Naghsh Mayeh
Year:2010 | Volume:2 | Issue:4|Papers Count:10

Synthetic creatures on the seals and reliefs that have been formed in sculpture and various form, are combination of different animals that are unique in the real world. The creation of these creatures in the ancient civilizations' art is rooted in the myths. In this research, synthetic creatures of the art of Iran and Mesopotamia civilizations will be surveyed in the aspect of the forms and origin of the creations, in order to find their creations' reasons and observe the artists' imagination of these two adjacent territories in executing of the new monuments.Some synthetic creatures of these civilizations are confined only to that art and civilization, like, Roc in the art of Iran and Ugulla in the Mesopotamia's art. Some of them are common between them. This second group is divided in two categories. First, synthetic creatures that are the same in title but differ in their forms, like, Scorpion human that have been depicted differently in each civilization. Second, synthetic creatures are similar in title, utilization and form. As an instance, winged bull sculptures (lamaso) both in Iran (Achaemenians period) and Mesopotamia (new Assur) are placed in the gates of the palaces as a guardian and repulsive of the evil.

Seals, are one of the most important hand made works, they are left from our ancestors and some of them have hinted and amazing stories. Seals and relief are reliable documents of past, and as the valuable images they can show us many secret of our ancestors' lives. At the ages before Islam, Sasani's seals were so important because of their varied patterns. And also they were expressing the creativity of artist and seal-making craftsmen, and it shows the importance of this art for the people of those ages. This paper analyses the patterns and applications of Sasani's seals, and because of that I chose the Sasani's seals of Azarbayjan of Tabriz museum as the examples, for their varied patterns; and they are brought in to the tables separately by their symbol and the religious and cultural meanings.

This research studies on the effective factors in the form of caved ceramic statues in the pre historic periods of Iran. The prehistoric period in Iran begins by food collecting step and endures till the historic period. The oldest works in this period are goddesses of beauty and fertility. In following periods having pottery industries developed new sculptural works appeared which possessed more visual qualities than the preceding works and looked like pots. Since these kinds of statues were found in graves, some believes that they were to be ritual pots and attributes them to Totem believers. Having noticed a brief introduction about prehistoric period in Iran, this research has considered the evolution of pottery and categorized the sculptural works of potteries. Visual characteristics of mentioned potteries are consequently discussed. Finally some of these works have been analyzed. These works of art are largly various in form. This variety include many factors such as methods production, function decorative, the effect of beliefs, and pros and cons of consuming material.

In the last few decades, there have been different views about the origin of luster glaze.Egypt, Iran and Iraq are suggested as the home of luster glaze. Experts have tried to provide enough evidence to support their views. Oliver Watson as an expert in the field has suggested Egypt as the origin of luster glaze. He provides evidence by comparing Iranian pottery’s motifs with Egyptian counterparts. He argues that there are several similarities between these motifs across the two countries and that Iranian potters have been under the influence of Egyptian potters. As Watson's work has been frequently referred to by other experts, in this article his view is reviewed and evaluated in the light of different pieces of evidence.

We can begins with Anahita, this ancient Iranian goddess mother with various pregnant statues that shows the worship mother of gods from the new stone age in Iran that appears in different forms on the other eras. Mother-Iranian goddess in Achaemenian manuscripts named Anahita. The picture of this goddess has seen in reliefs and behind the coins with a milled edge crown. Samanid art is kind of continuation of Sasanid art, and for this reason the figures have seen on this potteries affected by Sasanid art. On this essay we consider the woman figure on this era. On the Samanid potteries you can see the fertility symbols like snake, fish, new moon, palm leaf and pomegranate. It seems that women figures have a unique character.

You can find the root of metalwork in new Stone Age in Ilam.The works of arts that found in the area as an example in Ali Kosh hill and Susa shows that the evolution of metal work was in Ilamid era.Ilam art in thirteenth century A.D., in the time of Otesh- Nepireshe King reached to its perfection. Art in this area showed itself in accomplishment style of metal on one hand and designs and buildings like Choghazanbil's ziggurat that made by Otesh- Nepireshe King on the other hand. Ilamid work of arts has some characters that have never seen before. The Splendid and glorious ziggurats of Susa built by the pattern of Mesopotamian ziggurats with Ilamid characters.The art of metalwork reached to its climax on this era. Bronze sculpture of Napirasoo, bronze relief that shows Ilamid warriors, bronze tablets of solar date are some indicator examples of this era. The jewelry making was in its climax on this era. Jewelry and small gold and silver sculptures was found on this era shows this fact clearly. You can see some white gold works among those too.This essay introduce some indicate metal works of mid -Ilamid era presents the vision of metal work in this era (1100 to 1500 A.D.) .

Conries remain from Islamic early periods, we understand pliable images to pre-Islamic and Islamic literatures. Common images that were used in potteries with literal content accomplish in two domains of literature text and picture. Artist at first used several Kuophi hand-writing for writing on potteries. Muslim artist not only considers the exalted aspect use of calligraphy that was getting message, but considers calligraphy in make up without aesthetically aspect. Sometimes poem of artist was manifested on margin of potteries.Therefore we understand that artist has attended to moment literature and it’s effect on people. There is relation content and image between paints and potteries through pottery image that show relation pottery artist with painters. Almost of potteries with literal content have not contact and poems for explain images. In this subject pay to shortly of origin to images effect with literal contents on Islamic primary pottery effect with effects from art before Islam. It is important to say that how technical affects on quality and quantity of works that will manifest in this context.

"Art Deco" style, as well as "Bauhaus" style, their pottery and features have specifications which are significant regarding to their great differences despite being contemporary and having common origin and the comparison of these two styles pottery and the influence of social factors on them, are necessary for identifying these earthenware from other samples, despite the importance of interaction between this art and social factors.Collecting and writing the subject matters in this research, is done by library way and visual reading; It's worth mentioning that "Bauhaus" book (1386) is the only persian source in this field, so compilation of histories and styles' features, are derived from latin source. In addition to the reading of written sources, visual reading has also helped in comparing potteries.Studying and observing the pottery styles in these two schools, demonstrates that the difference between these two styles has been related to decoration, design and is much more than their similarities. The two styles are related to the same time limit and use the same material, but have a bilateral effect with the environment, and the governing philsophy of each style affects the form or decoration of earthenware even in subsequent eras.

In the art of this country, design of textiles has rarely been the main focus of the society. Due to dramatic growth in imported overseas designs, elegant and well-born designs of our ancestors are disappearing. A main reason for this phenomenon can be the misconceptions and lack of knowledge about the great value of these designs. This research introduce the mentioned designs as well as their historic roots and also expresses how these designs have changed, remained or even disappeared through the ages. The main purpose of this fundamental - applied research is development of authentic art and culture of Persia in designs of textile and their usage in modern artistic phenomenon. Furthermore this research tries to gain comprehensive information on ancestors' design of textiles and believes that by a link through culture and art of the ancient Persia it is possible to renew old historic designs.In addition by understanding and presenting these designs we can pass through the ages.

Cooperation between western and Iranian culture in Qajar era cause the affects of western culture on Iranian art that could see in different aspects. Iranian architecture with many works in interior design and decorations is not expected from these affect. One of these affects could see in architectural decorations. Pictures and designs have no place in Iranian visual traditions exceptionally in short periods. But some of those compatible with public taste used in traditional architectural decorations on this era. Religious places like Maasoumeh shrine in Qom is one of the most important buildings of this era and a good example for study on this issue.