فصلنامه نگره
پیاپی 23 (پاییز 1391)

Pulpit wooden of Islamic period in Iran shows the creativity, innovation and beauty of the art of working with wood. In the Islamic era skilled artists according to the different characteristics and properties of variety of wood, were trying to create different works by using wood in best way. Combined with creative visual skills such as balance, proportion, & symmetry, it was led to create some of the masterpieces of art that one of them is Mshkolpulpit, which is the most exquisite works of Islamic world. It was made of the best quality of wood & «tab and notch» connection without using glue or nails. In the main frame by means of fretwork & pierced work & in itsbases by simple, ornamental & floriated Kufic calligraphy, it was carved the Quran verses and the information about the name of the creator, writer, patron, date and pieces of Persian poem. it is tried in this research which based on library sources &direct observation to express the values &features of this work. The result of this essay shows that this pulpit has esthetic & technical features which may be suitable for artists & scholars of wooden art in modern period.

The art of Mirror work which is prevalent in Iran is completely an Islamic art and includes geometrical forms that allocated to Islamic countries. Since mirror work of Iran can be interpreted as a religious and traditional art, understanding the necessity of protecting, supporting and expanding this beautiful and incredible art, along with other handmade and decorative arts is indispensable. By virtue of library sources and field studies, in descriptive-analytical method and after a brief indication of the background of the origin of mirror work and stating its role in architecture of Qajar period, various types of Mirror work are investigated in three groups of mansions in this era in Shiraz, which include: dwelling houses, pilgrimage places and garden pavilions. Results indicate that different Mirror work types are used in these three building types. This art is performed on plaster on the wall & on the patterns of vases in dwelling houses, in pilgrimage places it covers the whole surface of wall & roof & the edge of cornice &also uses as the patterns of fret & arabesque, and also used as the cover of whole surface of wall & parts of roof & on plaster in garden pavilions.

This article studies the “Elamite weaving (spinning) Lady” tablet, which dates back to Neo-Elamite era, through an analytical- comparative approach& by comparing its elements with other historical texts, such as stamps, tablets, and remained sculptures,this tablet has a narrative context, and through a collection of visual signs helps the addressee of its time to form meaning. The question is that whether this tablet gets placed at a lower level of semiology and is only a narrative of the weaving of a prosperous lady from the Elamite society, or represents a higher level of meaning and symbolizes a goddess? Since the social-cultural context of the artist of work has disappeared (with a history of 2500 years), no oral traces have been discovered, and no documents have proved the place of the discovery of the work, this article tries to present a new interpretation (reading) on the bases of formal similarities with patterns and forms remained from Mesopotamia and Elamite civilization, and also the symbolism of goddesses of historical and ancient civilizations. According to the visual signs used in the narrative of this scene, it is apparent that this tablet does not represent just a weaving lady from Elamite, but a goddess who is weaving; probably the threads of fate.

One of the most superficial aspects of Persian painting is the composition of text and images that has named “Layout”. In this research, the relation between the arrangement of setting text & image & also the relation between the form of image & subject & the composition at works of Shiraz school in Ilkanid period has examined. During to extensive researches and studies on Persian painting, scholars such as, Amin Mahdavi, Adamova and Giuzalyan got noticed to this term.The result of this research shows that the relationship between text element & composition of paintings follows careful & certain principles in miniature paintings of Shiraz school in Al-Injuid period that is consistent with the piling page for writing poetry. The painter also has considered flexible picture frame according to subject matter and shaped that based on columns form. So in many cases, instead of a rectangular shape, the frame is stepped. The painters of Shiraz school in eight century comprehended the necessity of harmony of text & image in book –lay out & combined image with context by using pilling frames. The method of the research is descriptive - analytical by using library resources & observation.

The advent of Salah Al-Din Ayoubi, in the second half of the twelfth century / VI, relieved partly the political turmoil governing the Mediterranean Eastern lands during the eleventh century /V, till the early thirteenth / VII and often intensified with the Crusades’ attacks. Ayoubian were efficient and effective not only in conquests and war achievements but also in cultural services. They opened new ways towards the world of art; however, the period of their soverignety did not last long; and their significance was mostly due to their role in establishing a bond between the Seljuk and Mamluk eras and their distinctive manners of style. In this regard, due to the incoordination between art and politics in this period, no solitary style of painting was shaped. The illustrated manuscripts remaining from Ayoubian era include an edition of “KalilahwaDimnah”; or (The fables of Bidpai), Maqamat Al-Hariri and the book entitled: Mokhtar Al-Hikamand Mahasen Al-kalam. Getting accustomed with the features of paintings & recognizing the subject matter of illustrated manuscripts in Ayoubian era, are the main purposes of this essay. The analysis of the three manuscripts of this book reveals that in all works the images are located in the middle of the page amidst Arabic texts. In a number of the paintings, liveliness and vivacity can be traced among the elements of the visual; however, the overall atmospheres of the paintings are still and motionless. The trees and the plants have mysterious leaves and flowers; nonetheless, they bear simple desgins and can be traced back to the local vegetation of the area. The last feature applied is the use of symbolism depicting local features including the date palm a symbol of fertility, a torn bush a symbol of sadness and melancholy, a seagull symbolizing water and the nightingale symbolizing open meadows.

About two centuries after the appearance of Islam, the production of potteries were gradually changing through Islamic world. At eastern parts these changes were taking place coincident with Iranian movements and establishment of independent dynasties such as Tahirids and Samanids.The most important contribution of Samanid artists in Islamic pottery-making was the invention and completion of the Slip-painted wares. By means of such variety of decorative patterns like abstract, geometric, vegetarian & figurative patterns & calligraphy, this art not only affected from sasanian art, chinese and abbasid wares but also presented creative and artistic types during the history of Islamic pottery production. Archaeological evidence introduce Nishapur and Afrasiab (old Samarkand) as the main centers of the most interesting Slip-painted ceramics and also central Asia, Great Khurasan, sistan, parts of southern region of Caspian sea and Kirman as the area in which this kind of ceramics developed. This is obvious that development of Slip-painted potteries were in the lands which were under dominance of samanids; It means that the production of Slip-painted wares widespread from central and southern Iran eastward deep into central Asia and not considerably in central and western of Iran. Producing a large amount of these ceramics began during 9th century A.D (3th century A.H) and it reached its climax in 10th century A.D (4th century A.H). During 11th century A.D (5th century A.H) when the usage of alkaline glaze, Stone-paste for ceramic body were common and also the transmission of political, cultural and artistic centers from east to central parts of Iran, the production of Slip-painted potteries decreased qualitatively and restricted to regional centers and their production are forgotten gradually. This study is based on descriptive- analytical method and the gathering of data is done in the method of documentary & follow the purposes such as typology, Recognizing the widespread regions and accessing to definite dating for these kind of potteries.