نشریه مطالعات هنر اسلامی
پیاپی 32 (زمستان 1397)

One of the most brilliant periods of the textile industry has been since the beginning of the Safavid era and the best textiles have been used for the women’s clothing. During this era, with the use of suitable materials that used to be produced in weaving workshops, not only the backwardness in the field of textile was reciprocated but also due to Safavid kings sponsoring artists and craftsmen made the textile weaving art became unique throughout this period the way that Iran’s government was exporting a great deal of textile to European countries at that time. In the Qajar era, kings were not pricing the textile industry so much and caused the industry to lose its importance. During this period the silk export was only done in raw silk form and the silk textiles, cotton Keshmir scarf etc. have been imported from European countries to Iran. The present study aims to evaluate and compare the textiles used by women in clothing by using statistical software using descriptive and analytical method and collecting data in library form in the field of textiles in these two periods. Findings of the study suggest that: the brocade has had the most consumption during Safavid period and velvet cloth and silk have had the most application during the Qajar era. With respect to the results of the achieved statistical analysis it can be said that: all three types of these textiles in Qajar era have been affected by the Safavid era. Aim of the research: 1. Identifying the used textiles in women’s clothing in Safavid and Qajar era. 2. Checking the amount of influential effect of the Safavid women’s clothing textiles on the Qajar women’s clothing textiles. Research questions: 1. What relation is there between the Safavid and the Qajar women clothing textiles? 2. How many wear textiles of the Qajar women’s clothing and the Safavid women’s clothing relate to each other? 3. How much percentage of each textile did women use in clothing?

More decorations of buildings Islamic era, An important task With Philosophical experience had. motifs of Decorations A special way Among the geometric ornaments of Islamic and traditional architecture of Iran and the East have been Who invented this old art It combines a number of original shapes or layouts. The first step is drawing Creating a knot frame That motifs They gather with it. Motifs of Geometric First it is wandering But it is more accurately seen Which is behind each motifs of the frame There is a geometric method and a concept. The question arises, therefore How is it New frames with Mystical thinking and irregular geometric versus old frames created. In this study, According to one type of node (motifs of tile of ten Sharp and dumb) Proof of geometric order in proven motifs and New frames with geometric and mystical insights Introducing and Islamic geometric features from new angles are checked. To confirm the information of this research, Descriptive-analytical method has been used and Collect information using the method Studies of library documents have been carried out. also, Information analysis that Has caused the new frames to be drawn, Using the logical reasoning method done. Research objectives: 1. Introducing a new concept frame with a conceptual idea versus the design of past frames
2. 2. Ability to achieve a basic and irregular frame design, without drawing a 4/1 frame design Research question: 1. How to design a frame with asymmetric geometry without capturing the structure of the elements

The process of getting acquaintance with European culture which had begun in 18th century in Iran reached to its critical summit in 19th century (Qajar era). Travelling abroad, familiarity with modern ideas, and printing industry were some of the most influential causes which affected all aspects of Iranian life. The encounter of "East" and "West" as the main challenge of the time was reflected in Persian art and literature. This article explores dual oppositions on the Maqouee Palace mural painted on the ceiling of a palace in Iran. Cultural codes which were completely related to social situation and esthetic codes based on visual style of the time were examined. With the descriptivecomparative method, the article detected direct implications and circuitous connotations by comparing the main painting with other visual "texts". Foreign travels, biographies and newspaper articles also played a dominant role. After defining three possible connections between dual oppositions as antagonistic, relevant and dialectic, the most significant poles were chosen. Opposition of “West" and "East as the most momentous oppositions of Qajar era was reflected on the mural. Research Objectives: -Recognition of how the main challenges of Qajar era were reflected on the Maqouee Palace mural
-Discovering the main dual oppositions in Maqouee Palace mural related to the dominant discourse of Qajar era Research Questions: - How the main challenges of Qajar era were reflected on the Maqouee Palace mural?
- What are the main dual oppositions in the Maqouee Palace mural related to the dominant discourse of Qajar era?

Investigating the valuable Iranian artistic works has helped significantly in identification of the Iranian art features in different historical periods. Lithography books have been gained publicity in Iran as the valuable Iranian artistic works after manuscripts that they will aid us in identification of the ideology of the people in this territory and artistic features of historical periods. This research introduces and examined the lithographic book of Rozatol Mujahedin at Tabriz Library in order to specify the content and structural characteristics of the lithographic books. It can be said that among numerous lithographic books at Tabriz Central Library and according to the importance of the subject and quality of the works, Rozatol- Mujahedin / Mokhtarnama in date 1306 hegira with religious subjects was chosen and investigated. In this book, the images visual details have been expressed by observing the principles ruling on the lithographic books such as common elements in drawing the lithographic books images including handwringing and hachure and etc. Thus, each image represents the mentioned subject individually. The multiplicity of the images and their elegant and detailed drawings on one hand and conformity of the text to the images of the book on the other hand have placed this book in the rank of the best examples of remained lithographic books, so it is important in terms of visualization(aesthetics) and content.
Goals
1- Identification of the structural and aesthetic features of the lithographic books
2- Identification and conformity of the structural and aesthetic features of the
lithographic books in Qajar period with Mokhtarnameh lithographic book
aesthetic features
Questions
1- What aesthetic and structural features of lithographic books in Qajar period are conformed to the case study of Mokhtarnameh?
2- What are the common qualitative and stylistic features with other samples of lithographic books in Qajar period?

The hand-woven carpet because of the capacity of having the artistic, economic and conceptual aspects during the history, has found different functions besides its own consumable function. In Travelogues and historiographies was mentioned about the very splendor and luxury carpets that describing the glorious palaces. It indicates carpets gradually obtained a value more than consuming value. This research was conducted using the descriptive and analytical approach, based on library and documents data, with visual investigation on paintings from 15th to 18th centuries to finding the shape of the usage of carpets. Because that was not possible to investigate all European countries, it was emphasized on most important samples in terms of economy, commercial and artistic status. It seems by the spread of conspicuous consumption among high class people and afterwards among middle class families, arose a kind of symbolic value for hand- woven carpets. The research shows in capitalism and consumerism societies, carpets were a symbol of wealth and self-glorification for their owners. As during the 16 century and afterwards, their the consumable value as the floor covering,

Shiite texts contain a collection of Quranic exegesis, beliefs and narratives. They are result of centuries of Shiite efforts, especially Shi'a scholars, by collecting resources, reviewing content, and then writing and compiling them. These texts had significant effects on Persian painting, like other categories of Persian art. Falnama Tahmasbi is one of the manuscripts of the Shah Tahmasb which has several pictures and is influenced by Shiite sources. This version is also known as the “Imam Sadeq's (AS) Falnama” and “dispersed Falnama”. Imam Ali (pbuh) has a special place in Falnama Tahmasbi, and the Alawite's themes in Falnama show holiness, courage and dignity of him. The analysis of this version indicates influence of Shi'a texts on it, but the role of the stories and beliefs which were common in the Safavid era cannot be ignored. The research method is descriptive-analytical with comparative approach and information is gathered from library and field resources. This study includes seven paintings of Falnama Tahmasbi related to Imam Ali (AS) that have iconography from Amir al-Momenin (AS). Research objectives: 1. Identify the themes, visual elements, and symbolic effects associated with Imam Ali (as) in Falnama Tahmasbi.
2. Explaining the level of influence of Shie texts on alawi paintings in Falnama. research questions: 1. What are the themes of the Falnama Tahmasbi in the range of the Sira and Manāqib of Imam Ali (AS)?
2. What are the visual manifestations of Ali (as) in Falnama Tahmasbi and how much the Shiite texts had influenced on Alewi paintings?

Beyznqiri and Tahmasbi Shahnamehs are considered to be artistic and cultural masterpieces of Iran. The Shahnameh of Baisnqiri has been photographed at the Herat School during the Timurid period whereas the Tahmasebi Shahnameh has been written in the Tabriz school during the Safavid period. The scenes depicted in these two precious versions contain war shields that are very beautiful and rich in motifs. This research, by examining the designs of war shields in the two Shahnamehs, seeks to classify different types of motifs as well as examine and make a quantitative and qualitative analysis in terms of design and color, in order to determine the dominant designs of the two Shahnamehs. Also, this study tries to find out to what extent the designs of Tahamsbi Shahnameh have been influenced by Baisnqiri Shahnameh. For achieving this goal, library and documentary information were collected, and by analytical-descriptive methods the drawings of the two Shahnamehs containing war shields were selected and the motifs were extracted and described and studied comparatively. The motifs of Shahnameh Baisnqiri contain all kinds of geometric motifs, Lotus, Shamsa, Eslimi, five and six large flowers. The use of geometric designs in the Tahmasebi Shahnameh has been reduced, and instead of those, Eslimi and Khataee types were used which are more delicate and elaborate. Most of the Shahnameh shields backgrounds are black, dark blue, and its motifs are golden, green, fire and blue, while almost all the motifs of the Tahmasebi Shahnameh are drawn in golden colors and the background of motifs is often made up of various colors of blue, green, red, black, orange and black. The tradition of drawing the shields in Tahmasebi Shahnameh is in the continuation of Shahnameh Baisnqary, but the motifs have not been copied.