نشریه نگارینه هنر اسلامی
پیاپی 11 (پاییز 1395)

Tiling is one of the most important arts that plays an important role in the decoration and arrangement of Islamic buildings, including the Qajar period. Although the most of the decoration and tile work of the Qajar period is based on archaeological studies, taken from photographs, coffee drawings house, and even modeling of tile designs in previous periods, and sometimes copying the style of painting in Western art, but also has its own characteristics. However, what is certain is that motifs in Iranian art do not have the only decorative aspect; they represent the meanings and cultural concepts that have chosen art as their language. The necessity and importance of looking at tiling works are most likely to show that many of the tiles are in ruins, and some of the designs have been damaged by negligence and passage of time; thus, their recognition of the analysis process is a turning point in the unique look of tiles. The present research has tried through a descriptive-analytical method in order to introduce the visual values and the basic concepts of symbolic elements of tiles, to analyze the symbolic elements of several aspects of the tiling of Qajar buildings in Kerman. In addition, an audience paying attention to focusing on the roles as well as in the sense derived from each role.

In national museum of Iran, there is a wooden door which is related to “ Khajeh Marjan Ebne Abdollah”, belongs to eighth century A. H (Anno Hegirae), contemporary with “ Sheykh Oveys” – the second Jalayery king - with a view to history, is in the middle of two Ilkhani and Teymoorian periods and is a part of middle period of Islam. The door has about two-meter altitude and made of mulberry wood with embossed designs and big Iron nails and the signature of Marjan Ebne Abdollah is on it. The creator of this work has been tried to inspire special meaning to his addressee by means of a sequence of contrasts, pure nature of geometrical pictures, expanding symbolic meanings and old usage of ancient Iranian pattern like a broken cross and writing “. ”ãõÓóÈöÈõ ÇáÇóÓÈÇÈ æó یÇ ãõÝóÊöÍõ ÇáÇóÈæÇÈö This research is based on a theory to recognizes the constructive elements of a work, will cause to understanding the relationship quality with addressee by creating a relationship between expression elements in a work, it will be possible to achieve a meaning (message) and indications, existing in it. Also, it emphasizes on one of the main religious subjects; the culture of legitimate sustenance in Moslem’s life and Islamic holy religious law for earning a livelihood and getting wealth and legitimate business in the form of revelation in artistic work. Regarding to the importance and necessity of reading Moslem’s artistic works, the present research has engaged in a structural analysis, based on “Claude Levi Strauss”, a French anthropologist and constructivist’s ideas (1908 – 2009) to decode the inner layers and hidden facts of wooden door related to “Khajeh Marjan Ebne Abdollah”. The goal of this study is the semantics of this door and trying to answer these questions: - Is this door an artistic work? - What is the viewpoint of its creator? What is its message for the viewer? The method of this study is a descriptive - historical and analytical method and gathering the subjects is in library way. The most important findings of this research are that this door is an artistic work and its creator reveals the Iranian – Islamic artistic manifestations by making coordination between nonverbal elements and lingual structure. The religious artist steps into an exalted area along with the addressee and changes the existence to an excellent life, in addition to creating a unique generality. The wooden door related to “Khajeh Marjan Ebne Abdollah”, accompanies with religious theoretical feelings and theoretical, practical and sociological vocal horn so that in addition to encouraging the addressee to try to gain legitimate sustenance, help him to reach to absolute riches.

The concept of identity in all cultures and countries depends on religion, ideology, political and social relations and history. The identity in Artwork has different layers and each layer depends on different aspects. So in artworks, it is possible to study the identity in a different manner and each artwork might have several layers that one of them is stronger and obvious and the others are hidden. But, all the identity hidden layers will influence the artworks of obvious identity layer. Art in Qajar Era is one of the effective art periods in Iran according to social and political matters and Archaism and also widespread relations with the west has different aspects so we find several identity layers in this Era and its artworks. The questions:- What are identity layers in the visual art of Qajar Era?
- Which identity layers appeared more than other layers in Qajar Lithographed Folklore Manuscripts with Epic and Literal subjects?
The research method is descriptive-analytical, based on library sources. Statistical population includes 13 Lithographed manuscripts with Epic and Literal subjects in Qajar Era using the selection procedure.
The results show there are four identity layers: ancient Iran, Persian Islamic, Imitation of the West and Islamic manner in Qajar Era and in each type of artworks, some layers have importance.so in this case, study (Epic and Literal Manuscripts) the first layer is Imitation of the West and the second layer is ancient Iran. The 3rd layer is Persian-Islamic and Islamic manner are less important and invisible between the layers.

One of the ways for Western culture influence based on Christianity perspective by Western governments was sending religious missionaries in line with their desired policies in Qajar dynasty and especially Naseri era (1847-1895). These interactions have had directly or indirectly significant effects on the intellectual foundations of different classes of society, especially artists. This descriptive and analytical research was aimed to determine the position and role of missionaries at the time of Naseri era and the level of their thoughts distribution based on religious propaganda in the field of lacquer painting on pen cases. In addition, the impact of these missionaries on the visual attitude of the artists of that period was assessed. According to the results, a new school influenced by the religious teachings of Christian missionaries was formed during the Qajar era in Iran, which led to the creation of different types of works by artists. In this regard, a variety of works was created based on the foundations of modernity in the methods and expressing of topics. Therefore, the topics in the religious dimension were illustrated in the spatialization and typology of Mary and Jesus and the church saints, especially on pen-cases, which was an important education appliance of that time. In terms of intellectual content, these images are merely created to obtain visual satisfaction of the supporters and customers. Subsequently, painters created different images from their previous era based on the rules governing the socio-artistic atmosphere of that period and regard to the direct interactions with educational and religious issues presented by missionaries and their personal interpretation of these concepts.

The confrontation between good and evil forces, the division of the world into two realms of light and darkness, and the belief in the permanent quarrel between Ahoorian and Devilish phenomena, is a common belief among all folks and nations, a struggle that continues till the world is set up, and the ultimate victory belongs to the light front. Demons, who are the inhabitants of the darkness, are abnormal, black creatures with long, hog-like teeth, thick and black lips, and occasionally blue eyes. The body of these cannibals is covered with thick hair and they have several heads, horns, tails and large ears with a pair of wings. Demons are one of the most devilish creations in Iranian mythology, whose main goal is to eliminate Ahoorian creatures. Ferdowsi has shown this idea in his Shahnameh; it is even seen in the epic poems afterward. Meanwhile, Demons, which represents the devil and enemy, is shown as naked animal figures with horns and tail, possessing primitive weapons. The painters have somehow emphasized the superiority of the creation of the goddess against devilish creation by displaying these features. The main goal of the research is to study the role of the Demons in Ilkhani and Timurid eras (Herat and Shiraz) and their differences in their images. The main questions of this research are: 1. what are the characteristics of Demons in the paintings of the Ilkhani and Timurid eras? 2. How can the difference between the face of the Demons in Ilkhani and Timurid periods be explained? The results of the study showed that in the painting of this era, Demons are depicted with the animal nature in the shape of human body. On the other hand, the difference in the shapes of Demons in these schools is first drawn from the metaphorical aspect of Shahnameh, and then the personal perception of the painter and his interpretation of the text, the artistic style of his era, the cultural conditions and the school in which he grew. This research has been accomplished by a descriptive-analytical and comparative method, based on library studies.

Great Mosque of Neyriz is considered as one of the most historic and the oldest mosques in Iran. It is located in Neyriz County, east of Fars Province, around 220 km to Shiraz. In different historical periods, some extensions have been added to the mosque so that now it includes a rectangular courtyard, two north and south porch and some porticoes and seraglios around the courtyard. One of the most significant parts of the mosque is its plaster-worked altar located at the end of the south porch. This altar is characterized by some historic inscriptions dated 400 to 1000 AH. In addition, the unique and beautiful forms of plant and geometric motifs of this altar, that have been developed and completed through different techniques in different historical periods, have created a unique set of plaster designs. Studying these motifs can reveal the innovative visual effects of the existing designs and compositions. The necessary information is collected through library searching based on a field research and descriptivehistorical method. The results of the research show that, in addition to the inscriptions that covered most part of the altar (the exterior and interior parts), the curved arabesque designs along with angelica ones play an important role in decorating the columns, capitals and especially the interior part of arches with a grand central arabesque vault that is built by porous plaster molding.