نشریه هنرهای صناعی خراسان بزرگ
پیاپی 4 (تابستان 1402)

Masjid-I Kirmani, in the complex of the Shaikh Jam’s tomb has a very important status due to the existence of two exquisite stucco mihrabs. Due to extensive damages and restoration, the inscriptions of the history date for the two mihrabs are flawed and not recognizable. Numerous and various points of views are expressed about the probable date of mihrabs none of which is definite. This study sought to answer the following questions; What are the Visual characteristics of the Stuccoed mihrabs of Masjid of Kirmani Turbat- I Jam? What are the reasons attributed to or the mihrabs to the second half of the eighth century AD/First quarter Ninth Century AD? This study indeed intends to introduce and recognize this masjid mihrabs, while offering a more acceptable date for the mihrabs through a comparative study and via examining some details of Motifs. Method of data collection has been made based on field studies and citation to the written references. The collected data were then analyzed through a historicalanalytical method and with a comparative approach. Having analyzed the structure, motifs, and inscriptions of the mihrabs against the ones with specific as well as unspecified dates holding kirmani’s signature, a developmental path can be observed in most motifs and inscriptions of the two mihrabs. Furthermore, by considering other reasons such as, the similarity of grave tiles attributed to architect Kirmani to two tiles in the "Yazd jomeh Masjid" and the elegance of the motifs and inscriptions of the Thuluth belt of the kirmani Masjid, these mihrabs can be attributed tothe second half of the eighth century AD/ the First quarter Ninth Century AD.

dy, 25 samples of Nishapur pottery from 9th and 10th Centuries AD with 38 human figures depicted on them have been investigated in terms of form and content. This study aims to examine the figural representations on buff wares in order to pinpoint its position in the history of Iranian pictorial arts. First of all, an initial classification of the themes and posture of body and formal proportions was performed. In reviewing the method of drawing, with regard to the greater number of figures depicted frontal aspects, significance of the depicted characters or worldviews of their artists was demonstrated. In terms of gender, it should also be mentioned that it is not possible to estimate the sex of the figures except in two or three cases. In an Iconographic study on these artworks, presence of elements such as capelike collar, flying tassels and holding flowers stems and goblet in hands of figures on these ceramics indicate a significant relationship with the art of ancient Persia and early Islam. The goblets or cups, flowers and the hand modes of the figures symbolize 10 thousand Farr(Aura)s; the capelike collar refer to concept of triumph ,and the flying tassel refer to the magnificent family of the character. All in all, the main theme of the decorations are fight, Feast, Prince and his court and Hero. Altogether, these decorations representing the meaningful elements of ancient Iran, as mentioned above, indicate the continuity of themes with a centrality of perfection and victory. So, we can see continuity in themes and figural representation in  Iran art through the 9 th and 10 th centuries.

Physical range is an arena for categorizing the decorative properties used in the Ribat Mahi and Sharaf attributed to the Seljuk period and the tomb of Arsalan Jazeb and the desire of the Ghaznavid period, which reveals their similarities and differences. The location of the works in the important communication paths illustrates the influence of the Seljuk decorative motifs from Ghaznavi. The analysis of the aspects of differentiation and subscription is one of the special features of Ribat Mahi, tomb of Arsalan Jazeb, Ayaz and Ribat Sharaf. The attributes of the decorations of and their location showed the points of differentiation and their subscription. The research was conducted using historical and comparative method and data collection was done via field observations, library studies, and internet searches. The findings showed that the construction of Ribat Sharaf and Ribat Mahi, which is attributed to Seljuk, was influenced by decorative features attributed to the Ghaznavi period. In this comparison, Arsalan Jazeb's tomb exhibited more differences in terms of the type of decorating. As was observed, the only work is a painting and a knot painted under the plasterboard of wall similar only in terms of layout . the findings indicated that, to the two buildings, Ribat Sharaf and Ribat Mahi, which are attributed to seljuk era have been under the influence of the decoration patterns attributed to Ghaznavi era., At the end, it should be noted that the current review was based on existing evidence and because of the destruction of some of the decorations, one cannot fully judge and conclude.

Among the traditional arts during the Qajar era is designing and making the exquisite doors which is not studied yet as a special research. In research ahead, in order to reach and compare the structural elements, how and why of using geometric, plant, animal and writing motifs in these works; seven exquisite doors belonging to the Qajar era in four holy shrines: the shrine of Imam Reza (AS), the shrine of Hazrat Masoumeh (AS), the shrine of Shahcheragh (AS) and Shrines of Shah Abdul Azim Hassani (AS), have been studied. In this direction, identifying the probable factors in selecting materials, icons and inscriptions was considered in the areas of proportion, motifs, and the way of comparative study is used. This research says that who made these shrines wanted to show the spectacular views of Heaven's Door and is constantly to present religious beliefs into understandable images. Also, results show that medallion flowers, rose and arabesque as common elements of the Persian garden, are the same motifs in all case studies. In some cases, such as Shahcheragh's door, lotus was used maybe because of existence of this flower around the artist's hometown. Animal motifs are very rarely to use in these masterworks. The unique bird motif was used in the Hazrat Masoumeh Shrine. Analysis of writing forms and content of these artworks indicate that two calligraphic styles Thuluth and Nastaliq, are more common scripts in studied inscriptions. In addition, Quranic verses and some poems in subject praise and worship in samples were investigated.

Two important encyclopedias have been written in the era of scientific flourishing in Islam world, first “Iḥṣā al-ulūm” (the census of Knowledge) written by “Abu Nasr Al-Farabi”, and second, “Māfatih Al-Olum” (Keys to sciences) written by “Abd-Allāh Kāteb Kārazmi”. Both scientists are Khorasani and both of these encyclopedias have payed attention to crafts and practical sciences under the name of “Science of Hiall”. Based on existing evidence, the Iranian specially Khorasani scientists have had an important role in the production and recording these sciences but unfortunately, the nature of these sciences and the role of Iranians in the production of them have not been considered properly, yet.Given the importance of this issue, the primary question of this research was: “Where is the place of design and creative thinking in the classification of Islamic sciences, in particular, in the encyclopedia of Iḥṣā al-ulūm? According to the preliminary study, this research focused on the "Science of Hiall” branch, in the "Educational Sciences" group. After documentary information gathering, the definitions presented by Farabi, the explanatory texts of Hiall, and the existing designs were revised. Then, focused on the two factors, creative thinking and design methodology, the logical patterns and design methods of existing designs have been analyzed. Based on these analyses, seven sets of discussion are presented in this paper. According to these arguments, the design method used in producing the devices in science of Hiall is based on creative thinking pattern, not based on the deductive model or the Mathematics Calculation.

Geometry has always been one of the crucial elements of designing the structure of works in Iranian art and architecture. Due to its semi-abstract nature, geometry and mathematics are consistent with the origin of Islamic art (the world of forms). The abstract structure of geometric motifs presents a complete and pure effect of abstraction in comparison with plant motifs and slimes. These abstract motifs evoke inner and mental concepts. Due to its sacred approach, this feature has created an abstract nature of form and space that manifests the inner truth of objects. It seems that geometry in the traditional arts of Iran has become a unique quality framework for traditional Iranian arts due to its shape structure and special content as an element of identity making. This paper answers the question, how is the relationship between geometry and visual structure created in the covert layers of “the battle of Kay Khosro and Afrasiab” painting ? The research method used is descriptive-analytical with library and documentation data collection. Investigations on this painting shows that geometric relationships and rules based on order, balance and harmony have been applied in the arrangement of the composition of this work. By using the golden division in setting the picture frame, the painter has succeeded in placing the elements of the picture, like the group of warriors, soldiers, trumpets and horses.The painter recreates the architecture of the space by reducing the visual elements to the most basic shapes (circle, triangle, pentagon) and bringing these shapes closer to geometric purity, and a few main colors on the surface of the image and pure structural elements and it has been used in finding the key points needed for the placement of image elements. Furthermore, the painter offers an effective tool for creating dynamic spatial experience by using a covert grid infrastructure of diagonal carrier lines instead of the generally accepted horizontal-vertical spatial order. The result of the comparisons and investigations show that 1- In the studied paintings , the artist has discovered an exactly calculated organization of geometric and systematic elements of linear and formal relationships and presents it on the basis of pictorial and visual basics. 2- Through reducing the visual elements to the most basic shapes (circle, triangle, square, pentagon) and bringing these shapes closer to geometric purity, and a few main colors on the surface of the image, the artist recreates the pure structural elements of the space architecture. 3-The painter has adopted the traditional drawing techniques, mathematical proportions and numerical relationships in placing the elements of the painting.