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پیاپی 12 (پاییز 1388)

The first perfection of calligraphy in Islam was manifested in a script called (kufic) whichreached the apex of it,s beauty in the late second century. this was first applied by Arabs. As it is clear from it,s name, this script belongs to kufah and was accepted as the onlysuitable script for writing Quran.The most important and necessary research of academicdomain on kufic script is understanding the significance of letter structures. meanwhile, Quranic manuscripts are really important due to their significance in Islam. All af letterstructures. meanwhile, Quranic manuscripts are really important due to their significancein Islam. All af these manuscripts which are available in the museums across the world, have not been appreciated properly. The process in This survey is descriptive andpurpose is acquaintance with evolution kufic script and recognition of structure dominatupon in this script. In this survey, in addition to the review of kufic script in the presentmanuscripts, two principles have been considered for recognizing the letter structures: 1- The kufic script evolution in the Qurans of first to fifth century. 2- structural review ofthe kufic script design in these centuries. To access these two principles, after recognizingand collecting the kufic script examples in the existing Qurans in these five centuriesand after analyzing their letters, some examples of each century have been reviewedin separate tables. then, based an the horizontal and vertical axis of each letter, one afthe examples has been evaluated. In the end, on account of its rhetorical capability inits powerful and consolidated structure, this script has provided a kind of balance withthe background and this consolidation and rhetorical capability can be an appropriateexample for graphic designers of modern letters.

Prayer rug is one of the hand – woven which has been designed and woven in small size for the Moslems from the dawn of Islam and they used it in their rituals.But it is not obvious, when these carpets got ornated with altar (Mihrab) design or vault design on them. And it is possible that the vault design has been used in some hand - woven works before Islam. Many remainders have been left from the patriarch (Ilkani) dynasty with altar onthem. Also, during that era some elegant and beautiful altars out of gypsum have been created throughout Iran which the most famous is Aljayto Altar in Isfahan but there is not enough ducuments about altar pattern rugs of that period and our most informations about them are from travel accounts which in them there are a few pointed to such hand-wowen. In paintings created during Tymurian Dynasty, the Altar design can be seen on some hand – woven works depided these paintings. There are more documentary remainders left from Safavid Dynasty era and two samples of these carpets can be seen at Astan Qods Razavi Museum. Imam Rezas Holy Shrine has been a suitable place for creating or donating Artistic works from far past time, because of its value esteem among the Shiite. Among them, it can be referred to elegant carpets, some of which pertain to the Safavid era hitherto.The major part of these hand – woven works have Altar (Mihrab) design (or vault design) on them. In this research, these works have been reviewed and described according to their place of weave.

The design and content aspects of Persian Decorative patterns are the valuableCarriers of Iranian culture secrets. One of the most important motifs which hasalways been considerable in Iran and even during religious variations didn’t (theuseof it has lasted) change, are the Birds and mythological winged creatures that canbe seen in many Iranian crafts especially in textiles. The present research aims toexplain the changes of these textile motifs during Buyid and Seljuk period. Selectedperiods contain many case studies and it should be noted that in this era,there aren,tthe effects of foreign art influences especially from China, that changed the traditionof drawing birds in Persian arts (could not be seen). The Research method wasthe visual analysis of designed patterns to evaluate the changes of their shapes andtheir composition in the form of textile design Results have shown that duringthe Buyid period, motifs have been continued as the Sassanid tradition combinedwith the Islamic themes, were more subtlety in pattern design, combination withbackground and structure of whole designed textile. The birds’ front view andvarious combinations with Life tree motifs should be considered as the inventionsof this era. In fact, the Seljuk period was the persistent and increasing wealthof artistic tradition of Buyid period. More complex motifs and compositions ofthe previous period and combination of front and lateral views of birds are thesignificant features of this period.

Khavaran-Nameh, is a book of poetry written by Ibn-e-Hessam, which is illustratedby Farhad, the painter from Shiraz, in the late 9th/15th century. The illustrationsbelong to Shiraz school of the Torkaman Period. This book inclues systematictabling and precise mathematical proportions. The poet, the illustrator and thetabulator (jadval kesh) have worked together in harmony. The sides of the framesof the illustrations have a constant proportion in all illustrations and in some, theframes are broken or zigzaged (pelle ie). In addition to demonstrate. the generalprinciples of drawing the tables and frames of the illustrations, this study seeksto explore the reason of breaking the frames, for the reason of strict geometricalprinciples, the frames of the illustrations seem to have changed when the illustratorrecommended it. Some of the key concepts to which this study pays specialattention are the unchanging, constant length of one side in all of the illustrationsin Khavaran-Nameh.

The outward and writings features and the methods of using seals in documentsof Islamic era changed greatly from Qazan-Khan era. These changes weresimultaneous to reform of governmental and official system of Ilkhanian andthey were in line with Qazan-Khan, s trend to Islam. The oldest documents leftfrom Iran also relates to this era. Sealing their letters, Mongols followed somespecial methods and they used some seals such as Altun-Tomqa, Al-Tomqa andGhara-Tomqa. They usually sealed next to the date or the financial figures of thedocument and sometimes on the top of the command. There is not much knownabout the methods of sealing on documents in the next eras until the Safavids. Because of the great governmental system in the Savafids era, different typesof seals and the methods have been registered such as ten governmental seals inShah-Solmon era and three high-ranking officials in keeping seals with these titles «Mohr-e-Homayoun», «Mohr-e-Sharaf Nofaz» and «Mohr-e-Angoshtar». In thisarticle different kinds of governmental seals and the rules of their using in lslamicdocuments specially in Ilkhanid and Safavids periods will research.

Horse in pre Islamic and in Myths, religious archaic texts, Shah nameh, historic periodsand remainder works, including very vital and valuable function and always has beenpraised. Horse in that period, has had customic, economic, battle, banquet,hunt,transformational, decorational, ceremonies and etc functions. Also in post Islamic,point to horse in some verses of Koran, Iranian – Islamic texts and Horse books (Farasnameh), expresses good nature and importance of this creature. generally the motifof horse in Iranian culture and art history, particularly in persian painting, has hada superior and worthy place. Also in Mahmoud Farshchian,s works horse has beenapparented in different purporstes. But the aspect of discrimination of horse motif inFarshchian works, in addition to functions of past periods and recreation of works, ispresence of symbolic, psychological and special artistic expression of this valuablecreature. Horse in his Works, is free from every function, profit and aim, and hasshown as sign and symbol of soul, rebel, refinement, freedom, sublimity of soul, andmost profound meanings of secret in human existence that less has been seen in pastworks. In this article, at first, place of Horse in historical periods and then in MahmoudFarshchian works has studied. Hypothesis of this article is based on emphasizing oncreative view and in particulary express of psychology and Semiology of Horse inMahmoud Farshchian works. The theory of research has written based on descriptive-analysis method and also aim of this article, is the survey about position of Horse andits artistic expression and decoding of psychological and Semiotic concepts, where hasappeared in various subjects of Farshchian works.

Comic strips have special expressive potentials among varions styles of illustration. The main subject in this article is that if it would be possible use such potentialsin commercial advertisings in graphic press. In this essay which has done by descriptive – analytic method, has been tried to express that there is possibility usecomic strips in publications” advertisings, because of their attractive images, they make much effects and influences on adudience”s mind. Of course publicationsprepare the way for such visual advertisements, because these collection of continues pictures need to more time and attention to introduce a commercial have. In advertismental comic strips, designer tries to introduce a commercial product by the visual abilities based on a story board. And of course through out the storynecessary informations about product expresses.