نشریه هنرهای زیبا - هنرهای تجسمی
سال شانزدهم شماره 1 (پیاپی 45، بهار 1390)

Pardaz is technique of employing points or small dots of colour to creat the maximum colour intensity. In other word, it is type of intaglio engaraving in which groups of dots and lines are used to build up tonal effects. It conveys dual interest in intensifying the effect of colour and light. This was a lengthy process requiring great skill and colour impressions were usually double the price of monochrome ones. In this technique the richness of hand colouring often used in finishiung miniature. Dots were used in the earliest miniature, for example, by Bihzad to build up areas of tone. Having emerged from the beginning in Persian painting, it was popularized in Safawid period. For example Sultan Muhammad used pardaz technique in his miniature for scheme of tree and grassy settings and so on decorations. Several painters, then, worked with this technique in Safawid period. Indeed many stipples were made from miniature painting. Because of the small scale in which it was possible to work, stipple was also admirably suited to the production of miniatures. Pardaz technique characterize the ensemble of illustration of two Shahnama manuscripts in Safawid period. The one known as Rashida Shahnama in the Gulistan palace library in Tehran. The other known as Garajoghy khan Shahnama preserved in the Royal library at Windsor castle in England. Muhammad yusuf and Muhammad Qasim are two painters that illustrate these two manuscripts with pardaz technique. The Technique of Pardaz was used by Artist in Mughal India, for they Learning this Method from the Persian Artists. For border Paintings, the Technique of Pardaz were extensively used in Iran, mughal India and in Turkey and the very Finest Manuscripts would have Original Designs Painted on the borders. The most sumptuous manuscripts Produced for Akbar had Original border designs. Interesting evidence of artist Technique of Pardaz is To be found in this border designs. The artist who were Taken to India from Tabriz by Humayun in mid-10th century Taught The Indian artists the Technique of Pardaz in all its forms. By the late 10Th century in india, under the Patronage of Humayun`s son, The emperor Akbar, manuscripts produced at the Royal atelier were as sumptuous as products of Shah Tahmasp`s academy. Artists of these manuscripts Follow the Persian Tradition of Pardaz Techniqe. Meanwhile, the pardaz technique formed the subject of Persian painting identity in Qajar period. It is a curious feature of lavishly illustrated copy of Hezar-o yekshab manuscript. Mirza baba, Sani’Mulk, Ismail Jalayer, Mihr Ali and Mohmud khan saba who were painters that depicted their works with pardaz technique.Several of Pardaz features characterize the painting ensemble of these painters. Notably Ismail Jalayer should now be considered part of the pardaz technique in Qajar period. His style characterize the black and white pardaz (siyah q alam) which culminated in life-size painting of dervishes.

The Windsor Shahnama is a large and marvelously illustrated book of epic of Persian King measuring 460 by 280 mm. The manuscript compromises 756 folios in fine nasta `lig script by Muhammad Hakim al-Husayni, in four columns of twenty-two lines to the page, occupying a space of 256 by 160mm. The manuscript is richly decorated and illuminated with wide margins throughout the volume with border design(in gold) of animals, birds and very delicate branches of flowers and plants. The manuscript was presented to Queen Victoria in 1839 by sultan of Heart, as a gift in response to the British backing of Afghan troupes against Iranian forces who had held siege of Kabul and were trying to make it part of their territory. Windsor Shahnama of 1648(corresponding to 1058 A. H.) is a complete book of epic of Persian Kings which has been supported and commissioned outside Royal Library workshops (ketabkhaneh) by Qarajaghay Khan, governor of Khurasan. The manuscript is illustrated with 148 very fine miniature paintings. As it is customary with traditional Persian painting, none of the miniatures is signed and there is no name of its possible illustrators in the frontispiece. The only exception is the episode Barzu and Afrasiyab lassoing one another, in which the name of Muhammad Yusuf can be decipher in lower part of the painting. However, Mr. B. W. Robinson and Dr. Eleanor Sims and Manijeh Bayani believe that major artists of this manuscript are Muhammad Yusuf and Muhammad Qasim, prominent painters of Isfehan School of late Safavid period. As far as structure, composition and technique, applied to these miniatures is concerned, there is a clear and close resemblance between Qarajaghay Khan Shahnama and Rashida Shahnama, of the same period, preserved in Golestan Palace Library, Tehran. In this paper Qarajaghay Khan Shahnama will be introduced and its relationship with Rashida Shahnama will be comparatively examined.Windsor Shahnama of 1648(corresponding to 1058 A. H.) is a complete book of epic of Persian Kings which has been supported and commissioned outside Royal Library workshops (ketabkhaneh) by Qarajaghay Khan, governor of Khurasan. The manuscript is illustrated with 148 very fine miniature paintings. As it is customary with traditional Persian painting, none of the miniatures is signed and there is no name of its possible illustrators in the frontispiece. The only exception is the episode Barzu and Afrasiyab lassoing one another, in which the name of Muhammad Yusuf can be decipher in lower part of the painting. However, Mr. B. W. Robinson and Dr. Eleanor Sims and Manijeh Bayani believe that major artists of this manuscript are Muhammad Yusuf and Muhammad Qasim, prominent painters of Isfehan School of late Safavid period. As far as structure, composition and technique, applied to these miniatures is concerned, there is a clear and close resemblance between Qarajaghay Khan Shahnama and Rashida Shahnama, of the same period, preserved in Golestan Palace Library, Tehran. In this paper Qarajaghay Khan Shahnama will be introduced and its relationship with Rashida Shahnama will be comparatively examined.

This article tends to analyze “the Death of Zahhak”; one of the paintings of the Great Shahnama “Shahnama of Shah Tahmasb” which is done by Soltan Mohammad; based on semiotic and structural methods. By using library resources and content analyzing with the help of “actantial model” as a tool, coincidence of the narrative structure is studied in this Persian painting. First of all, based on one of the beneficial tools in recognition of narrative structures specially in literary texts or images; the “actantial model” of Greimas; in which the actions subordinating the syntagmatic analyses, break down in to six actants and the reduction into three opposition groups will be described for being familiar that how the analysis of the painting is going to be done. Secondly by categorizing the characters of the painting in three oppositions, the actant sub-classes: actant / antactant, real/possible and active/passive are denoted.Thirdly the three types of narrative syntagms: syntagms performancial, syntagms contractual and syntagms disjunctional will be described in the painting. The final step is derivation and analyzing the temporal relations in the text. As the conclusion we could see that the “Death of Zahhak” as a visual text is compatible with this modern narrative model; “the actantial model”; and it could be clearly described. The painter has illustrated the characters of the story in a reduction way with the complete tie to the literature. The three oppositions: subject/object, sender/receiver and helper/opponent are obviously derived in the painting. The most intellectual point is that the painter illustrates the most important oppositions in the more important part of the painting and the triangular composition of them will show the importance rule of them in the narration. Another smart point is personifying the concepts in the case of anthropomorphic being in accordance with the ontological analysis of the actants which shows the great intelligence of the painter. On the other side we could see another important provision of narrative structure: the temporal chains supporting the assumption of narrative theories, and graceful change of sequential temporal syntagms to the spatial syntagmatic relations. The temporal relations are divided in to five groups: simultaneity – succession, inclusive simultaneity, strict simultaneity, delayed succession and the mediate successions. The change of temporal syntagmatic concept “before” in the litrary text to the concept of “Up” in the visual text is so clear. It is seen that the use of verbal signs, not as an ornamental component, but as a completion of narration in partnership with other symptoms, has an active and important presence in the occurrence of event. As the last conclusion we could extrapolate that the immanent level and the manifestation level of the visual image makes the structure of the narration in the “Death of Zahhak “.As the last conclusion we could extrapolate that the immanent level and the manifestation level of the visual image makes the structure of the narration in the “Death of Zahhak “.

We can recognize ancient environmental, political, economic and cultural conditions with study old textiles. Textile objects are important cases for archaeological investigations at the museums. Professor Mohsen Moghadam has collected unique textile collection belonged to Parthian, Sassanid, early Islamic, middle Islamic, Safavid, Qajar and Pahlavi periods and a few foreign textiles for example, China, Japanese, Italy, turkey and India. In this paper, authors did comparative study and laboratory analysis of the textile fragment from Moghadam museum’s textile collection. We seldom observe textile and fabric objects among archaeological finds, because of their perishable character. To this reason, textiles have much important within cultural materials and it was used special research procedures for study its. According to, comparative and laboratory studies, it was identified that mentioned textile fragment belonged to Parthian or early Sassanid period. Main conclusions have been identification of historical period, fibers material, pigment, weave technique. We achieved to scientific results about fibers, weave technique and made colored motifs with used various animal fibers.It is admit that in the past decades,correct origin and date of relics was identified by view of history of art and compare object with other contemporary and same context finds. Whereas, these procedures had problems and doubts for scholars, it is tried that results of historical culture (history of art) is evaluated with laboratory and more accurate sciences. In this paper, authors have studied textile fragment from this viewpoint. The textile weaving technique is slit tapestry. This weaving technique is same to drugget– weaving. In this technique, motif is weaved via pass woof on and into warp, but warp is not stretched in width, then warp is shifted to up or down row when motif is completed. As a result, it is observed gaps within various colors. Note,Motifs usually is performed by warp on woof. On the contrary, in order to weave a mentioned textile fragment, it has been used to plan motif by woof on a pair wrap. As well as, details of motifs have been made to do needlework. This technique has made current in the Parthian period. This textile’s fibers are cellulosic (cotton) and proteid (woolen). The types of Parthian textiles have found at the ancient sites such as Qumis (Hekatompylus), Germi (Ardebil Province), NowroozMahaleh (Gilan Province) and south Mesopotamia. Unfortunately, their weaving techniques have not researched for comparative studies and more documentary results. As well as, carbon dating caused terrible damage to this object, therefore, its historical period was identified based on comparative study with Parthian’s and Sassanid’s contemporary cases. In this paper, it also was surveyed influences of periphery cultures and arts on Parthian’s and Sassanid’s textile art and industry. This textile has Hellenistic motifs and themes belonged to Selucid and Parthian periods that to been costumed in the east lands, especially in the Persian. Documentary causes for this issue are same archaeological data that found in the ancient sites such as QalehYazdgird and motifs on the Sassanid silver vessels, Parthian ivory rhyton and ceramic coffin.

Handmade carpets have been used from ancient times for floor covering. Most of the researchers around the world have a common idea about the roots and origins of carpet making which belong to Persia. Although rugs and carpets were introduced to the world such as floor covering but since it was expensive, it had been used such as a hanging picture or cloth tables especially for American people. Then that is better to say the artistic feature of carpet production had more values than its applied aspect. After introducing and cognition these products to the American and European markets working on Oriental Carpets were began. Since then Economic was the great factor for finding suitable markets for oriental carpets especially Iranian carpets which we have a closer consideration to it, the different tastes of various people around the world which had been conveyed by carpet dealers put their influences on design, color, row materials, size and the qualities of carpet production in different regions of Iran. Safavid era is one of the most important periods of not only in Iranian handicrafts fields but also in carpet production itself. In these times and nearly about previous dynasty of Safavid emperors the world of historic art works has a few groups of handmade carpets which according to the documents the great researchers in oriental carpets have a common idea that the roots of these carpets is in Iran. In this article the aim is introducing four groups of Safavid carpets production and explaining about the reasons of etymology of weaving those carpets.These Timurid & Safavid (at the end of fifteenth till seventeenth century) carpet groups are ancient samples. We must call them Classical carpets in the case of their time of weaving. When the Safavid began their conquest of Persia in 1499 and under Shah Tahmasb supervision several royal workshops were established for weaving textiles including carpets. The major ones were at Kerman, Kashan, Tabriz, Isfahan, yazd. The production of these factories were used to furnish the royal palaces or were sent abroad such as diplomatic gifts. By this kind of royal supporting most of the Iranian artistic works had a special evolution even in sub branches. The main structure of all fields of arts is pattern and design,then we can say the revolution of patterns and design has been occurred at this time. By introducing new motifs and shapes which maybe were the results of artist innovation and creativity the road of interfacing different arts were appeared in a way that we can say special cartoons emerged on various carpets with special names. In this essay we are searching this matter that why Iranian researches know these carpets such as Iranian production while in west they are known as Turkish or anywhere else. Is there any unilateral biased towards the origins of recognizing fields of arts? The reader will find the answer of this question in this article.

Frangibility and short life of textile in comparison to other cultural inheritances of Iran led to disappearance of this precious object through the centuries. Hence we must focus on other documents like written documents or visual representations to defining their essence. These records can demonstrate their materials quality, patterns, producing centers. The Present research tries to investigate various documents like literary writings and historical documents to characterize one of the famous but entirely unknown Persian textile products of ancient and Islamic era that simply nee as Diba-ye shushtary or - silk or satin textile that woven in the city of shushtar. Because many of this remains described the historical origins, production center, artificial and technical aspects and patterns as a tool for literary descriptions. Most of the poetries show that legendary vision of men to this valuable textile. Remaining witnesses shows that, we have a developed textile industries in Khuzestan district –an area in south-east of today Iran- from 4000 B.C.. but during the Sassanid era, third century A.D., shapur attacked the Syria, one of the most developed centers of Roman empire textile weaving. During the invasion, many of Syrian weavers had been immigrated to Khuzestan. They began the production of a delicate and expensive silk cloth that always had been used by royal family and named as diba-ye-shushtari. After Sassanid and during the early centuries of Islamic era, Caliphs continued the production of various textiles in governmental workshops that named Tiraz. They forced knitters to immigrate to the Capital of their reign, Baghdad, and developed this industry. The rise of their production converts diba into precious commercial products for export or paying taxes by local monarchs and a symbolic royal gift as grave clothes or tributes. Diba had been woven by colored silk and thin golden threads. The serge weaving method with the alternation of two woofs had been used for creating various designs, especially cornerwise repeated patterns. Iranians modified the ordinary textile weaving machine to create this patterns. First, warp had been twist as tight as wool thread. They adopted Chinese two-wrap weaving system but changed the composition of wrap and woofs. The remaining silk clothes that related to shushtar probably can show some diba patterns like rhombus with duck or palm figures, elliptical forms and almond shapes with mythical creatures like unicorn and roc or real objects as apple tree with mirrored birds. Poets described it as a precious material with royal aspect that represents floral, man and animal figures and woven in various brilliant colors like magenta, aquamarine and deep green that indicates the usage of silk and gold treads. During the Islamic era, diba had been used as garment, caftan, tapestry, shroud and the cover of Kaaba, the most sacred shrine in Islam. The evanescence of this textile starts during Mongol invasion in 7&8th centuries. The result of this research can be adopted with other archeological witnesses to shape a knowledge about this product and a method to revival this precious Persian handcraft.

Whether design is in accordance with the system as a discipline, or whether design is an object that deserves a system as a discipline, has been an important subject contemplated for over the last two decades in the field of design. Now it seems to be the right time for design to stand in the stage of getting prepared to be a discipline then adjusted as an exact and solid concept. Generally speaking, a discipline consists of history, criticism and theory. Design is no exception here. What matters here, however, is the relationship among the three. We need to take primary viewpoint toward the relationship with each other, like which stands more to the center and which comes to take a supportive role. Also, a problem regarding the relationship between “practice and theory” must be clearly settled, according to the characteristic of the design field. This paper takes an aim in minutely looking into the roles of each element from understanding the inter-relationship of such elements, then ultimately going on to settle the purpose and meaning of design studies. Methodology-wise, this paper is based on the design theory analysis, focused on four scholars – Richard Buchanan, Victor Margolin, Nigel Cross and Gui Bonseipe. Another theories were additionally used, when needed according to the progress. Seen from such viewpoint, design can no longer be defined only within professional field called designer, but a requisite condition has appeared to expand concept and field to reach the sphere of public and socio-cultural viewpoint. Industrial designers cannot have direct knowledge of all the users or the situations of use of the things they design. They must, however, work with some knowledge of the likely user profile and the needs the object is meant to fulfill. The act of designing involves conjecture about how a future user will interact with something that does not yet exist. The success of a design will therefore depend to some extent on how well the designer “knows” the users and their needs. Industrial design education commonly includes study of ergonomics and marketing. These two fields of activity contribute some types of knowledge, and methods of enquiry, about users and consumers. At the same time, the goal of product usability is being added to with notions of user experience that include emotion and pleasure. Debate about the philosophical position of design research is demonstrably vigorous but its market value is often not quantified and mostly emphasised with academic arguments. It is not surprising that terms and concepts of design research feature just as frequently around undergraduate study as postgraduate study. As a result, this paper reached a conclusion that design studies, which take more various, plural and complicated form than the past concept of design, now must be understood in a whole new scholarly viewpoint. Design thus becomes one of the representative scholarly filed that characterizes the present, therefore a quintessential system of knowledge needed to judge the present to live.

Emotionalism is widely known to be a stylish key factor which concerns itself to establish a specific emotional relationship between the products and the users, trying to return colorful appearances together with other symbolic elements into industrial products. On the other hand, minimalism is moderately committed to promote minimalistic recommendations into colors and forms, utilizing simple geometrical forms and neutral colors such as black and white. Minimalism was of course introduced to art in early 60's and undertook an unprecedented decline during 80's. Minimalism, however, as the last movement of modernism, differs from decoration, symbolism and variety of color variations, whereas, emotionalism is among the first movements of postmodernism in which the use of decorative, symbolic and emotional elements in produces has been strongly persuaded. Although, some products were introduced in late 80's which simultaneously contained both minimal and emotional approaches, but it was not until early years of the 21st century where Karim Rashid officially declared his new style in design, named "emotional minimalism". Therefore, it can be said that, emotional minimalism owes its simplicity in form to minimalism and to conduct emotional correlation with the products; it utilizes minimal number of light, pastel colors rather than neutral ones. In forms though, in two ways minimalism and emotionalism, are furthered been married and mixed. First, by the retro design which usually benefits from nostalgic elements in design and second the non-acquaintance separation. In view of this, many designers, producers and buyers have since been struck by emotional designs. Among them, emotional minimalism is referred to as an important essence due to largely having unique and distinct attitudes. It is sometimes noticed that non-acquaintancy has been performed in both form and color. A clear example of this is Rashid's chess set which uses composing geometric and organic forms together with a deconstructive color codings. A composition of non-acquaintance with nostalgic elements might in some cases been seen in emotional minimalism. For instance, Marcel Wanders's Table Lamp (BLO), in which a couple of acoustic sensors are embedded in the mechanism which switch the light on and off by blowing to direct to the lamp. It can be concluded that in this design, a nostalgic element in form is sided up with a non-acquaintance element in functionality and technique. The current research has particularly high-lighted strong design characteristics in conjunction with semiotic, aesthetic and function as the major factors of emotional minimalism. Some specific functions, referred to as minor factors are also introduced. These minor factors are: conative, referential, poetic, emotive and phaticue. As a result, a good part of this study deals with introducing emotional design and the concepts of three major functions. Meanwhile, topics on analytical-descriptive products have been studied bearing in mind the case studies to make the theoretical concepts more applicable. Finally, relations between factors either minor or major in emotional minimalism products by presented models and those between one-way or two-way factors and their impact on each other which can be constructive, strengthening and even destructive are stated.