فصلنامه نگره
پیاپی 45 (بهار 1397)

The stucco decorations of Haftshouyeh altar are among the dominant altars in Ilkhani period in terms of patterns and forms. Most of the studies in the literature have been considered the date and the historical range of the work. The weakness of the previous works is that the metrics of decorative motifs, their proportions, structure and geometric relationships have not been considered. The contribution of this work is to answer the following questions: What are the types of motifs used in this altar? How the structure and proportions of this altar and its motifs are designed and implemented? The aim of this work is to describe and analyze the Haftshouyeh’s mosque altar in terms of plants and geometric motifs, proportions, structure and geometric relationships in a descriptive-analytic manner. The obtained results reveal that the patterns and stucco motifs have been implemented with thickness, prominent, complexity and various types of stucco. Various types of Aslymyha such as Khortumyha, Dhanhazhdary, Aslymyhay Framing and Art excursions (snail excursions) are used in this altar. The general form of the altar and its motifs are based on the golden ratio and the structure and geometric relationships. The high magnitude is a major characteristic of the altar. The motifs of the altar are unique in terms of visual and aesthetic values.

The school of Gestalt psychology is among the most important schools of psychology in the early decades of Twentieth century that due to territory development and its relation with The process of visual perception, art field has profited from its effects. The followers of this school believe conceptual forces in visual field, harmonize themselves with the simplest possible pattern and in visual perception, total, will find different essence with role of composing elements and parts of it. In this research done with the method of descriptive-analytical and its information has been collected on the basis of library research, has been chosen one painting from Tahmasp shahnama, proportional to the subject in this research, and its figures has been studied based on Gestalt theory. This paper that done with the aim of familiarity with applied aspects of Gestalt theory in art and especially its explanation in persian painting, answered to the question that organizing of the figures according to above theory in mentioned painting, what features have, visually. The result of this research shows kind of location and figures organizing in mentioned painting, is appreciable according to four cases of Gestalt laws covering law of similarity, law of proximity, law of continuity and law of closure that with the implementation of the Principles, will form the process of visual perception.

Iranian art is an important historical phenomenon. This art, which had reached a high level in the early stages, succeeded in many fields and in various ways up to contemporary times. Meanwhile, Iranian art that dating back thousands of years is a precious supporter of contemporary artists. In that first human civilization, which appeared more than six thousand years ago on Iran, art was the essential element that played a role in the following periods and throughout the ages, it retained its distinctive features. The revival of ancient traditions in the contemporary world and its integration with the contemporary art, creates works of identity in the genuine Iranian culture. In these arts, artists were able to expand their artistic arts in various fields such as combinations and adornment in harmonious colors, with elegance and technical skill.
Here it should be notice that persian arts has always been symbolic and iconic in ancient times throughout the Islamic era. This is especially be seen in the works of the Achaemenids. What is more than seen in Achaemenid art is the attention to internal and spiritual issues.
Hence, in all aspects of design, including the design of humans, animals, plants, etc., there is considerable abstraction, and this is even seen in the details of the clothing and arrangement of beards and animal organs. In fact, with the understanding of the spiritual world and the realities of the objects, the artists have created a pink creation, beyond the material form, which, while displaying the nature of objects, also depicts the spiritual form.
In the Sassanid era, many of the effects of that era were restored due to the desire to return to the Achaemenid era, but the dominance of the Greek-Roman culture did not completely disappear. Because the Sassanid art was influenced by the Achaemenid era, it can even be seen in many ways that it has been mirroring and repeating the themes of that era.
In the Sassanid art, it should be noted that rock formations are the most important works of Sassanian design. Undoubtedly, these royal monuments have been made by skilled artists, and the form of fabrics in the Naghsh of Rustam and the design of a variety of woven fabrics in the Taghe Bostan, show that no attempt has been made in their execution.
Majid Mehregan, who is one of the contemporary persian painting artists, has created works inspired of ancient characteristics, more than other artists. His interest in this field has made his art a compilation of ancient Iranian art and the art of the Islamic era.
The purpose of this study is to determine the use of Mehregan from drawings and motifs used in Achaemenid and Sassanid works and its integration with Islamic painting. This article seeks to answer the following questions: How does the Mehregan use the features of drawings and pre-Islamic art, especially the Achaemenid and Sasanian, in his works? And which motifs and elements of Achaemenid and Sassanid art have been used in his works?
This paper also attempts to provide a brief overview of some of the features of design and motifs, especially from the pointview of the design of the organs of humans, animals, plants, and tools and implements of warfare and decoration in the Achaemenid and Sasanian periods as the introduction to the discussion. And then to study and analyze the works of Mehregan. It should be noted that in this study, those elements are discussed that Mehregan were inspired by pre-Islamic art and so the other elements and forms refused.
This article, which is conducted in a descriptive-analytical method, describes how Mehregan uses the drawings and motifs of the Achaemenid and Sasanian arts in his works. The method of collecting information is through a book, article, internet and pictures of his artwork. In this research, all of the available works of Mehregan have been considered as a statistical society and the statistical sample of this research includes those works that were influenced by pre-Islamic works.
The findings of the study showed that Mehregan uses the factors such as simplification of forms, the use of thick lines, using decorations and plant designs such as Lotus flowers and the use of animal design and implements of war under the influence of Achaemenid and Sassanid art, has been able to create a new language in the contemporary Iranian art and create works that reflect the compilation of pre-Islamic and Islamic era.

Evidently, certain numbers have certain significances for different nations and cultures. Seemingly, number four has a specific significance and priority in Iran’s culture and art, particularly in pottery. Decorating the potteries, the potters have utilized them as a means to express their thoughts, emotions, and realize their beliefs. Studying the potteries of the prehistoric era in Iran, some decorations were found which were shown in tetra-division patterns, in a way alluding to number four. The present study is an attempt to investigate number four and its embodiment in the potteries of prehistoric era in Iran. The significance and embodiment of number four in these potteries are investigated, and the early human’s conception of this number in the emergence of some decorations is also inspected.
This study is based on descriptive- analytical method and the gathering of data was done in the method of documentary.
The findings of the study indicate that number four had a significant importance in the potteries of the prehistoric era in Iran, and confirmed that it was tied to a deep profound though and most probably expressive of the beliefs of the people. The concepts such as asking for blessing, the fertility of plants, the survival of the animals, human being’s dominance over evil powers, etc. can be attributed to these motifs and decorations.
Also the result of this study indicates number four has represented in five different groups categorize as linear motifs and geometric patterns, plant, animal and human motifs. Due to the results we can cautiously claim that number four has represented the most in the geometric patterns and the least in human motifs in Iran’s Prehistoric potteries.

General principles of Gestalt School of Psychology (Unified Whole) are codified by a group of German psychologists in early twentieth century. This approach is based on theories describing how the viewer tend to organize a series of simple visual elements into groups or unified wholes when certain principles are applied, and forms the overall system of visual perception. Development and promotion of such studies in domain of the visual arts is associated with the name of “Rudolf Arnheim”, the art theorist and psychologist (1904-2007). The present article aims to analyze five parts of an illustration of the ninety second night scene from One Thousand and One Night Collection from Sani al-Molk (1813-1886) based on Rudolf Ainheim’s definition of the principle of simplification in “visual perception” theory of Gestalt School. This article is a descriptive analytical study which utilizes the documentary aspects of Sani al-Molk’s illustration aiming to sharpening the contour text structure of “Ali ibn Bokar and Shams al-Nahar”. In addition, by levelling the structure of the five parts of this illustration, the purpose is to study on recognition of the visual components in the embodiment of the same concept. Although this illustration do not seem to be precise enough, the findings show that the viewer, even if not familiar with the story, would be able (by means of mental perceptions) to perceive the whole concept spontaneously, through simplifying the illustration, and reproduce it by means of visual perception of Gestalt, and consequently achieve the main elements of each part of the illustration, and perceive the overall concept of the story. In a broader sense, having compared five parts of this illustration with each other (as a research tool), we can realize Gestalt of a “unified whole”; i.e. the unity of form of the characters, and separation of the main spaces of the story. As a conclusion it seems that this study is significantly aligned with visual perception of Gestalt School in domain of psychology.

Because of complex ambiguities, non- explicit meaning and different interpretation facilities of Hafiz poems, have few visual capabilities than other lyrics of Persian poets. Therefore a few number of illustrated manuscripts of his Divan is available and major examples are also belong to the Safavid era and after it. The main issue in this study is Introduce and study one of these exquisite and obsolete example that created in 926 AH and is now keep in library of Princeton University in America. This valuable manuscript has 6 miniatures that the aim of this paper is to explore the interactions between poetry and images and also Accuracy in visual features. The method of study is descriptive-analytic and Information collected through library resources and direct observation. The results in answer to the general question "How are the qualities of the visual elements of miniatures in relation to the lyrics?" show: Painters as far as possible with common contractual practices, has shown his loyalty to the lyrics. He utilizes spiral arrangement of human elements, selection of symbolic color and allegorical space, trying to instill picture in accordance with the mystic terms of Hafez's poems and has created the visual space fits with the theme by repeating symbolism and forms in similar topics.

Among the wooden works of the Holy Shrine’s collection there have been doors That are transferred to the store of Cultural Heritage and Tourism Organization of Khorasan in the tomb of Ferdowsi with the implementation of the expansion of the shrine in the various periods .That works has been transferred to Mosalla collection and in recent years to the Kurasan museum, following the store fire in 2012 AM and burning part of the doors. Studies show that there is an inscription on the the door of Balasar school, according to the findings of Bernard Okin and other three doors have decorative motives only. The doors are not historical inscriptions and the main question is about the historical assessment wooden doors at the Museum of Greater Khorasan relying on the technical and artistic works. Comparative studies of historical documents, The study was based on the hypothesis that the works made during Shahrukh e timuri period. It became clear after scrutiny that helps to find solution in the confirmation of hypothesis the similarities between the decorative elements and inscription on the Balasar school door and decorations on the other three doors with the tile elements Ghoharshad mosque, Shah mosque, Ghiasiye Khargherd school and Tomb of Sheikh Abu Bakr e Taybadi, also the door of azqhad Jame mosque,the box of Mashad Virani museum and the door of Balasar mosque as works in the field of architectural decoration Timurid era.
This study was done using descriptive, comparative and analytical methods in two parts. Firstly, analyzing and comparing of style of writing of Balasar school door's inscription and secondly similarities studying of decorative elements doors with decorative architecture ( in two part: tile and wood) of outstanding works in shahrukh period. Data collection is based on field study and photos collected by author. With comparative study of the three sections of this article resulted in the history of wooden doors of Balasar school's, preserved in the Khurasan Museum built in the first three decades of the 9th century

Considering the priority of time, obtained potteries in Aveh cover prehistory and pre-Islamic and Islamic eras, most of which belong to the Ilkhanid period. One of the main objectives of this research, along with introducing and analyzing the paintings of the Aveh's lusterware, is the recognition of the production origin of such containers in this district. The main research questions are as follow: What are the main decorative drawings on the Aveh's lusterware?
How much similarities and differences exist between decorative drawings on the Aveh's lusterware and the patterns of decorative paintings on the potteries belong to other parts of Iran?
Results show that decorative paintings on the Aveh’s lusterware could be divided into human, animal, herbal ad geometric patterns. Despite the similarities of these patterns with the other pottery-making centers, and contrary to differences in women's face including discrete eyebrow, more fitness in face, wearing a special kind of crown by them, and existence of a blue light of corona around them, and, furthermore, finding the traces of pottery production in this area such as boiling furnace, indicate that most probably, Ave can be regarded as the main center of producing such monuments. We hope this investigation starts a new way towards the outspread realm of producing lusterware in Iran. This research has been constructed using descriptive-analytical methodology and based on library and field studies.