technical knowledge of the work. In this regard, the study of the structure of the pigments on the stucco inscription in porch seems necessary. Therefore, the present study tries to use examination and scientific studies to accurately identify the pigments used on the stucco inscription of the porch and also the golden layer on the molded gypsum arrays on the moqarnas of the arc in front of the porch in Seyyed Shams-din tomb. The results show that the blue pigment used in the stucco inscription is an Azurite; Red is a Vermilion; Green is a malachite; filler or pigment of primary layer is Huntite, and the gold layer on the molded gypsum arrays is a Tin leaf with a resin or oil coating.

The main features of Iranian painting in the post-Islamic centuries are the association with Persian literature. Persian literature and Persian art have intrinsic links, since the artist and poet are based on the unit's vision, rooted in a culture and intellectual space, to create. The result of this poet's creation is a literary work, and this work can have all the features of the work of art. As many believe that painting aesthetics originates from the world of imagination, the poet is also a painter who paints and colors the poetry space with the element of imagination. The poetic style of Khorasani is one of the poetic styles in which the combination of words and pictures and colors are best illustrated. One of the important factors in shaping and illustrating this style is the color element. The use of dyes in Khorasani style poetry is significant. Many of Iran's paintings after Islam have been depicted in the context of literary writing and poetry. The poet in Khorasan i’s poetry style, before being a poet, is an illustrator who looks at original and diverse images first in his mind and then illustrate with a unique statement in the minds of the readers. Using the name of dyes in coloring the poetry space in this style can be considerd. The Khorasanid style Poets sometimes directly used the words related to writing and painting such as “Khame” that means pen and sometimes indirectly used the dyes in various forms of expressions such as metaphor.  Since, until the Safavid period, much information is not available about the dyes used in Iranian writing and painting, it is necessary to look at the subject in order to know the history of these works to protect and restore them better. On the pther hand one of the ways to access ancient information is to study the books of that time and our literature is a legacy of literature that is rich in scientific information and we know that, The style of Khorasani is Used.dyes to coloring the poems space like painting and study about the dyes used in poems is one way to recognize the colors used in the writing and painting of the 9rd to 12th centuries. So far, Persian art pigments before the Safavid era have not only been specifically addressed in the field of writing and painting, but also in general, and in ancient texts, only in dictionaries, medical books, or books of jewels and precious stones are scattered, There are some references to the color of some of the materials .Identifying the dyes that have been forgotten or have been renamed over time is a primary motive for the author's writing of the research. One of the most important results of this research is the identification of some of the ancient Iranian dyes that was introduced for the first time in this paper and with the recognition of some of the dyes, the use of them has been changed to some hundreds of years ago.

This paper presents the results of the Identifying the binder and pigments used in the mural paintings in RahimAbad Historic Garden and Mansion in Birjand. Birjand was one of the most important governmental strategic cities in Qajar era (1789–1925A.D) and an important branch area of ancient Silk Road which connected India to Europe. Though many monuments, especially historical gardens remained in Birjand. RahimAbad Historic Garden and Mansion was the resident of Qaenat ruler to consider politics, businesses and accommodating foreign guests. The most important part in the Architectural decoration of RahimAbad Historic Garden and Mansion is mirror-encrusted decorations, stucco and mural paintings. Due to diversity in building decorations and multiplicity of constructing periods in RahimAbad Historic Garden and Mansion, identification of pigments used in mural paintings is a great evidential assistance in extracting chronological information. scanning electron microscopy in combination with energy dispersive X-ray microanalysis (SEM-EDX)¡ Fourier transform infrared spectroscopy (FTIR), Polarized light microscopy (PLM), X-ray diffraction (XRD) and handheld X-Ray Florescence (micro-XRF) were used for the characterization of the compound and structure of the paint layers of samples taken from mural paintings. AccordThis paper presents the results of the identification of the binder and pigments used in the mural paintings in Rahim Abad Historic Garden and Mansion in Birjand. Birjand was one of the most important governmental strategic cities in Qajar era (1789–1925 A.D.), and an important branch area of ancient Silk Road, which connected India to Europe. Many monuments, especially historical gardens have been remained in Birjand. Rahim Abad Historic Garden and Mansion is one of this gardens, which in the period of Amir Ismail Khan Shaukat Molk, was the location of Qaenat ruler to consider politics, businesses and accommodating foreign guests. The most important part in the Architectural decoration of Rahim Abad Historic Garden and Mansion is mirror-encrusted decorations, stucco and wall paintings. Due to diversity in building decorations and multiplicity of constructing periods in Rahim Abad Historic Garden and Mansion, identification of pigments and materials used in wall paintings is of a great evidential assistance in extracting chronological information. Wall painting is one of the Iran arts that based on the signs of old paint can be pursued to pre-history. One of the most important issues in the study of historical paintings, especially wall painting, is the identification of the nature of paintings used to decorate the walls. Pigments identification is also important not only from the perspective of archeology, but also in terms of the history of art and knowledge of degradation processes and the development of monument conservation strategies is also important. Scanning electron microscopy in combination with energy dispersive X-ray microanalysis (SEM-EDX) ¡Fourier transform infrared spectroscopy (FTIR), Polarized light microscopy (PLM), X-ray diffraction (XRD) and handheld X-Ray Florescence spectroscopy (micro-XRF) were used for the characterization of the compound and structure of the paint layers of samples taken from mural paintings. In fact, chemical and physical analysis, provides useful information from spectrum of pigments in a region and recognizing color preparation techniques and its application. Also before proceeding restoration, the accurate information from the chemical composition of materials used in object is required. According to the obtained results, mixture of gypsum and calcite as a substrate layer, red lead (Pb3O4), mixture of malachite (CuCO3.Cu(OH)2) and Prussian blue)Fe4(Fe[CN]6)3), ultramarine (Na8-10Al6Si6O24S2-4), and mixture of two metals, copper and zinc, as the pigments were used. Also, an adhesive like animal glue was that of common materials in Qajar period, as well as used to substrate color. Such pigments are further evidence that the mural painting of this monument are from the late Qajar. Oil was used as binder or varnish in this painting and there is in all of the samples. One of the interesting points of the materials used in the paintings was the application of a mixture of pigments to create colors with different tonalities. Another point is the use of imported pigments such as Prussian blue, along with other traditional pigments that were common in of that era. Also, the microscopic examination of golden color indicates the presence of chalcopyrite in this pigment. These compounds exist due to the corrosion of copper metal in golden color, and usually appears in golden colors obtained from two metals alloy, such as copper and zinc, by creating green color in a golden background.ing to the obtained results,mixture of gypsum and calcite as a preparatory layer, red lead (Pb3O4), mixture of malachite (CuCO3.Cu(OH)2) and Prussian blue ) Fe4(Fe[CN]6)3), ultramarine (Na8-10Al6Si6O24S2-4), and mixture of two metals, copper and zinc, as pigments were used. Also, an adhesive like animal glue was that of common materials in Qajar period, as well as used to substrate color. Such pigments are further evidence that the Mural Painting of this Monument are from the late Qajar. Oil was used as binder or varnish in this painting and there is in all of colors.

Studies on old manuscripts including recognition of the support, ink and pigments used in these manuscripts as well as methods of treatment, exhibition and preservation of these works are among the topics which have always occupied the mind of researchers in this field. In the present research, such studies have been carried out on one of the oldest set of Quranic manuscripts which consist of 15 pages. This manuscript, found within a wall of a building in Yazd’s Mehriz, has been ascribed to third and fourth centuries (A.H.) according to its manner of writing. After examining this manuscript under ultraviolet light, the kind of support, black ink and red and green pigments present in it were identified. Due to limitation of the amount of samples for analysis, nondestructive apparatus procedures, which require minimum amount of samples, were used. For this procedure, the following strategies were made use of: Fourier Transform Infrared Spectroscopy (FTIR) and Scanning Electron Microscopy with Energy Dispersive X-Ray Analysis (SEM/EDX).The results of laboratory studies indicate that the support of the manuscripts is animal skin. Also, chemical analysis of inks shows that in the composition of some of the red inks compounds of mercury (cinnabar) are used and some of them also contain organic compounds with compounds of iron. The green ink contains compounds of copper and in the black ink elements such as iron and carbon are used.After doing laboratory studies and considering harmful factors, stages of conservation, restoration and maintenance of these pieces of Quranic parchment were proposed.

Relative security and peacefulness at the age of Ilkhans and simultaneous with the formation of local governments in Yazd city resulted in a good atmosphere for the appearance of well-built constructions such as “Sayyed Roknoddin mausoleum” (Roknieh School)، “Sayyed Shamsoddin mausoleum” (Shamsieh School)، “Kamalieh School”)، “Hussaynian Complex” (including the Hussaynian house or Taq-Bolandha and Gonbad-Hasht mausoleum)، and “Shaykh Ahmad Fahhadan mausoleum”. Considering the Ilkhanid era as a golden age of Persian art and architecture among other Islamic countries، it should be stated that very little effort has done on studying mural painting materials and techniques of this luminous time. Considering the significant values of these five monuments and profiting by the exceptional opportunity for close study of mentioned paintings and decorations، the main goal of this research is the scientific study of above mentioned mural painting materials and techniques. In direct study of wall paintings it seems that the artist has used one of the following

tracing، transferring the design by paper pieces and using guidelines during the performance. According to the current study، no inorganic pigments were detected in decorations of five mentioned monuments. Similar to most common Persian wall painting traditions، here، the main stages of mural painting were detected: priming (different layers of intonaco)، drawing (Tarh Andazi)، fixing the design borders (Qors Kardan-e Tarh) and watercolor painting. Thus، the library and field studies were followed by performing necessary spot tests and using relevant instrumental methods of analysis.

In Qajar era,Iran wasstronglyinfluenced by Europeanindustrial developmentsand other attractions and welcomed the arrival oftheirideasand products. Thisprocesshas graduallyinfluenced on Iranianart, butcertainlysometraditionsremainedstable.Therefore, a kind of continuity in late Safavid era painting with Qajar style was seen, these western techniques started from late Safavid era and peak in Qajar period, Not only in scenes and the composition and landscape and epidiascope and European nature writing, but also work in various manufacturing techniques are apparent. Therefore the main questions of this article are:What was used techniques for artistic expression In Qajar period? Whether same techniques were followed in Safavid era or using western techniques and imported vestige brings new vestige?This type of research is applied and describes methods through library and a laboratory studies result of scientific analysis techniques for understanding the structure has been used. Knowing more secrets and techniques used to protect and better restoration is considered as the results of this paper.

Conservation and preservation of carpet design cartoons requires a scientific con servation plan appropriate for each case study. The research into the carpet designs of Kerman and Isfahan regions was carried out in 2003 in order to gain access to a comprehensive and exact method for their conservation. In this research, besides the differences in the techniques of producing carpet designs in these regions - based on microscopic observations - the kind of paper fibers used in Kerman was realized as a pine wood byproduct, while the Isfahan region cartoon paper was from ashwhite and pine trees. The kind of dyes that have been used in colouring of carpet designs in Kerman and Isfahan was determined on the basis of the elemental analysis of SEM and FTIR spectrum. Subsequently, the organic origin of the following dyes was established: black, dark- blue, blue, red and the black ink of the checkered paper (manual and printed). The other dyes were mineral. The compound white colour in Kerman carpet designs was white lead and the compound white of Isfahan (except light blue) was zinc oxide.