نشریه نگارینه هنر اسلامی
پیاپی 10 (تابستان 1395)

In Iranian painting, the objective core is not a mere imitation or representation of nature, rather it is depicting a symbolic and fantastic relationship between man, nature, and the angelic realm. Meanwhile, Iranian artists have historically valued and believed in the spirits and angels world. An ethereal being that has been adorned heavily throughout the ages. The presence of an angel in a painting is an attempt to materialize a medium, between an unstable world and the observable world, and the Islamic period with its religious stories and narrative works has given a special form to angels. The visual evolution of angels has taken many different shapes and forms, but what is its role in modern times? This study aims to provide an understanding concept of angels as well as a visual and aesthetic perception of them in the artworks of Mahmoud Farshchian. Here, a short introduction to the life of Master Mahmoud Farshchian and the characteristics of his paintings is provided. A number of his painting were selected from among his numerous works, which showed the most visual and formal characteristics and represented a set of paintings in which the drawing of angels could be compared and analyzed. Their visual structure was then investigated with regard to form, composition, color, the place of the subject within the painting, movement, etc. The applied principles and foundations for using this subject, as a prominent form in the works of this artist, were introduced. This article tries to answer this question: what is the formal and visual position of this element, angels, in the works of Farshchian and how is it distinct from former paintings? This is a qualitative study using a descriptive-analytical method. The data was collected through documentary and desk research. The selection and the criterion for classification of painting in different groups were carried out in a way that the selected samples contain the most information regarding the research question. In this approach, instead of content, the focus is on the importance of form as the mental attraction of the artwork. A formalist analysis of an artwork firstly looks at the aesthetic effects of the components of the design. The analysis of the visual and formal structure of Farshchian’s works show a rich visual beauty, which the painter’s capacity for mental representation, and also the expressiveness of the pictures and its harmony with the content. The content and structural study of Mahmoud Farshchian’s works include the form of angels show that in the history of painting this form has mostly not been the core subject of the works. Here, they have been painted independently, and what they share with the works of the past include spiral composition, attention to grid lines and golden divisions, faithfulness to themes and topics and their points of divergence mostly in the method of polishing compare to the past, using acrylic colors, dependence on the traditions of the innovators of painting, and attention to the focus points in the artwork.

Numerous factors have influenced the way the architectural spaces in the Iranian miniature painting have been created. During the Timurid era, with the innovations of master Kamal al-Din Behzad, and employing all the visual basics, architectural spaces were given more attention and interest. In miniature paintings of master Behzad, certain principles dominated the scenery of spaces, and the architectural elements have had a special place according to these principles which are referred to as the “Golden Ratio”., the lines point to a specific part of the mosque’s construction process, and within one or two of these networks, each of the mosque’s spaces is located such as the single hole, the porch and the outer wall. Drawing lines based on the principle of “golden ratio” shows that Behzad has placed the image of consciousness with this element of the elements in a suitable place and has given his image a harmony. Due to lack of resources and researches done in accordance with the proportions and in painting, the authors need to study the studied image in a different perspective from the aesthetic aspect. The present study was conducted using a descriptive-analytical method and based on library studies, so that the relationship between the architecture of the mosque and the architectural spaces in painting can be found through the recognition of these proportions.

Islamic art is one of the glorious periods of art history and one of the most valuable human achievements in artistic arts. It includes various types of arts such as architecture, calligraphy, painting, ceramics, and the like. In an Islamic art, there is a lot of repetitive elements things such as using unrealistic geometric or graphic designs of flowers and plants known as Slavic. The Slavic motifs in Islamic art are often used as a symbol of the infinite nature that is God’s creature, as well as the intention of not representing and accurately immitting nature as usually mentions humility of artists who believed that the creation of perfection was only God’s special. The purpose of this study was firstly to study the emergence of vegetable motifs in the art of early Islam and their application, after that how symbols were abstracted. Along with, the extent to which these motifs were influenced from the previous era and their effect on contemporary times. In this research, which is a descriptive-analytical and the information is also arranged in the library and field-b ased way, the findings show that the Slavic motifs were firstly introduced by the prevalence of mankind’s imaging of Islam at the dawn of Islam, Sassanid art and, gradually, based on the special teachings of that era, abstract forms that influenced the contemporary period.

One of the most mysterious and extensive decorations of Islamic architecture, especially mosques, is geometric patterns. Studies on the history of the emergence of geometric patterns in Iranian art shows a six-thousand-year history. The present research seeks to answer what are the historical roots of the emergence of geometric patterns in the works of the Islamic period, and are these motifs contain implicit and sequential concepts. The purpose of the research is to express the historical background of geometric patterns in Iranian art and examine its possible implications. The main hypothesis of the study is the continuation of the life of ancient geometric patterns, especially Elamite’s works on the architecture of Iranian mosques. The research method is descriptive-analytical and collecting the contents is performed using a library method through note taking and picture reading; the method of data analysis is qualitative. The philosophers have attributed the origins of the emergence of geometric designs to Mesopotamian, Egyptian, and Iranian civilizations. According to this research, the fundamental geometric designs, decorating the buildings of the Islamic period in Iran, are related to the concept of fertility and abundance, and its history in Iranian art could be attributed to the remains art from the era of Elamite and the works discovered from the ancient site of Haleil River. In ancient Persian works, geometric patterns simply appear with the repetition of individual and single-shape elements, the combination of several geometric shapes are rarely seen together. The difference between these patterns and Islamic architecture is the emergence of diverse, mixed and extensive geometric shapes combined with Islamic philosophy of unity in plurality.

The motif of Halo Light in ancient times, Christianity and Islam have always been of great importance in visual arts. The studies in this section indicate which it is widespread from Egypt and India to Byzantium. But Halo Light, furthermore of differentiating characters, also is important in other aspects, such as type, color, size and shape as well as its origin. Hence, this article will include a historical review of the presence of this element from ancient times to Islamic and Christian arts. This analysis also includes the visual aspect of this motif, both its conceptual and symbolic aspect. The method of research is historical. The findings of the research indicate that the first examples of the Halo Light in the Egyptian and Indian civilizations have been observed but cannot be determined definitively by its original origin. It was then used in the art of other ancient civilizations. They used Halo Light to represent the supreme position of the gods or the king and the point of differentiation was in the way of illustration and cultural implications. In the religious period, the art of Christianity and Islamic art, Halo found a completely religious and divine aspect. Instead of being a symbol of authority and glorious worldliness, he showed his spiritual status.

The Brocad textiles is made of gold plated or silver. This textile was produced during the Achaemenid period. In the Sassanid era, various designs were added to them, that mentally evolution and device was made and completed. It has been very much considered in the Timurid period with decorative effects. Further influenced by the narrative and illustrative effects of Iranian painting, with the rule of human role, a special style emerged that reached its peak in beauty and beauty during the Safavid period. This research tries to study in a variety ways of descriptive-analytical method and claim to answer what are the subjects and motif on Safavid brocade textile?” The statistical population of this research consists of 23 collections of art materials from collections and art museums inside and outside the country. The purpose of this article is to revive the Islamic art of Iran and resuscitation the designs of the Safavid brocade Textiles. The results indicate that human figurative designs, sometimes enclosed in a frame and sometimes without a frame, have been used on various Safavid brocade textile. Ornamentation sometimes has a narrative and, most of the time created a charming duplicate. The subjects that have been featured on the Safavid brocade textile are: themes include hunting, captivity, celebrations and, religious minorities.