فصلنامه نگره
پیاپی 42 (تابستان 1396)

Quran is the most important text in Islam that made variant nations of Islamic world such as Iranain people to apply their best of art in decorating it. After beginning of Islam, Iranian artists had made every sheet of Quran as an exquisite work of art in the end of beauty by using gold. The aim of this study is defining the process of decorating Qurans by gold and the question is that the amount of gold to adorn Qurans how much has changed over the centuries. In Astan Qods Razavi’s museum of Qurans, it is apparent obviously evolution of Quran gilding from the early Islam to Qajar period. In this research using this splendid source, the trend of changes in decorating with gold is studied. At first few section in Qurans were illuminated but in later periods this illumination was expanded and gradually arrays were being seen which were monocolor in first and then other colors were added to them as the climax of illuminating and gilding Quran is in Safavid period and since then because of domination of lithography in Qajar period illuminating Qurans has decreased. By surveying this evolution, we found that gilding Qurans had raising and progressive process in comparison with early Islamic period. This discernment puts ahead a new horizon for aesthetics of Islamic art and explains influence of various historical period. Approach in this research is historically and it is done by descriptive-analytical method using library references and field studies.

The main issue is to study the quality of semantic implications of God’s great title in Islamic art and architecture works. The purpose is to gain the secret behind immortality of symbolic language of forms, figures, patterns, and structures of Islamic art and architecture works during different times and places. Among questions are; the quality of emanation of divine world figurative samples in art works, the relation between symbol and symbolic expressions and the reality of divine titles, the relation between God’s title with emanation of monotheism is Islamic works. Research is analytical-interpretative and data collected by library method and analyzed through deductive and inductive approaches.
Among achievements was form-space importance in Islamic art under God’s great title: symbol interpretation happens through a practical approach and with realization of meaning in person. This issue, from one hand, notifies the amount of approach in Islamic artist to divine facts and from the other hand shows the amount of audiences’ intimacy with Islamic works. In Islamic culture, any natural phenomenon is an emanation of levels of divine titles. Symbolic forms in artworks are figurations of exemplary expressions of divine examples, which artist achieved them in imaginations and express through works. In Islamic culture, everything is a symbolic form and while refereeing to world of divine titles notifies an intuition-divine world’s relation. Islamic period is an emanation of God’s title and Mohammadi reality is the expression of this title. Form and space in Islamic art are under God’s title and monotheism. Among emanation samples of monotheism in Islamic works are Arabesque, Khataii, and geometrical figures, centered principle of space, and emanations of order and harmony.

Mentoring system has long been used as the dominant method of education in different sectors. This system, in the field of art, is mixed with some components and features which are intertwined by morality and spirituality; and apart from transferring technologies and techniques, it has caused excellence in both spirit and mind. The relationship between the master and his disciple was one of the most important factors in the traditional system of art education. This paper tends to extract and discover the most prominent elements of the relationship between the master and the disciple. These characteristics and features being faded in the contemporary art, have ultimately led to the loss of transcendental nature of art. Moreover, looking for this relationship in the present system of art education can highlight the shortcomings and problems of the contemporary situation of art education because without any doubt, one of the most important reasons for the success of arts in the traditional realm was this deep relationship and all the texts and references confirm this claim. The main questions are as follows: What elements was the relationship between the master and the disciple based on? How are these elements working in the contemporary system? The methodology contains a descriptive yet analytic approach which is done by referring to books and texts. The final results showed the details of the relationship between the master and the disciple such as mutual rights, ethics, respect, obedience, commitment, purification, love, the master’s high position, and observing the hierarchy. Also, the presence of these factors in the contemporary system was studied and the findings showed that these factors are not consistent now. This can emphasize on the importance of reviewing the previous values.

In the beginning of the 10th century A.H., Safavids came to power so Shiism became the official sect of religion. Throughout history, religion has served as an important factor in the thoughts and ideas of nations, so in each period religion had a profound influence on culture and art in societies. In Safavid period, art benefited in Religious movement and Artists were able to reflect the influence of the sect of Shiism, their thoughts and ideas in their art and industrial works. One of these arts were illustration and painting. Since the Shahnameh always considered as one of the most important sources of inspiration for artists of illustration and painters, it provided an appropriate background to reveal the cultural influences in every period. Shahnameh of Shah Tahmasp is the first great work which produced in the Royal Library of Tabriz, which its illustrations started in king Ismail I reign and continued till king Tahmasp period.This study aims to investigate how is the impact of Shiism on the paintings of Shahnamah of Tahmasb as the first significant work in Safavid Period, and study of theirs Shiite themes, and also there is attempting to answer some questions as: paintings of Shahname of Tahmasb how much is affected by changing and formalization of the sect? In what forms and elements had Shiite symbols and in which scenes and events they brought into the picture? So among all the paintings of the Shahnameh (258 images), fifteen paintings were selected as Statistical Society because they had Shiite symbols. Studying of the illustrations and paintings of this work, can be seen the impact of the new religion (Shia) which clearly was shown in many paintings of this version in the form of elements such as the name of Imam Ali (AS) in the war flags and upper part of war flags and also decoration of monuments and twelve caps of Ghezelbash hat.This article is written based on findings way through library studies, along with Analytical descriptive method researcher.

Periodization is the process of dividing the time into smaller blocks so that, each block has its uniformity.
Almost all of the historians have narrated the history of Islamic calligraphy on the basis of political periods or chronometric dating. But, in spite of the advantages, these methods are not consistence with the real evolution of calligraphy. So, the method of periodization is better to be firstly consistence with the visual evolution of calligraphy and secondly, on the basis of local principles. To this, in this article the historical reports of calligraphy recorded in old manuals, prefaces of albums (Moraq`s), and biographies (Tazkares) in a descriptive- analytics methos were studied and one of the periodization methods used for classification of scripts` history explained. To do this the following questions are answered: which kind of periosdization was used more in the first hand resources? What are the charactristics of every period? What are advantages and disadvantages of this periodization model? The basis of the method is the alterations done by outstanding calligraphers in the styles of their time. Firstly, in this method the section of periods is the time of calligraphers whose styles became the norm of their time. Secondly, the method is of the methods based on the period style. Thirdly, the method can be used for classification of all the Islamic scripts. But the significant point is that in historiography by the method, the norm of periods is the basis of historical narration so the historians should pay enough attention to the trivial styles.

The holly tombs with frescoes of religious scenes on the walls are called “Naqshin” (Painted) tombs in Guillan region. Most of the religious themes in these frescoes refer to the Karbala event – location of the historical martyrdom of one of Shiite spiritual leaders, Imam Hussain-, also known as the Ashura event – refering to the date of martyrdom. The roots of these traditional frescoes go back to the Shiite backgrounds and religious culture in Guillan region in north of current Iran. With a history of at least two centuries.
The present article mostly tends to explain why these frescoes have been vastly reproduced in the region.
In order to find the answer to the major question, the essential data was collected through a document review and survay process. Then the data of the painted frescos of the Guilan region was interpreted with a descriptive method through an ethnographic approach.
The results and findings show that these religious frescoes of “Naqshin” (painted) tombs enjoy multiple functions along with the decorative and informative aspects usually ascribed to them, to note one, the oblations and vows for patronage the renewals and re-painting of the frescoes seems to have secured the endurance of the whole tradition.

Carpets of Safavid era which were often the products of court workshops contain various motifs that animal motifs are one of the most widely used cases. Pirnia house of Nain is also one of the royal palaces related to this era where has beautiful murals as well as animal motifs similar to carpets of Safavid era.
By an analytic-descriptive method, the study of the library resources and analysis of the field images, the present research tries to identify, classify, analyze and compare animal motifs of murals of Pirnia house and four examples of Safavid carpets, and tries to find the answer of the following questions: 1. Which are the animal motifs common to the murals of the Nain Pirnia house and the carpets of Safavid era?
2. How much have animal motifs in the murals been influenced by the carpets of the Safavid era?
3. What was the connection between the designers of carpets and murals of the Nain Pirnia house?
Considering many commonalities between the animal motifs of these two, which have been repeated identically in both cases, as well as similarity in the form, the use of the same spacing and dynamic representation style, it seems also that animal motifs of murals of Pirnia house have been influenced by animal motifs of Safavid carpets, which the work relationship between the miniature painters, carpet designers and painters of the murals and their simultaneous presence in the royal workshops can be considered as its main reason. So that, It seems that both of them has been designed by a single team.

The art of metalwork is an Iranian form of handcraft that dates back to thousands of years ago. Each art piece representing the culture and custom of the people from the era it was made.
The achaemenid and Sassanid dynasties are two of the main outstanding pre-Islamic eras, from which valuable and priceless pieces of art have been left behind. The art from these dynasties contain various patterns, however it seems that it is mainly the animal patterns that draw the viewers to themselves.
The most predominant post-Islamic era in the art of metalwork is the Seljuk dynasty. Metal mirrors are examples of arts and crafts produced in Iran during both pre and post-Islamic eras. The mirrors were mainly round, occasionally with a handle, crafted out of metal, engraved and ornamented with patterns. Metalwork is also one of the active forms Chinese arts and crafts, and the pieces from the various dynasties mainly Hun, Tang and Song are decorated with uttermost precision. The beautiful and delicately decorated mirrors made in the Seljuk dynasty are very similar to the mirrors made in China. This similarity has brought up the question that whether the origins of the Iranian metal mirror making is China. This historical research has been theoretical and based on findings from books and documented resources. The aim of this research, was to find and show the characteristics of the metal mirrors from each country, based on the pieces of art left, in order to ascertain the thought and reasoning behind the making of these pieces. In conclusion, this research has found that the metal mirrors made in Iran during the Seljuk dynasty, were influenced by Chinese techniques.

Great Ilkhanid Shahnameh is the beginning of a great movement of Iranian painting. However, the Shahnameh has seen several changes over time and identify these changes will enable researchers to prevent incorrect interpretation on this work and the history of Iranian art . In this regard, this study aimed to identify damages on the body of the Shahnameh repair and sell it at different times, has reviewed the remaining pages and enter the explanation of damages and changes, by the descriptive - analytical methods and by visiting the library resources and the study of painting and determine the type and volume of these changes .The main question is about the presence of some unusual and unfamiliar elements in the images of the Shahnameh. According to research data and analysis of the above mentioned examples: results show, the damage inflicted, during the restoration and repair, includes changing the margins, add elements of inappropriate images, qajar painting style of restoration and damages of isolation and disrupt the structure of paintings and pages and the completion of improper painting belongs to George Demottes period.

The Miraj (Night journey) of Muhammad and The Ascent of Jesus are of the most important themes of religious Persian and Christian paintings. In this paper, the main research question is” what visual and structural similarities are between ascension of Muhammad and Jesus paintings?’’ The main goal of this article is identify relations between Islamic and Christian arts. Expressing of ascent of two prophets in Quran indicate that they are The Greatness and remark on the Power of GOD. The most important common subject of their ascent is in awake and in body and soul. Methodology involved in this paper is analytical- comparative and its data is collected through library studies and observation of paintings. The results of this study show that although structural and visual similarities not only originated from somewhat common themes and belief in both religious cultures of Islam and Christianity, but also regard to date of most of the Miraj paintings, it is likely that they are influenced from Christian paintings. In spite of this fact, in some ascent of Jesus paintings, in composition of them, the effects of Persian paintings is seen therefore it is also possible that their painter are impacted by Iranian arts.