نشریه نگارینه هنر اسلامی
پیاپی 9 (بهار 1395)

Architectural decorations have a grand status in Iranian-Islamic Arts and architecture. Splendor and beauty of Iranian architecture in the Islamic period depends on the decorations and presentations. Decorations such as brickwork, stucco, tiling and Islam prevailed in all era have been developed by various possibilities and evolutions. Muslim artists using a variety of designs, including motifs and geometric designs, plants, scrolls and other decorative motifs on a variety of building materials, architectural Iran are given special importance and richness. Remains of decorative arts in architectural works belonging to the Islamic era, especially in religious places such as tombs and holy shrines, possess a unique quality and visual depth. The grand monument of Alawiyan tomb is among the excellent works which has remained from the Seljuks era in Hamedan. Because of using various architectural decorations such as brickwork, stucco and epigraphy in this tomb, has been considered as a rich treasury of decorative works of Islamic architecture. The present paper aims to introduce and consider the various types of decorations, embellishment and motifs used in this shrine.

Mosques are places for spiritual presence of different kind of people which is decorated with various motifs. Oshtorjan Jame mosque is one of the most beautiful mosques in Ilkhanid era which is important in its entrance, alter and motifs and might be a challenging and open research issue. This mosque has aesthetic characteristics and special visual values. This paper introduces the Oshtorjan’s Jame mosque’s entrance in terms of motifs. This research aims to answer what and how visual and aesthetic values of Oshtorjan’s Jame mosque’s entrance and the motifs used in this architecture. According to results, it is specified that north entrance motifs are applied with stucco, brick and tile such as plants, geometric and graphic line. There is a conflict in simple walls without motifs and the entrance full of motifs which is thought provoking. In this mosque all kinds of Girih tiles and Eslimis are used. There is a symmetry in the entrance in terms of form and divisions, but it is observed the using symmetrical motifs of asymmetry.

The twelve considered signs for the zodiacal constellations are rooted in mythologies of the ancient nations, and particularly the Mesopotamian mythology. Various beliefs have also been developed in relation to this group of heavenly bodies among different religions and rites, and also among people’s art and culture that still have continued to remain and examples which can be identified in visual arts of different territories. Also, in the Iranian art, the zodiacal constellations are a kind of the designs were used as decorative ornaments in various Islamic periods. The Zodiac carpet is an example of such work in which constellations have a special representation, and embodiment of these ornaments and it is evident in the context of carpet. The present paper aims to investigate the mythical motifsof constellations were depicted on this carpet and this article examines the mythical patterns of the illustrated constellations. Also in this research, it is tried to study the ancient symbols of ancient civilizations such as Mesopotamiaand Iran to the etymology and semantic descriptions of the symbols of the altar area drawn on this carpet.

An Ismaili Shia Islamic caliphate, Fatimid was able to make Egypt independent in the Islamic world for the first time, flourishing many arts and turning Cairo into the major center of Islamic civilization and art. Tiraz textile, which is one of the most prominent textile samples and created by the creativity of Islamic artists, was abundantly produced during this era and played a significant role in royal affairs. In addition, Tiraz was the prominent Islamic textile in terms of political, social and artistic issues. Considering form elements, there are several types of Tiraz; therefore, the most important subject of this research is recognition of the form and structure of this textile and its typology based on form. In this research, descriptive-analytical method with a typology approach was used, and 15 pieces of Fatimid Tiraz were used as samples, selected from Metropolitan Museum of Art and Victoria Albert Museum using purposive sampling. According to the results of the research, identification patterns and form-based on the main frame, typology on based form and classification of images on based written kofic character and type of patterns. Classification of components detect, bulk of Fatemid Tiraz. Design and weaved in row horizontal gracile and abroad rows with written Kofic character with few diversity animal and herb motifs in lattice and geometric cadres. At usage of textile for divers consumptions (reign arbiter, king robe, gift) has been differ type of decorative and weaving

In the current article a number of images with Shiite contents of Ilkhanid, Timurid and Turkmen Periods according to Shiite (twelver) discourse is studied. Shiite discourse is a solid set of concepts, beliefs and narrations which reproduces itself in Shiites individual and social lives controlling their mentality. It is logically expected that it has appeared in the form and content of images with Shiite contents. Therefore, this is important question about images with Shiite contents comes into consideration that can anyone look at these images as Shiite ones? In order to answer this question, the images of Shiite holy figures and form, content, narration and the presentation method were evaluated and analyzed in the images of the considered periods according to important and central concepts of Shiite discourse. The aim of this study is to explain and describe the main features of Shiite images and their differences from religious ones. The research method here is descriptive analysis and the data are gathered from librarian sources. The research results show that according to Shiite Discourse, the images of Ilkhanid, Timurid and Turkmen Periods cannot be considered as only Shiite images because of the representation of Shiite contents and presence of Shiite figures; for the main feature of Shiite images is that their contents, forms and representation method by using signs and visual elements, must be according to concepts, beliefs and narrations of Shiite discourse. It makes Shiite images different from religious ones.

Iranian painters have been tried to visualize stories with different subjects, in every historical period. One of them is the flight of turtle and the two ducks which is common in “Haft Orang”by Jami “Anwar Suhaili” by Vaez Kashefi. In this study, it is tried to represent concepts, pictorial elements, and composition between two paintings. The two paintings were compared and examined from the schools of Mashhad and Qazvin schools point by descriptive and analytic method according to library studies. The main purpose of this research is to answer this question that how was influence in the use of pictorial elements of two paintings in the Qazvin of Khorasan schools in the Flight of Turtle and Two Ducks, and the role of art patron in its formation. Then the composition and structure of these two paintings have analyzed conceptually by lyric and fiction. Among the results of this study, it can be noted that despite the historical similarities or sameness of Mashhad and Qazvin painting schools, also despite the common concept in the context of two paintings, there is no significant difference in deployment of elements and the composition. So, there are not any similarities and clear influence in these two paintings. This difference or diversity in deployment of elements comes from two different work environments which one of them is completely personal or individual and the other is in order and in support of the court and royal.