نشریه هنرهای کاربردی
سال پنجم شماره 1 (بهار و تابستان 1395)

This article tries to investigate the concept and usage of "Allegory" in Islamic mysticism, literature and art. Art is a vise way to represent the meaning and what are not tangible, which is used by a mystic or an artist. They choose an allegorical language to represent what they have figured out intuitively.Jami has written the poetry of "Salaman & Absal". He chose such allegorical story to convey the mystical and theosophical meanings. About a century later an Iranian painter illustrated the image of Salaman & Absal`s poetry. The relevance of the thoughts of the mystics in the poems and the artists’ work, also the importance of allegory in Islamic mysticism and art, persuaded this research to study the illustrator of the "Salaman & Absal on the heavenly Isle". It may let us know how the illustrator has used allegory in painting this image. The questions of this article are:•What is the role and sign of using allegory in the Salaman & Absal paining?
•What is the role of allegory in the thoughts of Jamie as the poet and the creator of the Salaman & Absal painting?
•Which elements explain the Salaman & Absal painting as an allegorical artwork and which ones explain the main relation with the original story?
"Mysticism" is an intuitive divine and "art" is the materialistic form of the intuitive divines. Mysticism is inspired to enunciate it`s essence and is conveyed through allegory. Imagination function is to diminish denotations from the upper world to sense configurations. Since the revelations of Sufism are further than logical language, there is no language to convey the meaning directly. So, they try to explain their revelations. In Islamic art, in order to achieve the vision stature, an artist should pass the levels of mysticism that a Sufi should pass. Sufi`s opinion on art had an instrumental essence to convey the denotations. The artist who tries to re-present and convey the denotations, shall be familiar with fundamentals of though, conventional principles and common regulations of this realm. Sometimes a speaker or a writer says his thoughts and words undercover and use secret and allegory.
A poet had been used allegory whenever he tried to present a poetry which contained complicated meanings. In this way, although it was hard to conceive it`s mystic meanings, it would be accepted by the public as a comprehensible story. It is assumed that the painter of "Salaman & Absal" was aware of the allegorical thought of the "Salaman & Absal" poetry, so he also used allegorical elements to illustrate the poetry. Several books and articles have been published about "allegory" which most of them explain "allegory" in literature and logics. It is hard to find a text which be perused about "allegory" and its effects on visual arts, especially iranian-islamic painting. It is tried in this article to consider all facts and thoughts which have been perused about "allegory" in past and use them to peruse one specific painting to find the effects of allegorical thought in it.

Until the late 60th century, global trends focused on rebuilding the cities and restoring economic strength. Day time was the most important time of the life and spare time or night time was considered as vain. However, the limitations of time structure resulted from urban life caused a focus on benefiting the time in access, the night life and the continuity of collective life in the hours after the daily work. Most daily activities are intended to carry out the affairs of people and make their living. Thus, the best time to attend urban space (which is based on experiencing a sense of citizenship and communicating and interacting with others) is after sunset and at night. While unfortunately, in most cities, especially small towns, urban life and its vitality is rested before darkness and city experiences a dead time free of fresh and lively night life.
Among principal factors effecting on public urban night life and vitality is the promotion of urban security, both physically and mentally. Because the lack of security in public spaces helps to abnormal behaviors. Therefore, it is reduced the hours of citizen’s presence in urban areas and the spaces is reduced. This paper aims to respond to this question that how vitality of urban public spaces at night could be achieved through promotion of security. This research extract axes and common security issues using qualitative content analysis of specialized texts, in order to achieve the vitality of the environment. The findings indicate that If a planned scientific approach is executed to increase safety of urban spaces at night, by increasing the amount of mixing land uses, Visual and physical permeability, overnight proper lighting and proper design of the physical environment of spaces, it can increase the perceived sense of security. As a result, it can improve the quality of urban life which have important role in increasing vitality and urban night.

Using outdoor curtains has a very long history in Persian Architecture. Its necessity originated from Iran’s Warm and dry climate that obliged people to reduce their contact with harsh climate, especially sunshine during hot seasons to reduce inside temperature and reducing Air convection to keep inside temperature during cold seasons.
During Qajar era, we can see a special type of outdoor curtains that is made from fabrics with special elaborated embroideries that covered facades of private and public buildings. Especially the most beautiful type of them can be seen in Historical photos of Golestan palace. Through historical drawings of orientalist and Golestan photo Archive, we can see the changes of design and ornaments of this curtains. Present article tries to investigate the functional aspects of these Fabric Curtains, their shapes & ornaments and chronological changes of their ornamental styles. A Descriptive-Analytical method was used and article focuses on Palaces and governmental buildings of Tehran, Qajar capital city especially Golestan palace buildings during Nasser-al-din shah.
Result shows that the main reason of adding this curtains to building’s façade had been the changes of traditional patterns of Iranian architecture and depicting European architecture without attention to Persian climate that shaped this necessary accessory to reduce climatic problems of buildings. From climatic view, these outdoor curtains were used as a prevention from direct sunshine rays during hot seasons, a barrier to reduce air convection through wooden windows during cold seasons and nights and as a protector to preserve ornaments from showers. The most common designs are like Persian carpets consisting an ornamental border and central lozenge. Their ornaments have two aims. first, strengthens their structures from tearing and as part of their mechanical system and overall design tries to reshape building facades and depicted their architectural aspects in compose with ornamental and symbolic motifs.

Many studies and documents indicate the influence of Persian Arts & Culture on the Ottomans manuscripts, from the beginning of the formation of the first Ottoman schools until the fall of this tradition book in their area. In the second half of the fifteenth century the first Ottoman illustrated manuscripts were produced under the influence of Iranian art schools. The impact of Iranian arts continued until the end of the Ottoman art schools in the second half of the sixteenth century.
The aim of this paper is to prove this theory in a different and practical way. The question is that: How a review of the codicology information of the best Ottoman illustrated manuscripts, can prove the Influence of Persian Arts & Culture on the Ottomans manuscripts? For this purpose codicology information of 100 copies of the best Ottoman illustrated manuscripts are reviewed and the literary and artistic features of these works have been extracted and analyzed. Finally this approach is suggested as a way to determine the degree of dependency of the manuscript to a particular reference.
The research results not only provide a general perspective on the status of the production of illustrations in the Ottoman art workshops and shows a close relationship between these works and Iranian arts and culture, but also it suggests the method of codicology as a useful and practical way of analyzing and verifying data.
The research method of this article is historical-analytical and the nature of this is functional and developmental. The method of collecting resources is documentar.

The "snake" is one of the most controversial symbols of animals that is profoundly linked to the human culture and civilization. It is expressed in the mythology of peoples and nations in various forms. In Iran, this creature has been used widely and in various forms. It seems that this motif has a special meaning; it is a symbol and has been connected to the religion and beliefs of the people. Positive and negative concepts are conveyed in this form continuously. These features made artists feel familiar with this ancient motif. That is the reason the snake is used by artists in their works. One of the artists who used this ancient symbol is Ahmad Nadalian. Many of the symbols he uses and carves are derived from ancient myths and pre-Islamic civilizations. Works of Ahmad Nadalian are often symbolic and inspired by ancient mythology and symbolic themes. But in contrary to the ancient concepts he represented these motifs in a new way. The artist believes in the connection between ancient symbols and new media and between public art and rational art. In his drawings, paintings, carvings and stone installations, fertility and creation are the main theme. This research seeks to examine the semiotic image of the motif of snake in the works of this artist.

The most important way for making communication for humans is his five senses. So in between these senses, the ability of sight is really important because mainly most of the information’s anybody can make is gained through his sight. According to psychological phenomena’s presence of light can directly affect the actions and reactions. Therefore the light has the highest influence on human environments. The architects have always studied the influence of day light. During the night, artificial light should control the direction and the intensity of lightening.
In most cities the city administrators consult the lighting designers in order to gain the highest capacity of urban usage. This is obviously accepted that the urban lightening is a social-cultural modality in a city. The social life of a city is really dependent to its’ lightening. That’s the main reason in having a social point while designing the lightening in city. The landscape of a city becomes recognized through its lightings.
This article is basically introducing light as the main part of the urban design. The research tries to find the principals for lighting design which can make the identity for a city during the night. True and scientific design of light highly leads to high decrees of accidents, crimes and increase in city-attraction, night lifetime and high urban life. The aim of this research is to suggest ideas, solutions, methods and principals in lighting design.