مجله جلوه هنر
سال ششم شماره 1 (پاییز و زمستان 1393)

Aesthetics is one of the most fundamental and essential topics which is originated back to Plato and even farther. Presently It has been existed through Islamic and contemporary western intellectual and theorist’s views. Religious art is one the intellectual attempts which is practiced to comprehend and perceive the reality of existence. Since The Quran، as a phenomenon writhen miracle، could be studied in diverse aspects، the present research carries out functions، relation، comparability and distinctness between aesthetics and religious art through interdisciplinary broad studies by analytical-comparative approach underscoring divine oration of the Holy Quran. The deduction of this research that is accentuated distinguish aspects of textual miracle from artistic and literary extends does not import the ignorance of profound content of the Holy Quran but attempts to signify its structural، lingual and figurative beauties and also its linguistic connection which is remained pristine after centuries and still flourish.

Iranian and Hindus had a satisfactory trading connection and exported their own produced good to each other. Consequently the trace of Iranian presence in India and likewise Hindus existence in Iran could be observed. These bilateral connections have been continued up for many years. Ensuing Hindus merchant’s activities in Hormozgan zone، cultural and artistic relationship increased between these two countries and created an influential impact of art through these countries. The main emphasize of this research is studying temples which were constructed by Hindus in Bandar Abbas city. The present research is based on analytical-descriptive approach by studying elements and decorations which were used in these temples. In commence the temple itself، the cause of its construction and then decoration will be introduced. Hindus temple was constructed in late Nasser Al-Din the king’s era and were exposed during Muzzaffar Al-Din the king (1887-1883A. D). In the formative elements of this temple the architecture of other religion such as Buddhism and Islam were also observed.

One of the forms of art which leans on graphic design as a tool of advertisement is music. It began with designing the cover of music، music sheets and posters، but after the invention of recording and audio systems، music related design continued and it could be found on the cover of vinyl records، audio cassettes، CDs and DVDs. The main focus of this article is the correlation of style in music and graphic design. It seems that until the 60s sensations and perception in different styles had some interactions with music and graphics and also it had some direct influence on both of them. These forms of art by interacting with each other were moving in the same direction. As a result the forms and atmosphere of music، rhythm and color of the sounds were completely tangible and dramatic in the graphic design related to a specific music genre. After the 60s، tendency towards commercialized music and increasing variety of genres changed the graphic designs related to the music and as a result less musical sensation and divergence in the genres and styles are observable. In this study music and graphic genres and styles are tried to be investigated simultaneously. One of the hypotheses’ of this research is; characteristics of a style are influential on the related graphic design. Hence، the famous music pieces of a style were compared to the visual art forms (graphic design). It seems that the style characteristics of music are reflected in visual elements (design، color، rhythm) of the visual art.

Ezare، a protective cover for walls with also decorative purposes is used from the ground up، to a height of one meter. This architectural design is observed in most Iranian historic buildings. Its design and structure developed through time according to the period in which it was used. Apart from preventing humidity to inner walls، Ezare was also used as means of beatifying and characterizing the overall theme of buildings. These days skirting’s have walls، such as; decorative stone، wood or any other durable material. replaced the historic Ezare’s. Skirtings come in many forms both on the interior and exterior of building Although in this article، Ezare is introduced with a background to its development، it is also important to stress the artistic and cultural nature of it، and the impact it has had in the progression of skirting’s we see today. The unique characteristics and variety of Ezare’s throughout different periods in history، yet its inevitable replacement with skirting’s، has raised many questions. Research methods used for this study has been carried out using trustworthy and reputable resources such as; library resources along with searching online databases. In conclusion، this study has come to the realization that Ezare’s gradual demise and replacement with skirting’s has been mainly due to the practical nature of skirting’s. The anti-humidity qualities of skirting alongside their economical benefits have outweighed the decorative and the identity and character that Ezare’s used to give. However، with the ever increasing and exceptional quality of Iranian handicrafts، we can now look at the appealing artistic and cultural aspect of Ezare’s when designing new modern skirting’s.

Being thorough and comprehensive study on stucco reliefs carved in Safavid، Zandieh and Qajar periods، the present study focuses on appreciation of this art and its development in these three dynasties as well as its effects and influences. The following questions have been addressed in this study: - In which parts of public bathrooms were stucco reliefs mostly applied? - Which patterns or relief have been the patterns of choice in each dynasty? - What are similarities، differences and diversity of the patterns in each period? The subjects presented in this research are the direct result of library references، analyses and observations which were studied، performed and/or made by its authors. To do so، based on the type of reliefs and the points in which they had been carved، the ones extant in well-known public bathrooms of each dynasty constructed throughout the country were studied، compared and analyzed. The results of this study reveal that majority of such reliefs have been carved in Sarbineh (ancient bathroom vaults/alcoves used for changing clothes) and secondarily in hothouse. Based on their popularity such reliefs are those of plants، geometrical figures، animals، birds، humans and mythical figures. To illustrate، most patterns produced in Safavid dynasty are those of plants and geometrical figures whereas in the following periods، being inspired by Safavids، there is a tendency towards using animal and human figures. And، in Qajar period، literal and mythical reliefs can be seen.

Iran، the cradle of ancient civilizations and prehistoric cultures، is concealed thousands of hidden secret in. The petroglyphs are the newest art which are spread in different areas of Iran and each of them has diverse signs and traces of the ancient world. in this research Asbqth petroglyphs were selected and analyzed. These stone-reliefs are located in Shavaz، rustic region، of Yazd province which can be examined base on antiquity and various images and they represent perspective and customs of people in that era. This research carried out of descriptive-analytical approach. Data collecting is based on library resources along with observations and interviews. By studying the type of images that were carved in this area، the symbols of fertility and rebirth (antelope and sheep)، symbols of Mithraism (cross and ring seal)، icon arrow and designs of animal، human and plant were observed. these icons show early settlement in the area as well as beliefs and primary religion residents in this location.

In the central part of Iran، canvas that is termed “carbamino” is the most simplified dual harness cloth that is weaved by cotton and by horizontal looms. Carbamino is either principally with no designs or it has very simple designs. Although production of this cloth is done in different regions with almost similar methods، there are variations in its production with regards to its application. One of the regions in the center of Iran that carbamino has had different applications and has large areas of flax، is Varzaneh near Esfahan. The woven carbamino is used in Varzaneh as bread wrapper (cloth to keep bread in)، knapsack for brides dowry، Turkish bath knapsack، white chador، shroud and wrapper for bedclothes. At the moment، there are only 16 semi-active carbamino weaving workshops in this region and the weavers are all old women. Carbamino made in Varzaneh has max of 5 colors and is woven with mercerized starched cotton thread with the fat taken from sheep’s brain. The method of this research is exploratory-field research and in addition to analyzing different parts of the loom and introducing the tools and describing the weaving procedures، the local terms used in weaving carbamino in Varzaneh are classified and explained.