فصلنامه نگره
پیاپی 32 (زمستان 1393)

Iranian paintings in various periods have been mostly examined as single page illustrations and independent of the context. In this paper 13 successive paintings from the Tahmasbi Shahnameh، which are based on the story of Zahak، have been examined from the point of view of illustration. The goal of this paper is to evaluate the extent of the painters’ commitment to convey the fundamental idea of the context in the image، arrangement and succession of these works. This story has been painted by several painters. Their efforts to create harmonious and consistent images have been focused in this paper. The question is that how the painter’s commitment as an illustrator to express the text in image leads to the frames of the story being created harmoniously and consistently? The results of this study indicate that the Shahnameh’s painters، with respect to their contemporary tradition and aesthetics، found out that though each painting may seem an independent work، is part of a chain of illustrations that represent a specific text. Despite collaboration of numerous artists، the use of common visual elements lead to the conformity of the paintings and visual consistence and continuity of 13 paintings as an illustrated whole narrative. This research is based on library sources and uses descriptive- analytical method. The statistical population consists of 13 successive paintings from the Tahmasbi Shahnameh، which theme is the story of Zahak.

Symbols have broader functions in the Islamic era in comparison to the pre-Islamic time، the cause of which may be the change of religion and spiritual approach that occurred in the Islamic world. During the Seljuq era، which was one of the most significant times of the prosperity of science، art and economy in Iran، the astronomy developed as well، so that its influences on numerous arts from this era can be seen. This paper studies a unique terracotta document from the Seljuq era، decorated with human and animal motifs in terms of astronomical notions. This tablet which was unearthed during the recent archeological excavations of Shadyakh (1379-1384 SH)، headed by Mr. Rajabali Labbaf Khaniki، is one of the strangest findings in terms of astronomy and one of the most important documents of the Seljuq era in terms of the ending of solar eclipse. In this paper we tried to discover the facts with regards to the motifs of this terracotta tablet، and we faced the two following questions: -What spiritual and conceptual functions did the motifs of the discovered tablet have? -What was the function of the terracotta tablet in the mentioned period? The overall goal of this research is to study the conceptual motifs of the terracotta tablet and to analyze and compare them with similar motifs. This study used the analytical-observational method، based on field research (referring to the original work) and library sources. It seems that this terracotta tablet bears symbolic signs to complete lunar or solar eclipses and it was used in metal casting.

During the fieldwork for rescuing the Fadel Ibn Sulaiman building in Aveh، Markazi province، researchers found، for the first time in the region، many luster tiles with their dates mentioned on them (648 AH). In order to learn more about this art in Aveh region، a few samples were selected through field research and library sources، using analytical and descriptive methods. The main research questions are as follows: 1. What are the main decorative elements in Aveh luster tile designs? 2. How similar are decorations of Aveh luster tiles and other central producers of such decorations? The main objective of this study is to identify the origin of such decorations in Aveh region along with the identification and analysis of Aveh luster tile designs for the first time in Iran. The results of this study show that the art of tiling in Aveh، regarding its resemblances to the decorative motifs of Kashan luster tiles، is an imported product from Kashan to Aveh region.

Madrasa-e Khan (or Khan Theological School) is one of the few remaining Safavid buildings in Shiraz. Commissioned by ‘Allah-Verdi Khan’ in order to provide a place for Molla Sadra’s teachings، it has been time and again destroyed due to various causes and consequently renovated and restored on consecutive occasions. Haj Mirza Ali Akbar Khan Ghavam al-Molk’s attempts during 1276-1279 A. H. are considered the most important restorations the building has gone through during the Qajar period; its details has been documented in the building’s west entrance inscription. Introducing the inscription thoroughly، this study aims at investigating its historical as well as artistic aspects. It was conducted using historical-descriptive method of research based on library sources and field observations. Historically speaking، west entrance inscription of Madrasa-e Khan is of a great significance. Although it uses typical Thuluth script of Qajar epigraphic style، it is outstanding on account of its calligrapher’s impressive use of repetitive and rather symmetrical hastae of “la” word letters throughout the composition. At the same time، decorating and colouring style of the inscription can be regarded as one of the most innovative examples of epigraphs used in Islamic architecture. Characterized by an unfamiliar yet deliberate use of coloured spots and shades، this style has been referred to as “colourful epigraphy” throughout this study.

The spread of the printing industry is one of the important cultural changes in the Qajar era. In this era for the first time knowledge was not exclusive to the libraries and the education system undergone a modern change through printing books. The study of the changes in this course may open a new window to the cultural historical course of this country. The goal of this study is to depict the formation phases of printing industry and the introduction of the letterpress printing in Iran, in order to show more clearly the efforts of the founders and first publishers of these books in organizing this printing technique and inspiring enthusiasm in readers to study them, also to identify the individuals from the society and even from the Qajar state who played notable parts in carrying out these goals. This research is based on library sources and field research, and uses descriptive- analytical method. Therefore a number of books from that era were closely observed and photographed. With regard to the vast quantity of data, after gathering data, the notes were categorized, described, examined and analyzed. This research tries to identify the factors of formation of the printing industry in Qajar era and study the role of individuals, social events and centers in this case. The establishment of the letterpress publishing house in the Qajar era was caused by the same changes which lead to the publishing of books contrary to the Iranians beliefs in the books they were accustomed to for years. This research reveals that the publishers, with regard to the traditional art of book, printed books by using type pieces, and their gradual yet planned act, reinforced the foundations of science, religion and culture. This course is traceable in the books published in Tabriz, Tehran and Isfahan cities.

The goal: Psychological studies indicate that the child''s painting reflects her/his conscious and unconscious learning about various concepts and also expresses whatever s/he fails to talk about. The children’s subjective concern about religious issues and questions is one of the subjects which appear in their paintings because of their inability to talk about them. The goal of this research is to study the visual reflection of heaven and hell in paintings by Iranian children of 6 to 9 years old. The The present paper is an applied research and uses descriptive and survey methods. After studying psychological reasons of children''s tendency to painting and analysis of the applied symbols and colors in their paintings، a collection of 6 to9-year-old children''s paintings about «heaven and hell» was gathered from several cities of Iran by using multistage cluster sampling. The variables of this research paper are the symbols and colors applied in the children''s paintings. The findings and the The findings of studying approximately 1000 samples by using statistic software (SPSS) in two different levels of “percentage” and “abundance” in descriptive statistics، reveal that heaven is the symbol of peace and ease، while hell represents chaos and anxiety in the mind of the Iranian children. Analyzing the samples lead to this conclusion that the image of hell is more accessible and tangible than heaven in the minds of the Iranian children.