نشریه مطالعات هنر اسلامی
پیاپی 28 (زمستان 1396)

Architectural decorations in Qaja era have distinctive and very important features. The arrival of some new designs with warm colors and epiphany of a specific imagery differentiates the monuments decorations of this era from other eras. The design of angel is of the exquisite and unique designs of this era which is repeatedly observed in building designs of Qajar era; in the majority of these cases the design of angel has outstanding (clear) characteristics with specified principles of illustrations such as colors and similar states. These designs are considered useful and important in Tile work of Qajar era which have been drawn with certain rules and features. Being inscribed with half-naked covering on the entrance of the building, greater inclining on portraying Angel's wing in multi colored, or preference of blue and red over other colors are the specific features of this design. Attention in style and rules of designing the angel represents the importance of this design in monuments decorations of that era. This research has been conducted according to descriptive-analytical method and through data collection of library resources, electronic and objective observations.

Iconography on fabrics has spread from the early Safavi period in Iran in different ways and upgraded at the time of Shah Abbas in this time and First Qajar style continues in the tradition of Safavi period. Human role for formal or informal physical role depending on fabric and the effects of the motifs on textiles and other arts can be seen in procedure and content .Changes in the type of play portrait (ideal or non-ideal portrait) and body shape (overall shape of the body draws on contemporary aesthetics and common wear and age composition of the figure, depending on the contract) is observed. The results evidence that cultural factors influence is the internal factors (religion and the influence of painting and literature) and external factors (the presence of tourists, the effects of Western philosophy, artists influence other countries and support the court). The research method is descriptive and based on authentic historical documents and data matching has been assessed. The data are documents that written and pictorial in museums.

Many thinkers consider art as a means to perceive the truth and it is the way to achieve the highest human knowledge and epistem, And a kind of epistem that access to it with other means and equipment is impossible.Coomaraswamy is one of the thinkers who co-opt this idea. Ananda Coomaraswamy, a thinker of traditionalism, has discussion the concept and meaning of art in his writings. The "art for art" doctrine is one of the most important concepts that Ananda Coomaraswamy has been discussing based on his aesthetic and semantic principles. He has defined art's ultimate goal in traditional attitude. This paper aims to determine the doctrine of art for art based on Ananda Coomaraswamy's idea And by expressing the concept of art from Coomaraswamy's idea, proposes the means of differentiating the meaning of art into a traditional and modern approach. The hypothesis of the article is that based on Coomaraswamy's idea, art in the traditional attitude has a goal other than itself, and negates the ultimate purpose of art for art, which is the basis of thinking in modern art. Research findings suggest that Art for Coomaraswamy guides the audience for another purpose based on reason and it's as a means that it facilitates. Coomaraswamy considers art as the embodiment of a pre-conceived form in material and it dominated by tradition and serve it ends considers the meaning and function. In contrast, the effects of the slogan "Art for the Art" in the modern world indicate that the question of the subject and theme makes the work of art meaningless. Also, people's interest in semantic and endemic art is greater. The method of research in this paper has been descriptive-analytic and the data collection is done based on a documentary study.

The present paper is dedicated to investigate the field of “the history of Islamic Art” in three periods of time. It is intended to explain the root of some of the established disputes in this field, including the recent dispute over the own term “Islamic Art”. After presenting some preliminaries on the subject of discourse analysis, which is the tool for theoretical analysis in the present paper, it investigates formation, evolution and signs of turning of discourse of Islamic Art in three periods of time: nineteenth century, twenty and twenty first centuries.
This paper shows “Islamic Art”, as a discourse, is produced from thinking about external reality more than reality itself. These thoughts, gradually, have reflected in format of language and discourse. The Islamic Art discourse formed in 19th century under orientalism. It had a mild inter-discourse paradigm shift from anthropological approach to historical approach in 20th century. Then, in the early 21th century, it faced with serious critiques that questioning many of fixed aspects of this discourse from orientalism framework to historical-cultural approach. This questioning process shows the formation of new approach, or even, new discourse in this field. The research method in this paper is historical method and for analyzing data was used from discourse analysis theory.

This article is a field study based on the study of geography of the Arak (Sultan Abad) weaving system and less theoretical and theoretical. because written for the first time in the form of structured and consistent. Arak, known in the past as Soltanabad, and before that, called Iraq Ajam, one of the most important schools of Iranian carpets especially from Qajar era to this side and enjoyable a long and brilliant record in this native and national art. a prominent example of this can be the Sarough carpets and its peripheral areas such as Jiriya that over the past two hundred years, it was mainly produced by foreign companies such as Ziegler, and exported to America and Europe and today it is an ornament of the houses, collections and famous museums of America and Europe. In this article, for the first time, the School of Carpet weaving in Arak(Soltanabad) and then the native design and plan first - with the exception of various designs of export carpets that designers of foreign companies and domestic producers (Tabriz merchants) - introduce, describe, analyze and categorize. the research results are as follows: school and carpet weaving style of Sultan Abad with the arrival of foreign companies, especially Swiss-English Ziggler company, and then merchants, Iranian producers and exporters(Especially Tabrizi) this school brought about the emergence, growth and progress of the school. there are also two types of plans and design for this school. a : native and first. B : pattern taken or new (designs that introduced by traders and manufacturers which are either fully woven in arak or the designers designed plans with their adaptation and or the maps have been new and designed by artists in the area). until the formation, structure, school and identity of Arak carpet by companies and producers, the carpets in this area were locally and only had a consumable aspect which was enjoyed from a thick and coarse form and so-called local carpets(neighborhoods, neighborhood) they were taught. the present research is of fundamental type and its method is descriptive-analytical. it is also a method of collecting information in a field.

Miraj Nameh of Mir Haydar (the story of Ascension) is a mystic story describing the miraculous ascending of the Prophet Mohammed in a night that left the Earth and ascended the God’s presence. It’s the most popular religious concept in visual arts and Islamic miniature of Iran in which it’s made an appropriate place in creativity and innovation of the miniatures. This book is written in 1435-1436, 830-840 for Shahrokh Timuri. The present study investigated the chromatic symbols and the concepts used in Quran and how the miniaturist used these symbols and concepts in presenting the religious contents. The miniaturist presented the Islamic religious concepts in line with the theoretical principles of Quranic and Islamic epistemology by knowing the importance of using colors and lights in mysticism and wisdom in a way that in this collection the dominance of color over writing is obvious. The data gathered by using an analytical-descriptive method.
The purposes of the study:1. Analyzing the concepts and the place of color in Quran and its effect on Miraj Nameh’s paintings.
2. Recognizing the miniaturist influenced by Quran and manifestation of concepts and meanings and its principles in Miraj Nameh’s paintings.
The research questions:1. What features does “color” have in Miraj Nameh’s paintings and how can we investigate the Quranic concepts in these paintings?
2. What effects does “color” have in creating the patterns, schema, and colors of Miraj Nameh’s paintings?