نشریه پژوهش هنر
پیاپی 17 (بهار و تابستان 1398)

In the history of Iran after Islam maybe at the Safavi period, and especially at The Great Shah Abbas era had been the most important and magnificent and Golden Age of developments in all fields, especially at Persian painting art. In this period, by developing of economic and social ties with Europeans which created cultural relations and thus led to a change in the culture and people’s lifestyle brought about also developments in artistic fields. The issue of the present research this is, the cultural relations with Europeans, what had influenced in the process of development Persian painting and creating the style of Isfahan? This research is descriptive-analytical and has been used by studying existing documents and exploiting the painting of Isfahan school. The necessary information was from library resources and observation works. The results of the study showed the impact, of cultural relations in lifestyle and type of people coverage, along with the entry of Western paintings and artists to Iran, and the attention and encouragement of Shah Abbas and the riches to this kind of art, And also the imitation of Iranian artists from European painting, all have had a significant influence on the metamorphosis and formation of a new style in painting of Iran. On the one hand Causing, the independency of Persian painting from the design book as album(moragha) and single-paper and single-faced painting that probably had been distributed since the reign of Sultan Hussein Beyqara (Timuri school). On the other hand, this transformation among the Persian painters of that time, With effort Reza Abbasi -as the founder of Isfahan school- which was created with the tradition of this Persian painting, innovation and modernity showed in the context of this miniature tradition. And with the help of his disciples and followers, Caused of innovation in the Persian painting of this period, and established the new style of Isfahan school. But as finally the influence of European culture and art, to change in the form and content and to the fading of Iranian tradition and the flow creation of European orientation has became in the Persian painting.

Chahar Bagh mosque/school has an important position as one of the most outstanding religious/academic monuments of the Safavid era in terms of Islamic engraving art. The present study, adopting a new approach, attempts to investigate the functions of the inscriptions of this monument in reflecting the teachings of the prophet in addition to expressing the extent of his magnificence. Attempts have been made in order to provide a setting for answering the two main questions of the study which are:1-what place did transferring function have in design and making of the inscriptions of the mosque/school? 2- In what ways does the contents of the inscriptions reflect the teachings and grandeur of The Prophet? The study is developmental. It adopts a descriptive-analytical method. The information was gathered through field and desk study. Also, the data were analyzed qualitatively. The results of the research indicate the following:-With respect to the spectrum of contents, the form of the monument and its important position, the role of it as a tool for transferring Islamic ideologies is much more significant than its other functions. -Furthermore, the most important messages centered around The Prophet(pbuh), were reflected in the content and structure of the inscriptions including: categorized Hadiths, the religious policy of Islam and Shiite with a focus on prophecy, supplications, modeling the personality of The Prophet and eulogy and praise for him in different ways. It should be mentioned that the afore mentioned contents constitute a huge percent of the contents and they have a significant importance in terms of quality of implementation and place as well.

Culture and human life has always been influenced by natural and human factors. Bow and arrow as a weapon, has always had a major role in this process. This tool is not only intended for hunting, which is one of the ways human subsistence economy, But also as a means of defense and military an important role in the political system of societies. Prices in archery, beyond history, which goes back to to the time of myths. These tools, this market is not only an effective role in the political and economic developments in the past but also an important place in the cultural system that period has also been prominent. The current research, archery evaluating the various eras in Iran, to the place and its role in the values of that era's artwork. evaluating the bow and arrow in different periods of Iranian history, As well as its reflection on how the role of values in different historical eras their artwork. This research has been conducted comparative historical approach and data collection is done using library resources. The results show that the archetype bow and arrow, a symbolic history has appeared in artwork and ritual associated with the ideas and values, reflected dramatically. in addition to the tools of prehistoric, represents a symbol of power and majesty. In the historical period addition to the military approach, refers to the status of the person carrying a bow. In the Islamic era, the importance of for hunting and royal entertainment with this war so far has been in the service showing the astronomical and symbolical images.

Oil mill One of the major industrial centers in big citeis, from Ancient to present time, It has different dimensions that physical environment in it, Tools and implements,  Knowledge and science related to this industry, Mixed together and Products extracted from oilseeds to produce multiple uses. Because of the production of oily products, It takes a long time and efficient power and achive very hard, so its worthwhile product and need the Proper storage conditions and equipment Which is in this direction pottery have Important role in oil mill. So There are some questions about this research: 1) What are the pottery characteristics that use in oil mills? 2) What is their role and function in oil mill? 3) What kind oil mills pottery, in the category of potterys? These are questions that answers this Research with historical-descriptive approach and Classifies according to Written Resources, anthropological Research, observation number oil mills of Isfahan province , and By specifying the characteristics of an oil mills dishes especially Shifting and save Jars of clay; such as different type of glaze container, The capacity of dishes, Especially how they are placed in oil mills, compare them whith similar pre-historic to present day. Conclude of this research is that the oil mills pottery are a special kind of pottery that is produced only for workshop collections &  Kind of storage containers in category of Local pottery.

Over the history, social, political and religious changes have been best manifested in the art and architecture of that period. Religious inscriptions in different periods reflect the prevailing beliefs and ideas of the society at that period and contain valuable information on the religious, social and cultural conditions of their time. Among the various elements of Islamic architecture, the mihrab as a symbol of the Qibla has always been of interest to artists and adorned with various ornaments, including inscriptions. Most of the studies on the Ilkhani plaster altar have been from the inner and peripheral point of view and the aesthetics of the decorative elements and their classification and the outer point of view has less been addressed due to the phenomenological and rooting causes of these themes on the mihrabs. Accordingly, the present research has been addressed on the comparative analyzing the inscriptions of the plasterwork mihrab of the Seljuq and Ilkhani periods from a content approach (religious themes). The research method was comparative-analytical and data collection tool was field survey and library documents. The results of the research show that the themes of the mihrab inscriptions of the two periods, despite their common platforms in general concepts such as ontology (monotheism and justice) and anthropology (their prayers and zakat and their alterations) have also very differentces. These themes are similar to the Sunni themes in many cases (names of Rashid caliphs and Sunni hadiths) in the Seljuq mihrabs and the mystical-shiite themes in the Ilkhani altars that are directly and indirectly appeared in the inscriptions are in harmony with the religious trends that govern their society. In fact, the new worldview of each period has somehow manifasted and appeared in the mihrabs inscriptions.

Qajar pottery in regard to methods of making, decoration and patterns has indexes and components. It also both some characteristic in commom and obvious disitinctiona as compared with the earlier time. But Qajar ceramic wares are seemingly less interesting in archeological studies. The purpose of this research is to identify human, bird and mythical creature figures drawn by artists on the case studies. Nineteen specimens have been chosen, most of them are form glassware and ceramic museum. The method of method of research is descriptve analytic. In this sense, all of the samples were first collected in a field, then the introduction, analysis, and drawings of the decorative drawings, features and indicators of each one are extracted and divided. The result shows a return to the old Iranian traditions. Most of the  implemented motifs and themes in addition to be decorative, convey special meanings due to the cocial and repercussion of that time. Consequently, motif innovations occurred peculiar the Qajar era in addition continuity of earlier pottery styles and therir influence.