نشریه نگارینه هنر اسلامی
پیاپی 16 (پاییز و زمستان 1397)

The Great Mosque of Saveh, which was renovated and decorated in the past centuries, has several stuccoedmihrabs of different periods of history, decorated with beautiful inscriptions and plant and geometric designs. Oneof the stuccoed mihrabs of this Seljuk mosque, held now at the Arak Chaharfasl Museum, has valuable art featuresthat are less well-known and discussed. Therefore, the purpose of this study is to introduce the decorations of thisstuccoed mihrab of the Mosque of Saveh and to carefully study the motifs in order to preserve and restore thesedecorations. To achieve this goal, the main question of this research is posed as follows: What are different typesof decorations of the stuccoed mihrab of this mosque (held in Arak Chaharfasl Museum) and in which parts ofthis mihrab, each motif is implemented? In this research, historical and descriptive method is used and data hasbeen collected based on written sources and field studies. The results of this research show that in addition to theinscriptions which have a relatively large volume of the mihrab space, such as the margins of the mihrab, aroundthe blind arcade, and the upper and lower margin of the demi-columns, the arabesque along with the Cathay motifs(flowers and leaves) also have a major contribution to the adornment of the interior of the blind arcades, the narrowand wide edges and the background inscription on the margin of the mihrab. In addition, geometric patterns(nodes) are also used on the demi-columns and the pendentive of the first blind arcade, which have added to thevariety of decorations.

Prophet’ ascension is one of the most important Islamic belief disputes that is reflected in literal and art works.The miniature of ascension by Sultan Mohammad a painter in 9th Hijri century and works of ascension by NizamiGanjavi a poet in 6th Hijri century are the best examples in this field. This study attempts to evaluate and study therole of communicative capability in two scopes, miniature and literature, in reflecting Prophet Mohammad’s greatcharacter. And based on intersexual view, it studies the Sultan Muhammad’ miniature of ascension and Nizami’sworks of ascension as a base to answer these questions: “how much and how sultan Muhammad’s miniature ofascension could be loyal to Nizami’s works of ascension?” and “which one of these two works has the best reflectionof Prophet Mohammad’ greatness in the form of ascension dispute? Therefore the used elements in bothworks have been evaluated by the holy Quran criterion and then comparison of two works’ components has beendone. The method of present research is descriptive-analysis through Comparative approach. Gathering informationhas been performed through library and documentary method and the analysis of data has been qualitativeone. It seems that Sultan Muhammad’s miniature of ascension has considerably been loyal to Nizami’s works ofascension while both works embrace main elements of ascension event according to the holy Quran and traditions.

In Qajar period, the decorations are important because of integration of tradition and modernity. In addition,high number of mosque - schools in this period have made and their decoration of these buildings is important. Soin this research, three mosque - schools sepahdari, Aghazeiadin and Khansari in Arak city have been investigatedwith descriptive - analytical method to answer this question that what is decoration of this building. At this point,we have studied the historical sources and assembled the required data by direct presence in building and vectorphotography, then we have analyzed the necessary information. The results show that the decoration of these buildingsis tiling, brick, engraving on stone and build of gypsum. The tiling shows itself in motifs of Khataiy, Islimi,Moaagholi and Inscription and has the highest variety of motifs. Brick decoration has variety in tactic, locationand form, and it has the largest area. Also the results show that gypsum decoration with plant motifs and engravedwith geometric and Fantasy plant have been used. Finally, the findings of the study indicate that decoration of thesebuildings has 47 kinds of sample.

The Egyptian Metalwork School, and specifically Cairo, is one of the centers for producing metal work in theMuslim world, especially during the Mamluk era. This school was able to produce and present significant qualitativeand important qualitative and aesthetic work in the calm atmosphere of the society of those days. The similaritiesof Egyptian metal works with works produced at the Mosul Metalwork school, show the close relationshipbetween the two schools, and in particular the impact and modelling of Egyptian artists in the construction process,the shaping, decoration and decoration themes are of great significance. Egyptian metal works, while preservingtheir own identity, are influenced by the Mosul metalwork school in the ways they are constructed and decorated.In this article, eight studies of the Egyptian metalwork school are studied, analyzed, and introduced from a cognitiveand aesthetic point of view. These works are kept at the Victoria and Albert Museums, the Naha al-Saeedcollection and the Cairo Islamic art museum.

Castles of Chahar Mahal 0and Bakhtiari province are among the most valuable memorials (monuments) of Qajardynasty and their archeological_ related ornament always have special manifestation. One of these ornaments istrelliswork of wood that has been used in different parts of these castles. Trelliswork is the art that has been usedin archeological_ related ornaments such as tiling, brick working, molding, mirror working and especially woodendecoration of doors, windows, roofs, shrines and similar cases. Considering this unknown art and the extensiveusage of wooden trelliswork ornaments in castles of Chahar Mahal and bakhtiari in roofs (ceils), doors, windows,valves and skirtings, in this research, the trelliswork of castles roof is merely considered for recognizing differentsorts of nodes, using places and adaptive comparison; so this study has been done by analytic_ comparative methodwith field observation and data collection. According to the findings among the castles of province, woodentrelliswork ornaments were only used in the ceil of Chaleshtor, Dezak, Joneghan, Shalamzar, Surk and Bardehcastles. Among 13 different kinds of nodes used in ceils’ ornaments Lozenge_ square node had the most functionand geometrical composition of these nodes and complexity and intricacy in internal spaces than external ones.

Tombstones decorations have solid details in Iranian historic cemeteries. The Harounie of Tous Collection containsmonuments from the Timurid period to the Qajar era, decorated with various inscriptions and designs. In thisresearch, 34 gravestones were selected, 10 of which were selected by a purposeful method because of their similarityin the motif and design. The purpose of this research is to study the structure, inscriptions and graffiti designs.This paper seeks to answer this question, what is the theme, the form of inscriptions and motifs in the Tombstonesof the Harounie Collection? The research method is descriptive-analytic and data collection is based on libraryinformation, documentation and field studies.The findings of the article show that the gravestones motives are a distinctive and dominant pattern on theirdesign and decoration and evidence of the thought, belief and culture of the survivors and reflection of the Shiaatmosphere of that era. The used themes are primarily the verses, the names of God, the poems in the descriptionof the parting and condemnation of the world, which refer to the eternal existence of the Most Compassionate Godand the unsteadiness of man. The inscriptions are written with the Taliq. Sols and Nastaaliq, all of which demandforgiveness from God’s mercy, according to the contents of the writings and plants.