نشریه نگارینه هنر اسلامی
پیاپی 7-8 (پاییز و زمستان 1394)

In the wide spectrum of Islamic art and culture, architecture is the manifestation of divine verses and the sayings of prophets and holly and selected people. Such buildings, including mosques and minarets, can be regarded as the most prominent works reflecting the Islamic thought during their constructing and decorating. Minarets, with religious and nonreligious applicability, are embroidered with varieties of geometric and inscription designs. The main objective of this study is investigating and evaluating the place of the inscriptions in Saljoughi minarets’ decorations. This study tries to answer this question: which kind of religious concepts and themes the holly verses written on the minarets are representing of? The framework of this study is steady upon this hypothesis that the artists who made inscriptions on the minarets such as Chehl Dokhtaran, Minare Gar, Ziar and Sareban, beside of trying to indicate and focus on the absolute traits of Allah through employing verses like Ayatol Korsi , aimed to make a purposeful combination of the height of the minarets and the motifs of the inscriptions which indicate God’s sovereignty over the world. Due to their height, Islamic minarets which are interpreted as the pillars between earth and heaven according to the theosophical point of view, guide the view of the audience from earth to the sky. By applying the sentences and religious verses indicating the absolute rule of God, artists who designed these monuments have fertilized the view of the audience during this ascendant.So, it could be indicated that the concept of the inscriptions drawn on the minarets has a direct relation with the height of the Saljoughi and Islamic minarets which have been investigated in this study. This study has been conducted through descriptiveanalytical method, using library investigations.

In the late Qajar era, Iranian architectures have been synchronized with religion. Tiling is widely used to beautify the surface of Iranian-Islamic monuments. Innovation in construction methods and content is one of the tiling features in this period. One of the most prominent presences of tile in decoration of religious buildings of Qajar era is related to Mo’aven-ol-Molk Tekyeh in Kermanshah. This building is a pictorial collection of national, religious and historical varied designs and themes which are on the tile pieces. Tiles of this building reflect the culture, traditions, identity and religious beliefs of Iranian people as a visual media. The presence of religious designs as the main theme engraved on the tiles is investigated in this article. The questions of article are as following: 1- How is the visual feature of religious designs on the tiles of Mo’avenol-Molk Tekyeh? 2- What is the content of religious designs on the tiles of Mo’aven-ol-Molk Tekyeh? This is an analytical research. Data collection is done through documentary method. The results show that the religious images are the most popular images in the tiling of Mo’avenol- Molk Tekyeh. These motifs are depicted in various forms such as human, animal, plant, geometry, architecture and other visual elements. They have been mostly displayed on the tiled pictures with Ashura themes. All these designs denote the features of arts in Qajar era. In addition to artistic values, they introduce the cultural and religious features as well as the identity of the people of this land.

Arayes-al-Javāher and Nafayes-al-Atāyebs is the name of a treatise that has been written by Abul-Qāsem Abdallāh Kāshani. Although the main subject of this treatise is on minerals, gems, and perfumes. But, the author has dedicated the last chapter of his treatise to tile and pottery industry because of he has been from Abū Ṭāher Family which is a famous potter family in Kashan at 6th and 7th A.H. He has a specific meanings and importance among researchers of this field. One of the techniques that Abul-Qāsem Kashani mentioned in his book, is the technique of underglaze painting. He completely described necessary materials for making paste and glaze of this kind of pottery. The aim of this research was study on the valuable documents and compatibility of its represented information as well as comparing it with new researches in archaeology. It is tried to answer some questions as: Where did potters from Kashan provide the required materials for production of underglaze painted pottery? Or based on this book, how many categories had underglaze painted pottery? Also, how much compatibility is there in the mentioned materials in Abul-Qāsem treatise with the experiments of Mason on available sherds of these kind of pottery? The method of data collection was library references and field method. The reserch method was descriptive-historical and comparative. Results showed that Kashan was one of the most important centers for production of underglaze painted pottery and necessary materials were available around the region. Potters from Kashan in 6th to 8th A.H produced it in 2 ways: “Monaghash-e- sefid boom” and “Monaghash-e- sabz boom” which compare with “lazuli and black on white background” and Qalam Meshki (decorated in black under a turquoise glaze). Also the tests conducted by Mason on existing sherds of these centuries showed a relative correspond to materials of paste but not in materials of glaze which mentioned in Kashani treatise.

The term intellectual capital, in global competitions, has been used to deal with the intangible assets of countries and organizations as their value added resources in recent years. As a modern scientific tools, the identification and use of this capital and also its subsidiaries including structural capital, customer capital, and human capital are used to improve countries and organizations entrepreneurship, and to reach to a competitive state. The aim of this research is identifying capabilities and competitive advantages of Iran hand knotted carpet in global markets in comparison to the known intellectual capital branches. A qualitative analytic approach and library based data collection were the research methods used in the present study. To put it in a nutshell, findings demonstrate that there are many advantages in producing and exporting hand-knotted Persian rugs, identifying and utilizing these capacities as the national artisticindustrial intellectual capital in a correct way, will help preserve and improve its position in the global markets. This research recommend that the carpet organization managers, with the support of the construction of carpet weaving complexes, provide the opportunity to utilization of the intellectual capital assets of Iran hand knotted carpets.

Creating manuscripts is one of the most important aspects of Islamic art which connected different arts during the history such as Gilding, calligraphy and painting. Among all the manuscripts, analects are samples designed by pictures and patterns. The subject of this research is to introduce pictorial analects of Qajar dynasty which is kept in Islamic parliament. The aim of this research is to survey the content and arts of these analects in the name of “Zobde Al’Montakhabin”. Therefore the research questions include: what is the poems content of this anthology? What kind of art is used in this anthology? The research shows that these analects include five chapters. The first chapter begins with some poems flattering Fatali Shah and then other chapters include poems of Sadi, Khaghani, Ibn Hesam etc. and some unknown Qajar poets writing about mysticism. Other arts including painting and gilding, volumes and arrays, such as the tables and epigraphs are used in this manuscript. According to the fact that this manuscript had not been dedicated to any king and its quality of designs and pictures is low, it cannot be considered a kingship one. Research method is descriptive and analytical, based on studying the manuscript and library studies.

Khan’s house is a kind of architecture built in the Qajar period at most villages of Chaharmahal and Bakhtiari Province. Chaleshtar castle is one of these monuments which is located in west of Shahrekord City. One of the hallmarks of Khan’s house is the widespread use of Quranic verses in outer and inner views. The construction of Khan’s house (Lord’s house) is always based on religious beliefs of its owner and inhabitants, and the artist is also trying to do as much as possible to make the rules and principles of Quranic verses in the best possible way. A part of these motifs with religious themes is important because of the prominent attributes such as the inscription of the Qur’anic verses, the names of the imams in the carved form on stone, wood and plaster. Quranic verses besides decorating the exterior walls on the ceilings, the body of the Five Door Room in the indoor courtyard are decorated with a group of various designs with religious themes and Qur’anic stories. Artists in this collection have tried to visualize the space of the collection according to verses of the Qur’an. The reason for presence of the Qur’anic verses, the choice of verses, and even the location and visual quality (including the type of prescription, the quality of the decorations and the accuracy used) was examined to study the status of the verses, ultimately, with respect to the ruling atmosphere (Khan and the peasant) on how to create verses, intentions and dedication to the use of these verses. The creation of these verses could be explored in three respects: 1. A common pattern of architecture in the contemporary time and is not correlated with constructive thought. 2. Is it correlated with the belief and bias of the builders and their faith and ideology? 3. A kind of political tool for advancing the goals of the creators. The results of this research show that the goal of the owner of this building while respecting the beliefs of the people, and preserving human values and describing the spiritual concepts with a simple and expressive statement is considered together with a combination of aspects of objectivity. Therefore, the created building is based on the religious spirit that always flows in it. The research method is historical, descriptive-analytic and data collection method is library type with study documents and field studies.

Sultan Muhammad was one of the greatest painters of the early Safavid period that he has had his work experience in the Turkmen art school, blends well with art school in Herat and Wonderful works to provide a second school in Tabriz. During his art era, he has many innovations in the field of painting, which have been affected the artists of his era and subsequent periods, and even many contemporary artists. Among these innovations can be referred to vitalize of nature. He has reached to the special expertise, especially in the painting of stone and mountain in human and animals. The main question is what the relationship between to vitalize of nature and patterns of rock paintings would be in the works of Sultan Muhammad. The main objective of this research is to explore the concepts of vitalize of nature in the rocks and mountains. The descriptive studies and analytic studies method was choosen to answer this question which is the main goal. By analyzing the image of nature that Sultan Muhammad used can to say that to vitalize of nature and the mountains and rocks to human or animal forms associated with the topic painting this is derived from the teachings of Islamic mysticism.

The world of Iranian miniatures is full of mysteries and surprises which can not solely be understood with physical senses, but also with inherent ones. Therefore, Iranian art can be concluded in miniature space with extrinsic and intrinsic motifs. The aim of this paper is investigateed the Sufi whirling miniature which is attributed to Behzad and is analyzed according to characteristics of Herat school, in terms of structure and relation of forms and colors. This research aims to answer what and how visual and aesthetic values of Sufi whirling miniature in a descriptive-analysis manner. Surveying the aforementioned miniature in depth could be concluded that the artist not only has bound himself only to imitate the nature, but also has concentrated himself rather than material world according to his imagination world. The structure and relation of forms, follow precised geometric structure and all parts of the miniature are coherence. Most of the colors used in this miniature are blue gray. The blue, is a mystic color because it refers to the color of sky and celestial being. In a general perspective, it could be concluded that according to the colors used in this miniature, the work is full of delicacies and mystical themes.

The first and most influential center for traditional and national arts on the contemporary era of Iran was undoubtedly the “old Handicrafts School “, and in particular the National Arts Museum. The issue of this research is to found out their impact and effect on the works of Farshchian and the artist’s mutual influence at these art centers. In this article, which is “theoretical” and “descriptive-analytic” method, it has been tried to introduce the historical importance of the old Handicrafts School and the position of the National Arts Museum in Contemporary period with library and field information and documents, and the impact of these two centers of artistic flowmanship on the works of Farshchian and the artist’s influence on these centers will be reconsidered. The establishment of new school system and the Academy of Sciences and the continuity and necessity of this structure in the next schools, such as the old Handicrafts School, is the reason for the indirect impact of Farshchian’s works from this center. For this reason, numerous interviews with the artist and colleagues and their students and related images should be added. It also became apparent about how this influence was made, more indirectly and relative, through the professors of this system. Farshchian with the effective management of the National Directorate of the National Arts, staff training and drawing for the departmental workshops, and the creation of works of art, has had a significant impact on the young and contemporary Iranian painters.

Qajar architecture era could be entitled as housing architecture or architecture of residential buildings age. These types of buildings evolved by western architectural infuences in these era. This reseach investigates through architectural ornaments of Qajar residences in the city of Qom, because few studies have been done in this geographical region. Shakeri residence is one of the significant Qajar era houses in the Qom city. Shakeri residence located in Azar district next to the bazaar in the historical context of the city. Librarical and direct observation method used for collecting data of residence. Historical interpretive and case studies methods used as research method and analyzing the ornaments and architectural elaborations of Shakeri residence. The results shows that main ornamentaions of Shakeri residence are original brickworks, integrated and figurative colunms and stone plinth of Qajar era. Although a number of examples of iranian traditional ornaments could be seen in some parts of oranametations, but considering the impact of western art and culture in Qajar era, some ornaments influenced by western realistic an natsuralistics artworks. These kind of artworks had a different expressions in Qajar era. Results shows that these special kinds of ornamental artworks and motifs such as flower and vases, angel figures, human and acanthus leafs shapes are used in realistic manner in building ornaments.