نشریه هنرهای صناعی ایران
پیاپی 1 (پاییز و زمستان 1396)

Enamel-painted ceramic from the medieval Persia (so-called haft rang/ mina’i ware) refers to a group of Islamic ceramics believed to have originated at late Seljuk and early Kharazmshahid dynasty (1179-1219 A.D.) in Iran. These wares characterized by stonepaste body and polychrome overglazes which represent. mina’i ceramic is one of the most important types of Islamic ceramic productions and identified by stonepaste body and multicolored polychrome over-glazes which represent figural, geometric and floral designs as well as calligraphic inscriptions. Additionally, mina’i wares are in some cases enlightened as applied relief and gilded surface. The style can be found in numerous forms including bowls, ewers, cups, beakers, jugs, inkstands and tiles. They are often referred to as “Haft-Rang” (seven color) ceramics due to their polychromic character. The colors were red, brown, cobalt blue, green, black, white and gold. It was believed, until quite recently, that one of these seven colors, namely cobalt blue, was painted not over, but in the glaze, and all the others were painted over. Suggested production centers for mina’i are Sava, Rayy and Kashan. While stylistic arguments have attributed the classification of objects to each of these sites, there is little archaeological evidence to support any of the claims. It has been argued that their style and imagery are reflected from Islamic manuscripts and wall paintings. Mina’i wares are very interesting to research not only in term of ceramic history and painting, but in Islamic ceramic technology. Much of our current understanding of minai techniques, and of medieval Islamic ceramic technology in general, comes from the only known treatise was written in 1301 A.D (70 A.H) by Abul'-Qasim Kashani. It is said that the "seven-colored technology passed into oblivion" by the time of the treatise. The study focuses on literature review and on observing the visual samples. Here four pieces of mina’i ware were sampled from Rayy and Alamut castle in Iran, which has been investigated through surface analytical techniques such as scanning electron microscopy complemented with energy dispersive X-ray spectrometers (SEM-EDX) and particle induced X-ray emission (micro-PIXE) and micro-RBS to characterize and identify the applied relief layers and gilding surfaces. This research focuses on defining the compositions of these surfaces. Interpretation through analytical methods allows obtaining more information about the historical methods and several layers that show technological evidence of overglaze method in mediaeval Persia. This paper focuses on defining the elemental composition of gold findings and relief in order to identify gilding process and the gold/ceramic adhesion mechanism. The results support that gilding decoration was using both mechanical as well as thermal process for adhesion mechanisms between gold leaf and its substrate. The other result suggests that reliefs were added over the base glaze layer to be observed between the body and the applied relief.

One of the main features of decoration in different works of art in the late 12th and earl 13th centuries Iran (coincident with Seljuk and Ilkhanid periods) and the connected cultures is the variety of subjects applied in different representations, including power iconography, royal pleasures, special mythical creatures and cosmic symbols. Enjoying distinctive iconographical characteristics, a small group of pictures and images here represent mythical and legendary stories displaying Persian heroic exploits like those of Bahram and Azadeh, Faridun and Zahhak, and Bijan and Manijeh. The scene of taking Zahhak to Mount Damavand by Faridun is a theme represented and reproduced in many images (e.g. wall paintings, pottery and metalwork objects) in the 12th and 13th centuries. In addition to Shahnamah (The Book of the Kings), this subject has been proposed in most of the historical and literal works. Aiming to find the referential source of images with the presence of Persian historical and legendary characters, this research tries to answer the question that whether such images have come out of Shahnamah and other historical works or just been under the influenced of oral references? In order to achieve this goal, the research has firstly been dedicated to the examination of Faridun and Zahhak's manners in Avesta, Middle Persian (Pahlavi) and Islamic texts as well as the study of the narratives of Faridun's victory over Zahhak in such texts. Having emphasized on the prominent symbols and features of each character, the pottery works containing the scenes of taking Zahhak to Mount Damavand by Faridun are introduced. Finally, the narrative source of images has been analyzed by searching historical and literal works as well as the probable influence of oral narratives. The required information in this research has been gathered through library sources and documents and the method is based on historical- analytical approach. None of the written narratives in this study conform with the mentioned paintings, however some similarities are observed in some details. Meanwhile, Shahnamah as an authentic historical reference book has increased the importance of this matter for illustration. Other texts have also had a big part in this influence. In some of them we witness details that are not even in the Shahnamah, but they conform with some of the elements in images (for example, referring to Fereydun's riding a cow in Athar al-Baqiya, Farsnamah, Gardizi History and Tabarestan History). Furthermore, the probable influence of oral narratives is also felt as much as that of the written ones. A proof for this matter is the Shahnamah of narrators where common points with these images are seen. This subject confirms the theory that the artists in that period had used their mind and memory in illustrating this narrative. We eventually come to the conclusion that these paintings do not show only a definite or limited part of the victory of Faridun over Zahhak, but they are the summary of the whole story being an implication of the concept of victory, a result that could be generalized to other related pictures and images.

Murals of holy places are representative of folk art. In such monuments the artist portrays religious events such as Tasua and Ashura (the 9th and 10th days of Muharram) alongside with decorative motifs like flowers and birds. In Safavid era, buildings known as tikyeh (royal theatre) and Husseiniya were considered the inseparable parts in most of the historic cities and villages of Iran. In this research the murals of Abbas Abad tikyeh (Kashan), from early Qajar era, has been studied. Nowadays, this building is located in one of the neighborhoods of Kashan known as Posht-e Mashad. Today, due to the construction of a boulevard, one of the three archspans of this building has been destroyed. Therefore, more than half of the paintings are gone and the part that remains is deteriorating as a result of poor preservations. Now faces of the characters in the figural paintings are just recognized by the presence of some names written next to them. The results of the research show that we can find subjects of "good and bad" by means of applying visual similarities. The main themes depicted in this place are as follows: the conversation of Abul-Fazl Abbas with Horr, the war of the prince Ali Akbar, war of Qasim with Shami's sons, Sultan Qeis. The painter has often taken a particular criterion in terms of the importance of the subject to illustrate the narratives. Hence, the themes mattered very much are placed in central locations. The methodology used in this research is based on descriptive-analytical study and the information has been gathered from library sources and by field observations.

Calligraphy is of a high position among the Islamic arts; hence it is applied in different art media especially in decorating religious buildings. As a result of conformity and its angular quality, Muaqqeli script could be used in architectural decoration. As an Islamic graphic art, this script is an adaptation of Kufic script and Muaqqeli motifs designed and executed on different geometrical shapes (especially square) by considering black and white space proportions. This matter has created various types of this script on the basis of different methods of designing and execution. But the categorizations offered in this respect are not complete and they dont include all the dimensions of this script. This article, done in analytical-descriptive methodology by gathering field information, tries to study connections between the designing and executive methods in angular Kufic inscriptions (Muaqqali) in some Islamic monuments. Here, it is tried to apply the common method of perceptual process for explaining the visual processes. Research findings indicate that the design and execution are similar and parallel, i.e. the execution of angular Kufic depends on the designing method of Kufic script calligraphy and vice versa. The Muaqqeli Kufic calligraphic designs are done in six types, including Munfared, Gardān, Pichideh, Savād-Bayāz, Angular Calligraphy and Āzād. The first four types have consistent rules in design, but the last two types, i.e. Angular Calligraphy and Āzād, have been created on the basis of innovative methods and modern graphic requirements which could be applied to different webs. On the other hand, the four techniques of simple, Yekragi, Seragi and Rāstehkhufteh establish similar connections with all the six types of Muaqqeli Kufic type.

Persian literature is one of the richest and most influential cultural fields in Iran and the world with masterpieces having always been praised in the East and in the West. For a long time, Iranian painting and Persian literature has had close relations and each one has been a source of inspiration for the other. The main question in this research is how much Farshchian, the Iranian miniaturist, has benefited from the Persian literature in his work? Also, why and how has the artist benefited from literature and, in general, how has been Farshchian's approach towards the Persian literature? The purpose of this study is first to explain the extent of the artist's inspiration gained from Persian literature, and then his approach towards this field. This research is of a theoretical and descriptive-analytical method done with a hermeneutical and synthetic approach. Library methods of gathering information, field information and data analysis methods have also been applied quantitatively and qualitatively in this respect. The results show that in addition to the significance of Persian literature and the way the artist has benefited from this field, Farschchian's approach towards the Persian literature has had a purposeful and gradual course of dependence towards independence. He has been under the domination of great Iranian poets and sought to reflect the objective world and the visual narrative of the Persian poet's thoughts, but has shown a gradual shift in the narrative of his inner world.

Filigree as one of the most important branches of metalwork has been constantly an inseparable, original and cultural handicraft medium representing national identity, Iranian- Islamic values, material and spiritual aspects of traditional and artistic features of Isfahan. In spite of a stunning history, filigree's position regarding the range, the level of artist’s activities, marketing, training process, distribution, and the consumption is worrying. Through the viewpoint of sociology of art, with regard to historical recognition, documentation and pathology of this art in Isfahan, the present study aims at the examination of this art while describing its profound relation to Islamic-Iranian identity. Then it has presented a creative plan to revive this branch of art with respect to its techniques and patterns. The following questions are going to be answered here: How could the field of filigree in Isfahan be described, interpreted, and analyzed through ethnography? How is the present position and condition of filigree in Isfahan? What are the development barriers and pathology? How filigree is recoverable with respect to techniques and operation? What advantages does an innovative plan have? The most important objectives in the present study were the ethnographic study of the contemporary filigree in Isfahan (documentation, pathology, and describing the present problems) and presenting innovative plan (in techniques and patterns) to revive the filigree and improving Islamic-Iranian identity. To answer the research questions and fulfill the objectives, the qualitative ethnography method was chosen. Data collection included library study, observation, and semi-structured interviews. The findings on filigree pathology revealed that factors such as insufficient income, consumer's lack of awareness, incorrect method of filigree production, incompetent producers, lack of creativity in production, copying, lack of advertisement, and similar imported goods have played important role in the decline of this art. Moreover, by emphasizing two aspects of creativity and function, as the base of traditional arts, creative ideas aiming at improving and revivng this art (which encompass innovation in technique) were introduced and some samples made by this pattern were presented. In the end, the importance of the production and consumption of filigree as an important work of cultural identity were described to improve the cultural and historical dimension and provoke a sense of nationality.