نشریه هنرهای صناعی خراسان بزرگ
پیاپی 2 (زمستان 1401)

This article is taken from a research project entitled Comparative study of Tape weaving patterns (case study of Qazvin, Kalat Naderi and Aliabad Katoul) by the first author in University of Art. In tape weaving - A kind of hand-woven - the ethnic identity of the people living in Alamut-e-Qazvin, Kalat-e-Nader and Aliabad-e-Katoul can be traced. The aim is to identify the technical and artistic features of the three regions in terms of anthropology.The research method is descriptive and the analysis approach is anthropology. Data collection is done through library resources, especially field resources.The patterns used in tape weaving of Qazvin  are a combination of geometric and nature patterns. The use of research in the fields of Qazvin, Kalat Nader and Ali Abadktol influenced by concepts such as fertility and immortality, abundance and procreation, wound healing, physical and mental development, purity and peace, solidarity and unity, seeking rain, It is truth and humility. Continuity and follow-up in the method of weaving ribbons in these areas and the use of local materials and tools and relying on the main original sewing methods, tape weaving in these areas has become one of the indigenous arts. At first glance, tape weaving patterns in are pure geometric elements that are symbolically used in the nature of the region, beliefs and customs, but generally include the local and cultural identity of the region. Through the shape and style of these motifs, the women artists of this region express their thoughts, feelings and experiences in the form of tapes that express their natural messages and culture by showing them in transmission. Therefore, it can be said that art can not only experience effectively and demonstrate the ideas of a society in the social and cultural fields, but by analyzing its forms and motifs, meanings and effective capacities, it can also provide easier access to the intellectual and practical systems of that society. The result of this study shows that all the designs in these areas are influenced by the environment and nature around, mentally designed and simplified and are used as a symbolic role and is in accordance with the culture and customs of the people of the region and geometric patterns are most used in Woven tapes have three regions.

From of the 6th Century to the Mid-8th Century AH, concurrent with Seljuk, Khwarazmian and Ilkhanid dynasties in Iran, Lustre and Stucco techniques reached their pinnacle. Since there were many famous tilers in Kashan during this period, this city was considered as one of the early pioneers in making lustre products in Iran. These techniques were mostly used in making the mihrabs most of which are now kept in different museums of Iran and other countries. Some of the most important of these mihrabs are in the Astan Quds Razavi Museum, which belongs to the shrine of Imam Reza. In addition to the lustre mihrabs, many stucco mihrabs were made that were used in the buildings with different functions some of which are located in Kashan. The goal of this research is to identify and analyze the structural and decorative features of lustre mihrabs in Kashan and compare them with the stucco mihrabs of the same region in order to highlight the continuity of artistic traditions over time and study the effects of the structural and decorative features of lustre mihrabs on the stucco ones in Kashan over a certain period of time. Therefore, the author tries to answer the following questions: what are the most significant structural features, designs, motifs and inscriptions of lustre and stucco mihrabs in Kashan attributed to 6th Century to the Mid-8th Century AH? How much are stucco mihrabs influenced by the contemporary or older lustre mihrabs in terms of structure and decoration? The data were collected through field research methods (photography, drawing linear designs of the images) and are based on written and online resources which were then analyzed using a historical-comparative method. The results of these studies show that the artists who have made the stucco mihrabs in Kashan have used older and contemporary traditions that had been often used in making and decorating the lustre ones. These artists were greatly influenced by the lustre mihrabs in terms of total congruence, the form of arch (angled triangle), number of arcades, the form of spandrels, number of half columns, the form of capitals (vase-like) as well as decorative features, including extensive use of dense, elegant and multi-layered plant motifs and limited use of simple geometric motifs.

Attar Nishaburi uses different narrations and allegories in Asrar-Nameh, Ilahi-Nameh, Mosibat- Nameh, and Mantiq-ut-Tayr versified stories to share intelligence and wisdoms that he names “countless treasures”. Using animal symbols and animal characters are important parts of these narrations. By employing a variety of animals and their characteristics, Attar conveys his ideas and concepts. In addition to gaining a deeper insight into Attar’s thoughts, surveying, describing, and analyzing these animals and their characteristics help us to improve our knowledge about the dialogues based on animals’ characteristics in his era and better comprehend his contemporaneous view regarding animals, especially in the Greater Khorasan. Using a descriptiveanalytical method, this article attempts to investigate Attar’s fourfold versified stories and state the characteristics of the mentioned animals in the narrations, after extracting their names. The study indicates that Attar used different resources including stories in Koran Karim, descriptive texts, aphorisms and traditions related to prophets and scholars, fiction-slangy stories, and scientific-quasi as well as scientific sources to describe the animals and their characteristics. Of course, he only uses the animals’ characteristics that he finds useful to express his ideas. In some cases, he is not concerned about being loyal to the references; he rather adds new characteristics to the animals that are controversial to the references.

The present study examines the Figural representation and drawing in Neyshabur Murals in the ninth and tenth centuries: these murals include some wall paintings and drawings from Vineyard Tepe, Qanat Tepe and Sabzpushan. In total, this collection represents three artistic and temporal phases in the Neyshabur mural: the first, and presumably the oldest, is Vineyard Tepe, which has more similarity to the contour type of Sasanian art. In this manner, which has many counterparts in metal artworks, stone reliefs and plaster sgrafitto, the focus is on the quality of the line; these works usually are colorless and drawing-like. In the second phase, there are Sabzpushan murals that feature the brush work and their distinction from the earlier group in stylization and painting. On the other hand, these have origins in Sasanian formal arts and then in the early Islamic period, as in Samarra. The third phase or type is of Qanat Tepe works that represent the artistic elements and influences of northeast Iran and Central Asia; moon face, arched eyebrows and almonds and narrow eyes in physiognomy. The delicate delineation of Sabzpushan Murals is characteristics. These artistic devices may reflect the presence of artist immigrant from Central Asia in Neyshabur. The "hunter" mural in Qanat Tepe could be the most magnificent evidence. In this process, the linear, colorless and somehow formal Sasanian-like or post-Sasanian-like figural representation manner of early Islamic era are transferred from Vineyard Tepe style, which is the mediator between these two phases, to a dynamic manner that is distinguished by powerful delineated and realistic representation of the human figure.

Brick ornaments and decorations have been gradually prevelant since the first centuries of Islam, and was then flourished in Seljuk period. In combination with tiles and other endemic materials has found its way to embellish religious monuments and also the other forms of Iranian architecture until the current era. One of the remaining monuments since early eighth century AH is Aliabad tower located in Khorasan province, which is grandstanding by the utilization of various brick and tile ornaments in the middle of desert of Iran. Richness of decorative designs and forms on the interior and exterior body, walls, ceiling and also harmony between the building and decorations can be pointed out as main qualities of this particular building. Collecting data for this study was carried out through library studies, especially field studies and based on analytical method in which the tower’s brick ornaments and tiling have been studied for the purpose of introducing the building, recognizing types of brick bonding, tilework, and plaster art, variety of classified brick layouts and also all sorts of botanical designs. The data has shown that the structure and architecture methods of Keshmar tower have been adopted from previous towers and from the combination of their segments which is the evolved example of the similar category in early eighth century AH. The main parts of exterior decoration are brick bonding in rows as well as combinations of brick and tile in many kinds of patterns such as rows of nine, seven, five and three, located on dodecagon frames, half cylindrical crests and triangular prisms. The entrance, colonnades, balusters and the base of the conical cupolas are all embellished with different types of “Rag Chin”, “Khofteh-Rasteh”, “Khofteh-Rasteh Kalouk-Band” and dual “Kalouk-Band” (which are types of bonding and brick working). All of interior surfaces are designed with Muqarnas and Stucco (plaster). The tiles used for decoration are patterned with arabesque and angelica designs and colored as turquoise or azure.

The splendor, grandeur and beauty of Islamic architecture of Iran, and even of pre-Islamic architecture, depends, above all, on its decoration. Islamic high arts, both decorative and applied arts, are of particular importance and prestige, and in every era of the Islamic era of Iran, various types of arts have been used to decorate the architectural spaces, which in addition to the decorative, architectural and decorative features of each It expresses the course. In Iranian historical architecture, interest in decorative surfaces is no less than interest in building forms, and decorative designs are made with such a sense of connection with the whole that this feeling is less likely to relate to the actual elements of the building. Tomb architecture is one of the most important decorative elements in the Islamic era after the mosques. In this research, the architecture and decoration used in the tomb of Hesam Dowlah Birjand is presented. This tomb is related to the Qajar period and is part of the non-religious tomb buildings. This research is a descriptive and analytical research with historical and cultural approach and its findings have been collected through library and field studies. The main question of the research is what are the decorative motifs used in the tomb of Hussam al-Dawlah? One of the decorations used in that art is mirror work. Mirror art is most used in government buildings and religious tombs during the Qajar period. Mirrors used in the tomb of Hesam Dowlah are geometrically formalized, with a variety of knitwear and Islamic motifs and paintings and a line on the back of the mirror. In addition to mirroring, the art of plastering has been used as an animal and animal motif and brickwork.