عالقه مندان در صورت تمايل به اشتراک ساليانه فصلنامه نگره می توانند با تکميل فرم زير و ارسال آن به نشانی فصلنامه نگره اقدام کنند.

راهنمای اشتراک:اشتراک يک ساله (٤ شماره) برای سازمان ها، مؤسسات، افراد حقيقی يا حقوقی

با احتساب هزينه ارسال مبلغ ٧٢/٠٠٠ ريالاشتراک برای دانشجويان رشته های هنری مبلغ ٣٦/٠٠٠ريال (با ارسال تصوير کارت دانشجويی)

لطفًا مبلغ مذکور به حساب جاری شماره ١٧٧١ بانک ملی شعبه پارک الله به نام درآمدهای دانشگاه شاهد، فصلنامه نگره (قابل واريز در تمام شعبه های بانک ملی ايران) واريز شود و اصل رسيد بانکی

به همراه فرم تکميل شده اشتراک به نشانی فصلنامه ارسال گردد.نشانی فصلنامه: دانشکده هنر- دانشگاه شاهد

تهران، خيابان جمهوری اسالمی، نرسيده به چهارراه اسالمبول، خيابان بابی ساندز، پالک ٣٨کد پستی: ١١٣١٦٩٧٦١١ تلفن: ٦٦٧٢٦٨٢٢ دورنگار: ٦٦٧٢٣٣٣٧

فرم اشتراک فصلنامه نگره دانشکده هنر دانشگاه شاهد

فصلنامه تحليلی- پژوهشی

در اين قسمت چيزی ننويسيد

نام مؤسسه، سازمان، شرکت ....................................................................................................نام خانوادگی ................................................................................. نام....................................................

ميزان تحصيالت .....................................................رشته تحصيلی.....................................................اشتراک از شماره ...................... تا..................... تعداد مورد نياز از هر شماره.....................نسخه

........................................................................................................................................................ نشانی

...................................................................................................................................................................................................................................................................................................................................................کدپستی ....................................... صندوق پستی ........................ تلفن................................................شماره فيش بانکی ........................................................................ مبلغ به ريال...................................نام بانک و شعبه .............................................................................. تاريخ ............................................

امضای متقاضی

Jornal of faculty of art Shahed university

5 Winter 2008- No5

Abstract

Saljuqi period art : grafting art an séanceAhmad.Rreza.Rafiei -Ali.Asghar Shirazi

Saljuqi period is one of the most important periods of Islamic Persian history.:In this period different arts reached to a very improved and flourish level which could not be seen in Persian history. In this essay we have tried to find the influences of sciences on the art of this period. Structure and attributes of saljuqi arts revealed influence of sciences such as: mathematics, geometry, astronomy and metaphysic very well. The main factor that improve saljuqi art were the good relationship between arts and sciences.

Key words : Islamic art , architectur, mathematic,Saljuqi art , iran

Comparative Survey of Turkmen School and Heart School with Emphasis on the Visual Features Jamaleddin Toomajnia

Introducing the Turkmen School in this inquiry and comparing its visual features with heart school and their interplay are primary objectives in this article. Trying to find an answer to this question: why although there existed Some facts, the Turkmen School were not introduced as Heart School and likewise, Heart had been center of painting in Turkmen dominion? is the next aim of article. At the end of this inquiry, the article is attended to some justification have been presented.

Key words: Turkmen School, Heart School, , Turkmen.

Jornal of faculty of art Shahed university

4Winter 2008- No5

Abstract

Comparision study some characters between Persian painting andPerspolis reliefs.Mina Sadri -Habibollah . Ayatollahi

Persian arts, always have their symbolic and abstract forms (before and after Islam) in various periods. By comparing the artistic works through these periods, this fact will appear that the historical events, hasn>t have much influences on such point of view. For example; there is a close relationship and a sense of unity between reliefs of Perspolis ( Takht e Jamshid) and Islamic period>s Persian paintings, in their performing styles Persian paintings, in aspects of symbolic forms, designing and drawing, are similar with Perspolis> reliefs. There are two dimensional concepts in both of them. The domination of linear drawing in the embossments of Perspolis, shows them with at least dimension and the range of relief and light and shade is similar with Persian miniatures. Methods of stylization and trying to reach to essence of forms and archetypes, are the main similarities between them.

Key words: relief, Persian painting, Perspolis, symbolic, drawing.

The Presence of Winter in Literature and its Reflection in Persian PaintingMohammad Sadegh Mirza Abolghasemi

Persian literature has paved the way for flourishing Persian painting. Poets have always inspired painters as if Persian motifs despite having an independent identity and a world full of unique features owe the poets.Spring, winter, and their contrast are among prevalent subjects in Persian literature, so that few poets have ignored it. Seemingly, Iranian painters by constantly picturing spring were looking for paradise. That is to say, there is a strong and noticeable desire to illustrate the spring like feature of nature in Persian painting. This article is aimed at comparing some examples of winter description in literary texts with their related paintings.

Key words: Persian painting, painting, literature, winter

Jornal of faculty of art Shahed university

3Winter 2008- No5Abstract

Windows stuccos decoration in Abasian,s house in kashanRobabeh Khatoon Pileh Foroush

Abasian,s house is one of the kashan manor houses in Gajars period. It,s land and subbase are 5000 mm and 7000 mm. the hand crafts which are related to architectural had been use precisely and capillary .stucco was one of the most current on that period .Clearly we can watch a lot of various stuccos in this mansion.The windows of this manor house were stucco reticularly airy .the color windows donate visionary beaty to place. The golomorgh flower and bird figures havae the most effective . the islime impress are somehow attentianable.

Keywords :stuccos decoration, Gajars houses, Window,Arabesgue,cathaie ,golomorgh, flower and bird figures, kashan architecture.

Study of the place of gravure printing in the current art of Iran and the worldMahdi Mohamadian

The Eternality is very important in gravure printing. It allows the artist to create unique images without repetition. Moreover, the special characteristics of the gravure printing in reflecting the ideas and thoughts make it the matter of consideration for the world artists. This field of Arts enjoys great history in East and West and paves the way for innovative works of the Artists.This paper tries to illuminate different methods of the gravure printing and its examples in the art of Iran and the world through the explanatory research method.

Keywords: Print‚ Gravure, monoprint ‚ relief print، ‚ intaglio ‚ monotype‚ linoleum‚ printmaking

Jornal of faculty of art Shahed university

2

LIGHT AND ZOROASTRIAN ARTSeyyed Rahim Khoshnazar, Babak Alikhani

The presented article is going to investigate the influence of light theory in zoroastrian tradition on the art of Iran. The aim of this article is a survey on element of light in the philosophy of ancient Iran and its effect on artworks of the Achaemenid, the Parthian and Sassanid eras. This paper reviews the meaning of monotheism and dualism in zoroasterian religion and also two words of the sun and fire in zoroasterian Culture. These two words are symbols of light in zoroasterian culture. Also the meaning of aura or a divine light which has been very important in illumination philosophy of ancient Iran, is briefly investigated. This divine light or holy aura which is supposed to shine on chosen people, in works of art has been depicted in the shape of a circle. In this essay also light from the viewpoint of Sheikh Shahaboddin Sohrevardy and philosophers of ancient Iran is studied. In this paper also Zoroastrian art and its relation with the element of light has been analysed. At the end, this article deals with a survey on presence of light in painting of before the appearance of Islam in Iran. Incidentally Zoroastrian culture has caused the art of Iran to achieve a luminous world. Light in zoroatrian art has mainifested with forms of symbolic. For example, Ahura – Mazda is in Zoroastrian art a symbol for truth of light.

Keywords :Light, The Zoroastrian Religion, Iran, Zoroastrian Art, Painting. 2

Winter 2008- No5Abstract

Jornal of faculty of art Shahed university

1

The incident of ashura in Qajar paintingsDr.mahnaz shayestehfar

The incident of ashura remains as a significant event associated with the kin of the great prophet of islam and has been in the centre of attention for artists in the various of painting.The importance of Ashura lies in the fact that when imam Hussein was martyred and the women and children were held captive and taken from one city to another and also the famous speeches of zeinab and forth imam to leaders of Umavids it did not only reveal the face Umavids, but also strengthened the foundation of shi`ah and their sacrifice be came a Paradigm for all the shi’ah muslims in the world. In the Qajar period, the political and social status was ready to accept paintings with the content of Ashura . after the constitutional monarchy , religious painting was mainly confied to vulgar and colloquial paintings which were mostly created by courtier and inexpert painting. They applied techniques such as coffeehouse paintings , painting under glass , and painting using lithography.The follings, questions will be answered.1.what is the origin of religious painting in the Qajar period? And what are its characteristics. 2.what are the techniques applied in religious paintings ?3. how does the incident of Ashura influence the paintings? The compilation of subject matter and data used in this article is extracted from library , record and thesis materials,Visual and Written , and the conduction of the theme is descriptive , historical and analytical.

Keywords: Persian painting , Ashura , Qajar era, content and meaning, technique.

1 Winter 2008- No5

Abstract

Jornal of faculty of art Shahed university

Contents

The incident of ashura in Qajar paintings / 5Mahnaz Shayestehfar

Light And Zoroaatrian Art / 17 Seyed Rahim Khoshnazar-Babak AliKhani

Study of the place of gravure printing in the current art of Iran and the world /35Mahdi Mohamadian

Windows stuccos decoration in Abasian,s house in kashan/ 46Robabeh Khatoon PilehForoush

Comparision study some characters between Persian painting and Perspolis reliefs. / 63Mina Sadri- Habibollah Ayatollahi

The Presence of Winter in Literature and its Reflection in Persian Painting / 77Mohammad Sadegh Mirza Abolghasemi

Comparative Survey of Turkmen School and HeartSchool with Emphasis on the Visual Features / 91Jamaleddin Toomajnia

Saljuqi period art : grafting art an séance / 107Ahmad Reza rafiei-Ali Asghar shirazi

Faculty of art, Shahed universityAnalytical Research Quarterly Journal

Winter-2008 -NO 5ISSN-1735-4560

Licence Holder: Shahed UniversityDirector & Editor-in-chief:

Ali Asghar Shirazi

Editorial Board (in alphabetical order):

Habibollah AyatollahiAssociate professor, Shahed university

Gholam Ali HatamAssociate professor, university of art

Morteza HeidaryFaculty of Art , Tarbiat Modarres university

Mohammad KhazaeiAssociate professor, Tarbiat Modarres

universityMohsen Marasi

Faculty of Art, Shahed universityMehrangiz Mazahery

Assistant professor, Al-zahra universityHekmatollah Mollasalehi

Assistant professor, Tehran universityAhmad Nadealian

Assistant professor, Shahed universityAli Asghar Shirazi

Faculty of Art, Shahed universityMahamod Tavosi

Professor,Faculty of Art, Tarbiat Modarres

Logo type: Ali Asghar ShiraziCover Designer:Morteza AfshariLiterary Editor & Interior:Hosein TaghipoorLayout: Hosein SolemaniPrice: 18000RlS Adress: Faculty of Art, Shahed university, Tehran- IranP.O.Box:1131697611TelePhone: (+98-21) 66726822- 66733283Fax: (+98-21) 66723337Email: Negarehj- art@shahed.ac.ir

Note: 1) Negareh publishes the scientific, studious, analytical articles in the Iran- Islamic field, notably concerning the plastic arts.2) The respectale authors are responsible for their articles only.3) Using of Negareh`s contents is conditional upon the inserting of its name as the reference.

Negareh quarterly publishes scientistic, research and analytical articles surrounding Islamic Iranian art specially visual arts.

Besmellah in cufi letter on deer skin, has been called Ali peasce be on to him Najaf Ashraf, Iraq, khazaneh-e- Heidarieh