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مرکز اطلاعات علمی SID1
مرکز اطلاعات علمی SID
کنگره زخم و ترمیم بافت‎‎
مرکز اطلاعات علمی SID
مرکز اطلاعات علمی SID
مرکز اطلاعات علمی SID
انتشارات انتخاب
حوزه علمیه خواهران شهرستان اقلید
Journal: 

NEGAREH

Issue Info: 
  • Year: 

    2011
  • Volume: 

    6
  • Issue: 

    18
  • Start Page: 

    23
  • End Page: 

    33
Measures: 
  • Citations: 

    0
  • Views: 

    194
  • Downloads: 

    220
Abstract: 

The dignity and status of holy Quran among Muslims, has ever prevented the independent painting of this holy book. But the craving and eagerness of literatures who love Quran, has developed some texts under the influence of Quran. These texts, and some other historical books, were places to express the concepts and stories of Quran in Iranian painting between eighth and eleventh centuries hejri ghamari. This important incident has happened by visualization and illustration of texts influenced by holy Quran.This article aims to pursue such important paintings, and enters the descriptive and comparative study of images, the place of poetry and texts in painting, especially holy Quran. In this way, the capacity of painting in expressing Quran concepts, in our country has been criticized and studied, and the place of literature (prose and poetry) in forming such images is discussed. One of the most important results and findings of this research, which can make special capacity in informing the Iranian contemporary artists, is discovering the significant and essential status of Persian literature in Formation of paintings based on the Quran. It is achieved by referring to index samples and making a general classification about them.

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Journal: 

NEGAREH

Issue Info: 
  • Year: 

    2011
  • Volume: 

    6
  • Issue: 

    18
  • Start Page: 

    35
  • End Page: 

    47
Measures: 
  • Citations: 

    0
  • Views: 

    1036
  • Downloads: 

    875
Abstract: 

Qajar period can be seen as innovations and new developments in art and architecture. Among these developments, the growing relationship and exchanges with the West, Seeking new knowledge and new science to Iran, Special effects seen on the Art and Architecture and especially buildings decoration are in the Qajar period.Among the most important developments and New knowledge can be cited invention and log in photography, Log in and application of correspondence postal stamps and New European postcards.In this article, research methods is used description- Analysis and Studies Library in Architecture of The Masjid-Madreseh and also Field Studies To participate in the building and Direct observation. And the impact of these developments Review and assessment has been on the decorations Mashid-Madreseh of Qajar.Based on the reviews and studies, much of the decorating and tiling designs Mashid-Madrseh of Qajar is modeled Photos, stamps and postcards of that period.And images of monuments, Landscapes and architecture, Birds, grapes, crown, winged angels and humans, European men' s clothing, The flower vases and bowls and plates With various flowers, especially roses and lily In designs and decorative tiling And sculpted monuments seen.

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Writer: 

ROSTAM BEIGI SAMIN

Journal: 

NEGAREH

Issue Info: 
  • Year: 

    2011
  • Volume: 

    6
  • Issue: 

    18
  • Start Page: 

    49
  • End Page: 

    67
Measures: 
  • Citations: 

    0
  • Views: 

    456
  • Downloads: 

    759
Abstract: 

In symbolic Persian mythology, lighting and light has arisen from the dome of the sky. The sky has been imagined like as a dome of rock, that light has born from it. From the aspect of mythology, borns of Mithra from a rock cliff, is the metamorphosis of same myth. This symbol along with other symbolic images which originated from Mehr’s stories and concepts whom was the Saoshyant of Iranian people in old periods, had changed a lot during centuries and in variety forms has had multiple appearances in the symbolic and visual history of this land. In this article Symptoms and traces of this ancient religion, which had the global spread, has been reviewed and analyzed from the pictorial aspects and the concepts embodied in it. because Mehr rituals is one of the religions in which iconic images as the visual language to transfer of concepts and principles of this religion and its followers have been used and over time, sometimes with the same meanings hidden in these images and keep them next centuries with changes in the same way and with the broader concept have been used.The basis of this research is a comparative study Research documents and citing the mythology, history and religions of ancient Iran, and especially by sources close to the Avesta, the symbols of the conceptual approach have introduced and then by searching the traces of Mehri ritual elements, their symbolic roles in different periods of Iranian art and related samples have been investigated. This text wants to consider the Mithraism elements which are come to the other artistic motifs during centuries by comparative view and with descriptive and analysis methods.The results are shown in 4 paradigms.A lot of motifs from Mithraism tradition are seen in later periods.Those motifs which are seen in other artistic works carried the same meaning as Mithraism motifs.Some motifs are omitted because of conflicts which were existed between them and the principles of that time.Most of Mithraism motifs are used as ornamental motifs in later periods.

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Writer: 

ALIPOUR NILOUFAR

Journal: 

NEGAREH

Issue Info: 
  • Year: 

    2011
  • Volume: 

    6
  • Issue: 

    18
  • Start Page: 

    5
  • End Page: 

    21
Measures: 
  • Citations: 

    0
  • Views: 

    822
  • Downloads: 

    495
Abstract: 

The architecture of Qajar period can interestingly be seen in its houses which contain decorative elements such as Orosi, this Orosies include special pattern and design in which considering the influence of west architecture and decline of traditional elements are being forgotten.The type of this research study is descriptive -analytical and collection method is library - athletics which plans to study Orosies of Qajar houses based on Shams Ol Emare in Golestan palace, Masoodie house and Sahebgheranieh house.The purpose of this research is study of patterns of these houses and accommodating them with each other and adapting this main pattern with other Arts of Qajar period.The result of this study is that all the patterns are curved and in the form of paisley design and tetramerous and floral elements that have been used in all of Qajar arts, it is inferred that the traditional design in Qajar period have been used in all kind of arts, and in each field based on its material and its tool it has been to form an elaborate work of Art or just associated with a simple one.

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Journal: 

NEGAREH

Issue Info: 
  • Year: 

    2011
  • Volume: 

    6
  • Issue: 

    18
  • Start Page: 

    69
  • End Page: 

    81
Measures: 
  • Citations: 

    0
  • Views: 

    485
  • Downloads: 

    465
Abstract: 

Iranian painting has had inseparable bond with Persian language and national and religious themes and an evidence for this claim is presence of valuable painting copies which have been kept as memento in museums of Iran and the world. Each of these copies has been created based on the highly valuable Persian texts and national and religious themes. Fictive painting as one of the variants of Iranian painting has a tight link to Persian literature and its themes hinge mostly round life events of national and religious heroes. Due to popular origin of fictive painting and its artists, immediate link with commonpeople, these painters have had particular interest in people, s wishes and desires. Present research with the purpose of finding reasons for inclination of fictive painters to epical and hero-centered in written and verbal literature and religious themes, tries to answer this question whether the tendency to literary, national and religious themes in fictive painting is like that of other kinds of Iranian painting or it has other reasons? In this paper, descriptive and analytic methodology is employed and the samples used in it have been selected from among the most typical teahouse paintings.

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Journal: 

NEGAREH

Issue Info: 
  • Year: 

    2011
  • Volume: 

    6
  • Issue: 

    18
  • Start Page: 

    83
  • End Page: 

    94
Measures: 
  • Citations: 

    0
  • Views: 

    413
  • Downloads: 

    292
Abstract: 

Positive and negative spaces in the timing of the mosques not only create equilibrium and balance, but also contain spiritual meanings. But, during different eras, due to influences of external effects, manifested this noble concept, has been declining.In this paper, the positive and negative spaces based on mystical and philosophical concepts, in the tiling frames in the mosque of Imam Khomeini (RA) in Isfahan, the Safavid period and the mosques and school of martyr Motahhari as an evidence of Qajar architecture, has been studied. In addition to investigation and analysis of the positive and negative spaces of the tiling of the ‘’Shahid Morahhari’’ school, decorations of this school also has been compared with ‘’Imam Khomeini’’ School as a well-known structure remained from Safavid dynasty that by this way, determine the rate of Changes in the transcendental concepts of visual symbols which were affected by Western art. So that by changes in the fundamental symbols of this type of tile work of art, also dramatically their concepts change and become transformed. Using a valid index to convey the deep concepts in the foundations of decorating items to present era is so important. According to the investigations, using fundamental items like positive and negative spaces in this school show how consistent they are with values and deep and conceptual criteria of the far past and how much they have changed.Research method in this paper is descriptive analysis and utilizes by comparison system in the idiom analysis.

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