نشریه نگارینه هنر اسلامی
پیاپی 18 (پاییز و زمستان 1398)

Ajā'ib al-Makhlūqāt Qazvini is a very comprehensive book on the introduction of strange and supernatural beings named after these mystical creatures such as Christianity and islam in the from of mystical stories.Ajā'ib al-Makhlūqāt Qazvini is a very comprehensive book on the introduction of strange and supernatural beings named after these mystical creatures such as Christianity and islam in the from of mystical stories. Ajā'ib al-Makhlūqāt Qazvini depict religious beliefs and stories told in the past by the prophet(peace be upon him) and the imams(pbuh). This article examines the way the three great angels of God, Israfil, Gabriel and Michael are portrayed in three Ajā'ib al-Makhlūqāt wa Gharā'ib al-Mawjūdāt Qazvini's Wonders of the Beast and the Beast. These three versions include: The French Library Edition, 463, The National Library Edition 46-3343, and The Tehran Lithographic Printing Edition, 1283. The three versions have been depicted in different eras and include new redefinitions of these three angels. The research method is descriptive-comparative. It can be seen that in their portrayal of angels the human model is given to them.

Mahabad, which in the past was called Savojbolagh, Sablagh in the language of the native people, was the center of a part of Iranian Kurdistan called Mokrian. The former Savojbolagh (now Mahabad) is one of the most important cities in northwestern Iran in the southern part of Lake Urmia, which was the center of Mokrian for four centuries. Based on the archaeological evidence, the city of Mahabad was built during the reign of Shah Suleiman (1107-1077 AH), by the order of the Mukrish ruler "Buddha Sultan".and grew and developed from the late Safavid era to the early Pahlavi era. Most of the remaining monuments of the Qajar and Pahlavi era of Mahabad are now the residential buildings of influential people in the city. Many of the buildings belonging to the affluent classes of the city have a wide variety of decorations, Therefore, the purpose of the present article is to discuss the features and types of decorations used in the residential buildings of the mentioned period in Mahabad. So it is necessary to answer to some questions about art styles and patterns that influence the formulation of these ornaments. Since there has been no coherent research on the decorations and architectural style of Mahabad buildings in Mukriyan region, Therefore, their study can provide a broader understanding of the artists' efforts in creating suitable settlements. As a result, it was found that most of the decorative elements were influenced by the facades of the prosperous persons Due to the geographical conditions of the area, many of the decorations have been made with brick and stone materials. Although the decorative designs used in Mahabad are similar to those in cities like Sanandaj, However, these monuments built by native Mukrish artists.

The Seljuqs were a tribe of Turkmen Ghuzz whose rule was terminated at the hands of the Khwarazmian.The works of this era are considered to be masterpieces of the Islamic epoch, among which are glassware art whose way of decorating and making has put it in a special place. In decorating these works, geometric, animal, written, human and plant motifs have been used. The purpose of the present research is to focus on identifying the plant motifs of this period and recognizing the most extensively used plant motifs. Therefore, the present research seeks to answer two questions; a. What are the mostly used plant motifs in Seljuks glassware? b. What are the most widely used plant motifs in this period? A total of 54 works have been used in this paper, among which 42 glassware were analyzed. This research was conducted in a historical, descriptive-analytical approach with referring to library resources. The results of this study indicate that the plant motifs used in Seljuk glassware include motifs such as flowers, arabesque, fruits, leaves, buds, ivy and the placement of plant motifs along with geometric, animal and written motifs. It was also found that the most significant motif used is flowers, which has been implemented in various shapes. In addition, the mostly used color in decoration of glassware was green in different shades. Also, in style of implementation and decorating tools, the most common way was using mold.

Artwork is considered as visual means of communication and representative of facts that have undergone dramatic changes in each era, influenced by social, economic, political, religious, and social conditions. In this regard, wall decoration is an important context for gaining insight into these changes. This study aims to analyze the form and role of pottery in Safavid wall paintings through comparative study with pottery of this period, focusing on the wall paintings of the Chehel Sotun palace. Chehel Sotun palace in Isfahan has always been regarded as one of the most important historic and cultural monuments of the Safavid period during the reign of King Abbas I and II. The murals of the palace reflect the thoughts and culture of the kings and perhaps the people of that time (Safavid era) and are in fact an expression of this period. The most important question in this article is what are the reasons of using pottery figures on the murals and wall their relation with the Safavid pottery can be investigated? Data have been gathered using both field and Documentary method methods and were analyzed by descriptive-analytic method. Accordingly, after classification and typology of pottery forms in the Safavid period, the comparison with the Paintings in the wall decorations of the Chehelston Palace of the Safavid period has been carried out. Initial results from this study show that the use of pottery figures in the Safavid wall paintings, especially the Chehelston Palace, is ceremonial.

Considering issues such as the destruction of many buildings and decorations of the study area after the author's examination, the existence of suitable conditions for drawing the general appearance of architectural decorations of an area as a separate geographical-cultural unit, rural and indigenous aspects of decorations and introduction Some new and unknown examples, In the present study, the study of decorative patterns and the process of architectural decoration of Borkhār plain buildings, which has been a component of cultural-geographical area called Rostagh Borkhār in the past, has been considered. To this end, present research has been conducted analytic- comparative method based on the results of field studies and comparative comparison. As the results of this research show, the decorations of the buildings of the region from the early centuries to the late Islamic centuries have various techniques and have been continuous. Among the decorative techniques, molding decorations have shown the highest level of application and technical diversity. Indicative and prolific decorations are mainly dedicated to religious buildings and buildings of national importance, and other buildings have benefited from simple and low-work decorations. Due to the multiplicity and variety of works of the Qajar period, the variety and multiplicity of decorative techniques of this period compared to other periods, shows a high quantity.

To get familiar with a society, recognition of the culture, human relationships, cultural roots, morals, rituals, and traditions of a nation is essential. To achieve this end, referring to the commonwealth's artistic heritage, which is gained through the collective experience and real life of its builders, is very efficient. In this research, using descriptive case studies or applying field and library methodology, the gravestones decorations of Darreh Shahr city, with the aims of identifying their artistic style and discovering the hidden layers of material and behavioral traditions of the past inhabitants of this region, are going to be investigated. Based on this, the main research questions are: (1) what is the artistic style of the gravestones decorations of Darreh Shahr? (2) what were the material and behavioral traditions of the past inhabitants of this land? The results show that the artistic style of gravestones decorations is a common or realistic style of art. Based on this style, which relates to the social structures of that society and is based on the realities of life, the material tradition resources of this city include guns, daggers, one-sided or two-sided combs, carpet weavers, carpet scaffold, hookahs, turbah and tasbih, afatabah, scissors, and animals like horse, goat and dog. Their behavioral traditions include hunting, flocking, fighting against nature forces, hospitality, carpet weaving and acting on religious principles that, beside material traditions, should be performed by any tribal and nomadic people of the region, appropriate to their gender, for earning the social respect.

The golden age of the textile art industry in Iran without a shadow of a doubt was the 10th and 11th centuries AH (16th-17th AD).Woven fabrics of this era were a remarkable combination of visual aesthetics, composition, motifs, colors and textures put together in a variable and versatile form.One of these beautiful compositions that is often seen in the fabric structure of this age is the use of medallion form/motif embellished with plant, animal and human motifs.Studies indicate that this form/motif has been used in textile in abundance confirming that medallion is one of themost widely used motifs of this period. According to the above-mentioned descriptions, the main purpose of this study is to investigate the structural patterns of the motifs/form of medallion on Safavid textiles In this regard, the question that arises is what is the structural diversity of the motif/form of medallion in decorating Safavid textiles and what is the position of this motif/form in the composition of these fabrics? To find the answer to this question, 16 fabric samples existing in books and art galleries of Safavid period are selected and then their structural features are analyzed. The research method is descriptive-analytical and is based on historical nature.The data is collected from librariesand the Internet and the analysis is qualitative.The results of the research show that medallion form/motif exists both explicitly and in disguise in most of the Safavid textiles.This structure adheres to the symmetry system and shows new and orderly combinations in the text of the work. The greatest use of this motif in the textiles has been transitional and in the form of 1/2 and 1/4.

Decorative motifs in Qajar era architecture and textiles reflect the views of artists.The motifs are different from the aesthetics of the time and the level of idealism of the artists.The research objectives are to study the themes of decorative motifs in the Qajar architecture and textiles and to explain the characteristics of Iranian artists' imagery in performing arts in the art of Qajar era.The question of this article is how the romantic and epic themes of decorative motifs are in the Mahdiqulikhan bath architecture and the three cloth makers and their content matching.The method of research, analytical descriptive and information gathering method is documentary.The results of the research indicate that the content of the presentations has been mostly narrative and in the description of the event.The elements affecting the Mahdiqolikhan baths in Mashhad and the Qalamkar fabrics in the form of mythical, epic, and life, rooted in people's beliefs.In addition to custom themes such as lords, historical scenes, stories, hunting,have been used for flowers, girls, birthdays and religion.The general way of drawing is often based on the artist's subjective principles,regardless of perspective,idealism in the organs, and sometimes the realization of the fact and without regard to the scale of the field for filling the text of the work,common space and in accordance with the artist's idea in a variety of artwork, the use of objects and the way of layout of the field and clothing,all of which are based on cultural changes and trends in tendencies in customs and beliefs

In history of Iran , always class fighters been important and they were been a pillar of strength. This study in the form of war coverage gives information about various battles and weapons in different historical times. That it is useful in historical and sociological studies, also it used in the arts and drama. Shahname 953. H Paris was belonging period Safavi. It is the most common image of the warrior. The painter in this version Shahname, painted these warrior with a main form and there is no division in the armyThe results of that research show that the validity of narrative plays a significant of epic scenes Shahname 953H Paris, also painter has used of clothing as a symbol to show the political and military situation.The present study from a perspective of the nature is fundamental- application and from a position of the method is historical- analytic .

The mirror work is an Iranian art and it is subset of architectural decoration. The history of this art in Iran dates back to Safavid era, and afterward it turned to one of the most popular arts in Qajar period. As a result, Mashhad became one of the mirror work sites very soon due to the Shrine of Imam Reza (A.S.). In the Shrine of Imam Reza (A.S.) numerous places and porticos are decorated with beautiful and various mirrors. Dāral-Sīyādah is one of the porticoes that have been mirrored as well as using fresco and tile work. In this descriptive-analytical article, the author seeks to answer the questions that when the mirror works of Shrine of Imam Reza (A.S.), and in particular, the Dāral-Sīyādah portico was done? Who and with what roles have been involved in Dāral-Sīyādah mirror works? What styles and patterns have been used in Dāral-Sīyādah mirror works? The findings indicate that the use of mirror works in the Shrine of Imam Reza (A.S.) goes back to the late Safavid and early Qajar periods and one of the earliest documents related to the mirror works of Dāral-Sīyādah belongs to the late thirteenth century AH. Along with the artists, officials have been involved in performing the mirror works of Imam Reza's (A.S.)shrine and have used plaster works, sandblasting (Jīvitarāshī), colored glass, Qur'anic inscriptions, traditions, God's and Imams' names, paintings , Candlestick, vase, flower and leaf designs, and geometric patterns, especially strap work, for decorating the Dāral-Sīyādah mirrors.

Geometric motifs have always been an important part of traditional Iranian architectural identity. These motifs, which are formed using straight lines, create node patterns. Patterns that each have their own characteristics. Isfahan Jame Mosque is one of the most important architectural buildings of Iran in terms of volume of decoration and use of numerous geometric motifs. Therefore, in this paper, due to the special importance that this building has in the history of geometric patterns, it was chosen as a suitable example for vector pattern. In this regard, by gathering information through library studies, valid documents, and field research, first a suggested model of the topic (node ​​tools) was presented, then samples from the mosque's tile geometry were extracted. , And after naming and drawing, their background, footprint and frame were analyzed. The results show that the nodes formed in the tiles of Isfahan Jame Mosque were respectively five, six, eight, ten, eleven, twelve, fourteen, eight and eight and twelve knots and nine, respectively. It's twelve. They have rectangles, squares, triangles and parallelograms. Also the shape of the frames includes lacquer, square, rectangle, triangle, semicircle, four-pointed star, five-pointed star, seven-pointed star, eight-pointed star, Pabzz, which is the most shaped nodal frame

Gulshan collection in Gulestan palace is a valuable collection that has been created by Iranian and Indian artists. The importance of this study is that it discusses and introduces various styles of naturalism in the paintings of Gulshan collection as the most exquisite works of Jahangiri era, the history of development in Indian Gurkany art from Homayoon to Jahangir period. The aim of this study is to identify naturalism in the paintings of Gulshan collection. Because in the art of painting they consider nature and its manifestation. Inclination to nature is evident in the remaining works. That's why these questions can be posed that what styles were used in the landscape painting of Gulshan collection? What kind of characteristics should a style have and if they are distinctive or not? The method in this study is descriptive analytical and collecting data is in the form of library and attributive. The statistical population is Gulshan collection in the Gulestan palace library. Almost 80 images of landscape painting were collected from the treasury of manuscripts of Gulestan palace. After checking these images five of them that had the most outstanding features of naturalism were investigated. Because in this study five styles of landscape painting of Gulshan collection were found, each of which had unique feature and eventually we witnessed the combination of styles and the conflict between these orientations. However, none of them were completely replaced by each other. Thus, first we will investigate how Gurkany government and painting were created. In brief the effect of Iranian and European art on Indian art was discussed and then nature was investigated in art and painting. Finally, some paintings having different features of landscape making were analyzed as well as explaining Gulshan collection.