مجله جلوه هنر
سال دوم شماره 1 (بهار و تابستان 1389)

Textbooks are among non-imaginative books which have fundamental functions from educational aspects and transferring basic concepts. In the Iranian community, the history of modern education goes back to less than150 years. For a long time, such materials had no suitable position and it took several years to apply a complied and systematic methodology in producing textbooks. At the beginning, the illustration of such works lacked necessary attraction, creativity, coloring and appropriate printing. With the development of printing industry and emergence of a new approach in education at the start of the present decade, a considerable progress was observed in creating and producing textbooks illustration.This new movement in the 40's was led to a climax in textbook illustration. In this period, the new generation of authors, illustrators and graphic designers, who had recently learned new experiences of the western art, were able to create fundamental changes in textbooks. The aim of this research is to identify the causes and compare them with those of post-Islamic revolution. Moreover, it tries to introduce positive and somehow inhibitory elements for obtaining an effective method and style in creating textbook illustration works in Iran so that we could observe a new model originated from the genuine Iranian-Islamic culture and individuality. The statistical universe of this research includes Persian Language, Islamic Ethics, Science, and History of elementary textbooks of pre- and post-Islamic revolution period.

This article deals with the artistic features of Achamenid reliefs and its influence on Sasanid reliefs. According to the studies and objective observations from reliefs of the mentioned period, the author first explains all techniques and procedures made (in aspects such as composition, harmonics, contrast, …) in some reliefs of Achamenid period, taking into consideration all artistic definitions and principles. Then, by evaluating the aforesaid features in Sasanid reliefs, similarities and differences of the resulting style will be highlighted from this comparison. Finally, the author will conclude that Sasanid reliefs have been artistically the continuation of Achamenian period artistic techniques.

Astan Qods Razavi Collection includes magnificent Qur’anic manuscripts of different centuries in the history of written art work. Among them is the manuscript related to Ayeme Attar (the Shi’ah Imams). These manuscripts were mainly devoted to the Astan Qods Razavi Collection by various dedications. Undoubtedly, discreet analysis of the exquisite Qur’anic manuscripts of the Islamic early centuries written in Kufi, Naskh, Thulth and various embellished patterns acquaint us with the history and development of calligraphy and gilded ornamentation of the Holy Qur’an. The aims of this research include: introducing the calligraphy and ornamentations applied on the Qur’anic manuscripts of the first six centuries, Identifying the calligraphists and creators of the existing manuscripts in Astan Qods Razavi Collection in related centuries.

Undoubtedly, the artistic climax of carpet industry in Iran is the Safavid period. The presence of motifs such as the battle between Lion and Cow (Gereft-o-Gir) as one of the main motifs on many carpets of this period is remarkable. Surveys show that the Iranian mystical literature abundant with mysteries and allegories suggest the opposition of spirituality and sensuality by contrasting these two animals. The contrast of lion and cow on Safavid carpets can be interpreted from mystery and mysticism perspective and the artist has consciously used these motifs on purpose. This article studies four carpet samples from Safavid period, emphasizing on 22 types of Gereft-o-Gir present in these samples by using descriptive and comparative methods in which the importance and function of mystical concept of these motifs are clearly evident. As all the above-mentioned carpets have been produced in the workshops of Safavid Court and Sufi thoughts and spiritual ideas were obviously dominant in the court library which caused the creation of art workshops of that time, the influence of mystical and allegorical literature on the selection of and application of figurative motifs on the carpets is verifiable.

Iranian painters, who influenced painting and painters of Mongol’s court in India, achieved a very huge and conspicuous success and created the brilliant Indian-Iranian School retaining their individual and patriotic traits and characteristics in traditional, artistic and ideological interactions.During his stay in Iran in about 1550, Homayoun Shah met some Iranian painters such as Abdolsamad and Mir Seyed Ali and took them to his court in India. They trained the Indian artists in Homayoun Shah’s workshop. They had a considerable contribution to the naturalism of the Indian Mongol School, which was a combination of Safavid, Bokhara, Indian and Muslim’s School of painting.The Indian Mongol artists were first influenced by the Iranian artists from thematic, executive, stylistic and aesthetic viewpoints. Yet, after a while, by achieving their own personal methods and changing the tastes of art supporters, they were separated from such an influence and joined the Indian Naturalist Style.In the meantime, the Indian Painting was linked with realistic traits in figures, human and animal portraits as well as Iranian idealistic, paradise-like and integrated spaces. The methodology of this research is an analytic-descriptive one based on library resources.

One of the new approaches to the study of arts and literature in modern era is Intertextuality- first devised by Kristeva for the study of any types of relationship between two literary texts. Having manipulated Kristeva’s notion of Intertextuality, Genette classified all possible types of relationship between two texts under the notion of Transtexuality which is divided into five subcategories. This article deals with only one type of Genette’s transtextulaity, i.e. hypertextuality, and will attempt to survey the potentiality of this notion in the history of painting in Iran and then make a critical analysis of the Persian paintings based on the hypertextual approach in order to come up with an answer to the question that whether non-vernacular theories could be applied upon the critical analysis of the Persian paintings? Has Persian painting ever practiced or had the capacity of manipulation or absorption of preceding arts? Why is the so-called relation formed and how? Accordingly, while having an overview of the artists’ and particularly painters’ interest in other arts and characteristics of artistic education in Iran, five sample works of Persian painters from different periods are selected for a detailed study of Hypertextual process or the type of manipulation of their preceding works of art. Finally, it is concluded that Hypertextuality has had a long background in Persian painting, although it has not been documented and theoretically discussed.

The woman of today’s world as a mother, physician, teacher, painter, lawyer, lecturer, worker, master, professional artisan or even a simple homemaker has found a sacred and remarkable status in every society. In fact, she has distanced her past generations many miles away In this article, the works of premiere female artists critically reviewed from structural aspect in order to identify its social, political and cultural themes.The hypothesis of this article is that feminine movement is a dynamic autognosis and its basic question is human being and who I am, what it means to be a female and how she can reveal this meaning in her artistic works.