دو فصلنامه سفالینه
پیاپی 1 (بهار و تابستان 1393)

Although the Art of the Qajar era is influenced by its predecessor, the Safavids and is inclined toward Western art, it bears its own unique characteristics. In this era, contemporary with the flourishing of the carpet industry, Persian art stepped into a new level of pattern creation that had a huge impact on various branches of art including carpet-weaving and lacquered covers. The arts of Persia emerged from common philosophical and cultural principals. These principals are core elements in pattern design and coloring. The relationship with western countries and the acquaintance with European art caused the creation of many carpets with novel features throughout Iran in which many were exported to Europe. In this sense, because of the close relationship between various arts, the art of lacquered covers also flourished with the introduction of new patterns and motifs.In this research, data is gathered through library research and observation. In order to better understand the influence between carpet-weaving and lacquered covers, an analytic and comparative research was also taken place. According to the accomplished evaluations, common human and non-human motifs can be identified in the two mentioned arts.Aims of the research: 1-Understanding the evolution of design and color in the carpet weaving and cover-making of the Qajar era.2-Understanding common and uncommon motifs of the carpet and lacquered covers.Research questions:1-What are the applied themes in the carpets and lacquered covers?2-What are the similar and dissimilar features of the carpets and lacquered covers?

The northern parts of Iran in particular the Golestan province is filled with arts. In regard to the metalwork of this province especially during the Islamic period, there is not much research in hand which can be due to the lack of museums or private collections in the area. Much of the available artworks are related to the Seljuk era. Initial observation reveals that there is much commonality between the motifs of the metalworks of the Khorasan province and those of the Golestan district. It appears that the most important cause for the occurrence of such similarity is due to the contiguity of the mentioned provinces. In regard to the decorative motifs applied on the metalwork, herbal motifs, geometrical patterns and inscriptional patterns are most applied; on the contrary, animal motifs are less used and human patterns are ignored completely. The main significant aim of this research is to introduce the applied motifs and also to unveil the unknown associations within them. Initial data is gathered through direct observation, also, library research accompanied by an analytic and descriptive methods are used.Aims of the research: 1-Understanding and introducing the motifs applied on the Seljuk metalwork of the Golestan province.2-Revealing the implied meanings of the motifs of Seljuk metalwork in Golestan and its accordance to the metalwork of Khorasan and the Sassanid era. Research questions:1-What are the most significant motifs applied on the metalwork of the Golestan province.2-How is symbolism and the artistic motifs related?

Safavid era is one of the most splendid eras of Persian-Islamic civilization. The artworks of this era are directly influenced from the Shi’ah faith and are set to beautifully demonstrate the coalition of art and religion. Among the many works of this era, this research will focus on the prayer bowls that are ornamented with inscriptional patterns depicting verses of the Holy Quran, hadiths and name of the Prophet, Imam Ali and Fourteenth Innocent Ones. The Holy Quran has unique symbolic features in which these features can be applied on various artworks. In this study, the symbolisms of the Holy Quran applied on the prayer bowls of the Safavid era are studied. This study follows a descriptive and analytic method and seeks to analyze the engraved patterns on the Safavid vessels in terms of aesthetics and content evaluation. Furthermore, the manifestation of the Holy Quran and theological principals are also considered. In these bowls, not only are the verses of the Holy Quran, Hadiths and blessed names are used for the sake of spiritual healing but also they have an ornamental feature and are applied to decorate the bowl. Aims of the paper: 1-Understanding the Quranic content applied on the prayer bowls of the Safavid era.2-Analyzing the similarities and dissimilarity between the content of various Safavid prayer bowls.Research questions:1-Are the Shi’ah belief principals evident on the prayer bowls of the Safavid era?2-Do the inscriptional decorative motifs applied on the prayer bowls of the Safavid era similar to the prayer bowls of previous eras?

Research in the traditional arts of Persia apart from its artistic and technical features of the past has the potential to evaluate the historical and cultural elements. It is clear that when the historical artworks are accompanied with inscriptional ornamentation their overall evaluation is done easier. The traditional artworks of Persia in various ages particularly after the emergence of the rich Islamic culture insisted on knowledge, literacy and calligraphy; hence, the use of the written inscriptions is seen abundantly. The use of these inscriptional decorations were not only applied for ornamentation but were also used as a method of conveying messages and thoughts. The Safavid era is one of the most glorious eras of Persian history in which traditional arts reached its peak of achievement. Among the rich artwork of this era carpet-weaving and metalwork are outstanding. In this study, the metalwork and carpets of the Safavid era that are ornamented with Quranic inscriptions are studied in which 7 cases of carpet and 9 cases of metalwork are each individually investigated. Each artwork is analyzed according to their ornamentation and methods of inscriptions. Prior to the analysis of each artwork, the status of the mentioned works will be discussed in the Safavid era. The carpets that are embellished with the holy words of the Quran were in most cases prayer maps or endowments in which those who do not have purgation cannot touch them. The metalwork ornamented with Quranic verses were also used for praying purposes and religious events. The verses on both artworks mostly consisted of smaller surahs such as the Ayat-al Korsi and surahs from the 30th section of the Quran. In this study, data is collected via library research and follows a descriptive and comparative outline.Aims of the research:1- Understanding the type of Quranic contexts applied on the artworks.2- Understanding the similarities and dissimilarities between the ornamentations of both artworks.Research questions:1- What are Quranic context is applied on both artworks?2- Are the Quranic context relevant to the application of the artworks?

The wood carving works of the Timurid era are unique in terms of aesthetical beauty and methods of creation. Since there has not been any relatable research in regard to the woodwork of the mentioned era except for a few general remarks in foreign literature, the main aim of this study is to investigate two renowned wood carving art works of this era in a fully evaluative research. The tomb of Imamzadeh Abbas in Sari and the Jami mosque of Afushte, Natanz are the two selected cases. Reasons for the selection of the mentioned monuments is firstly its relation to the Timurid era and secondly the survival of the artworks throughout many centuries. With close observation, it can be concluded that the wood carvings of the Timurid era are more delicate and richer than the works of the Ilkhanid era. The paneling and framework are mostly seen in rectangular, square and at times in a mihrab form; furthermore, panels in the form of ringlets are also depicted. In terms of visual harmony, the combinations are either redundant, transferred, citron or ringlet. Moreover, the uses of Shamseh (sun-like) patterns in the form of eight or ten sided shapes were also popular. Khatai and arabesque designs consisting of five-petal flowers, Akhtar flowers, three-petal plants, spear thistle leafs, cedar images and finally arabesque were also considered as the preferred designs for ornamentation. The inscriptions are also written in Thulth and Naskh writing. In all, the percentage of patterns and designs used for decoration is 60% to 70%. In addition, the surface of the work is smooth and mostly concave and the depth of the surface in variable from 3mm to 10mm. Aims of the research:1-Understanding Khatai and arabesque motifs and inscriptions applied on the wood carved doors of the Timurid period.2-Recognizing the motifs and combinations of the wooden doors of the Timurid period.Research questions: 1-What are the visual features applied on the wood carved doors of the tomb of Imamzadeh Abbas in Sari and the Jami mosque of Afushte of Natanz?2-What are the common and uncommon features of both monuments in terms of motifs, combinations and methods of application?

Myths have a significant role in the beliefs and cultures of all nations. The footsteps of mythological stories can not only be traced in the oral history of nations but also can be found in inscribed artworks. Apart from the use of epic motifs on paintings and illustrations, such features are also depicted on pottery. In general, pottery is the most durable artwork of the past and beholds cultural, social and political evolution. A number of the patterns applied on ancient pottery are related to mythological elements and alike inscribed works behold valuable information. From an artistic point of view, human-mythological patterns have a scrutinizing and deep-rooted theology that stems from the human soul. Therefore, this study aims to investigate the quality of the association between epic Persian literature and its principals with patterns applied on Sgrafiatto potteries of the tenth to eleventh centuries A.D. contemporary with fourth to fifth centuries Hegira preserved in the Bonyad Mostazafeen Museum. In the process of this research, the origin of the mentioned pottery patterns and its mythological features are studies. Furthermore, the specific literary works that are associated to the myths are identified. The research in hand is accomplished through library research and collectable data. It is understood that myths and legends have close relations with the national identity and values of a nation.Aims of the research:1-An analytic study on the themes and symbolism of Sgrafiatto potteries and the reflection of these themes on the everyday lives of people including social, cultural and political aspects.2-Understanding the patterns applied on Sgrafiatto potteries and the Persian literary features behind them.Research questions:1-What is the main reason behind the selection of the mentioned mythological patterns applied on the potteries?2-How are the mythological patterns related to the literary works of Persia?

Books that are ornamented with exquisite covers and embellished with novel patterns, delicate illumination, flower patterns, petal and leaf designs, nightingale and rose, decorative inscriptions depicting the verses of the Holy Quran along with the presence of variable colors on a colorful basis consisting of lachak, citrons, and upper-citrons, all encourage and assist the reader to better study the book and hence, fulfills the spirit of humankind with calmness and happiness submerged with visualization of the beauties of paradise. These are the characteristics apparent in the cover books of the Qajar era. In this age, the art of cover-making in particular, oily covers used for Qurans and other religious books flourished. The magnificence of the covers are so fascinating it feels that the painted birds are singing along the borders of the text and the flowers are blooming along the verses of the Holy Quran. In this paper, it is sought to analyze and compare the eloquent Qajar covers of the Holy Quran preserved in national and foreign collections; furthermore, the features applied on each cover are introduced, analyzed and classified. According to the findings of this research, Although the applied patterns and designs of the Qajar book covers including the citrons, lachaks, nightingale and rose, flower petals, leafs, grapes, arabesque and khatai motifs and images of the Holy Prophet and the Fourteenth Innocent Ones are all influenced by their previous counterparts, the motifs are never considered as a direct copy from the past and each have their distinctive feature.Aims of the research:1-Understanding the characteristics of Qajar book covers.2-Analyzing and classifying the applied ornamental features of book covers.Research questions:1-What are major features of eloquent book covers of the Qajar era?2-How are the patterns applied on the covers different from their previous versions?