فهرست مطالب

  • پیاپی 11 (تابستان 1388)
  • بهای روی جلد: 20,000ريال
  • تاریخ انتشار: 1389/06/20
  • تعداد عناوین: 9
|
|
  • Seyed Amir Rajaei Baghsorkhi -Dr Mohammad Hossein Halimi Page 5

    The most important part of a religion monument in Iran is adytum (Mihrab). One of the honorable and rare architectural works in 8th century (A. H) (Hejraon luner year) is the stucco relief (plaster Modeling of the Adytum (Mihrab) of Pirbakran’s Monument which has been worthy from the view point ofresearchers. The inscription of this adytum, has formed the main part of it, justlike as another adytum, which has various geometric and herbal ornaments. In the present article has been tried to search and find relationship between visualelements in composition of the Inscription of Adytum in order to recognition ofsome part of Islamic-Iranian art. Therefore, at first has been tried to document thewhole present images in the inscription of a dytum and then redraw carefully bythe computer. Introducing different parts of the Adytum, classifying the imagesand varieties of ornaments and inscriptions used in the Adytum’s design havebeen separately accomplished. By detecting the ornaments into two groups ofgeometric and plants, the varieties of basic images in Inscription parts of Adytumhave been attained, and wherever the plants features had more variations, it havebeen divided into «Eslimy» and «Khataei». Also different kinds of writing stylesand Adytum inscriptions after designing and introducing, were detected into «Sols» and «Kufi» which Kufi writing were further divided into plain ornamentalKufi and building Kufi. The method of research in this essay wadescriptive andananlitic and contains all ornaments of inscription of adytum. Finally, afterdesigning and introducing individual basic features of Inscription of Adytum, their varieties were achieved and the varieties of samples were described by thegraphs. This style will facilitate the visual distinction of Inscription of Adytumornaments of Pirbakran`s Monument and shows the graphical capabilities to theAdytum basic features well.

  • Mohammad Reze Amouzad- Hamid Reza Ghlichkhani Page 19
    In the beginning of the Islamic civilization days, writing the written manuscripts werebeing performed inorder to recording and entering the scholars’ thoughts and it was spendincreasingly the evolution completion way. The tendency of Mongol and the Il-Khanidkings toward Ferdowsi’s Shahnameh caused that to consider writing this immense book.Along this reign and in the Teimur time, the Baysongori’s Shahname was written byJafar Baysongori in the Baysongor Mirza library.After the presentation this opus that keep in the Kakh Golestan>s library in the Tehran,abiding the rules and measurements in Nastaliq writing, which was still a new seedling,Scrutiny in this discussion.Leaving spaces between the line and column, providing the gride For lay out the Writters,to make selecting and other Trails for writing another Characteristic of scribing are theSubjrects which have discussed in this abstract.
  • Mahmoud Kargar-Mohammad Taghi Ashouri Page 31
    In the history of clay works and ceramics of Iran at least after Safavid period(dynasty),Kashan and its suburbs have been mentionedas important center of clay works and ceramics and in this connection Naein and Natanz have particular importance.Now a days haven’t remained few craftsmen in that area and exact pondering of their artifacts is impossible but there is still a chance in Natanz city, because a few families are active in related field, which we can mention Ebadi family.In this article which is based on field studies, trying to mention ceramics of Natanz and the remaining craftsmen and also their techniques, method of works and specialities of design, color and shape in their clayworks.
  • Taher Rezazdeh-Habibollah Ayatollahi Page 41
    This essay studies on the creation and evolution of two of the most applicable lighting devices- glass lamps and lanternsof the early Islamic period in Iran. In this research we tend to either consider the logical connection between these devices or show how to study the other devices.Although there is clear distinction between glass lamps and lanterns of the early Islamic period, but there is also a subtle connection between their concepts of design. Therefore we can presume the glass lamps as a strong sketch of lanterns design. In other word we can say that the design concept of lanterns is derived from early glass lamps of Islamic period.
  • Hamideh Yasen Zadeh, Dr Reza Afhami Page 51
    Iranian art in it’s evolution has many permanent features that make it,s artistic tradition. Each of them, because of essence of traditinal art, carries idealogy and beliefs of Iranian culture. Many scholars have discussed about lack of empty space in painting of Iran’s Islamic age and other arts of this age.However,we have not seen any considerable research trying to find it’s origins in Iranian Pre-islamic art up to now.This investigation tries to let us get acquainted with the background of Iranian calture anddoes research on earthenware pots found in Sialk and explains about the images on bronze pins found Lorestan in order to ponder the origins of this outlook about empty space in composition of images and the usage of empty space in these images. furthermore, this sarvey does has tried to findout the origins of beliefs which leads to this artistic style. The method of the investigation is descriptive and the research includes scientific observation on remained artifacts of these civilizations and refers to academic writens and sources about the beliefs of Aryan people.The resaltsaf research shows a reduction in the size of empty space between images. The beliefs of Aryan people about life and empty space which are basically seen in their myths to reject negative empty space accounts for the tendency for empty space organization in these artefacts.
  • Mohammad Azam Zadeh Page 61
    The study of the earthenwares of Iran shows the people’s belief and introduce theirexchange of cultures and immigration. It’s evident that we should think profoundly aboutsome subcultures in Iranian peoples inorder to determine the visible and hidden aspectsof the earthenware.This paper introduces the earthenwares of Gohartape region of Behshahr (MazandaranProvince) that today is recorded as an ancient region in the organization of culturalheritage of the country.The study of archeology shows the ancientness of 7000 years civilization in this regionand clears the findings of metal to II iron periods (the middle of lunar second millenium).The earthwares have outstanding fineness, beauty and proportion and have beendetermined that their dimension and size consisted of golden ratios. The results showthat the beautiful earthenware unwantedly followed some rules of golden ratios. Some ofthe earthenware with the design of beak-like water shed that mainly are affected by beakor bill of fish-eating birds, have fine nodes and coordinate with and dimensions ofthe golden ratios.According to the result of archeologist’s researches, these earthenwares are applied inthe burial ceremonies of famous people. In addition, in designing of some earthenwares,the shape of their’s frames awarely is affected by the figures of the birds. The researchesalso show that some of the earthen works prpotions don’t have golden ratios or delicacyand fineness due to their aboundance production.
  • Gholamreza Agha Babaei-Morteza Afshari Page 71
    Now a days the application of colors in Iran and west contemporary scultures Has beenconsidered more than before. Besides in resent years by the efforts of researchers in doing various examinations on remaining sculptures, specially from ancient Persia, the application ofcolors has been proved.Most of ancient sculptures and ornaments of building have been decorated and paintedby colors. This matter shows that the application of colors has done due to varies reasons,like as decorative, conceptual and technical reasons which were the most general factorsin using colors. Of course the cultural, environmental and economic conditions wereimportant factors in using colors.Sometimes these conditions became a commen language among different regions. Thenumber of painted sculptures in contemporary period got a considerable expansion, whichthis case has given more documentary to this research.The method of research in this article is descriptive and the informations gathered bysearching in libraries. The analysis of works has performed by qualitative method andthen has been proceeded with the classification of painted sculptures based on availablesamples.