فهرست مطالب

نگره - پیاپی 14 (بهار 1389)

فصلنامه نگره
پیاپی 14 (بهار 1389)

  • 102 صفحه، بهای روی جلد: 30,000ريال
  • تاریخ انتشار: 1390/06/15
  • تعداد عناوین: 7
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  • Mahnaz Ghahhari Gigloo, Mahdi Mohhamadzadeh Page 5
    Extensive prevalence of Astronomy between 4th to 7th A.H century not only affect the common culture and believes, but also had a great influence on artistic illustrated subjects of those centuries, especially metal works. In fact it can be said that in this period, there is much more attention to astrological subjects in art. In this article, has been tried to recognize and extract the astrological concepts and believes in the history of Islamic period of Iran (especially 5th to 7th A.H century) and compare them with different patterns of human, plants, animals and geometric forms in metalwork of this period which have relationship with astrological concepts and subjects, in this way, we can find out the influence of astronomy progress on artistic aspects of that period’s people. In order to understanding and surveying, the astrological forms in metal works different books such as Sovar- ol- Kavakeb of Abdorahman Soofi have been studied and then comparedwith the astrological forms in Islamic period and then the meaning of each astrological form is extracted. This astrological book, has written on about 353 A.H. in Bagdad, shows astrological forms precisely. The subjective images of astrological forms from Abdorahman Soofi’s writings, are illustrated by different painters through centuries.This comparative study indicates that may be Muslim artists of this period,have known the astrological forms and concepts from astrological painted books and used them attentively in their art. The performance of astrological forms on metal works had an aesthetical function that sure was according to the will and the taste of the users and may be for their beliefs on the effective role of stars and planets on their lives.
  • Reza Tehrani Page 23
    The story of Miraj (ascension of prophet) is the most common contents in Iranian Islamic painting. In the long been paving the way for artists creativity & innovation the remaining papers from Ahmad mousas Mirajnama belongs to Ilkhani era & manuscript of Mir Haydar,s Mirajnama which are painted in Teimouri era are two peerless collections in religious visual arts. These two collections in addition to benefiting from painting principles at their time, have had a special attention to the issue. The present study sheds light on analysis & comparision of the components, type of attitude & function as well as decisions made by artists regarding religious painting in these two eras. The two major goals are displayed in such pieces of art.1) What are the features structural components in making identity in two Mirajnama’s paintings and their features?2) what are the similarities and differences in structural components between Ahmad Mousa and Mirhaydar works?For instance in painting by Ahmad mousa, paintings of the holy prophet Mohammad (p.b.u.h) has devoided of using symbolic & religious components but they are dynamic, sharp & quite ongoing, the painter has tried to create a mental atmosphere by making use of real world contexts that displays a religious historical event by composing people & individuals and using architecture and the natural perspective in addition to mongolian pattern, has made his work different from Mir Haydar that is mostly an unreal & abstract, poetic pieces of art,s In which color is dominant element instead of line.In such arts Chinese elements in both eras had different impacts in presenting structuralelements.
  • Tayebbeh Sabaghpour, Mahnaz Shayestehfar Page 39
    Patterns used in Iran’s carpets are full of symbolic concepts and meanings whichare fed by the Iranian myths, culture, beliefs and ideas. The motifs of bird are alsoamong these patterns. Bird, whether as a general motif or in the form of differentespecial birds like peacock, simorgh, hoopoe and parrot, was appeared in manyof carpets of Safavid and Qajar periods, which are two main and great periods inthe history of carpet weaving.In this article, has been tried to explore the symbolicmeanings of bird in Iranian culture and literature and explain the way of appearancein carpets. Some of the main questions of this essay are:What are the symbolic meaning of bird in Iranian culture and literature?How are the form and situation of birds in Safavid and Qajar carpets?In its general meaning, bird is the symbol of liberation and freedom. In carpets,it usually appears in the middle of a garden or orchard which itself represents theparadise. And in particular, each bird has its own symbolic meanings which in thisessay hasbeen pointed out. The important point regarding the form of these patternsis that birds in the Qajar carpets has been drawn a more natural and detailed way.The method of this article is descriptive and analytical and the data,s has gatheredin the librarian and field way.
  • Mahdi Sahragard, Ali Asghar Shirazi Page 51
    Calligraphy and epigraphy each has his own evolution according their definitionand usage.`Solse` has been important inscription in epigraphy and calligraphy inIran.The evolution of ‘sols’ in calligraphy has very much affected on epigraphy. It seems that the most of these evolutions – for both of them- accured in forth toninth AH centuries.This article is about the evolution and development of Sols calligraphy and compareit with the evolution of Sols`s epigraphy from –fourth to ninth hijri centuries- inorder to understanding the rate of affection of calligraphy on epigraphy.
  • Mahdi Pourrezaean., Mohsen Gholami, M.A Page 65
    Insanity, genius, art and the relationship between them are among the most interestingsubjects which emerged from ancient ages with the theory of plato, which linkedinsanity and art, and developed in the pre-Islamic period in Saudi Arabia, where poetswere called insane and is continued by present age with multipoli theories about it.This research makes an attempt to comparatively study the paintings done by mentalpatients (the insane) and the works of great painters (genii). In the practical part, theworks selected from a set of fourteen artists and fourteen mental patients have beenstudied and compared. In this research the most results are as following:1-There issimilarity between the mental patients paintings and painters works of the world-whichare given in present research -of view containing and visual.2-Based upon worked outsubjects from authoritative books,some expressionist and surrealist artists specially JanDubuffet;French artist created works on the influence of works of mental patients.
  • Zahra Khalili, B.A., Amir Farid, M.A Page 73
    An excellent work of art can be considered from several aspects. And Bisonghorishahnamaas a master pieace also has capability to be analyzed from different directions.This manuscript contains twentytwo images, which fifteen’s of those have separateinscriptions, that shows the visual importance of inscriptions in images, and also theimportance of studying the influence of inscriptions in images. These inscriptions playing important role as an interface bridge between written and illustrated parts of book and connect them to each other. As the usage of grids helped to calligrapher in writing the texts, also as a hidden chart helped to painter in creating a better composition. Artists of this manuscript have used a define visual elements to create unity althrough the manuscript, and it wouldn’t be possible but with intelligent supervising of a person which had enough knowledge and dominant to both parts of calligraphy and painting. The main purpose of this article is examine ways to achieve a harmonions colletion in both in forms and contents and also answer to these questions.1-What has been the bases of position, size and location of inscription in image?2-What are relation ships between forms, line and design?
  • Zahra Gohari Motlagh Abdalreza Charei, M.A Page 85
    The visual frame work used in the narration of various legend and folktales of Qashqaitribe have been studied in the present research. Studying the images, legends and folktales comparatively, along with observing the symbolic visual images, was the main purpose of this research, in order to detection of visual feactures of artistic works based on legends, we gathered some datas. The primary datas were based on the historical, cultural, geographical and social background of Qashqai tribe. They are helpful in representing people’s believes, culture and custom. The more specific study was aimed at the related songs, chansons, poems, folktales and legends. At this point we have tried to come up with a specific narrative framework in illustration of the folktales. At the end and in regard to the opulence of the color and narration in the legend of this tribe, illustrating the stories may be recommended to the graphic designers.