فصلنامه نگره
پیاپی 36 (زمستان 1394)

The complex of Hazrat-e Abdolazim shrine, in the ancient city of Ray, is a precious architectural treasure which was founded in the third century of Hijra and has been under development since. Selection of Tehran as the capital of Iran in Qajar era, resulted in maximum development of this religious complex at this era. Regardless of architectural and stylistic characteristics of the buildings constructed in this complex, the associated decorations can be regarded as the most documented evidences usable in social archaeological studies. One of the most prominent decorations is the stone reliefs with human subject developed around the entrance gates and plinth of Atigh Court yard. Study of these works can provide valuable information about the characteristics of carving art and artistic developments in Qajar era and social position of those at service of this religious complex. Considering the prohibition of the use of human figures in religious buildings,how could presence of such figures in decoration of religious buildings be justified? It is assumed that artists in the Qajar era modelled the reliefs of the Qajar Kings to make perpetual, those involved in the shrine affairs.
The information presented in this article has been gathered through fieldwork and as a result, it has become evident that reliefs of Qajar kings, and the use of royal crown legend as well as ancient kings’images on religious monuments, paved the way for lithography of human images in the studied collection; and this innovation has turned into artistic tradition.

After two centuries of Islam advent, using script gradually was distributed as a decorative element in different types of pottery gradually. Motifs of pottery inscriptions that first were limited to short arabic phrases such as the name of potter or good blessing, were gradually expanded and also contained hadith, phrases of great elders and poetry. Persian poetry also quickly found its Position on the pottery of the islamic era and poems of outstanding persian poets became to one of the most important decorative elements of pottery of Seljuk, Ilkhanid and Khwarazm-Shahs era. This process was continued with less intensity and different calligraphy styles during the timurid, safavid and qajar era. In present study which is done on the basis of descriptive-analytical approach and data collection is documentary, the poets of 19 examples of mentioned era pottery were examined carefully according to the relation with form and application of container, selection of poems, calligraphy, orthography and errors of writing, in order to know more about the form and content of the timurid and safavid pottery poems. The results demonstrate that the selection of the poems in this era pottery was targeted and most of the selected poems are somehow related to the shape or application of the container. In most cases, the inscriptions have been written in Nastaliq style and also in most cases, distinctions of persian specific alphabets (, , , Ž) have not been met in the ninth, tenth, eleventh and early twelfth A.H centuries.

In historical studies, the meaning of script is interpreted from its content, whereas the visual feature of writing embraces further meaning. This approach was proposed by Walter Benjamin and Jacques Derrida, in which they believed that graphological analysis of a national writing could reveal its ontological, sociological and ethnological dimensions. In fact, graphology is a kind of interdisciplinary approach, involving courses in calligraphy, psychology, philosophy and occult science.
In this paper, the authors made an effort to interpret visual aspects of Kufic scripts in Samanid era according to a specific semantic system. To this end, first of all, they proposed theoretical framework based on Benjamin and Derrida theories. After that, as stated in this framework, graphology was revisedin terms of both calligraphy principles and graphology-related sciences of Samanids in the sense that the principles of “khatt al-mansub” (proportional script) as well as the rules of“Husn-e Tashkil” (artistic form) and “Husn-e vaz” (artistic composition) were applied to infer the concept of essence, time(the time of elements formation( and place(the placement of composition)respectively. Consequently it is possible to analyze at least two samples of decorative letter named “Kaf”. As a result, we decoded symbolic signs of “Kaf-e Kon” and “Kaf-e Kafi & Kaf-e Kofr” to provide the foundation for reading the word “Baraka” to the extent that we can understand its allegorical meaning including “the lake of Baraka” and “the seal of heart”.
In summary, our analysis showed how semantic dimention of one era’s writings, e. g. decorative kufic of Samnid slipwares, can be discernable from three signs of letterforms including numerographic sign, psycho-graphographic signs, and logographic signs.

Mural painting is one of the decorative Arts in the Arsacid period. The mural paintings of Arsacid period is discovered from some pivotal sites. One of them is Dura-Europos. The paintings of Dura-Europos have been­ depicted on the walls of private homes and shrines. The main question of this study was to investigate the painting styles and cultural influences of shrines the gods of Palmyra, the Mithraeum, the church and the synagogue. In this note, Mural paintings have been comparative studied by library procedures and its main aim has been to compare this paintings with arts such as Arsacid, Hellenistic, Roman and Mesopotamian. For this purpose, each of paintings characteristics were been compared with discovered samples of Arsacids, Hellenistic, Roman and Mesopotamia arts. The paintings of Dura shrines and artistic elements used in them, showed some traces of local Mesopotamian art, peregrine Hellenistic – Roman and Arsacid Art. But certainly, western (Roman and Hellenistic) art has been had very little impact and more have been influenced by Persian-Arsacid art. Features of Arsacid art clearly visible in the paintings of this site. It has been determined according to the survey paintings of four the worshiping buildings in question, despite of the establishment of the Dura-Europos city in the seleucid period and the conduction it under the domination of Roman and Arsacids, from point of view artistic orientation and the artistic style that spread all over in the history of this city, it mostly has been influenced by eastern styles of the Persian-Arsacid.

Potteries of Kalpurgan village in Saravan are considered to be the keepers of the ancient heritage and art of pottery in the land of Iranian Baluchistan. These potteries, old and new, are made by the women of this region, and are influenced by the beliefs and faith of the Baluch race; the female artistic spirit gives them a unique form and design. Without any doubt, the review of these rich motifs will be influential in the continuity of their value, and also the origin and identity of the Baluch race. The purpose of this paper is anthropological study of the pottery of this region that is rich in cultural values. Although this paper want to identify and classify motifs in contemporary rural Kalpourgan potteries. Thus, this study seeks to answer the main question that what are the characteristics and features in contemporary potteries in terms of aesthetics and semantics.
According to the art anthropology approach in this study, we chose ethnography and ethnology as our research method and In the process of this research, Data and Information is collected with field method.
One important findings of this research is to interpret the three dimensions of aesthetics, pragmatics and semantics in Kalpuregan potteries that have been investigated In terms of parameters such as form, style and usage. According to this cultural based study, motifs of Kalpuregan potteries have symbolic, referral of nature, Identity, ritual and religious functions and According to the ancient aesthetic patterns has been transmitted from generation to generation. Gender plays a major and basic role in action process of these potteries and its motifs.

Pictures of angels in qajar and renaissance art periods are common and some times different properties this paper hes to deal with discovering similarities and differences of angles pictures in visual terms comparatively comparying Printed angels pictures remained form qajar and renaissance periods considerations in this paper indicates that angels pictures in printed prictures remained form qajar and renaissance periods. Considerations in this paper indicates that angles pictures in printed pictures remained form biith qajar drenaissance art periods have some similarities in the terms of type of angles deawing, their dresses, faces , According to naturalistic principles, the third dimension as well as the similarities in the presence of angels and obese children and Renaissance corresponded qajar Drnskh printed.as well as type of Configuration and inserting angles in printed versions while having trivial differences with each other. In this articles its tried to responce developed questions by descriptive – analytical method and utilizing lybrarical sonrces and taking into account samples of remaiued printed pictures.