نشریه نگارینه هنر اسلامی
پیاپی 27 (بهار و تابستان 1403)

Among the various branches of Islamic art, Islamic architecture, especially its related decorations, has a prominent place. The tomb of Sheikh Safi al-Din Ardabili is a clear example of these masterpieces of Islamic architecture. This complex has several parts, the most important of which is the tomb of Sheikh Safi al-Din (Dome Allah Allah). The tomb of Sheikh Safi al-Din, which has two gates called Qibla Qapoosi on its south and north sides, that has 16 enclosed inscriptions in a hexagonal frame that 8 of them are around the north side gate and the other 8 are in the south gate. The main purpose of this study is to obtain the hidden geometry in the structure of inscriptions and also to interpret and analyze them in order to express the direct relationship between geometry in the the inscription and the hidden concepts in their texts. Also, another purpose of the present study is to classify the calligraphy used in the inscriptions in terms of form and also to read Read a number of texts of the mentioned inscriptions that have not been read yet. The method of data collection is based on field research (photography, drawing, images) and citing written sources. Which has been done in a historical-comparative method based on geometric patterns and analysis the letters of texts in order to read them. The results show that most of these inscriptions have coherent geometric structures and great variety in design. Also another important finding of this research is the achievement of concepts that prove the deep connection between the text and the geometry used in the center of the work. In general, in these inscriptions, we achieve a kind of deconstruction and uniqueness in terms of how two different elements of line and geometry are integrated in a regular hexagonal frame.

The art of carpet weaving is one of the traditional and authentic Iranian arts, which displays a rare effect of traditional and decorative motifs and arrays. These arrays include various plant, animal, human and abstract species. Plant motifs are one of the most abundant and frequent arrays that have been used in carpets, and the role of a tree as a visual and narrative element is one of the main types of these plant elements that have been used in carpets of different historical periods. In the samples of the remaining carpets from the Safavid era to the present day samples, trees are woven in different and diverse ways, and they have caused diversity and appearance of different species in the tree carpets. Investigating the characteristics of designs containing trees, especially in the Safavid and Qajar periods, is one of the main goals of this research. And based on this, the following questions are raised;- What are the structural features of the tree array in the Safavid and Qajar period carpets?- Is it possible to define common and different criteria in terms of design and pattern for Safavid and Qajar tree rugs?This article has analyzed the features of the tree array in Safavid and Qajar period carpets and identified the commonalities and differences of this array in the two mentioned periods, and from this point of view, it has examined the changes that have occurred in the role of the tree.This research is descriptive-analytical and comparative, and the collection of materials has been done in a library manner. Based on the results of the research, it was found that the characteristic of Safavid period tree rugs is influenced by the carpet weaving art of this period and the general framework of the Safavid period carpet weaving art has been preserved. After the Safavid period, in the Qajar period, the weaving of tree rugs continued with the general preservation of the structure of the Safavid rugs. Comparing and comparing the Safavid and Qajar types shows more diversity in the design, tree form in the text of Qajar tree rugs. Also, in the Qajar period, the new trend of naturalism in carpet design has led to the emergence of new themes and the role of various materials in Iranian carpets, and has determined the variety of tree designs in this era.

Paratexts are the way to enter the text, the peripheral elements of a text that are physically or non-physically around the main text, the paratexts are the entrance threshold of a text, the first communication between the audience and the text occurs through the paratexts, and each text The mediator of the paratext communicates with the outside world. The concept of paratext was first used by Gérard Genet in the analysis of literary works, but gradually it became more widely used. As a sacred text and a miracle of the Prophet of Islam, the Qur'an has been the most important book for Muslims to write, and on this occasion, calligraphy and book design are also flourishing among them. Quran is a book for reading, reading is a physical act that affects the text. In the contemporary world, books are designed for viewing as well as reading. Even though the book of the Quran has been translated, it is widely read and seen more. In the Qur'an decorated by Hossein Zindaroodi, a contemporary Iranian painter, the arrays and decorations of the Qur'an find new roles due to this breadth of communication. that it is possible to examine the Qur'anic arrays in their new connection in a contemporary way with Gerard Genet's theory of paratextuality.

" Recognizing the art of Ruling (Jadval( since the 9th century; Based on texts, documents and manuscripts"Ruling (Jadval) is an ancient decorative element found in Islamic manuscripts, commonly used in manuscripts produced in Iran. The continued use of ruling led to the development of various styles during the 9th and 10th centuries AH. In addition to serving as decorative lines, ruling also dictates the placement of elements such as text, illuminations, and images on pages. Despite its significance, little research has been conducted on ruling.The goals of this study include examining the importance of ruling, introducing ruling artists, exploring the cost of ruling, presenting ruling tools, and revising Qazi Munshi Qomi's explanations of ruling styles. The research addresses questions such as the importance of the art of ruling based on texts and documents, and how Qazi Munshi Qomi's definitions of ruling styles can be clarified through stylistic studies. This fundamental research analyzed data qualitatively by examining historical texts and documents chronologically. Information was collected from library and electronic resources, and the structures of rulings in 333 manuscripts were scrutinized. Investigations revealed that ruling has been a common element in manuscripts since the 9th century, with some ruling artists mentioned in books and documents. A comparison of the ruling fee with the costs of writing, painting, and gilding in the "Baravord" document from the late 9th century suggests that the amount specified for drawing the rulings of the manuscript was reasonable. Additionally, this article corrected the descriptions of ruling styles in the book Golestan Art in the 10th century by comparing them with the ruling styles used in manuscripts.Key words: Manuscript, Book Art, Ruling, Jadval, illumination, 9th century AH.

AbstractThe plaster designs discovered in the Samarra collection possess decorative patterns which have always attracted the attention of the people of science and art. Some of these plaster designs are fully imitated from the abstract and geometric motifs of the plaster designs of Sassanid palaces. Some other plaster designs have abstract motifs that, despite being very similar to the motifs of early Islam and Sasanian art, also have their own unique characteristics. One of the important features of these motifs is the combination of Sasanian motifs and elements of Mesopotamia art in combined-animals and abstract icons. These pictorial structures are seen in statues, reliefs and most of all in Mesopotamian seals. Many people, such as traditionalists, believe that after the introduction of Islam, artists rarely used human and animal images, especially on the walls of mosques, for monotheistic reasons. Contrary to this view, there are human or animal images in the form of combined-animals in Samarra as one of the most important works related to the early centuries of Islam. the underlying reason(s) of this issue is an important question which is tried to be answered in the process of this research. In this regard, the aim of the present research is to analyze the drawing of Samarra's plaster motifs and to compare them with the combined-animal motifs in the ancient works of this region (from the Assyrian period to the end of the Sasanian period). The results of this research, which is carried out in a descriptive, analytical-comparative way, are the presence of abstract icons and combined-animals in the decorative motifs of plasters on the body of Samarra buildings. Also, one of the other achievements of the research is the graphical and descriptive expression of the roots of the motifs of Samarra in the ancient motifs of Mesopotamia (combined icons and animals) and Sasanian motifs that were integrated, transformed and recreated after the arrival of Islam.

The story of Sheikh Sanan and Dokhtar Tarsa is one of the topics that have been used many times to create visual works, and many artists have worked with it. Among these works, the painting of Sheikh Sanan and Dokhtar Tarsa in the roofed hall of Haft Tanan Garden in Shiraz is important. This work was executed by order of Karim Khan Zand, with the technique of oil painting on plaster. Many characters are present in this work, including Dokhtar Tarsa, Sheikh Sanan, his disciples, and three characters who were not present in the story, and their identities are unknown. Considering the influence of Western painting on Iranian painting since the end of the Safavid period, the paintings of this building can also be considered influenced by Western works, which can be clearly seen in the clothing style of some people. Considering the ambiguity of the identity of some individuals in the picture, it was necessary to investigate their identification. Among the basic questions related to the mentioned painting, it can be asked: How is the communication between form and content in this painting? Which part of the story of the poem is related to the present image? The current research has taken a fundamental approach to examine the matter and has chosen the descriptive-analytical method to explore the information. The method of data collection in this research was library-based, and the qualitative analyses presented in the text were based on objective and direct observations of the authors. The sample of the research consists of the painting "Sheikh Sanan and Dokhtar Tarsa," located in the Haft Tanan Garden of Shiraz, which is selective and represents the entire sample. The results of the research showed that the relationship between form and content was mostly created through the use of Iranian painting characteristics, as well as the use of geometry in the image. Additionally, the present painting is related to verses 48 to 116 of Sheikh Sanan's poem in the book "Manteq_o_Teir," by Attar of Neishapour, which deals with the first moments of Sheikh Sanan's love. It was found that the character with the book in his hand in the painting is not the faithful disciple of the sheikh, and the gender of the person standing on the left and top of the painting next to Dokhtar Tarsa is male.

The historical context of the city of Birjand in South Khorasan has significant architectural works from the Qajar and Pahlavi periods, which have been carried out until the end of a complete investigation on the motifs left from the Qajar period based on the concept of visual semantics. Based on this, in this research, which is done in a descriptive-analytical way with a historical nature, at first, all the Qajar buildings were identified and photographed by referring to the cultural heritage archives and field visits. Then, all the studied buildings were classified into four categories: gardens, private houses, houses, and schools, and one landmark building was selected from each category. The reasons for the selection were based on the building's index and soundness, the presence of numerous motifs and the non-change of motifs in different periods. Then, based on the approach of visual semantics of each role individually, semiology and etymology were done. Then again, all motifs of a building were analyzed and read meaningfully in their context (gardens, private homes, school houses) and the discourse space of the Qajar period (religious, social and political view) because in this approach only structural classification and semiology of fashion It is not an opinion, but a semantic analysis of motifs based on the viewpoint of the speaker and the discourse of the society. Based on this, it was found that the motifs of the Qajar period in the historical context of Birjand were carved based on the components of the motifs of ancient Iran, and the western motifs are less visible in it. Also, based on the semantics of the motifs and inscriptions obtained, it was found that the religious and social view of this region was based on the view of the Shia religion.

The old texture of Ardabil city is one of the most important things in the field of Islamic urban planning studies due to the presence of works in the field of Islamic architecture and urban planning. One of the main remaining elements of this context are valuable historical houses, some of which have been destroyed or changed in recent years during urban construction projects and lifestyle changes, etc.; Therefore, it is necessary to know these buildings, especially their decorations, so that more measures can be taken to protect and maintain these houses. In this regard; The main purpose of this research was to investigate and study the decorations related to architecture in the houses of the Qajar and Pahlavi periods in Ardabil and the factors affecting these decorations. The research method in this research is descriptive and analytical, and the method of collecting findings is a combination of field and library methods. This research seeks to answer the following questions: What is the most important feature of the facade and entrance decorations of the historical houses of Ardabil city? And what is the relationship between house decorations and cultural, religious and social components? The results of the research show that during the Qajar period, important spaces such as entrances, main facades, and the main hall (royal residence) were decorated, and there were various types of decorations including brickwork, plastering, moqrans work, inscriptions, mirrors. Work, wooden decorations, sashes, pottery, wall painting, etc., were used. The entrance of the houses of the Qajar period was in the form of an entrance with a medium to small scale, usually having a double-slatted door with two knockers. On top of it, a brick design is worked in the form of a decorative arch. Also, individual decorations such as brickwork designs in the shape of lotus flowers, installation of stone statues in the two entrance areas, placing rings and drums, can be seen in a number of houses of this period. In the front of the houses of the Pahlavi period, the decorations have been reduced and it has been focused more on the facade of the building. In this period, the architect tried to use various brickwork designs in a simple way in the fronts of the facades. Also, the status of social and cultural classes has been related to the decorations of the houses. Cultural patterns such as; The use and installation of domes and rings, the principle of visual permeability with the use of openings, as well as the principle of privacy in the traditional houses of Ardabil city, have been shown. But during the Pahlavi period, the houses were deprived of the principle of privacy. Also, the social and class ranking of the house owners shows their status with expensive or simple decorations.

Today, the facades of urban buildings, as the visual appearance of the city, are an important part of the image and identity of the city. In this way, in today's societies, the necessity to organize the visual appearance of the facades of buildings with regard to decorative and practical aspects has been more and more taken into consideration. Now, the question of the current research is, what are the new characteristics of the structure of the brick arrays of the facades of urban buildings in contemporary Iran, compared to the traditional structure in Iranian-Islamic architecture? And in terms of practicality and visuality, what executive and structural capacities does it have? The main goal of the research is to recognize and explain the visual and functional values of the geometry of the patterns of brick arrays of Iranian-Islamic architecture, which have been organized and implemented in the contemporary era with a new revision. In response to the questions, information has been collected based on library studies and the research propositions are discussed in a descriptive and content analysis way. The statistical samples are from the brick arrays of the facades of urban buildings in Iran, which were selected non-randomly by the author, based on the quality indicators of the facade, and the structure of the brick arrays was examined with a comparative-analytical approach. The results indicate that the developments of modern art and architecture and the contemporary arena have created conditions that, paying attention to the form and structure of bricks in the facade, as well as the choice of combined materials, have created a new visual taste and culture. In this regard, the approach towards brick facade design is aimed at mixing and integrating the elements and values ​​of local art and architecture with a new perspective; In this way, brick arrays are arranged in a single and mixed form, combined with other materials, and have found a new form and expression in the form of an eclectic style. This method is considered by the community of architects as a symbol of cultural diversity in shaping urban landscapes. It is worth mentioning that previous researches in line with the problem of eclectic architecture have sought to study the intellectual and attitudinal taste of architects in different fields, in order to measure and identify the boundaries of creativity, design styles and enduring spirit of innovation; Therefore, the results of the current research can be considered in line with the problem of the previous researches. Among the results and findings obtained, it includes combined innovations with practical and decorative purposes, which are as follows: The first case is the combination of brick with materials such as glass, metal, wood and stone, in order to create combined shells and contrast in texture and color; The second case is creating a third dimension by combining the fakhr-o-madyan brickwork pattern in combination with rag-chin, khofteh-rafteh and khavun-chin methods, with angular, arched and deep shapes and forms; The third case is practical use of brick mesh curtains [inspired by fakhr-o-madyan style] with abstract and intertwined shapes and forms; The fourth case is the use of two-shell structure in order to take advantage of functional and decorative capabilities, such as: shading inside the building, covering privacy from the outside of the building, preventing urban visual pollution from inside the building, modulating the sun's radiation and heat - which are all these factors have created a new structure.

Man conveys his message to another by using tools. Art has been a tool that, in addition to conveying a message, has an aesthetic aspect. One of these tools are gravestones. As the last method of introducing the deceased, these works are a tool to express his characteristics. Gravestones are a sign of social conventions and religious values and religious views of artists and people. The historical gravestones of Bishapur Museum in Kazerun have been investigated in this research. The research method is interpretive-historical. The tool for gathering information includes imaging, linear and shape analysis of the works and matching it with the concepts of motifs. The results of the research show that these gravestones represent tribal life and ask for forgiveness in the afterlife. In other words, these motifs both refer to the hospitality and honoring this way of social life and also show the afterlife happiness by using a combination of plant, animal and geometric motifs. In order to emphasize it, by using weapons motifs, the deceased is shown as a warrior and by using the Tasbih, etc., he is shown as a Muslim. 

More or less all the cultural findings that emerge from the archaeological layers are analyzed in the expression of the special thought of a person. Findings decorated with music signs include concepts such as morphology, organology, how musical instruments are performed and other issues. Therefore, this writing is in line with the ancient hidden playing styles and structures, with an efficient historical sequence and with two approaches of music archeology and music iconography. Today, in the matter of playing, almost all musicians perform a special playing to provide a special sonority. In this way, the current research has prioritized archaeological data and first-hand sources of music in order to obtain the structure of playing in the third to seventh centuries AH. The purpose of the research is to look musically at the cultural data, to identify the differences in the type of playing and to extract the styles of different schools in the Islamic Middle Ages. The main question of the research is that the realism of the performance methods of musical instruments on the cultural materials, in the scope of the illustrator's vision, to what extent is it correct and consistent with reality, which can reveal the performance differences of the musicians. The current research deals with the performance methods of musicians in the mentioned centuries, which have been preserved in the cultural data, by using almost all the data (not only the manuscripts). As such, 41 findings out of 98 archaeological data, which are bowls, plates, bottles, inkwells, clay and plaster molds, statues, tiles, and manuscripts, constitute the material remains of this research. These data have been collected with library and museum methods and have been scrutinized and analyzed with a historical, descriptive-analytical and comparative-applicative perspective. The results show that music and the principles of playing musicians during the Islamic Middle Ages have never stopped despite limitations and have been introduced in the form of other arts. The innovation and musical thinking of the musician in presenting a special sonority has appeared so graceful and worthy that high-ranking and common people, royal artists and street artists under the influence have encouraged and stimulated to record his executive behavior on valuable raw materials

Qajar art, being in the process of transition from traditionalism to modernity, has characteristics in the field of content and material, which has made it attractive for studies. As one of the decorative arts of this period, the art of tiling is also of special importance. Golestan Palace is one of the oldest and most important royal buildings of the Qajar period, which has many tile decorations. The tiles of the eastern enclosure of the palace, like an illustrated notebook, have displayed the features and socio-political conditions of the Qajar era. Therefore, the study and investigation of these motifs sheds light on many issues related to the art of the Qajar period, and by knowing the characteristics of each, the existing research gap can be covered to some extent. In this regard, the aim of this research is to investigate and classify each of the motifs of the eastern enclosure of the palace and to analyze the meaning of each one in the form of a table. Based on this, the questions raised are as follows: 1. What are the visual elements and motifs used in the tile paintings? 2. What are the sources of inspiration and painting methods used by tile painters in the palace? The research method of the current research is qualitative and the method of collecting information is field (photographic) and library. The results of this research show that in the eastern area of the palace, the paintings are divided into eight general categories, birds, fruits, flowers, animals, women, narrative motifs, landscapes and buildings, each of which is influenced by photography techniques, coffee house paintings, stamps and postcards. They describe a story from the Qajar period. After categorizing the motifs, we found that the various and colorful tiles were painted with the principles of projection, and by observing the principle of perspective, shadow and light, they created great realism for the viewer.