نشریه پژوهش هنر
پیاپی 10 (پاییز و زمستان 1394)

This article tries to explain and describe the role of body in creation of art, and especially the painting as one of simples of art works. This writing consists of introduction and two sections. In introduction, we have been tried to present Merleau-Ponty's Phenomenological attitude in order to know the place of his Phenomenological attitude to art. In first section, Perception, the role of perception and its narrow relation with body for knowing world has been considered. Second section namely Art and World of Perception considers the role of body in genesis of art and as well as it has been referred to Cézanne's paintings. Also this section consists of two secondary parts, that is, "body and painting" and "language and painting" Merleau-Ponty believes that we cannot know how mind can do painting, but it is artist who does painting by adding his body to world. He criticizes Cartesian philosophical thought and scientific thought in his articles such as Eye and Mind and Cézanne's Doubt and other writings. He sees unity between artist and his body and world. Best example for this unity is painting.

The origin and the development of the Islamic Pomegranate ornamental pattern (Shah Abbasi Flower) have been the source of curiosity for both native as well as foreign scholars. Among the most significant of the ideas related to the topic, one can refer to Arthur Pope’s which claims this flower is a continuation of the sided view lotus of the ancient times. But this belief does not explain the degradation of this flower in the first centuries of Islamic art (e. g. Pre-Saljuk) and causes gap filled with ambiguity and then continues its developments and changes after Saljuk period. A like Pope’s view, another one claims that this flower is the continuation of a patter which in various languages is known as lotus or palm leaf. This idea does not explain the mentioned gap in Pope’s idea, in one hand, and on the other, by putting various names beside one and other, increases the ambiguity. But how can one explain the origin and the historical development of this pattern without the gap? Is it possible to find this pattern’s roots in other motifs but Lotus? In order to reach a satisfactory answer, the researcher has used a combination of the historical, analytical and descriptive method. The analysis of the substitute pattern has been done selectively and with the structure of the Palm Leaf as the point of concern. The analysis continues by comparing and contrasting the Lotus and Palm Leaf as two motifs. The paper in had is a qualitative research with a fundamental aim which aims to explain the roots of this pivotal and essential pattern in Iranian art without any ambiguity. Based upon the structural analysis the Palm and Lotus motifs are essentially different and the Islamic Pomegranate only resembles the Palm pattern. The ancient analysis has shown that the Palm pattern, especially in Sasanid period mingled with Pomegranate motif. This combination leaded to the birth of a pattern, which based on the proofs given in the body of the research, existed repeatedly in the first Islamic centuries. Therefore, not only the apparition of the SahAbbasi in Safavid period can be explained based on the degradations of the Palm-Pomegranate without any gap, but also the structural analysis would support that.

Ghaffarieh Dome, one of the most historically important monuments of Maraghe, was built by order of Ilkhan Abu Saied during Ilkhanid era. The dome enjoys several exquisite mosaic/enameled inscriptions. Only few parts of the front inscription have survived and the written content of the inscription could be found in nearly no sources; it is not clear for whom the dome has been constructed. On the façade of the dome, there is an inscription reading Sultan Abu Saied Ilkhan. Major parts of this inscription have been damaged. The content of this inscription has been read and recorded by André Godard in 1930's. While examining the inscription to restore it, several inconsistencies were found between Godard's reading and that of remained onto the plaster surface of the inscription in relief. Therefore, one of the major aims of the present study was to reread the content of the inscription once done by Godard. Available evidence indicated that different information could be obtained through rereading the inscription. The principle of preserving the originality of the work dictated that such information, however scantily, had to be recorded more exactly than before. This has to be done with utmost precision given the very old age of the monument and before the total disappearance of the inscription under study. To do, first different pictures were taken and different plans were provided. Then, they were compared with similar inscriptions. In this way, the justifiably reliable content emerged. The methodology was based on gathering data from field studies, library sources and on a comparative/inductive approach. The intended inscription, and many similar ones, is in real danger of vanishing. Therefore, reading the content and recording the vanishing evidence may help in preserving the originality of the inscriptions and associated historical and cultural values, from one hand, and in preventing bad interventions, from the other hand. One of the considerable achievements of this study was defining an approach to trace and to record the content of damaging mosaic inscriptions. In addition, the correct reading of the front inscription was provided and several new parts were identified as well. Also, the connotation of the newly found words was analyzed giving a relatively different interpretation of the content. All this indicated the importance of precise recording of historical inscriptions and that of application of systematic approaches to do so.

In this research, we studied cliff painting of South Khorasan (Nehbandan, Birjand, Darmian and Sarbisheh) which contains only a partial of cliff art archeology of this region. Considering the rich cultural and historical background of South Khorasan state and the places containing this art, study gaps are visible in these places. Therefore, existence of these kinds of researches represents the necessity and importance of cliff art archeology position in east of Iran. The purpose of this article is introduction and typology of the patterns of 5 rock paintings (Asu, Ramangan 2, Asadabad Road, Panjeshir Strait and Anjir Valley) in terms of style and technique with important rock paintings and Lakh Mazar indicator in South Khorasan. Therefore, this research is done by descriptive- comparative method and data collection tools are library and field survey. Rock paintings of five indicator regions in South Khorasan state, in terms of method, style and manner are symbolic and meaningful scenes are the artistic motifs in aesthetic case which help having access to the motifs existing in these areas. Research findings indicate that patterns have similarities like engraving with Petroglyph style (knocking). However, about differentiation of patterns we can say: in five studied regions, the painter created the patterns belonging to prehistoric periods in a simplified and sterilized way and collectively, without any designation and by drawing the pattern and created the cliffs with content diversity. However, in Lakh Mazar patterns, painters have drawn the paintings belonging to historical period in a realistic way with more designations and details and have created the shapes beautifully and orderly. The most important thing is that Lakh Mazar paintings are not collective and gregarious and they are usually single portraits. The painters in Lakh Mazar have tried to observe aesthetics by engraving rocks. The important point is that by taking a closer look at the patterns in all 6 areas, we can find out that animal paintings are decreased while human paintings are increased by passage of time. Afterwards, the more we get close to the historical paintings, the less human paintings we can observe and more inscriptions are replaced, which is clearly visible in rock paintings of Birjand Lakh Mazar.

The metal art is one of the most important branches of Islamic Art. The art that flourished in Khorasan Schools that is based on the lower course of Iran history does. Metalworking traditions of the schools extends to other times and in other schools has been effective. Mamluk period, a period that the apparent influence of this schools.
The purpose of this paper is to describe the characteristics of Khorasan School’s Metalwork and the Mamluk period, find the common and distinctive designs and decorative elements as well as the role of these elements. This can be done by selecting number of metal candlesticks of this period is possible that the two aspects of the designs and how they have been checked.
In this context, the question is whether the study of metal working Mamluk period influenced Khorasan school. The results show that some of foundations, principles, techniquesand designs used in Mamluk period were taken from Khorasan School of metalwork andthe artists of this period, the influence of this school are the areas of innovation.
Human and animal motifs, geometric designs and pictographs decorate the objects are, also discusses the relationship between the object and the decorative patterns were observed.
Research methods, and analytical methods, and the tools and methods of data collection, libraries and museums of the world's literature review was undertaken metallic reserved.

The art of Flzkobi(putting the metal wires in the engraved lines on wood based on a design) has been used to decorate palaces, homes and home-based objects such as tables, chaires,sofas and….in a long time. It is mentioned in written sources that it was applied from Safavid period, usage got more in Qajar period because of luxury orentations, but that has gotten superficial after Qajar,especially these dayes,that is made by Indian and Pakistani artisans and is imported to Iran for selling.Unfotunately recognition, tecniqes and practicing of this art is forgotten now a dayes.
This essay is studing Flzkobi in two Qajaries saras (Mollabashi house& Aminotojjar sara)
located in Esfahan and considering technical and artistic features of the samples to make introduseing easier.
The goal is studing used mothifs in Flzkobi and exploring resemblances and differences in technical and artistic principles. Eventually knowing traditional mothifs and being able to use them with new compositions in interior design.
Method of researching is descriptiv- historical and the method of collecting datas is researching in libraries and considering available instances. Writers were present in places and took pictures of samples.
Finally there are some consequences atchived by studing in the buildings, Mothifs are natural such as realistic flowers,Vases and birds used in Qajar decorations. This is because of relationship between Qajar government and Europian countries and being effected by their mothifs and art schools.

From the past, building entrance has been one of important part of it and a place for emerging the beliefs and has been decorated with different motifs. The Qajar era can be considered as an era that because of combination of traditional and western culture, few changes has happened in type and number of prevalent decorative motifs in building entrances. According to this matter, problem that this research follows is “the loss of apparent image of functional, historical and thematic characters of prevalent decorative motifs in Qajar worthy building entrances, in published art and architect studies in Iran”. The goal of this research is “to present an apparent statements about functional, historical and thematic characters of motifs that have been used in building entrances in selected buildings”. The research is a developmental research and its method is descriptive-analytic. Information of first part is gathered through case studies and information of second part through library resources and internet resources. In this research, 30 Qajar worthy buildings, was selected based on quality and quantity (Cochran formula) conditions, as statistical samples. The result of research shows, widely used decorative motifs in selected buildings, includes four main types: herbaceous, human, animal, geometric. Widely used motifs are under the geometric and herbaceous type.

At the present time, considering the rapid wide functions, which are expected to line and calligraphy, writing and focus on Nastaliq is an urgent need. Due to the limitations of Nastliq issues and the lack of a comprehensive resource for the study of its components, it is the most required research. The aim of writing this article is to achieve scientific results with an emphasis on the fundamentals of visual arts. According to this study, after studying the Nastaliqs geometrical forms and compare them with each other, we hope we will be able to achieve similarities between them. Structural features of the letters can be examined from different aspects, but this research focuses just on form features of the Nastaliq letters. For example, the strengths and weaknesses, the start and the end of each letter, the word position and the relationship between negative and positive space. So this research will be based on quantitative aspects. After gathering data, all measured by computer, we can say that, the first part is indicating the letter identity. Given that the end of the letters in Nastaliq move upward and negative space of the letters appear at the end of them, so this feature let the letters combine with each other. The size and position of the letters are related to the baseline. Also the relation between close and wide angles follows a logical structure which is shown statistically in the table.