نشریه پیکره
پیاپی 31 (بهار 1402)

Problem Definition: 

The Davazdah Imam Mausoleum of Yazd is one of the oldest buildings with inscriptions in Iran. The Grivar inscription of this building is Ornamental Kufic, which, unlike the simple Kufic, does not follow specific rules, and many innovations and modifications are made in it. Despite the high visual richness, the mentioned inscription has been deprived of formal analysis, while any but structured changes of the letters, the acceptance of complex forms, and additional elements make it worthy of further analysis. The current research seeks to find the answer to the following question: "what are the structural, visual, and formal characteristics of the Davazdah Imam Mausoleum of Yazd, and what rules did the designer establish in its design?"

This research aimed at identifying the structural and visual features of the Grivar inscription, such as writing style, proportions, and principles used in its composition.

The present research was carried out using a descriptive-analytical method, and the data was collected through library studies and field surveys.

The results showed that distancing from the legibility of words, exaggerating the shape of letters and basic proportions, is a method to achieve beauty and induce concepts beyond the literal meaning. However, the application of formal changes does not only mean losing the order and rules of script, but the designer has established certain principles and policies under the changes, to where maintaining the independent identity of the letters has been one of the primary design criteria.

Problem Definition:

 One of the most important developments in writing in Islamic lands has been the emergence of the Six Scripts (Iqlam Sethe). The decline of the Kufic script and its replacement with the Six Scripts, as well as the wide use of these scripts, shows the claim that the emergence of these fonts was one of the biggest literary and artistic developments during the life of Islamic societies. Despite the importance and wide usage of these scripts, it should be acknowledged that sufficient research has not been done in the field of the origin and scripts influencing the formation of Iqlam Sethe. Therefore, this research aims at answering the following question: «What were the effects of the Kufic script, especially Iranian Kufic, on the formation of Iqlam Sethe?»

The current research is looking for the possible effects of the Simple Kufic and the Piramooz Kufic scripts in the creation and formation of Iqlam Sethe.

This research is done using a qualitative method. In terms of «applied» purpose and «descriptive» nature of the subject, it is of a descriptive-analytical type. The written and visual data in this research have been selected and cited using a library method and purposefully from among reliable specialized sources in the field of handwriting and calligraphy and to the extent of theoretical adequacy. The method of analyzing and adjusting the shape of the letters has also been done in four selected Simple and Piramooz Kufic scripts, as the base/origin scripts in relation to the Naskh and Thuluth as the target script.

Finally, from the shape analysis of the letters and the comparative study of the four-script single letters mentioned in 18 separate tables, this conclusion can be drawn that the Iranian Kufic script, or Piramooz, could have been a model, or at least, an intermediate link between Simple Kufic and Iqlam Sethe, because of its similarity in shape with the shape of the letters of the Iqlam Sethe.

Problem Definition:

 Among the masterpieces of Persian literature, Shahnameh of Hakim Abulqasem Ferdowsi has a special place in visual arts because this epic and national work has been illustrated various times by the capable and master painters of this region. Each of these works is one of the most important documents to know the artistic characteristics of that period. Among the painting schools of Iran, the remaining works from the schools of Shiraz in the 8th century A.H. during the reigns of Al-Inju and Al-Muzaffar are very important because of the starting point of illustrating Shahnameh and the variety of existing works. Based on this, the present research addresses the following question: In the illustrated Shahnamehs of the two schools of Al-Inju and Al-Muzaffar, despite the existence of various illustrated versions and the symmetry of the common time and place in creating the works, what similarities and significant differences are clear in the way of illustrating the works of the two schools?

The present research aims to identify the connection and discontinuity between images by comparative study and comparison of the visual and structural structures of the joint assemblies in the illustrated Shahnamehs of the two periods of Al-Inju and Al-Muzaffar.

In the current research, descriptive-analytical method with comparative approach was used and the information of this research was collected as library-documents.

The findings of the current research show that obvious similarities can be seen in the layout, composition and details of the images of these Shahnamehs; However, the improvement of the quality level of painting such as the increase of details, elegance and accuracy in design and diversity in movements is more visible in Al-Muzaffar period.

Problem Definition: 

The goals and methods of producing the work of documentary photographers, in terms of the influences they receive from each historical period, are formed at the same time as recording the work; However, what they have shown is now a symbol of the historical past. Photography, as an effective and dynamic art-media, presents many alternatives to artists and journalists. In this research, the historical investigation of these effects on war photography (backgrounds and formation process) is conducted to answer the following questions: «What have been its national and international effects, centered on influential groups of professional, independent, and military photographers?» and «What effects have the political and social factors of that period had on photography in terms of form and content?»

The primary goal of this research is to deal with the history of Iranian war photography as its formation and effects, during Iran-Iraq war (1980-1988), which is called sacred defense or imposed war in the country's political literature.

The current research is conducted using a descriptive-analytical and historical method. The data was collected through a documentary-library approach using visual and interview (the author and the photographers of this course) methods.

Based on the results, the two events of the Islamic Revolution of 1978 and the beginning of the Iran-Iraq war caused fundamental changes in documentary photography and, accordingly, in Iran's war photography in terms of form and content. Iranian photography was formed under the influence of the general movement of the people with mainly ideological and religious themes and a revolutionary approach. These changes, besides the revolutionary and religious atmosphere dominant in that period, result from the original and native look of many of these photographers, especially independent photographers (experienced and amateur).

Problem Definition:

 Petroglyph (Rock Carving) is one of the most common ways of expressing and conveying the message of societies, which is reflected in stone-rock panels. The abundance of these works in most areas of the Iranian plateau causes more efforts to explore them. In the meantime, Lorestan province in Zagros is one of the special regions in presenting this type of artistic representation in the pictograph style; Therefore, in this research, the executive structure and morphology of animal motifs in the pictographs of Lorestan province in two cities of Kuhdasht and Poldokhtar have been investigated. The question is: «What is the executive structure, design, visual features, and theme of animal motifs in the pictographs of Lorestan province?»

 This research aims to investigate the visual characteristics, thematic perception, and narrative scenes of animal motifs in the pictographs of Lorestan province.

 This research is conducted using descriptive-analytical and comparative methods and the data collection is done by field-, laboratory-, and library-based procedures.

 Sixty-three animal motifs (horse, ibex, camel, deer, and dog) were identified. The drawing style of the characters is mainly realistic and with no background, and sometimes, (ibex and dog) an abstract style has been used. All motifs lack volume and perspective as well as failure to observe proportions can be seen in some motifs. Motifs are drawn with red, black, and orange colors on the surface of the stone, with no contrast. Based on laboratory studies, the color used in creating the motif elements is a combination of Iron Oxide II and III. From a comparative point of view, the motifs in question are similar to the petroglyphs of the Iranian plateau (Zagros) only in terms of the type of pattern (merely the pattern, not the nature of the pattern). Finally, by examining the animal motifs in Lorestan province, the importance of these animals in the lives of the people living in this land and a general understanding of their lifestyle can also be obtained.