نشریه هنرهای زیبا - هنرهای تجسمی
سال هفدهم شماره 3 (پیاپی 51، پاییز 1391)

Inscriptions in calligraphy, hard stone carving and rock reliefs have a long tradition in Iranian Art. Although from the pre-Islamic times many important samples of three dimensional Sculptures have been found in Iran, during the Islamic era, because of the religious edicts and beliefs, that they had the sculpting prohibited, the art of sculpture couldn’t be developed in the way of pre-Islamic style. Nevertheless Iranian’s tendency to this kind of art appeared in the different artistic forms, such as decorative reliefs in architectures, monumental buildings, tombs, mausoleums and different types of carving of vessels. But during the Qajars some efforts were made in order to revive the royal rock reliefs. Therefore many artworks were made in this time show the durability and endurance of the Iranian old traditions and styles of sculpture and rock relief. Also in the second half of the Qajar dynasty the realistic and three dimensional sculptures became the center of attention, so that the first realistic sculpture in the round was made in the Islamic times. This event, as itself, was the first step of the next artistic developments in the field of sculpture. In fact, cultural, political, and social changes in 19th century in Iran can be considered as the last stage of the traditional developments in Iran’s society. In the first section of the Qajar dynasty, in the other word, during the reign of Fath-Ali Shah (1797- 1834) many efforts were taken in the royal court, especially because of the demand of Shah himself, in order to revive the Iranian old traditions in the fields of literature and art. With beginning of reign of Nasser al-Din Shah (1848) commenced a new period of time in Iran’s history. It was the time to distance from the social and cultural traditions and tend to western developments. In the field of sculpture the naturalistic and three dimensional and also monumental sculptures came to core, so that the art of sculpting became an artistic activity in relationship with the new urban design. Beside a brief review of the history of sculpture in Iran, this article, based on the pictorial and written resources, studies the different approaches of sculpture and stone carving during the time of Qajars. One of the main issues that will be studied in this article is the role of royal court in the process of the development of sculpture, from a traditional status to a realistic art style. Especially in this relationship the impact of Nasser al-Din Shah’s travels to Europe and his confrontation with realistic sculpture that led to making his royal statue will be considered. Other main issues in this study are the use of decorative application of sculpture in royal courts and also the use of imported sculptures as the educational samples to learn painting, drawing and sculpting in the first art schools in western style that paved the way to three dimensional sculptures and naturalistic painting in Iran.

Nature has great importance on prehistoric human life and attention to the environment and discovering mysteries of life which influence their life, always have been considered as concerns of prehistoric people. The elements such as water, wind and earth for primary human were important elements because of no awareness of environment in primary stages of sedentary life. Human beings always tried to know how to use these elements despite environmental changes and atmospheric factors. As long as science hasn’t reached to it, with symbolizing them tries to find a way for dominance on these elements through visualizations and fantasies and simulation of these elements with environmental creatures. Always prehistoric painted potteries are used as a means of transferring concepts. The artist hunter’s prehistoric drawings represents his location and way of his life. These issues can be observed in painting art on patterns of that time that triple elements of nature consisting of water, earth and wind have been always observed in human life symbolically and also in different forms of prehistoric artworks. Circulation of pottery and beginning of painting on it is one of the symbolizing ways and it can show beliefs and manners of prehistoric people. Iran’s painted potteries have special position on among other prehistoric artworks. In addition to aesthetic aspect, paintings of prehistoric potteries involve symbolic function and reviewing the potteries like a book informs us about beliefs and lifestyle of people of that time. Throughout Iran’s ancient hills, painted potteries with various symbolic geometric, herbal and animal paintings in archaeologists’ excavation, gram pottery was like an important canvas in painting for an artist of that time. Susa as one of the production centers of painted gram potteries has a special position among other ancient regions in which pottery has been found. Susa painted potteries with special geometric rules have special position aesthetically. Susa cup has a special triple animal painting such as long feet chickens, dogs and antelopes which has drawn researcher’s attention to itself. This article tries to study: Susa cup symbolically, symbolic display of triple elements of nature on Susa cup and visual connection between elements of this cup descriptively and analytically. This study tries to compare this cup with other homogeneous cups and representing theories to display the superiority of this cup for people who are interested in art of Iran. This research tries to survey manner of design of each painting and proportion of paintings with comparison to paintings of homogenous cups. So that the result of this study is to present triple proportion and symbolic special properties which show awareness of prehistoric people and their thoughts about the environment and it can open a way to a more widespread and comprehensive research. Besides, in this essay information for research about symbolic meaning, knowledge and reasons of using painting on prehistoric painted potteries has been prepared.

In early Islamic era, architecture in Khorasan was followed the common features of early Islamic architecture style; Such as simplicity in construction and ornament. In the later periods, especially in Seljuq dynasty, the application of brick, stucco, tiling and inscription had been used more in architectural ornament. Then, in the short period under the Khwarizmshahid dynasty in Khorasan, two-Iivan mosques had been built with the emphasis of architectural ornament. Gonabad, Malek Zuzan and Foroumad mosques are three famous two-Iivan mosques in Iran which have outstanding geometric ornament. In this research we survey design methods in geometric pattern in architectural ornament in these mosques of Khwarizmshahid period. And also we try to explain the probable design method of selected samples with the application of common instruments at the time of built; ruler and compass. The connection between scientific centers and Islamic governments was so prominent. Famous scientists had studied in scientific centers in Islamic world and their scientific achievements flourished Islamic art and civilization. Geometry was one of the knowledge which had direct connection with architecture and architectural ornament. “On the Geometric Constructions Necessary for the Artisan” is one of the reliable sources in the field of practical geometry in Islamic civilization which written by Abu’l-Wafa Buzjani- Iranian mathematicians and astronomer in the 4th century- in Arabic, international language in Islamic world at that time. In this book, Buzjani describes the ways of geometrical designs with the common instruments. With adaptation by geometric design methods in two-Ivan mosques, Gonabad, Malek-Zuzan and Faruomad, with the Buzjanis’ dissertation, “On the Geometric Constructions Necessary for the Artisan”, in this research we try to suggest appropriate methods for design and construct of geometric architectural ornament with the common instruments and geometric theorems at the time of built. In order to analyze, we cited by the Buzjani’s dissertation which is one of the most important references in Islamic mathematics. Buzjani explains common design instruments and methods in geometric construction and theorems. The result shows that these geometric patterns were designed based on accurate substructure with the architectures’ knowledge of Geometry. We can see that these complex patterns are drawn based on accurate geometric divisions and design. And it is implied that architectural ornament is one of the most important sources to apply geometry in the practical filed and they like a reliable evidence of scientific achievement of each period. By comparing the geometric theorem and common instruments in the Buzjani’s book with the methods which we suggested for design of the architectural ornament of these mosques in this paper, it shows that architects and artisans have knowledge in geometry for their design and also they were expert in this filed as well as art and architecture. So, it is demonstrated that there was a deep connection among artisans, architects and mathematicians in the Islamic world, especially in early Islamic period.

Sultan Ali Mashhadi is one of the greatest calligraphers in Nastaligh script. The reputation of Sultan Ali Mashhadi (841-926 Lunar Hegira) in calligraphy, especially Nastaligh appertains to two issues, that is, the abundance of the manuscripts prepared under the auspices of the Teimurian Administration as well as the authorship of the first educational treatise in Nastaligh in 920 Lunar Hegira. In addition to intelligent and inherent ability of Sultan Ali, undoubtedly the infrastructure of above mentioned two subjects is the Companionship and affection of the great Timurid Art and Literature among Abdol Rahman Jami and Behzad Painter and having special support of Soltan Hussein Baighara and his artist Minister Amir Alishirnavai. there is left more than fifty manuscripts and many artwork that Most of them are hold in libraries and museums abroad, but about a quarter of the total number of his works are provided a rich evaluable collection. Among the numerous works of Sultan Ali Mashhadi, there is an undated script of the Boustan-e-Sa’adi in the library of the Malek National Museum, which is considerably powerful and rich, but it has not been registered in the famous books on the study of manuscripts.Manuscript of Boustan authored by sheikh Mosleheddin Sadi Shirazi, the font Nastaligh "Khafy" and with autograph text of "the writing of This Manuscript was ended with generous king's help and by this poor humble Sultan Ali Mashhadi", written in 298 pages (149 sheets) and the dimension of written text 13.7×7.6 cm. Making use of the librarian references and relying on the documentary, descriptive and comparative methods, this research evaluates the similarities and differences and compares the Nastaligh writing style of the Boustan of the Malek Museum with the style of the works undoubtedly attributed to Sultan Ali Mashhadi. While introducing different kinds of the forgery of the artworks and providing some samples of the forgeries made, the research analyzes the authenticity of the handwriting of Sultan Ali Mashhadi in the said book. Among, what is essential, is observation and study of the entire works of this calligrapher at a process of time, the work which has been done in this paper using part of his work available in Iran. Seeing more related works show the image of Sultan Ali ability in the mind of Iranian calligraphers is lower than the actual position of this old master, because the majority of works of Sultan Ali available in the public and in books and press distributed in Iran, are considered weak to moderate. At the end of the study, we find out that the rhythm of the modes, the continuity between the lines and meticulous juxtaposition of letters and words, arrangement of points and even the handwriting of Sultan Ali in the Boustan-e-Sa’adi of the Malek Museum is convincingly similar to other works of his. This will help us answer this question: Whether the intended Boustan-e-Sa’adi is a work of Sultan Ali’s or belongs to another calligrapher and it was then forged in the name of Sultan Ali in some other era.

In during Contemporary, its few of artists for numerous changes in artistic creation who have cared to reproduce some special symbols. In fact, these symbols are minor contain to the Beliefs, cultures and values of people in the country. One of the most important artists is Jazeh Tabatabaie, Painter and sculptor, devoting Significant share to review of symbols. He recreated some of the symbols by it specific manner such as Lion and Sun, Horses and Bird_Humans, etc. In this article, the method of the use by Jazeh Tabatabaie was considered. These symbols do not explain the old sign and the old content. In contrast, it appears to Humorous shape. During, the some former of the concept was satirized. It means that according whit it time, it Contemporary culture and it special look symbol was applied by Jazeh Tabatabai. Obviously, there are feminine forms in all of the Jazeh artifacts. Course, as missing element that in artist symbol language, in view that is felt a room in our time, was explained. Break symbols of jazeh down to two parts of Visual Arts; Painting and sculpture. It can clearly elicit female view in painting works, but it can observe Humor and satire the former symbols in sculpture works. In addition, this way, it can observe modern view of Jazeh.the form and modern shape was used for this method. In this specific view can use to limitless from material that not used in classical sculpture such as iron, and it observe both be pre-built and ready. Moreover, it clearly was observed specific style and personally signs. In fact, everything counts pure art of the Jazeh the manner of symbols transmutation in grouping the pieces together and connecting the piece. finally, create the artistic configuration and lovely. Thing that begain in iranian art by Jaze Tabatabaie. Those symbols determine living and Jaze’s tangible thinking for Iranian contacts. Jaze’s symbols are bridges between artist and people who create for them. Jaze could create Iranian traditional space and spirit, in modern form by new materials and Ready things in his sculptures and also kind of his brush’s action on canvas by his specific style. He can to keeping alive his name in Iranian art history. In fact, Jaze’s language is Iranian artist’s language in his contemporary world.But what will be clear from general viewpoint of Jaze’s artworks, its figurative and popular style that became familiar and palpable his artworks for Iranian people, because his favorable using from familiar symbols. He create witty animals and creatures by iron and metals that nowadays obtain appropriate position in Iranian art history. Of course this style apparented in work of other artists too, but in Iran beginning of this style did start by Jaze Tabatabaie. Himself learned its during the traveling Europe and from him europen teathers and artists as Julio Gonzalez. He could to Iranianized up that style very well. Certainly secret of this successful work is using from historical, populist and familiar symbols and signs in Jaze’s artworks.

This descriptive-analytical research in which the information has been aggregated in the form of library, field and the direct study of the works, the main goal is to study and review the role of royal stamps and Tughra from Ilkhani to Ghajar periods that are considered the royal signs and symbols of royal rule and the rimes written on it have had reflection mainly in the thoughts and religious beliefs of the kings. They had this premeditation in particular that displays their Shiite religious identity through these visual signs in the documents. That in addition to the official approval of the office letters, it has promoted the executive power of that government, and due to the same reason, specific attention has been drawn to it from the emergence of Islam. Tughras are some type of graphics which are written or depicted on the commands and decrees along with the phrases including the royal name and surname in specific style and with round and bent lines by calligraphist (person who design the Tughra). This writing or calligraphy is read hardly and has not principally been written to be read. Every king has specific Tughra for himself that is emerged as his own sign and has been unchangeable. This Tughra writing style found an appropriate shape and form in recent centuries by the Othmanis’ calligraphers (Turkey) and has been put forth as a document separated from a writing text and continued to the contemporary period of Islamic calligraphy. In addition to Tughra, one of the other signs components is the royal stamp that has significant presence along with Tughra as one of the decorative element in the documents. By using a visual approach, it has been dealt with the signs analysis of Tughra and also regarding the stamps in the axis of companionship and the succession, the manner review of existing visual relations, graphical values and using possibility of past artists’ achievements in the direction of using change and transformation of this script in today’s graphics in this research. The results obtained from studies show that the basic order, repetition and rhythm creation, the words swirl that compose a symphonic movement have a significant presence in these inscriptions and impressions. In addition to that the mode or the manner of lines color order in Tughras should also be pointed and be under consideration which adjusts and enhances the words texture and by considering the graphical dimensions and the evolution transition as well as the perfection of this secret like writing we find that Tughra writing like the other writing styles has gradually completed that had attracted more attentions in the centuries of artistic relishes and has attracted attentions as a historical sign. And due to having the visual fundamentals can play an important role in contemporary graphics especially in logo designing. It is necessary to acquaintance with this background and the points of it can be the future lights and cause the identification of today’s graphics in this field.

Customer satisfaction is the major concern to many leading companies throughout the world.Customer satisfaction is the major concern to many leading companies throughout the world. More firms use satisfaction ratings as an indicator of the performance of products and services and as an indicator of the company’s future. As lately shown companies that are able to identify customer needs and align these with their core competencies are those who champion innovation. Innovation champions combine their vision and core competencies with customers’ knowledge when creating new products.Product development is a complex task in which a great deal of human physical resources, methods, and tools are involved. Understanding and identification of users needs are the important factors in product development process. Manufacturing enterprises are increasingly focusing on satisfying individual customer needs in a highly competitive global market. A constant challenge for manufacturers is how to deal with the customer satisfaction, which in turn largely determines the customers’willingness to buy the products.The Kano model is the effective one theobviousand hiddenusers needsandclassify themin terms ofproductfunctions. The present study addresses the role of Kano methodin developingnew products that are both functionally and emotionally satisfying the customer’s needs. The Kano model of customer satisfaction classifies product attributes based on how they are perceived by customers and their effect on customer satisfaction. The Kano method builds from the premise that a combination of the level of functional fulfillment and emotional satisfaction that a customer receives from a product relates to the customer’s assessment of the product’s quality. Kano model distinguishes three types of product requirements that influence customer satisfaction in different ways. The three different types of qualities are 1) the must-be or basic quality, 2)one-dimensional or performance quality, and 3) The attractive or excitement quality. Besides these three, two more quality types can be identified: the indifference and reversal qualities. Kano and his research team group proposed that the functional and emotional aspects of each product, varied across a product’s attributes, and that designers should target the proper combinations of functional fulfillment and emotional satisfaction when designing product attributes. The case studyhas been presented in this paper represent the design of dinnerwarebased on Iranian user's feelings using the combination of two the Kano classification system and the self-report classification approach. Based ontheGestaltelements of the products, thirteen attributes were chosen. The attributes were then studied in two kinds of questionnaires. The first questioner contained functional and dysfunctional questions of Kano model. In the second one, the subjects were asked to express their own perception to rank these attributes within Kano categorization.37 university students (20 women, 17 men) participated voluntary as subjects in this study.The results indicated the fact that Iranian users consider the functions of type of arrangement of the dishes for each person and usage of curve and free forms as attractive requirements in the design of the dinnerware.The resultsshowusingcombination of these twomethodswillenhance thequalityandvalidity offindings.

The principles and concepts of modular design, mass customization, and personalization as triple elements of industrial products design and manufacture has been represented through the subject researching. These were based on the user’s experience. Modular design, in which products are formed from a set of independent modules and are connected by interfaces as each module functions only in one field, is defined. The main characteristic of the modules is that they may be used in a set of products family. The application of modular technology has been explained in the different fields of design, production, and use of products. Modular design provides a general structure with standard interfaces that make it possible to design independent modules, which can be combined with each other and form a system. The manufacture of modular products makes it possible to divide them into separate parts in a standard form, and customize as independent parts before assembly. Modular products can be combined the piece based on the user order, and as a finished product, meeting his needs. The distinction between the modular design and integrated product design is that in the former, each function of the product is carried out by an independent module, which has no effect on the other modules. Any module can be changed and has its own correct function; while product in the later must be redesign in whole to change any part of it. The change in one part of the product affects several other performances and it requires changing other parts of the whole product. The use of component sharing, component-swapping, cut to fit, sectional, bus, and mix modularity are different approaches of modular design. Decreasing the time and costs of design and product developing, product customizing, increasing the diversity of products manufacture, decreasing the production phases, increasing the product quality, supply change of products solidity, and cost saving the favor of the customers, are the six advantages of this strategy. On the other hand, the challenges of the modular design are the standardization of parts and interfaces, reuse of one part in diverse number of products, and their life cycle. Mass customization ideally means the ability to produce customized product and the delivery of products in any place, at any time, and under any terms and condition prescribed by the costumer. On the other hand, it realistically means the production of customized and mostly unique goods and services at the cost level of the mass production. The four phases of mass customization are: Differentiating, decreasing the personal costs, enhancement of personal relation with customers, and providing the sustainable as well as flexibility solutions. In conclusion, modular design has been introduced as the main factor for mass customization and personalization of industrial production, in which the needs of users have been met separately. The user is authorized to communicate directly in the design and customize it as per his/her personal needs. Indeed, introduced triple technologies can satisfy users and provide them the exclusive pleasure experience.