نشریه هنرهای کاربردی
سال سوم شماره 1 (بهار و تابستان 1393)

With the development of the Silk Road in Early Islam, the pottery art of northern and north-eastern parts of Iran were affected by imported Chinese pottery. At that time, the most common way of glaze decoration in China was a method called “Sancai” which found its way to Iran through this business route and became a source of imitation for Iranian artists. In this technique, known as glaze, the surface of the pottery was first covered with white color mud or clay, which was then painted by punctuation and colorful Touches of oxides of copper, iron and cobalt. After melting in a furnace, these colorful dots made beautiful irregular lines and shapes. This method was used independently and sometimes in combination with other methods both in Iran and China. WhileSancai was accompanied by a variety of embossed motif techniques in China, the Iranian practice of the imported Chinese style gradually evolved into an innovative manner after early imitations of Chinese artists. The simultaneous use of Sgraffito technique, carvings on the surface of the pottery before glaze work and the use of Kufic script in an imitation of Samarra pottery are among these innovative techniques.

DorUntash ancient city )TchoghaZanbil( was built about13 th century B.C and middle period of Elam civilization. As a complex ,DorUntash was protected by three concentrated walls which are named: inner wall, middle wall and outer wall .Big Ziggurat ,mausoleums and palaces are some of the must monuments of the ancient city .TchoghaZanbil is also famous for its water technologies and water elements such as gutters ,sewage shafts and a brick water structure .The function of this structure ,located in the outer west wall of the site ,is the focus of present study. Since its discovery ,three considerable hypotheses have been proposed about the function of TchoghaZanbil water structure .Roman Ghrishman )1895-1979(, who first excavated the water structure ,believed that the brick structure functioned as a purification plant to which water was transferred with a channel from somewhere out of the ancient city .This hypothesis has been accepted as a principle and has occasionally been discussed and expanded in later studies. Nevertheless ,further survey in recent years ,especially on the topography of TchoghaZanbil shows that the ancient city has a higher altitude than the land of water structure and the water channel .In fact, it can be assumed that the water structure had functioned either as a drainage element to repel water or as a cistern to save water behind the outer wall .Due to the ruins in most parts of the water system and lack of historical records ,the diversity of the relevant hypotheses make it hard to determine the real function of the water structure. As a result ,distinguishing the actual function of the water structure is as an inevitable task which could be aided by new technologies. Hence ,this study benefited from laser scanning system ,geophysics survey and hydrology prospection .Finally ,as a complement to earlier theories ,the original plan of the water structure was modelled .Accordingly ,the drainage element is an acceptable theory for the function of TchoghaZanbil water structure ;although archaeological excavation is required for conclusive proof.

Calligraphy in plaster molding has long been a unique platform for professional designers and decorative calligraphers due to the ease of molding the plaster and the longevity of the work. Since the origin of the Kufi alphabet used in plaster inscriptions is simpleKufi, it is generallybelieved that the common letters must be drawn alike. However, as exemplified in the phrase under study, the molded cornices have taken different approaches in shaping the characters. In this study of the Kufic inscriptions molded in architectural designs, ten examples with similar words have been selected to examine the form and quality of the variations of the same phrase.
Islamic architecture has systematically evolved over aperiod of300years from the Seljuk to the Ilkhanid. This period is remarkable for numerous plaster inscriptions and molded cornices in its monuments, most which are in Kufi. Focusing on kufic inscription, the main research question of this study is how the designers and calligraphers managed to create variations on a common phrase.The basic assumption is that the calligraphers have created unique shapes of the same letters all derived from simple Kufi. Accordingly, based on the analysis of the letters in the selected examples, it is concluded that the calligraphers have treated similar words and phrases with an approach involving unique character design.

Iran is a large country with a vast variety of tribes and ethnic groups. These various tribes are unified with a national language and culture while using their own local languages and enriching ethnic art forms. Among Iranian ethnic groups, the Turkmen are remarkable for their art of carpet weaving which has a unique structure compared to other designs and textures. The charming motifs on Turkmen carpets are indicator of the customs and beliefs of the carpet weavers and appear in geometrical, floral and animal shapes. This paper focuses on animal motifs in these handicrafts, identifying animal parts and discussing their significance and symbolism. A better appreciation of these artistic creations is definitely facilitated by understanding the language of designs and motifs.
The aim of this study is to identify the animal motifs of Turkmen carpets and gather them in an illustrated collection to aid researchers and producers of these genuine artworks. Such an attempt can help to revive and elevate these traditional designs, hence the preservation of national identity. The findings of this research show that the animal motifs in Turkmen carpets can be divided into two groups of pre-Islam and post-Islamic periods. In the pre-Islamic phase, the motifs are basically those representing good and evil as well as forces of nature. These motifs are mingled with religious teachings in post-Islamic period, as a result of which parts of animal body replaced a representation of the whole form. The materials of this research are based on archive study and data collection and are presented in a historical-descriptive manner.

Vegetable tannins are the main factor of tanning in historical leathers. The identification of tannins in vegetable tanned leathers is not only importantin determining chemical characterization, production technology and structural nature of the leather, but it is also efficient at the evaluation of new vegetable tannins for conservation purposes. Previous studies have also shown that chemical properties of tannin are the major factor in the stability of leather and its degradations. Therefore, it is necessary to identifythe type of tannin used in leather making process. Tannins can be classified as hydrolysable and condensed, each producing different properties in leather. In this study, types of tannin in a historical case were evaluated. The historical relic, discovered in GhaleKooh-eGhaen, was a leather bottle attributed to Seljuk period.This leather bottle was composed of different pieces of leather, andeight samples were obtained from the pieces. Tannin of samples was extracted and spot tests were applied to characterize tannin type and ellagitannins. Moreover, ATR-FTIR spectroscopy was applied for the assessment of chemical structure. According to the results, all samples were identified as vegetable tanned leathers. Spectra of extractions showed the presence of both hydrolysable and condensed tannins. There was a probable presence of ellagitannins and gallotannins as hydrolysable ones in some samples.

It is nowadays less likely to findcomprehensive historical areas, which can represent all the typical features of a historical urban environment. Most historical urban spaces have undergone modernization and have inevitably ceased to function as they were originally devised to. However, successful experiences of urban space construction provethat modern urban areascan both meet the present day needs and maintain historic values ​​and reminiscences. To achieve such a role model requires a different perception of environment and a particular sense of position. Mashgh Square in Tehran is a unique urban space which represents a particularly comprehensive example of the aforementioned historical urban areas. It is located in the heart of thetwo-hundred year capital city of Iran and has witnessed many important political, social and cultural events, mediating both a historical and a contemporary visual experience to observant eyes. The area is a very important urban space in that it is connected from different sides to other important urban and historical spaces.Understanding these interconnections and their intelligent organization can result in creating a multi-purpose space with socialand historical capacities. This paper examines the evolution and development of Mashgh Square and the arms (joints) attached to the historical atmosphere of this square in detail.

Nowadays, numerous realities in the field of architecture has gathered architects’ concentration; this has alienated designer’s attention from theoretical thinking in the initial stages of design process. New considerations such as human attitude and orientation in urban areas, the environmental impacts, behavioral relations between man and building, considering sociology and psychology in creation of building form, etc., rather than traditional considerations such as positive/negative quality of created space, municipality’s guidelines, etc. in real situations, has put the designer in difficult conditions. He should purify these data and simplify them in the form of a concept; otherwise, the large amount of design requirements ultimately leads to a brain stop in the process of creating and developing concepts. The designer should recognize the most important and the most real priorities and use them as a criterion for selecting and improving his concepts. In fact, what that happens in the “concept production” period, is prioritizing and selecting one or more dominant factors in his design. Then, in the development and accomplishment period, he should move in a way that finally none of the design factors would be neglected, by the use of studying, scientific care, and critical viewpoints. This study collected the definition of concept from variety of resources, trying to summarize extends of its meaning and to describe its different types. Then, gathered information has been analyzed using descriptive-analytic research method. Finally, this background has been classified, and applied instructions has been concluded for use in architectural education.