فهرست مطالب حبیب الله آیت اللهی

The concept of life is one of the main concepts of many ancient civilizations arts, especially in Persian art and civilization. In the present article an attempt has been made to study "the concepts of symbolic and pictorial scenes of pouring win on the ground, presenting gulp and flowers in ancient Persian art, and its continuation in the paintings of Islamic period. The aim of this study is a consideration the content and the origins of one of the most popular scenes in the Islamic arts. The scenes that presented a gift such as flowers or wine to make a beautiful picture. At first glance these motifs can be thought of normal everyday life scenes. But with reviews of its Visual and mythic- religious concept changes in ancient Persian art and culture, can be provide the continuation of a symbolic and Visual archetype on the ancient and Islamic art of Persia. In the present article an attempt has been made to study with an emphasis the mythical and cultural information, Explain the concepts of pouring win on the ground, presenting gulp and flowers in ancient Persian art, Show related images, then analysis them on Islamic art, On the basis of the transmission of symbols and archetype of a culture. Based on comparative mythology, this theory can be said that pouring win on the ground, presenting gulp and flowers are common ritual archetype among the Hindu European groups. This is an issue many of the Scientists have confirmed but the interesting thing that is the key result of this article, is the continuity of meaning and symbolic picture of this pattern in the Islamic art and culture.

12th and early 13th centuries are considered as a turning point in the history of Persian metalwork. In this period, Persian metalwork has undergone fundamental changes in terms of production and ornamentation; while casting was the popular method of production for most centuries in the early Islamic period of Iran, wares made of beaten bronze and brass were increasingly produced and therefore new forms and types of metal wares were introduced. Furthermore, vast and unprecedented application of inlay technique—hammering precious metals in the prepared surface of bronzes or brasses—made utterly functional vessels of base metal, as precious and luxurious as silver and gold wares. Inlaying bronzes and brasses with precious metals, not only substituted a multicolor surface for a dull one, facilitated application of various patterns and more themes which absorbed the skills of some of the best artists of the period. From the beginning of the 12th century until Mongol invasion in the second decade of the 13th century, Khurasan province in northeast of greater Iran was famous for producing luxurious inlaid bronzes and brasses. This has been ascertained by the fact that considerable pieces of the period have been signed by artisans whose nisbas associate them with cities located in the greater Khurasan, above all Herat. In addition, historical accounts of the 13th century provides a valuable evidence on Herat being a famous centers for production of inlaid metalwork. While the contribution of Khurasanian School of metalwork to above mentioned developments, it has been clearly determined, that the role of other industrial and cultural cities of these centuries, including Tabarestan, Jibal and Azerbaijan, in formation of this movement, has not yet been clarified. Still, outstanding contribution of some of these centers in Persian metalwork of previous centuries raises apt curiosity regarding probability of existence in these regions of metalworking workshops during the 12th and early 13th centuries. While material evidences highlight the importance of Tabarestan silver working industry during the early Islamic period and astrolabe industry in Isfahan assumed a high status after the 10th century, historical accounts point to outstanding base metal industry of Hamadan during pre-Mongol times - the 9th century writer Ibn Faghih calls attention to Hamadan Metalworkers` reputation and almost a century later Al-Muqaddasi refers to high-tin bronzes of the city. In this research, we are going to find out: 1) if there were other centers of metalwork in west of Khurasan as certain texts indicate and as earlier scholars have conjectured; and 2) if wares produced in these centers can be identified as such. Therefore the main goal of this essay is first to determine non-Khurasanian centers of metalwork of the period and then to introduce distinct features of their products. In order to meet this goal we have used descriptive-analytical method of research and categorized the extant evidences in three groups; 1) pieces found in non-Khurasanian regions of Iran; including a high-tin bronze bowl acquired from Gorgan and a footed dish from Hamedan; 2) pieces signed by craftsmen, associated with non-Khurasanian cities; including a huge cauldron made by a Gazwini artisan and an astrolabe of an Isfahani artist; and 3) pieces with different stylistic features compared to Khurasanian school of metalwork; including an aquamnile in the shape of a cow, its calf and a lion. Having analyzed these evidences, finally we came to conclude that the important non-Khurasanian metalwork centers of Iran in this period were active in Hamadan, Qazvin and Isfahan. At first, most of products of these workshops reveal northeastern aesthetistics regarding to their designs and decorations. However, after the beginning of the 13th century they constituted a distinct style of decoration that mostly influenced by central painted potteries and architectural ornaments of western Iran.

Personification of the “planet moon” is one of the most popular astrological themes in Islamic metalwork of 12th and 13th centuries, which has been used frequently on a group of inlaid brasses and bronzes, most notably, of the so-called Jaziran School of metalwork. This is a cross legged seated figure, whether male or female, holding a large symbolic crescent before his/her head, which is sometimes depicted in isolation and sometimes in combination with the other six planets, namely the Sun, Mercury, Venus, Mars, Jupiter and Saturn. Sudden appearance of this theme and its vast prevalence on the large body of metalware of this period has partly raised questions regarding its iconographical origin. It was German learned scholar, Fritz Saxl, who, for the first time in the beginning of 20th century, had tried to connect the iconography of Islamic astrological themes toHarranians of north Mesopotamia and through them to ancient Babylonians. To date this connection has been taken for granted by other scholars of the field, who seem to be unaware of the fact that Saxl himself assumes no certainty on the Babylonian origin of the iconography of Islamic astrological themes, especially when it comes to the planet moon’s personification. Therefore, this paper, in order to give a plausible explanation with regard to the origin of the planet moon’s theme, aims to reinvestigate and reexamine its iconography. To achieve this goal, we have used descriptive-analytical research method and having gathered and analyzed adequate evidences, come to conclude that the iconography of planet moon, as is seen in the Islamic metalwork of this period, is more likely derived from pictorial tradition of pre-Islamic Iran, in particular Parthian and Sassanid artistic repertoire. The importance of planet moon in itself in ancient Iran needs not to be overstated. Its signs and symbols have decorated, for example, the surface of pre-historic potteries for thousands of years. However, it is in Parthian period that one can, for the first time, find the exact parallel of Islamic model for personification of planet moon. From this period, among reliefs of Hatra palace, there have been survived depictions of moon goddesses, one of them representing the upper body of a female figure carried by a crescent. Later on in Sassanid period, a more explicit expression of this theme has been developed, especially on the silver plates and seals of the period. This depicts an unusually large crescent within which a god or goddess stands or seats. These pre-Islamic prototypes altogether have provided Muslim artists of later centuries with a strong pictorial model of the planet moon, whether within or without other six planets’ representations. In this transmission process, in addition to visual elements, some nonvisual characteristics also found their ways into Islamic iconography. Therefore, it seems that the simultaneous employment of feminine and masculine figures in the representation of planet moon in

Arab tribe in Fars،which is a branch of Khamse union،enjoys ancient carpet-weaving tradition. All weavers of this tribe belong to Arab Jabbare union. It haslearnt Fars tradition of carpet-weaving sinceadoption of Islam by Iran and has transformed it accordingly. Because of the pastoral and nomadic life، some kinds of bag weavings have been woven by them. Carpetbag is the most important and current crafts of Arab tribe. This kind of weaving is the same as carpet and it is made in one or two leaves in square form for carrying loads. This paper tries to study the features of color، motifs and texture of carpetbags of Arab Jabbare in Fars. The research method is descriptive-analytical one and data collection is conducted in a combined way by desk study and fieldwork research. The findings show that weaving method consists of symmetrical knot number 3، twofold woof and colorful binding. Also dyeing method is “dark in the dark” which is the tradition of this Arab tribe and is used more or less in carpetbags. The motifsare divided into two groups: the first group which is based on small or large motifs organized to form a regular or irregular patternscontaining two birds، tree or all birds’ motifs. The second group contains a general pattern - often a regular one –where all other motifs are arranged in that framework and contains urban motifs of Fars and other regions. Arab weavers have also used patterns like Four-Fishes، Soori Flower، Bush، Bracelet pattern and Moharamat in their special tribal method for these carpetbags.

Islamic calendars are unique examples manuscript according to the appearance and content characteristics. They are valuable and considerable collections of Islamic art. This research was tried to answer these questions that; what is the evolution of appearance and content Islamic Calendars and, what is relationship between ancient Islamic calendars and contemporary calendars. The authors collected some manuscript calendars of Saljughi, Illkhani, Safavi, Ghajar and contemporary calendars and studied appearance and content characteristics of these calendars and their relationships. Principal hypothesis is of this research that there is a traditional illustration in Islamic calendars and their content. The main aim is to explain formal characteristics, aesthetic arguments and artistic characteristics of Islamic calendars. Based on the research results, old calendars of Islamic period associated with table and information was entered into it, and these charts have imitated of ancient Zigs (zig or zaeeche, astronomical table) from per Islamic periods. Numerical calendars were associated with the name of solar months (Houses of the Zodiac) like, Taurus, Gemini, and Cancer. Old calendars didn’t have any decorations, while the calendars of Safavid period were decorated and illuminated. Lastly calendars are simple without decorations due to the printing industry; these calendars have the same structures of ancient calendars.

This paper is a statistical and comparative study on quantity of reference to religious texts by wood carvers to decorate the cenotaphs of the descendants of imams (imamzadehs) in Sari. The problem and purpose of this study have been to study the quantity of reference to religious themes and texts by local artists in decorating the wooden cenotaphs and to determine the priority of each subject. To determine the Statistical population، 297 buildings in 2،157 square kilometers has been studied، among which، eight undamaged boxes with significant artistic qualities have been selected. Data is gathered through field research، using photography and note taking. This study has led to several conclusions. The results show that the «Quranic verses» and «Salavat Kabir» have been the most recurring in inscriptions. Among the available themes، artists have insisted on choosing texts related to two themes of «Principles of Religion» and «Shiism’s Legitimacy». The results also indicate the direct and positive influence of religious state support on religious art of Tabarestan. Imamzadeh Yahia tomb tower is a notable example of such support.

In the first half of the seventh century hijri (thirteenth century A. D.)، during last decades of Atbeks’reign in northern Iraq، Mosul school achieved a high position in Islamic from metalwork. The reputation of its products، therefore، has so far questioned the originality of works، most probably، other centers. Several significant pieces from the period in question have survived which scholars، based on stylistic characteristics، attribute them to Mosul metalwork،yet these works obviously differ in form and ornamentations from the ones made in Mosul. Here in this essay we selected and studied three instances of these works to determine their actual origin. The result of this research indicates that in spite of resemblance of some decorative elements in these inlaid brasses to Mosul metalwork and based on the extant evidences their attribution to this significant school of 13th century A. D. is not justified. We believe، on the contrary، they must have been produced somewhere in the western part of present Iran.

The Safavid Mihrabs of the sixteenth-seventeenth/tenth-eleventh centuries in Kashan and Tabriz and also the Transylvanian Mihrabs of the fifteenth-eighteenth/ninth to twelfth centuries were found in Oushak, Manisa and Ghiordes of Turkey and exported to Saxony churches. The historical and geographical connections between Persia and Turkey in various ages has created many phenomena exclusively within the carpet-weaving industry.By studying the current similarities and differences, the specific carpets of both regions and their degrees of influence can be documented. The mihrabs of both sections are small in size, have borders with warm colors and enjoy inscriptional decorations with religious contents. The presence of Quranic verses and abstract patterns on inscriptions, the diversity of motifs in texts, spandrels, and margins, and also the delicacy of the weave and color variety are among the significant characteristics of Safavid mihrab rugs in contrary with Transylvanian mihrabs that have a plain background, inscriptional borders with geometrical and abstract patterns, limited color variation, large weaving following a solitude design in contexts and spandrels. Investigation shows that the mention rugs are similar in terms of design and a few decorative elements including inscriptions, lanterns and vases and are unalike in other features. This paper is organized via a historical, descriptive and analytic method. The analysis is accomplished through a comparative and contrast manner. Aims of the paper:1- Understanding Safavid and Transylvanian rugs and their structural elements and applied motifs.2- Understanding the influence of Safavid and Transylvanian rugs on each other in terms of design, patterns and color.Research Questions:1- Can the structural elements and motifs of the mihrab rugs of the Safavid and Transylvanian era be classified?2- What similarities or dissimilarities can be found among the design, color or patterns of the Safavid and Transylvanian rugs?

One of the prosperous periods of Persian commercial carpet industry is the Safavid era especially the 10th and 11th centuries (A. H.). Governments’ attention to arts and artists and expanding the facilities on the one hand، and willingness of other artists such as illumination artists and Persian painters’ to beautiful designs for carpets، along with the progress of the dyeing industry، provided carpet weaving with a special place in the field of art and industry. The main question of the present study is: Who were the carpet designers at different geographical locations and in different times for various woven products? The main hypothesis in this paper is that in Safavid era، some of carpets were designed by famous Persian paintings artists. For this purpose، a comparative method has been used for comparing two survived carpet samples with the paintings of that era. It can be seen that the most of the arts، including traditional arts and architecture، were closely related at that era which indicate the existence of a unified artistic management in the cultural system of that period، and such responsibility was undertaken by the prominent painters and architects. The comparison of motifs of paintings and carpet may indicate that some of the carpets have been designed by some great painters such as Kamal al-Din Behzad and Aghamirak Isfahani and Soltan Mohammad Iraqi، etc and there are some valuable carpets woven directly under the supervision of these masters. On the other hand، some carpet designers were trained who followed their masters and this indirectly influenced the development of carpet motifs، so that the carpet designers were mostly inspired by these masters in manufacturing workshops.

The present article analyzes the contemporary post revolution wall painting art and the symbolic, social and cultural capital dominant on it that are indications of social and political changes, actions and field of power within the scope of painting and state field of power. The main hypothesis in the article is that the wall painting art is produced while being influenced by the field of power in every period and to test the mentioned hypothesis there are considered the post revolution wall paintings in the city of Tehran. The way the present artists act, the position and place of this artistic field in social, political and art situations, the type of the capital and their habitus, all are the major questions considered within this paper. The research method is also based on Pierre Bourdieu sociological views and tries to analyze the genesis of wall painting field in social space after the revolution. The conclusion shows that the style of the specified period wall paintings is the result of a meaningful differentiation from the pre revolution paintings and is based on the cultural capital which is itself resulted from the current political governance. The dependence of wall painting to the field of power, in the height of revolution andsimultaneous with its victory, connected this art to the main focus of power, the Mass and revolutionary forces, and was supported and confirmed by the revolution after its consolation and establishment of field of power.

With the appearance of Safavid dynasty that Iranian independence interwoven with Shia thought, formed governmental foundation, Epopee Writing was considered aiming expression of authority and courage of Safavid Kings as well as legitimacy of Shia thought i. e. Heidari Invasion (HamlehHeidari), authored by MirzaBazel and Past Epopee (ShahnameMazi) by GhasemiGonabadi are two sampels of this type. This paper tries to study a special version of Past Epopee (ShahnameMazi) which is accompanied with another heroic epopee named Zafarnameh (The Epistle of Victory) (Timor Nameh) by Hatefi in a special form. This research aims to investigate the particular features of these illustrations like: page layout، composition and production motivations of this unique version. This article have been written by descriptive-analytical research method and the information was gathered using the library. The results show a modern page layout in book design in writing verse and poem in vertical tables and margins simultaneously tries to indicate Timour and Shah Esmail personalities as high-rank authority in composition. On the other hand،the creator of art work in order to show Safavid substitution with Timurid, has deliberately drawn Shah Ismail I, beside Timur and also has emphasized on their superiority and great inspiration in composition.

Consideration to aesthetic sensation and to complying need for food، the first human had painted caves walls. Painting and interior decorative designs had become one of important part of home’s، although king’s palaces; step by step. Consideration between arts، cultures and customs; interior decorative designs of palaces are too difference. With politic relationship، these differences have been changed. Different architecture styles that were impression of center Europe baroque، France & Germany had pursuit with Russia in 18 & 19centaury; but yet all of them saved Russian native features in art works. All the time a grate empire wants show off the power of government to people. Palace constructing in Qajar era went on zenith by Nasereddinshah. After Nasereddinshah traveled to Europe for first time، Iran had noticed to these countries arts. Russia was one of countries that Iran kings wanted to have politic relationship. Nasereddinshah in 1881 had expanded Niavaran building and named Sahebgharanieh. There are many components in Sahebgharanieh palace such as interior composition، stucco & painting that are comparative with Russian’s architecture interior art designs and may be able to find unities between them. The goal of this research is finding if Russian’s architecture interior decorative arts had similarities and differences with Tehran’s Sahebgharanieh palace in Qajar era. About composition، there are similarities between Sahebgharanieh & Russian palaces. By impression of Achaemenian architecture، entered to Europe bilateral stairway; yet come in interior design of Qajar palaces. Stucco is one of important similar component in Sahebgharanieh decorative arts; especially Russian halls. Motives like coronet in Sahebgharanieh halls are similar to Russian army motives whole of Kremlin grate hall، especially Alexandrov & George halls. Korsikhaneh is one on rooms in Sahebgharanieh palace that the stuccoes are colored. In Russian decorative arts the stuccos had been colored especially with gold. One of the most important things that had influence on painting in Qajar era was portrait. There are many similarities between portrait in Qajar era and Russia. But there are differences between culture، habits & customs. Didn’t evident any mirror mosaic in Russian interior decorative arts; but we can count stone embossed and stone designs in differences and similarities. The motives of mirror mosaic in Sahebgharanieh palace are similar with stuccos motives. We can remember Sahebgharanieh’s grilled windows with the style of Katrina’s windows palace; there is one different that Sahebgharanieh’s windows had formed of many little color glass. In this research have done the descriptive and analytic methods in use assembling information of books، papers، dissertations، documents and field research of Sahebgharanieh palace; anybody didn’t write like this paper. Researches just have mentioned to Sahebgharanieh palace. We knew that Russian interior architecture decorative arts had impression by European countries. We achieved that the Sahebgharanieh palace had reconstruction by architect taste، virtue and inspiration of painting، composition & decorative arts of European & Russian palaces. So couldn’t disregarded the Russian art influence’s ashore European arts in sahebgharanieh palace.

The “new art history” is a radical, critical and social interdisciplinary academic field which refers to historical, social, political and institutional “context-based” approaches formed in contrast with the idea of “art for art’s sake” and 20th century formalism (1875-1968). Formalism itself was born in opposition to Romanticism, and rejected the emphasis on content and context. It led at last to another aesthetic revolution which was a result of liberation from aesthetic despotism. The “new art history “arose in 1968 within those notions of “art for society” developed, however in an unfinished and therefore unnoticed form, in the early 20th century by thinkers such as Arnold Hauser. The “new art history” followed their path because a tendency for replacing art in political and social contexts, in post-cultural studies such as post-Marxist, post-feminist, post-colonialist and analytical psychological theories, was indeed motivated by the idea of “Zeitgeist”. The methodology of the present study is based upon analysis, interpretation and evaluation of certain ideas, approaches and theories under the same titleas well as a new comparative/analytical point-of-view based on Hegel’s dialectic interpretation. Also adifferent comparison will be made between two important historical periods, in case of contrasting with thesis or Formalism of 20th century and antithesis or considering content or context-based approaches in the 21st century, making a new synthesis of content and form in the contemporary world. The present study aims to prove manifestation of historical self-awareness of artists (philosophers, historians and critics) and entering into history domain (from comparative points of view which here is paying attention to social aspects of art) resulted from awareness; in position of knowledge and wisely determination appearing through a historical process with passing from deliberately experience way (based upon thought and not merely sense and form). In this way, a historical fate leads to a historical change in arts.

Human image is one of the features of the Isfahan style painting. Methods and attitudes that have made it different Than the picture of old schools. This paper examined the conditions that cause this type of attitude and painted, the requisites that make painting a picture of Shah Abbas I will pay more attention.Political, social and cultural exigencies attracted more attention to human images in the era of Shah Abbas I. These exigencies originated from internal and foreign relationships of the government. This research presupposes that certain principles in the Iranian painting originated from the Iranian-Islamic thought but these developments emerged in the iconography of Isfahan School of painting. Therefore, it is necessary to study the domain of these developments.This article tries to examine how these changes can affect the human iconography. Research findings show that various socio-political and cultural factors influenced the human representation in this era leading to new features in the Isfahan School of painting.The methodology of this study is based on historical analysis as well as data collected from library sources.

Identity, which forms the personality of every society, is the cultural and social values that has today been kept by the academicians and is transferred to the next generation according to timely revolutions current needs. It is upon different codes of conduct and especially higher education systems to come up with the most suitable strategies in order to keep, revise and transfer cultural identity and national and scientific personality. The higher education system of the various branches of art plays a key and sensitive part in protecting this identity based on their covered subject and connection with national and traditional values.In this fundamental research the higher education system of the branches of art will first be analyzed through studying the Persian history of education and Islamic morals and guidelines. A survey on characteristics of identity in the current system will then be mentioned which has evaluated the influence of contemporary cultural variables on educational programs in this field. Finally, In addition to giving answers to the questions of concern, this essay also highlights the following 1-Attention to the national, indigenous and ritual values and to the cultural identity in the educational programs of the universities. These values have not been conveyed to the university students in a satisfying manner and are not compatible to the rich historical background of this country. Likewise, their importance has not been elaborated sufficiently. 2-In most cases, due to unawareness toward the necessity of links and communication between the traditional values and the fast progresses happening in the present era, certain contrast and opposition between the two concepts of tradition and modernism have been unwillingly created in the minds of the university students, to the extent that the foundation of their thoughts has been affected by unclear illusions with respect to choosing the right path to take. 3-The goals, the subjects to be taught and the approved educational programs are generally outdated. Although one can detect the presence of values and the importance of culture and identity in them, they do not match the speed and amount of changes that occur in the world nowadays. Therefore, it is essential to review and revise them. 4-Reforms in the structure of the society, the extensive cultural and economical expectations and the broad political exchanges occurring in the society at both national and global levels are not in line with the educational goals and the expertise of the university graduates. Lack of evaluation of the society's needs in relation to the educational programs separates and disconnects the universities from other social institutions. Therefore, the needed incentive to continue higher education and have progress in gaining vocational expertise is indeed very low among the university students. In the other hand, with a glance to the title of this essay, we can lay the grounds for an ideal higher education program on 4 main sections: fostering the sense of identity, updating, evaluating the needs and empowerment.

Always beautiful and rich fabrics is considered as the main features and characteristics of the Orient because dress as a manifestation of art, has originated in East and in some sort indicates the authority, pomp and glory of clothing, especially in Asia. In this paper, textile designs in three Achaemenid, Parthian and Sasanian periods have been studied. For this purpose, first with referring to religion, culture, symbols and beliefs of each period, important motifs used in clothing and textiles during each period has been reviewed and changes of each period has been taken into consideration. Weaver artists of those mentioned eras, while paying attention to the public taste and public opinion, they were not indifferent to Innovations and their efforts were on offering the textiles with high quality and various patterns. That's why this profession was the last great boom and can be stated based on the diversity of designs, in the ancient Iran, especially in Sassanid era there have been equipped weaving machines.

Persian calendars besides having the most unique art forms have strong academic Foundations, too. These images (Art forms) are re¬flected in the domain of Persian art. In the present article has been tried to study the process of changes and evolutions of calendars. This research also tries to explain the oldest samples of Persian chronology. In addition, by study the samples of Islamic Numerical calendars (Roghomi calendars), has been tried to show the elements of ancient Persian chronology that have been used in these calendars. The aim of this study is explaining continued life of symbols and sings related to ancient chronology in this Numerical calendars. This study proves the hypothesis that there has been chronology since from ancient time and in different periods in this country. The symbols and sings of ancient solar calendar have appeared in Islamic period at Numerical calendars in both written and pictorial forms. The adopted method in this research is descrip¬tive – analytic via library researches and with taking notes method. Also samples of calendars that exist in libraries and museums have been studied through of fieldwork. In this reason, at the first, chronology of pre Islamic and Islamic periods has studied, and the types of chronology in these times have explained. It explains constellation as relative symbols with Persian chronology and shows samples of it, in ancient Persian art. Then, by offering a report of some Islamic calendars; it talks about the processes of changes and evolutions of these calendars and the contact of ancient calendars with some samples of contemporary calendars. Then it indicates the symbols of ancient Persian chronology (like constellation) in the contemporary calendars. According to the results of this research, icons of calendar have been appeared on Persian artworks very well, from pre-Eilamit history to Sassanid period. These forms (icons of calendar) are seen on the artworks, calendar and astronomical texts in Islamic periods. In this period the name of these constellations is existed in calendars in the form of written and image. Numerical calendars (Roghomi calendars) have the same structures with ancient astronomical tables (horoscopes), that were known from the Achaemenid era. From that time (Achaemenid period) should not be ignored effects of horoscope, the element that in special form are in Islamic calendar. The oldest Persian chronology which is solar with content and visual features, has survived in Islamic period; these features are observed in Numerical calendars.

Byzantine iconography, due to the theoretical content ruling on it, has provided a close and fundamental link with Christian theology and the resolutions ruling on it, especially the most fundamental ones, namely incarnation of word in the form of picture. However, this artistic form has been able to show a good reflection of many aspects of the social life and even the popular beliefs of its society. Witness of this affair, is clear cognitive style changes that this artistic form has been developed through nearly a thousand years of its life. This shows the possibility of examination of this artistic form, in terms of cognitive styles in different periods and topics. Hence, the writer, based on the historical course of Byzantine civilization, has counted four fundamental periods for the life of this artistic form in the lap of Byzantine Empire: the first golden age, iconoclasm hypocrisy, the second golden age, the third golden age. The first golden age of Byzantine art has begun with the throne of Emperor Justiniane1 (525-567). The man that has increased the wealth and territory of the empire to its highest level in the history of Eastern Roman Empire and has provided a promotional setting for arts including iconography. Nevertheless, and despite of the specific brilliance of Byzantine art in this era, few icons have survived. That is because of the famous event of iconoclasm hypocrisy (726-843); a hundred years old period, during which most of the left icons of the first golden age, have been burned in the anger of iconoclasts or have been destroyed or disappeared in many ways. With the evening of iconoclasm hypocrisy era, and the throne of the first king of Macedonians, the second golden age of Byzantine art has begun (867-1204); a period during that two important and fundamental styles in iconography, have blossomed: Macedonians style and Comnene. Although two styles are both the product of a relatively stable and continuous period, but both show different traits and characteristics. The era that had ended with the invasion of Crusader brigades and the occupation of Constantinople in 1204. Short interval of capital occupation that had come to end with the dominance of Byzantine army on Crusaders in 1261, has built up its apparent impact on the art of iconography in the third golden age of Byzantine art (1261-1453). The era that has begun with the renowned throne of the Komnenian emperors at the Constantinople in 1261. This period that slightly has lasted less than two centuries, was the witness of a unique style in iconography that should be considered as a renaissance in Byzantine iconography. The era that apparently had ended with the invasion of Ottoman Turks to the emperor capital and occupation of it in 1453; in practice, has provided a sustainable and promotional setting of this artistic form in Russia and many Eastern European countries for nearly four centuries and has left its clear and decisive impact on the art of Renaissance Italy.

Undoubtedly, holy books are fundamentally and substantially different from that of written by mankind. These celestial words have categorized such holy books as the artistic and literary masterpieces of its kind. In fact, most of the language rules based on verse and literary beauty had token from aforementioned books.The method of storytelling in Holy Quran is in the way which by reading the stories, readers get to know holy notions that invite them to obey piety, godliness and living in a decent way. In these stories the mere purpose is not only to publicize technique and structure in their absolute concept but the main objective is to introduce humane and moral values to the readers. The stories of the Holy Quran have been narrated in three different ways so that each story enjoys dramatic features. In the first place, there are stories containing a steady process, tragedy-like concept based upon Aristotle definition and are narrated in a full episode; the story of “Joseph” is a case in point. Secondly, such stories that have been narrated here and there in various chapters of the holy Quran comprising tragic features such as the story of Adam and Eve. Thirdly, stories involve drama-like theme e.g. the story of Noah and his ark. Fascination in these stories is due to act of creating, suspense and act of processing characters in an intellectual way. Holy Quran’s stories are benefitted from dramatic elements, character development, the unraveling of a complication. Possessing conciseness, symbolism, ambiguity are other features of mentioned stories. In the story of Adam’s creation, various stages of suspense have been created about Adam’s destiny from the moment of his creation up to Adam’s fall and the rest of his life on earth. There is different suspense in the story of Edris such as when he faces death, heaven and hell. Another example of suspense is in the story of Saleh, the prophet who has confliction with his tribe and in each second there are many conspiracies against him and his miracle (the she-camel). In the story of Abraham, there is sequential suspense such as Abraham birth, his passing through fire, the sacrifice of Ishmael by Abraham and finally in the story of Joseph there is a set of dramatic suspense from his childhood up to his kingdom. Characterization and suspension are clearly considered as the most essential dramatic elements in Quran stories. All the stories are narrated in a way that the reader waits with bated breath to the end, shedding light on mental, social aspects as well as characters’ beliefs; it’s believable to express these aspects.Using analytical and descriptive methodology, this article examines the characterization and suspension of five characters of Quran’s stories such as Adam, Abraham, Noah, Saleh, and Joseph. It has been concluded that the feature of Quran stories and their dramatic context enjoying dramatic elements, along with characterization and suspension rudiments can pave the way for writing a wide range of plays and other works in this regard.

Previous studies of the Arjan cup have considered its archaeological context; chronology; and iconography. this study has only zed the ideal aspects and also uisual calture of images of Arjan,s cup by aesthetic view points. The images portrayed in the Arjan bowl are structurally divided into a series of consecutive episodes, the sequence of which is organized along ideological grounds. This correspondence between content and structure reveals itself first to the viewer across a division of five registers and one rosette separated by concentric circles and intertwined guilloche bands. Carefully distributed among these registers lies a universe of miniature forms inhabited by 112 human figures, 66 animals of 33 species, diverse trees, and various artifacts commissioned the work, from taking infinite care to unify and integrate its decorations (and narratives) within a highly(Neo-Elamite) individual format is valuable.