University of BirjandNegarineh Islamic Art2382-98851320140923A Survey on Decorative Manifestations of the “Holy Shrine of
Aga Mir Shams-e-din ebn Imam Musa al -Kazim” in LahijanA Survey on Decorative Manifestations of the “Holy Shrine of
Aga Mir Shams-e-din ebn Imam Musa al -Kazim” in Lahijan41449410.22077/nia.2014.494FASomayehNoorinezhadPNU facultyFarideTalebpour2-Associate Professor, School of Art - University of al ZahraJournal Article20140403Gilan province has been a safe place for Imamzadegan during the history and nowadays a number of holy shrines exist in this region. A survey on religious architecture, particularly holy shrines and studying the decorative designs of these places are very important in native-religious arts. According to this study, the holy shrine of Aga Mir Shams-e-din ebn Imam Musa al Kazim in Lahijan is respected by the residents. This shrine was built in 1271/1885 in Qajar era. In addition, four other holy shrines exist in Lahijan but the above mentioned shrine is the only one having wall paintings. Popular paintings with religious concepts, calligraphy and colorful tiles can be seen in this shrine. The concept of the paintings is related to Ashura event and the artist had designed the battle of holy Abolfazl. In this scene Imam Hossein and Imam Zeinol Abedin can be seen with covered faces. Pictures of women and a cradle insist on the innocence of Imam Hossein’s family. The background of paintings is decorated with palm trees and animals such as deer and horses. Aims: 1. Studying the paintings and decorations in this holy shrine 2. Studying the designs and colors in this holy shrine Questions: 1. What kind of decorations are used by artists in this place? 2. What are the components and concepts of designs in this shrine? This is a field study based on descriptive-historical method referring to library and pictorial resources. According to the field study, the designs of this holy shrine were extracted and studied and then the data were described and classified.Gilan province has been a safe place for Imamzadegan during the history and nowadays a number of holy shrines exist in this region. A survey on religious architecture, particularly holy shrines and studying the decorative designs of these places are very important in native-religious arts. According to this study, the holy shrine of Aga Mir Shams-e-din ebn Imam Musa al Kazim in Lahijan is respected by the residents. This shrine was built in 1271/1885 in Qajar era. In addition, four other holy shrines exist in Lahijan but the above mentioned shrine is the only one having wall paintings. Popular paintings with religious concepts, calligraphy and colorful tiles can be seen in this shrine. The concept of the paintings is related to Ashura event and the artist had designed the battle of holy Abolfazl. In this scene Imam Hossein and Imam Zeinol Abedin can be seen with covered faces. Pictures of women and a cradle insist on the innocence of Imam Hossein’s family. The background of paintings is decorated with palm trees and animals such as deer and horses. Aims: 1. Studying the paintings and decorations in this holy shrine 2. Studying the designs and colors in this holy shrine Questions: 1. What kind of decorations are used by artists in this place? 2. What are the components and concepts of designs in this shrine? This is a field study based on descriptive-historical method referring to library and pictorial resources. According to the field study, the designs of this holy shrine were extracted and studied and then the data were described and classified.https://niamag.birjand.ac.ir/article_494_1be3bc32e6564055d5ca3e5a354acbef.pdfUniversity of BirjandNegarineh Islamic Art2382-98851320140923The Evolutions of Form and Content of Calendars in Islamic Period, According to the Documents in the Pension National Library, National
Malek Library, Astan Quds Razavi and Parliament LibraryThe Evolutions of Form and Content of Calendars in Islamic Period, According to the Documents in the Pension National Library, National
Malek Library, Astan Quds Razavi and Parliament Library152349510.22077/nia.2014.495FAHosseinAbeddoost1-PhD student in comparative history and analysis of Islamic Art, School of Art, Shahed University,Tehran, IranHabibollahAyatollahi2-Associate Professor, School of Art, Shahed University, Tehran, iranJournal Article20140210Islamic calendars are unique examples manuscript according to the appearance and content characteristics. They are valuable and considerable collections of Islamic art. This research was tried to answer these questions that; what is the evolution of appearance and content Islamic Calendars and, what is relationship between ancient Islamic calendars and contemporary calendars. The authors collected some manuscript calendars of Saljughi, Illkhani, Safavi, Ghajar and contemporary calendars and studied appearance and content characteristics of these calendars and their relationships. Principal hypothesis is of this research that there is a traditional illustration in Islamic calendars and their content. The main aim is to explain formal characteristics, aesthetic arguments and artistic characteristics of Islamic calendars. Based on the research results, old calendars of Islamic period associated with table and information was entered into it, and these charts have imitated of ancient Zigs (zig or zaeeche, astronomical table) from per Islamic periods. Numerical calendars were associated with the name of solar months (Houses of the Zodiac) like, Taurus, Gemini, and Cancer. Old calendars didn’t have any decorations, while the calendars of Safavid period were decorated and illuminated. Lastly calendars are simple without decorations due to the printing industry; these calendars have the same structures of ancient calendars.Islamic calendars are unique examples manuscript according to the appearance and content characteristics. They are valuable and considerable collections of Islamic art. This research was tried to answer these questions that; what is the evolution of appearance and content Islamic Calendars and, what is relationship between ancient Islamic calendars and contemporary calendars. The authors collected some manuscript calendars of Saljughi, Illkhani, Safavi, Ghajar and contemporary calendars and studied appearance and content characteristics of these calendars and their relationships. Principal hypothesis is of this research that there is a traditional illustration in Islamic calendars and their content. The main aim is to explain formal characteristics, aesthetic arguments and artistic characteristics of Islamic calendars. Based on the research results, old calendars of Islamic period associated with table and information was entered into it, and these charts have imitated of ancient Zigs (zig or zaeeche, astronomical table) from per Islamic periods. Numerical calendars were associated with the name of solar months (Houses of the Zodiac) like, Taurus, Gemini, and Cancer. Old calendars didn’t have any decorations, while the calendars of Safavid period were decorated and illuminated. Lastly calendars are simple without decorations due to the printing industry; these calendars have the same structures of ancient calendars.https://niamag.birjand.ac.ir/article_495_35051070e572e47d2c26c241ab88307f.pdfUniversity of BirjandNegarineh Islamic Art2382-98851320140923A Study on Manifestation of Symbol of Light in Islamic Architecture (Based on Suhrawardi’s Attitude to “Light” and an Emphasis on Mosques Traits)A Study on Manifestation of Symbol of Light in Islamic Architecture (Based on Suhrawardi’s Attitude to “Light” and an Emphasis on Mosques Traits)244149610.22077/nia.2014.496FAFatemeShafiei1-Master of Philosophy and Islamic Theology, School of Humanities, Tarbiat Modares University, Tehran, IranAlirezaFazeli2-Assistant professor of philosophy, School of Humanities,Yasuj UniversityMohammadJavadAzadi3-PhD student of Kashan UniversityJournal Article20141103Shahab al-Din Suhrawardi is the founder of Illuminated Wisdom and through introducing an ideology based on light, he determines the creation of infinite lights. He also puts forth ‘luminous world of fancy’ which is a turning point in philosophical issues and artistic innovation as light is a meaningful item in Islamic art indicating the source of art as well as aesthetic aspects of it. The present study aims at determining Suhrawardi’s special view to the topic of ‘light’ and introduce art and aesthetic aspects based on that view. Then, the role of this view on philosophical issues and on the mind, language, and the thought of the Muslim artists will be surveyed. To this end, from among different manifestations of Islamic arts, mosque architecture has specifically been taken into consideration. Due to using different colors and shapes in building mosques, the mosques can be good manifestations of the concept of ‘light’ in different aspects and a good tool for decoding the concepts. An analysis of shapes and colors in special parts of the mosques indicates that ‘light’ plays an important role and the architect has been able to show the balance between materialistic and spiritual worlds through using different lightsand colors as a result of understanding the qualitative and quantitative aspects of light. It is worth mentioning that the pictorial data have been collected from different online sites and valid books.Shahab al-Din Suhrawardi is the founder of Illuminated Wisdom and through introducing an ideology based on light, he determines the creation of infinite lights. He also puts forth ‘luminous world of fancy’ which is a turning point in philosophical issues and artistic innovation as light is a meaningful item in Islamic art indicating the source of art as well as aesthetic aspects of it. The present study aims at determining Suhrawardi’s special view to the topic of ‘light’ and introduce art and aesthetic aspects based on that view. Then, the role of this view on philosophical issues and on the mind, language, and the thought of the Muslim artists will be surveyed. To this end, from among different manifestations of Islamic arts, mosque architecture has specifically been taken into consideration. Due to using different colors and shapes in building mosques, the mosques can be good manifestations of the concept of ‘light’ in different aspects and a good tool for decoding the concepts. An analysis of shapes and colors in special parts of the mosques indicates that ‘light’ plays an important role and the architect has been able to show the balance between materialistic and spiritual worlds through using different lightsand colors as a result of understanding the qualitative and quantitative aspects of light. It is worth mentioning that the pictorial data have been collected from different online sites and valid books.https://niamag.birjand.ac.ir/article_496_b534ba68236ba543ae44b22bd110a1d6.pdfUniversity of BirjandNegarineh Islamic Art2382-98851320140923Keyumarth Court
A Comparative Study of Visual Symbols of Seven Paintings in
one SubjectKeyumarth Court
A Comparative Study of Visual Symbols of Seven Paintings in
one Subject425649710.22077/nia.2014.497FAMajidBehdaniMaster of ArtsJournal Article20140318Keyumarth is the first legendary king whose mythic story was written in Shahname by Ferdowsi. In Avestan language, Keyumarth has been written gayyumaretan (having mortal life) and in some other texts, it is found as gyumarth, gymard, kehumarth and keyumarz. The creation of empire and social life began with Keyumarth story in Shahname. According to this story, the beginning of empire is accompanied with resurrection of nature and an overall spread of safety and calmness is accompanied by his arrival. Many paintings in the painting history of Iran have been devoted to this issue which indicates the beauty and simplicity of this story. A comparative survey of seven paintings on this subject in different schools of painting in Iran is the aim of the present study. Due to the diversity of visual characteristics of these schools, one sample from each period has been selected as special motifs and colors of every school of painting have overshadowed the main theme of the story. The artists’ level of loyalty to the story text in seven paintings is different. In all these paintings, keyumarth and courtiers were located in nature (as common points of paintings) and colors and dressing of individuals are very diverse (as differing points of paintings). This is a descriptive-analytical study and the data have been collected from library sources.Keyumarth is the first legendary king whose mythic story was written in Shahname by Ferdowsi. In Avestan language, Keyumarth has been written gayyumaretan (having mortal life) and in some other texts, it is found as gyumarth, gymard, kehumarth and keyumarz. The creation of empire and social life began with Keyumarth story in Shahname. According to this story, the beginning of empire is accompanied with resurrection of nature and an overall spread of safety and calmness is accompanied by his arrival. Many paintings in the painting history of Iran have been devoted to this issue which indicates the beauty and simplicity of this story. A comparative survey of seven paintings on this subject in different schools of painting in Iran is the aim of the present study. Due to the diversity of visual characteristics of these schools, one sample from each period has been selected as special motifs and colors of every school of painting have overshadowed the main theme of the story. The artists’ level of loyalty to the story text in seven paintings is different. In all these paintings, keyumarth and courtiers were located in nature (as common points of paintings) and colors and dressing of individuals are very diverse (as differing points of paintings). This is a descriptive-analytical study and the data have been collected from library sources.https://niamag.birjand.ac.ir/article_497_7380ad8a673226ae47fce7bff88e9c33.pdfUniversity of BirjandNegarineh Islamic Art2382-98851320140923The Role of Amir Alishir Navai in the Burgeoning of Calligraphy in Timurid Era (906-876 lunar year)The Role of Amir Alishir Navai in the Burgeoning of Calligraphy in Timurid Era (906-876 lunar year)576949810.22077/nia.2014.498FAMohammad HassanElahizadeh1-Assistant Professor of History Department, University of BirjandKobraMohammaddoustLashkami2-Master’s degree student in History, University of BirjandAliNajafzadeh3-Member of Faculty and a Member of Afghanistan Studies Department, University of BirjandJournal Article20141021Timurid court was the center of flourishing of such arts as painting, architecture, illumination, book designing and music. Calligraphy and penmanship had special importance among the arts prevalent in this era. For this reason, numerous books and inscriptions have remained from this era as a result of skillful calligraphers’ activity in different styles. Amir Alishir Navai, an aesthete vizier of Sultan Husayn Bayqara’s time, was one of the special patrons of calligraphers and scribes and during his term of office, not only various books were written and illuminated, but also many buildings and constructions were decorated with inscriptions and Herat School turned into the golden age of calligraphy. The main question is that how Amir Alishir Navai’s personality and insight had been effective in the burgeoning and emergence of the field of calligraphy. The answer to this question is to be found in his interest in the registering and recording of conferences and events, in making various inscriptions on charities and mosques to show their power and propagate their religion, in writing new books and also in his interest in creating works of art for gaining grandeur and power. Thus, in the present research in addition to the analysis of the position and place of calligraphers in Amir’s court and the introduction of some of his most important contemporary calligraphers, the role of Amir’s court in the burgeoning of this art is described. The method of present research is descriptive-analytical based on library resources.Timurid court was the center of flourishing of such arts as painting, architecture, illumination, book designing and music. Calligraphy and penmanship had special importance among the arts prevalent in this era. For this reason, numerous books and inscriptions have remained from this era as a result of skillful calligraphers’ activity in different styles. Amir Alishir Navai, an aesthete vizier of Sultan Husayn Bayqara’s time, was one of the special patrons of calligraphers and scribes and during his term of office, not only various books were written and illuminated, but also many buildings and constructions were decorated with inscriptions and Herat School turned into the golden age of calligraphy. The main question is that how Amir Alishir Navai’s personality and insight had been effective in the burgeoning and emergence of the field of calligraphy. The answer to this question is to be found in his interest in the registering and recording of conferences and events, in making various inscriptions on charities and mosques to show their power and propagate their religion, in writing new books and also in his interest in creating works of art for gaining grandeur and power. Thus, in the present research in addition to the analysis of the position and place of calligraphers in Amir’s court and the introduction of some of his most important contemporary calligraphers, the role of Amir’s court in the burgeoning of this art is described. The method of present research is descriptive-analytical based on library resources.https://niamag.birjand.ac.ir/article_498_05f971b5ec196b8c65b75d2ef8267331.pdfUniversity of BirjandNegarineh Islamic Art2382-98851320140923The Comparative Study of Ghesas Al-Anbia in the Holy Quran and Memoir of Prophets in Context and Images of Jame Al-TavārīkThe Comparative Study of Ghesas Al-Anbia in the Holy Quran and Memoir of Prophets in Context and Images of Jame Al-Tavārīk707949910.22077/nia.2014.499FAMajidSarikhani1-Assistant Professor, Archaeology Department, University of ShahrekordHassanHashemi Zarjabad2-Assistant Professor, Archaeology Department, University of BirjandJournal Article20140408The epigraphy of Iranian artistic works has an old history. This study scrutinizes the book entitled ‘Ayat-al korsi’ and the data are the stuff from Islamic treasury in Iranian national museum. The population includes 25 artistic works. The research seeks to find the relation between ‘Ayat-al-korsi’ epigraphy and the application of artistic works. The research hypothesizes that the artistic works decorated with ‘Ayat-al-korsi’ have different applications. The results show that the concept of ‘Ayat-al-korsi’ is the most significant reason for choosing it for decorating artistic works with, and Iranian artists have benefited them according to its application. The greatest concept derived from ‘Ayat-al-korsi’ is its security aspect which is divided into three different categories and has been manifested in different calligraphies known as Kufi, Naskh, Sols, Taaligh, and Ghobar in different historic eras. The research methodology is descriptive-analytical through visiting Islamic treasury in Iranian national museum.The epigraphy of Iranian artistic works has an old history. This study scrutinizes the book entitled ‘Ayat-al korsi’ and the data are the stuff from Islamic treasury in Iranian national museum. The population includes 25 artistic works. The research seeks to find the relation between ‘Ayat-al-korsi’ epigraphy and the application of artistic works. The research hypothesizes that the artistic works decorated with ‘Ayat-al-korsi’ have different applications. The results show that the concept of ‘Ayat-al-korsi’ is the most significant reason for choosing it for decorating artistic works with, and Iranian artists have benefited them according to its application. The greatest concept derived from ‘Ayat-al-korsi’ is its security aspect which is divided into three different categories and has been manifested in different calligraphies known as Kufi, Naskh, Sols, Taaligh, and Ghobar in different historic eras. The research methodology is descriptive-analytical through visiting Islamic treasury in Iranian national museum.https://niamag.birjand.ac.ir/article_499_3cf166c6b73f030b4f67eeaeba301103.pdfUniversity of BirjandNegarineh Islamic Art2382-98851320140923Introducing Zahir Shah’s Design ( bazo bandi or armband) in
Turkmen Carpet of North KhorasanIntroducing Zahir Shah’s Design ( bazo bandi or armband) in
Turkmen Carpet of North Khorasan809050010.22077/nia.2014.500FAHosseinKamandloMaster of ArtJournal Article20131221Persian carpets have been decorated by the geometric and rotating designs throughout the history. Carpet weavers create the unique works with utmost skill and elegance in urban and rural areas that indicate part of their history and culture. Despite having some geographical and cultural differences, the designs used in tribal works have some similarities Turkmens are among the largest tribes who have done their best to keep their pure cultural assets. They have scattered in different countries such as Iran, Afghanistan, Turkmenistan, Turkey, etc. and have left precious textures. Looking at these works, one can find common points with regard to colors and designs. Meanwhile, each tribe has its own specific design. Although Turkmens are sensitive to their tribal beliefs, some non-Turkmen textures are sometimes found among their woven works. One of these outstanding works is Zahir Shah’s design and the best form of it is woven by the tribe named ‘Tekeh’ settled in North Khorasan. The design used is a mixture of rural as well as Turkmen designs and is a reminder of the last Afghan king This is a descriptive-analytical study introducing the above-mentioned designs andtheir roots. The reason behind including Zahir Shah’s picture by ‘Tekeh’ tribe will be discussed as well.Persian carpets have been decorated by the geometric and rotating designs throughout the history. Carpet weavers create the unique works with utmost skill and elegance in urban and rural areas that indicate part of their history and culture. Despite having some geographical and cultural differences, the designs used in tribal works have some similarities Turkmens are among the largest tribes who have done their best to keep their pure cultural assets. They have scattered in different countries such as Iran, Afghanistan, Turkmenistan, Turkey, etc. and have left precious textures. Looking at these works, one can find common points with regard to colors and designs. Meanwhile, each tribe has its own specific design. Although Turkmens are sensitive to their tribal beliefs, some non-Turkmen textures are sometimes found among their woven works. One of these outstanding works is Zahir Shah’s design and the best form of it is woven by the tribe named ‘Tekeh’ settled in North Khorasan. The design used is a mixture of rural as well as Turkmen designs and is a reminder of the last Afghan king This is a descriptive-analytical study introducing the above-mentioned designs andtheir roots. The reason behind including Zahir Shah’s picture by ‘Tekeh’ tribe will be discussed as well.https://niamag.birjand.ac.ir/article_500_cee631121c2ec9232f3a2f028ad5c89b.pdf