علیرضا
شیخی
استادیار و هیئت علمی گروه صنایع دستی، دانشکده هنرهای کاربردی، دانشگاه هنر، شهرتهران، ایران
author
منیره
نجاری
کارشناسی صنایع دستی موسسه آموزش عالی فردوس- شهر مشهد
author
text
article
2017
per
Journal of Great Khorasan
Imam Reza International University
2251-6131
8
v.
28
no.
2017
20
1
https://jgk.imamreza.ac.ir/article_137897_9322cf73f960634cea0b5114979de287.pdf
Introduction and Classification of architectural inscriptions in the Timurid era
محمد تقی
آشوری
استادیار و هیات علمی دانشکده هنر های کاربردی دانشگاه هنر شهر تهران - ایران
author
امیر
مازیار
استادیار و هیات علمی گروه آموزشی فلسفه هنر دانشگاه هنر شهر تهران- ایران
author
نفیسه
گریوانی
استادیار و هیات علمی گروه فرش دانشکده هنر دانشگاه بیرجند - ایران
author
text
article
2017
per
Inscription is the most important decorative element in Islamic architecture. Calligraphy in the inscriptions of Timurid ear is decorated with arrays to deliver its message along with the sense of pleasure and reflection. The main purpose of this study is classifying these inscriptions based on the primary goal of their implementation. The author tried to answer these questions: what are the different types of Timurid architectural inscriptions based on the primary goal that is hidden in their design? What are the form and content specifications of these inscriptions? What kind of changes has happened in them? The research method was historical and Oleg Grabar screening approach to classifying calligraphy experiences in Islamic Art was used. Data evaluation indicated that the Timurid architectural inscriptions can be divided into three types of readable, covering and small decorative ones. The most prominent feature of the Timurid inscriptions was the function of dual (mother and baby) inscriptions using Thuluth and Kufic calligraphy, the widespread use of Banaei Kufic inscriptions on buildings, inventions in small decorative inscriptions and the widespread usage of cobalt blue and turquoise. The calligraphy type and the overall composition are varied in simpler and more basic forms early this century in Samarkand era to its more delicate, sophisticated, curved forms in the middle and end of that era in Iran. The widest surfaces covered by covering inscriptions appear in the monuments created by Timur and Ulugh Beg. The content of these three inscriptions, including verses and hadiths, phrases in praise of the Lord and the religious men, or in the emphasis on the supreme leader's position of king on earth and the mortal nature of life and the building information.
Journal of Great Khorasan
Imam Reza International University
2251-6131
8
v.
28
no.
2017
36
21
https://jgk.imamreza.ac.ir/article_137898_351982008b45c03e9b967f9d35e14420.pdf
Visualize review of Malekzozan Mehrab (Emphatically to written epigraphs)
کامران
افشار مهاجر
دانشیار دانشکده هنرهای تجسمی دانشگاه هنر- شهر تهران- ایران
author
سودابه
صالحی
استادیار دانشکده هنرهای تجسمی دانشگاه هنر- شهر تهران- ایران
author
حمیدرضا
قلیچ خانی
دکتری ادبیات فارسی از دانشگاه دهلی نو
author
امیر
فرید
دانشجوی دکتر تاریخ تطبیقی تحلیلی هنر اسلامی دانشگاه هنر شهر تهران - ایران
author
text
article
2017
per
Journal of Great Khorasan
Imam Reza International University
2251-6131
8
v.
28
no.
2017
50
37
https://jgk.imamreza.ac.ir/article_137899_bfa012e6cee6da964c3bc7021632450c.pdf
A Research on the Geometric Ornaments in Figures of Ebrahim Mirza’s Haft Awrang
مریم
عظیمی نژاد
دانشجوی کارشناسی ارشد
author
علی رضا
خواجه احمد عطاری
استادیار گروه آموزش صنایع دستی دانشکده صنایع دستی دانشگاه هنر اصفهان- شهر اصفهان- ایران
author
صمد
نجارپور جباری
استادیار و هیات علمی گروه کتابت و نگارگری دانشکده صنایع دستی دانشگاه هنر اصفهان - شهر اصفهان- ایران
author
بهاره
تقوی نژاد
استادیار گروه صنایع دستی دانشکده صنایع دستی دانشگاه هنر اصفهان- شهر اصفهان- ایران
author
text
article
2017
per
Decorative motifs are applied in Islamic arts, including architecture, book design, and miniature. In Persian miniatures, we can see the emergence of decorative elements as supplementary factors of designs. These elements have a significant role in promoting the magnificence and visuals of Persian painting. The use of decorative arrays (decorative ornaments) has been common in painting surfaces, especially in the Timurid and Safavid miniatures. Among the outstanding depicted versions of the Safavid era, Jami’s Haft Awrang, maintained in the Freer Museum, Washington, can be mentioned which has been developed and depicted in the royal workshop of Ebrahim Mirza Safavid. This version is rich in arrays (ornaments) and decorative motifs. From among its most prominent decorative motifs, geometric knots can be mentioned which are observed in most of its figures. The current paper has been performed aiming at introducing and recognizing the geometric decorations of figures in Ebrahim Mirza’s Haft Awrang, linear analysis of these ornaments (arrays) and providing an appropriate classification for them, as well as explaining how they have been applied in different parts in terms of type and technique. Data collection process has been performed by referring to written sources during which the data obtained from the study samples were investigated using an analytical-comparative method. Accordingly, the following questions are posed:
- What are the features of geometric knots existing in figures of Jami’s Haft Awrang?
- How have the geometric knots been applied and implemented in figures of Jami’s Haft Awrang?
The results gained of investigating the figures in Ebrahim Mirza’s Haft Awrang indicated that application of geometric motifs has been more widely manifested in the area of tiling, brickwork and wooden knot work; and the number of knots is mostly based on six or eight. These knots have been mainly applied on surfaces of porches, floors, and lateral walls of building, and they have been also used in the form of knot work as shields for gardens, doors, and windows.
Journal of Great Khorasan
Imam Reza International University
2251-6131
8
v.
28
no.
2017
68
51
https://jgk.imamreza.ac.ir/article_137900_e07429f6bdce1d2b0b2c2efe547526ff.pdf
The presence of color in expresses the importance of the levels and views in architecture
اصغر
جوانی
دانشیار دانشگاه هنر اصفهان- شهر اصفهان- ایران
author
قباد
کیانمهر
دانشیار دانشگاه هنر اصفهان- شهر اصفهان- ایران
author
فروغ
مهیار
استاد یار دانشگاه هنر اصفهان- شهر اصفهان- ایران
author
سید علی اکبر
سیدی
دانشجوی دکتری دانشگاه هنر اصفهان- شهر اصفهان- ایران
author
text
article
2017
per
Color is one of the fastest ways of conveying messages and meanings. Iranian architecture, from the color of the most important visual element, has always benefited. Timurid architecture can be seen as a symbol of various colors that are used in different ways. Turquoise and azure have been used in most of Moaghali the next to and in contrast with brick color by architects in Timurid period. The main question now is, what is the relationship between the importance views and the color ratio used in each views?
The purpose of this research is to demonstrate the relationship between the amount of color space used and the location of the architectural view in Qhyasyeh of Khargerd School
It seems that the use of color and its area is dependent on the importance and the location in the decorations. In other words whatever the surface has been more visible, more important and became more decoration. As a result, the amount of surface colored tile to brick background color was more increased. In this study, Moaghales in around of Qhyasyeh of Khargerd School were tested. In this situation the area of each color is measured and computed by counting Pixels of Image that redesign by the computer.
Method is Laboratory research which will base on the results of quantitative measurements. This does with redesigned on the original designs and counting pixels in each surface of color is calculated by existing graphical software. Research population includes all Moaghali designs. Which is located at the periphery of Qhyasyeh of Khargerd School?
The results show that the increase of color levels compared to the bricks of the field has a direct relationship with increasing importance of the facade. For example: the presence of color in the main entrance that became more decorative than other views. The Qibla view is ranked second , and the eastern and western sides of the building have used the least amount of color.
Journal of Great Khorasan
Imam Reza International University
2251-6131
8
v.
28
no.
2017
88
69
https://jgk.imamreza.ac.ir/article_137901_fa3d42d2329daae42c630dae5006e27d.pdf
غلامرضا
هاشمی
استادیار و هیات علمی دانشگاه هنر اصفهان- شهر اصفهان- ایران
author
text
article
2017
per
Journal of Great Khorasan
Imam Reza International University
2251-6131
8
v.
28
no.
2017
106
89
https://jgk.imamreza.ac.ir/article_137896_f72326729a6633a8167b5f035b85c2b7.pdf