نشریه نگارینه هنر اسلامی
پیاپی 17 (بهار و تابستان 1398)

One of the most important data in archeology is the clay objects that have suitable durability and sustainability.Clay objects with their unique characteristics are culturally considered highly valued and play an important rolein introducing the culture and art of society. In this regard, we introduce six samples of colorful slip-painted potteryon white background, which are kept in the treasury of the Museum of the Mostazafan Foundation in Tehranand have been obtained from non-scientific excavations.In different museums and collections around the world,there are samples of colorful slip-painted pottery on white background some of which have birth certificate andsome of them have not been studied so far. In this research, first a documenting approach (technical drawing andphotographing) was done, then slip-painted pottery on white background which are located in the treasury ofthe Mostazafan Foundation in Tehran were adapted with samples which have birth certificate. The data were collectedthrough a library-based approach and by referring to the site of museums through a descriptive-comparativemethod.The purpose of this study is to introduce, document, chronologize, and identify the probable centers ofcreating these containers and answering this essential question that: When and where are the possible dates andplaces of making of these pottery? Using comparison and chronology, it was concluded that the studied potteryhas been probably produced in north (Sari) and northeast (Neyshabour and Samarghand) of Iran during the thirdto fifth centuries.

The focus on science related to the reading and study of Iranian handmade carpets is one of the research strategieswhich help better understanding of this valuable, historical, artistic and cultural phenomenon. Persian carpetas a part of Iranian national identity has a high potential in a variety of basic, applied and developmental research.Reading and analysis of Iranian handmade carpets from the position of linguistics science and the perspectiveof the semiotic system and sign-semantics is a new perspective in interdisciplinary studies. In this article, theresearcher tried to analyze, measure and evaluate the sign-semantics of the French school, namely the tensionscheme which is related to linguistic science, on one of Sangeshko carpets (animal Lachak and Toranj) of theSafavid period which is kept at the Miho Museum of Kyoto. The research method is descriptive-analytical and thedata collection method is based on documentary and library information. The purpose of this research is not onlyimplementation, linkage, and reading of Sangeshko carpet design using the domain of discourse and semantics(Tension scheme and semantic square), but to emphasize on the ability to read and interpret native and traditionalartistic texts and works with new analytical and structural methods.

Background is necessary for drawing all geometrical forms (e.g. knots and Karbandies) in order to draw theunderlying geometry through its internal divisions. Several various Karbandi models can be implemented in aspecific background and different solutions can be presented to cover the space. Various methods of drawing createdifferences and similarities in the elements and properties of Karbandies. Therefore, a sample study that can morefully characterize features was considered in this article. Of the various Karbandies, the fourteen-sided Karbandihas the most complete number of drawing modes. Therefore, the fourteen-sided Karbandi was studied as a casestudy. A limited number of studies have been conducted during recent years on graphical method, typology andkarbandies implementation method. However, this article is the first attempt to investigate Karbandi elements withcomputational approach and compare them in a specific background to present a specific definition. The presentresearch was based on graphical methods. After drawing the plans and sections of the fourteen-sided Karbandies,the area of each of their constituent elements was obtained by drawing software. Then they were categorized accordingto their unique characteristics. This article was written to complement and compare forgotten mathematicalrelationships and structures hidden in common contexts. The nature of these studies is comparative in the formof qualitative-quantitative non-empirical research methods. The result of the research shows that the different waysof drawing contextual work are divided into seven general categories. Surveys have been done from a geometricalpoint of view and the ratio of its constituent elements. There were several properties in the different drawings offourteen-sided Karbandies in terms of arithmetic ratios, area of each element and number of elements.

One of the most valuable elements used in the mosques from the beginning of Islam which is considered veryessential for the mosques is the pulpit. It is clear that this hand-made thing was also effective in the spread of thereligion. A major part of the research on pulpits has been devoted to the history of its construction, with less discussionof the aesthetic features and motifs used in it. The Mashkol pulpit is related to Seljuk period and the pulpit ofJamea Nain Mosque is one of the works of the Ilkhani period; both of which are considered to be the masterpieceof wooden art during the Islamic era of Iran. The present study provided a description of the motifs used in the pulpits,their outline description, their construction techniques and materials. Accordingly, the present study, based ondata obtained from the library and field method, describes and analyzes the aforementioned two pulpits and seeksto answer the question of: what is the difference between the two pulpits( Mashkol, Naein) in different historicalperiods in terms of appearance, role, structure, materials, etc.?

One of the main sources of Iranian painting is literary books and all kinds of literary works such as Lyric, Epic, Religiousetc. have been applied in paintings. Since, the epic literature and especially Ferdowsi’s Shahnameh, whichdescribes the valor of kings and national heroes as well as the Iranian people, has received more attention than anyother literary genre and at various times Iranian artists used the its theme, which is one of the central pillars of Iranianliterature, in their works. But artists’ encounter to this work was different in each era, and this study examinesthis encounter. The cases in this study is Shahnameh Baysonqori from ancient Iranian painting and comparisons ofits designs with the works of contemporary Iranian artists in terms of content and literary themes. The research is adescriptive-analytical one with a comparative approach and its main purpose is the way ancient and contemporaryIranian paintings encountered the themes of Shahnameh Ferdowsi as the main basis of Iranian epic literature. Thepresent study, while investigating the similarities and differences between theses encounters, seeks to answer thequestion of: what are the causes of these differences and changes? The results of this study revealed the greaterdependency of ancient miniatures to the text, the centrality of kings and their actions, and addressing details. In thecontemporary era, because of the variety of the audiences, the dependence on the text has been reduced and the audienceshave found a special place; also the addressing to detail has been reduced and the artists often focus on nationalheroes and their bravery.

One of the main features of Islamic Arts is the application of decorations. The presence of decorative arrays forthe development of surfaces was common especially in the Timurid paintings. Baysonqori’s Shahnameh is one ofthe iconic illustrations of the Timurid period. This version is full of geometric decorative motifs.This article aimedto identify the geometric nodes of the Baysonqori’s Shahnameh portraits, and study how they are applied in differentparts in terms of the type, technique, color and place of application of these decorations. The data collectionwas based on written sources that examine the data obtained from the study samples in a descriptive (analytical)way. Accordingly, the following questions were raised:- What are the features of the geometric nodes in Baysonqori’s Shahnameh?- How are the geometric nodes used in the Baysonqori’s Shahnameh?The results of the study of Baysonqori’s Shahnameh illustrations show that the application of decorations and geometricknots is more pronounced in bricks and tiles, and most of the nodes used include the “eight regular”, “PileyLyssadar”, “Eight and Sabon” and “ Arrowing “in which nodes are based on the base number of eight. These knotsare often used on the porch, floor and walls and in the form of a wooden stand as a window or door guard. The useof decorative arrays and the use of surfaces with decorations and geometric arrays have led to an increase in thevisual glory of Baysonqori’s Shahnameh portraits.

The Dokhanchi House was one of the House of Lords built in the Qajar era in Shiraz. One of its outstanding featuresis the existence of a pond room (Hoazkhane). In Iranian architecture, the pond room (Hoazkhane) is a spacewith a variety of uses. In the Dokhanchi House’s pond room (Hoazkhane), there are some unrivaled examples oftile decorations and paintings on the ceiling. Thus, the aim of the present study was to evaluate those decorativefeatures and compare them with other decorations in that house. Therefore, the executive process of decorationand recognizing the paintings and colors as well as their locations in the pond room (Hoazkhane) and in the wholeof Dokhanchi house were analyzed. To conduct this study, a descriptive-analytical method based on field observationsand library studies was used. The findings of this study indicated that in Dokhanchi house, the tile decorations,plastering, mosaic and paintings were coordinated with each other in terms of accomplishment accuracy.Although the tile paintings of courtyard walls and the pond room (Hoazkhane) included variety of human, herbal,animal and natural landscapes, the paintings used on the ceilings were only the herbal designs of flower and birdas well as the European landscapes. The reason for this could be found in the way of making “Alat & Loghat” chineseceilings, which made small frames to draw paintings. The seven-color tile frames are the narrator of religious,historical, and symbolic stories that combine the principles of East and West’s visual arts.

Shahabuddin Suhrawardi is the founder of Nuria and Ishraqi Wisdom, a wisdom that Suhrawardi has used ina new direction by utilizing the rich resources of Islam and especially the Holy Quran. Suhrawardi, with his illuminatingexplanation of light and its revision in Ramsey’s treatise on Mons al-Ishaq, attributes the fulfillment ofplurality in the realms of being to the threefold thing of goodness, affliction, and love. Based on the truth of Hassan(the central issue of aesthetics) in the Qur’an, he achieves an illuminating explanation of beauty in his illuminativewisdom and solidarity with knowledge. This study attempts to elucidate the concept of aesthetics in Mons al-Ishaqand recite the codes of sorrow and love in the illuminated cosmology system as aesthetic axes in Mons al-Ishaqand to apply the same passages in the Qur’anic verse, so that the link between truth and art can be revealed. To thisend, evidence is given of exemplary works of art in Islamic art. It should be noted that all of the illustrations weretaken from the magnificent Iranian works by Farir Gallery of New York.

The Hamamyan is one of the most important villages of Bukan which has a privileged position in Iranian archaeologicalstudies due to its impressive architectural works from Qajar period. During this period, mosques, basins,tombs, and master buildings were built by local masters, which is of particular importance for the study of Qajararchitecture in an area of Iran known as Kurdistan that has not yet been recognized in the country’s scientific circles.The present study tried to study and introduce the decorations of Hamamian village’s buildings in Bukan, in otherwords, it attempted to answer the question of: what are the most important factors for the construction of the mentionedbuildings in this village and their decorations and styles? What patterns have influenced them? In addition tothe buildings which are the result of the attention of the masters of the Hamamian village, the decorations and styleof these buildings can be seen in the buildings of Kurdistan, including the cities of Mahabad, Saqez and Sanandaj.Using library and field methods in the present study, it was found that the Hammanians have begun to build complexbuildings in their residence to show their political and economic power among the other Makarians in the Qajar era.The architectural structure and decorative features of these buildings are derived from the local and regional patternsof Kurdistan.

Religious images can be considered as the transmitters of social and cultural concepts, but unfortunately theyare usually presented theough surface and general interpretatipns. Accordingly, in this research, we have tried toinvestigate the components and structure of the image of the Lord’s throne carriers in the book of the Wonders.These motifs are seen in Islamic texts as the carriers of the throne of God and in the astronomical texts as the constellationof the region.The aim of this study was to explore the relationship between colors of images in the symbolic system of astronomyand religions. Accordingly, the researcher sought to investigate the effect of astronomical beliefs on the colorof the four major constellations of the region on religious imagery as one of the manifestations of people’s beliefsin different periods of minor world.Since there was a need for interdisciplinary comparative studies between the astronomy and the field of religions,the iconography Varburg-Panovsky method was selected as the reaerch method of this research.Finally, the researcher concluded that: The colors of the images of the carriers of the Throne of God in the bookof Wonders are perfectly consistent with the colors of the main constellations of the region and their associatedelements. Moreover, the use of four colors of black, yellow, gold (white) and red for the image of the carriers ofthe throne of God in the Qazvin Wonders Book illustrates the effects of astronomical beliefs of the four majorconstellations of the region and its associated elements of the great universe on the beliefs related to the carriers ofthe God throne in religions as the manifestations of the beliefs of the people as a minor world.

The study of various works and handmade in Iran leads us to the conclusion that many of the traditional professionsand techniques of Iran have an ancient background in this land. But today, for a variety of reasons, there isless detailed written information on the technology and methods of producing these products in the past. For thisreason, the use of indirect documents and resources sometimes provides useful information. In this regard, Iranianpainting, apart from its formal and aesthetic aspects, has been repeatedly referred to by the researchers as a sourceof information and awareness. Some examples are the recognition of the design and color of many carpets, thetype of cover, the cloth, decorations and architectural accessories in different periods. In this article, in order torecognize the techniques and tools associated with some of the common occupations of this land in the past, especiallyduring the Timurid period, the painting “The Kingdom of Jamshid was seven hundred years old.” has beenstudied from the collection of Shahnameh Baisenqiri related to 833 AH. The professions displayed in this painting,along with the tools and technologies associated with each profession, have been studied. The research method isdescriptive-analytical and the required data is gathered through library and documentary resources.

One of the most common motifs in Iranian art is flower and bird. The companion of a botanical pattern along witha bird is rooted in Iranian art and culture. The present analysis seeks to answer this question: what are the conceptsand roots of the flower and bird motifs in Iranian art? And how has it appeared in contemporary Iranian typography?The purpose of the study is to recognize the background and various forms of flowers and bird in Iranian art,especially Persian miniature, as well as to identify the mythological concepts of these symbols. According to theresults of the research in Persian and Zoroastrian mythology, plants and birds companion is described in the formof the myth of Simorgh and the life tree. In Iranian works, Simorgh is usually drawn on the tree. Before Islam, thetree and the bird motifs was also seen in the works of art. In Islamic calligraphy and the drawing, the bird symbolis created through the conjunction of the letters. Iranian typography is one of the areas of the advent of flowers andbird motifs in Iranian contemporary art. In these works, the flowers and birds are sometimes used alongside thewriting or sometimes in a separate form alongside the Persian text. The research method is descriptive-analytical.The method of gathering library content is through note taking and illustration interpreting. The method of dataanalysis is qualitative.