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6CD) Beg, M.A.J(ed), Fine Arts in Islamic Civilization, The University of Malay Press , 1981 , Kuala Lumpur . Z3&3& ZM %M# !32G3 ( 032 |( G 432 Z#35 0|\12 [|M Khazaie,Mohammad ,Early Islamic Persian Art, Origin, Form and Meaning, & 3# 4&) A( 3# 4& 6 Z& /ZM <@2 [0( "# J3" 0b ¯ 6 Book Extra Pub ,1999, London . Z#30b R0= 3# Q\ 3 ¦\ Z"M ¨1 ZJ |1 .%6 (# ,"' 32 Khazaie, Mohammad,The Source and Religious Symbolism of the 6 <$ Z& .%)b ] Z& 6 = W 6 Z0 ( Z3 Arabesque in Medieval Islamic Art of Persia Central Asiatic Journal (ISI), =~b "# 3# %"& G 3= ¦\ G =&6 [M Z\z" 40 3 [¯@ 32 in ,Harrassowitz Verlag ,49, 2005،Germany . @ Z& ( 4#3- 4( # [M .60b ] 3z 6 46 <|M & G R] 3# 4& 3# @ 3 M3\ Z& 4(6 Z"0M2 ¦\ 3$ G ZM3# . =6' 0 :6 Z <30 MG Q#(.' [M M3= ( 6 <M Z 3#(3 ( Z5"#) "# 3# %"& 43 5M6 2 ( (2– .Z& 4(6 "# 3$ ¦G6' 032 [0"@# ( Z& "# ZM3)¯ 6 <3=&3 <M Z@2 3#"# & Q\ – .<M "# 3# %"& 3¯2 6 Z& Z"0 <3>Y Z@ ( =1 Z23R .%& "# =1 & 032 ( Q\ – 6 6 30 Z¯ ( H3] 6 [M Z"0 <3>Y M3& 6 2 Z [> ( 0W3& .66b <M(3Y 3# %"& 3 R2 Z( "# 3$ QM0' ¨3 ( #6 ¦\ G 463T=& Z#3 ( ¯" ( M2 ±)J "# Z& "# (3 [M 6 – G Z@y Q 4#3- 53@# .%& <0 ( <3 4¯0' 4.M( 3Y .66 <3b' ( 30 ( ( 43@||

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ROLE OF THE REGULATOR LINES IN THE RELIEF NAMED IRANSHAHRS GREATMEN , APADANA HALL STAIRS , PERSEPOLIS . -#(.' /012 3") Reza Afhami

This article studys role of the regulator lines in reliefs of the Apadana stairs. 45 3") 303& e= M3@2 J 6 <"] .""* ] 45 3") 3- <$ A3& ( MG ) 0@72 3 "2 As everybody knows these reliefs are important workarts of the Achamenians period in ancient Iran and could be the best sources to review the other motifs :e= 3@"# in the Persepolis buildings (Shiraz-Iran).Going-over of the particular motifs ]\ 3M \0\ 6) 3&Ó 3#<3G3& (43@ C) 3&M e= named “Iranshahr Nobilities” in the Persian and the Medes dresses had been A3M B?/EEE ½R A3& "M# !3= 3 (M-6 3* M2 A3& 3) A3M9D/EEE ½R "# 3# = <3M-6 e= the firsr task of this essay.Results show that sketchers of these reliefs using 45 3") #3 435-6 3#$6 3 v e3' R 3 8BB8 43@ 3Y !3 *~ ½R 3Tz{ the regulator lines have created a cadence which is based on the double 73 0& J ( 6 M( (<M 3 3# R 3@2 6 M( 3]) repetitious. Combination of repetitious, though, helped them to control of .66b A3& 3") 3- e= 4 0@72 ) 4@# the harmony among different figures. #3 435-6 /"# 47-6 :3") 3- 9: e' G3& 3 <330 AR& 43>X 40& & >@Y <330 <>2 Key words:Regulator lines, Achamenian Art ,Repetitious , Apadana Stairs DDB?999B :35(6 DDB?D:?? :[T2 8898DdBD88 :=' * ,Persepolis .

45 3") e= ) 0M" 0X %@] [M 6 #3 435-6 "# 47-6 GREAT CARPET PAINTERS – SKETCHERS IN THE 2ND SCHOOL OF TABRIZ Samad Najjarpour – Mohammad Ali Rajabi ...... %* <3G3& &Ó 3 ...... 3 ...... b63 3 Maximum of prosperity for Persian painting occured in the Safavid time in Tabriz ...... 012 =...... 012 <0 city. The 2nd school of Tabriz, at this period formed. Some of the Harat painters ...... 43@ # G G30 6 62 ...... 32 ...... 43@ G e= came to Tabriz and established the 2nd school of Tabriz with the help of Tabriz ...... 3- artists. Remanent artworks of this period show a kind of unity and congruence ...... among all over the art mediums. Several priceless carpets have been remained which all belong to this period. These ...... carpets show that there is a relation between their motifs and painting. This essay ...... [T2 ...... =' ¢("J ...... ='* examines two hypothesis: some of them may be sketched by the great painters, for ...... A3M ½R ...... 73 Q0) 43@ instance, Soltan Mohammed and Aqamirak, this the first and the second hypothesis ...... M32 ...... R ( 3 3 is that unknown sketchers of Tabriz city following the styles of S.Mohammed and P3\= 3 Aqamirak have created these artworks. Abstract 5 Key words:Carpet , Second School of Tabriz , Painting ,Safavid. Spring & Summer 2006-No2&3 Jornal of faculty of art Shahed university Jornal of faculty of art Shahed university

TRANSITION ROUTE OF THE LITHOGRAPHICAL ILLUSTRATION IN BOOKS AND LEAFLETS ( IN 19TH CENTURY A.D. ) Maryam Nazari – Mohsen Marasi

Lithography is a major printmaking technique which was invented ( by Alois Senefeldor ) based on the bilateral repulse of water and greasiness. In other words, it depends upon the principle that oil and water do not mix. Artist in this technique records his word inversely on the print stone, although it will be seen rightly after printing.Lithography was imported to Iran in the Mohammed Shah (Qajar) time. Persian painting genre in the Qajarid period (up to 19th century) and inchoate photography in the administration of Nased – al –Din Shah were two factors that had their own effects on lithograph pictures. Researcher, now can find both the prevalent realism of the Naser Shah time and continuance of painting genre of the Fath -e -Ali Shah time.This article is about the hows of fomation of the book illustration in lithography. In addition, Marasi and his co-worker examine mutual relations of photography and painting in the period of Qajar. Key words: Lithography,Illustration,Qajar Period,Photography.

CHARACTERISTICS OF EXCELENCY ABOLFAZL-AL-ABBAS (PBUH) ICON IN THE QAVEH KHANEH ARTWORKS Khashayar Qazizadeh MANIFESTAION OF GNOSTICISM IN THE Ashura event as the greatest incident in the history of Islam and Shiite was (and CARPET DESIGNS OF THE SAFAVID PERIOD is ) an ispiration source for the moslem artists. Ashura epitomaizes devotion and Ali Vand Shoari – Ahmad Nadealian gallantry in art mediums amon poetry, music, drama and specially painting. Going-over of the carpet motifs shows that there are very Excelency Abolfazl-Al-Abbas (PBUH), the younger brother of Imam Houssein complicated meanings behind of these visible motifs. These motifs have (PBUH), is one of the most important combatant in Ashura day. His traits among been used in a grand conceptual place in our special periods of history and bonhomie, dedication, and braveness have attracted the moslem artists there and culture. The Safavid period is one of these periods whereat the high concepts then. Since Abolfazl (PBUH), though has a high position, is not an Imam in Shiite, of gnosis and Islam apear on the carpets with symbolic signs. The artists so Persian painters had (and have) not a rigid ban to paint his lovely face. and thinkers’ wistful of the Safavid period was to arrive at the lofty paradise In religious iconography, then, there are many portraits from his remarkable face, and endless bliss. So they were trying to extension of the garden design and particularly in the portraiture of Qaveh-Khaneh school. Researchers in Iran believe other motifs and elements which associate the paradise elements including that foundation of Islamic Iconography is beholden to this popular icons and portraits. They also maintain that this kind of painting found its original characteristics in tree, peacock and fish. In this peacful situation we can see the Gereft-o- Geer history and settled its position in Persian (and world) painting gradually. design as a symbole to reveal the arduous to paradise. In other words, the Keywords : Iconography,Qaveh Khaneh Painting,Shetching,Colouring,Abolfazl- human being can only get in paradis if he beat his carnal disires. Abstract 3 Al-Abbas(PBUH). Keywords:Carpet , Safavid , Gnosist. Abstract 4 Spring & Summer 2006-No2&3 Spring & Summer 2006-No2&3 Jornal of faculty of art Shahed university Jornal of faculty of art Shahed university

collections have more unsuitable situations. For instance, Shahid Motahhary High School library (formerly Sephsalar), has yet an update list and after one century uses an old public list sorrily. Late Dr. Madadpur has tried here to give a special subjective list from the painting collections of the mentioned library. Hope this essay would be a step to offer a unique format for all artistic collections. ALI REZA ABBASI AND THE GEM QURAN OF THE Keywords:Manuscripts,Illustrated Books,High School and Library of shahid A.Q.RAZAVIS LIBRARY Motahary , Sepahsalar . Mohammad Mehdi Harati

This article descriptions one of the precious Qurans wich is now reserved in the library of “Astan Qods Razavi” (Mashhad- Iran). This priceless Quran (with No. 107) has been written by Alireza Abbasi who was the distinguished calligrapher of the safavid period.Alireza Abbasi, though introduces shortly in this article but his excellent artwork- aging more than 4 centuries, has been analysed exactly from the viewpoint of the Quran verse writing, calligraphic rules, motifs in gilding and above all aesthetics reasons. Some pictures of this gem Quran help readers to be full familiar with wised programing of Alireza Abbasi as the boss of Shad Abbas library in writing and aesthetics Key words: Holly Quran,Ali Reza Abasi,Calligraphy,Savavid,Astan Qods Razavi. ROLE OF THE SASANID ART IN FORMATIAN OF THE ISLAMIC ART OF PERSIA ( IN 9TH TO 11TH CENTURYIES A.D. ) Mohammad Khazaee

The Sassanid period began one of the most brilliant periods of Persian art. The Sassanid artists created a new style of abstract, pseudo-floral ornaments, in which rhythmic repetition and symmetry are the main principles. The Sasanid Empire fell quickly, and in its entirety, to the Arab Muslim armies. It seems the artists of the Islamic period followed the local traditions, and gradually SUBJECTIVE AND ANALYTIC LIST OF THE ILLUSTRATIVE BOOKS IN adopted and developed a new method of decoration. THE HANDWRITTER COLLECTION OF M.A.SH. MOTAHARYS LIBRARY The influence of Sasanid art on the formation of the Persian Islamic style is very ( FORMERLY SEPAHSALAR ) important. The decoration on surviving Persian monuments of this period is seen Mohammad Madadpour as closely related to that on the truly: Islamic monuments themselves. This article is composed of three main sections. First section will be a briefly One of the essential inquiries in the academic research fields is to discern and surveys the culture and art of the Sasanid period. The influence of Sasanid art on understanding of importance of pictorial collections. All of thess are usually found the formation of the Iranian Islamic art will be discussed in second section. And in the old manuscripts of Iran. finally, traces the development of f°!»Ins and meaning of some decorative motifs These collection have diffused in the libraries everywhere and have not found their through its use in early Islamic art of Persia. own position among the library men and researchers. Need not to say that Iranian Key Words: Persian Art, Sassanid Art, Islamic Art, Decorative Motifs. Abstract 1 Abstract 2 2 Spring & Summer 2006-No2&3 Spring & Summer 2006-No2&3 Jornal of faculty of art Shahed university

Faculty of art, Shahed university Analytical Research Quarterly Journal Spring & Summer-2006 -NO 2&3 ISSN-1735-4560 Contents Licence Holder: Shahed University Director & Editor-in-chief: Ali Asghar Shirazi ALI REZA ABBASI AND THE GEM QURAN OF THE A.Q.RAZAVIS English Editor: Dr. Mahdi Pourrezaeeian LIBRARY / 5 Editorial Board (in alphabetical order): Mohammad Mahdi Harati

Habibollah Ayatollahi SUBJECTIVE AND ANALYTIC LIST OF THE ILLUSTRATIVE Associate professor, Shahed university BOOKS IN THE HANDWRITTER COLLECTION OF M.A.SH. Gholam Ali Hatam MOTAHARYS LIBRARY / 15 Associate professor, university of art Mohamad Madadpour – Z. Jafari Morteza Heidary Ali Asghar Shirazi Asistant professor, Tarbiat Modarres university Mohammad Khazaei ROLE OF THE SASANID ART IN FORMATIAN OF THE ISLAMIC Associate professor, Tarbiat Modarres ART OF PERSIA / 41 university Ali Asghar Shirazi Mohamad Khazaee Faculty of Art, Shahed university CHARACTERISTICS OF EXCELENCY ABOLFAZL AL-ABBAS Mohsen Marasi Faculty of Art, Shahed university (PBUH) ICON IN THE QAVEH KHANEH ARTWORKS / 53 Mehrangiz Mazahery Khashayar Qazizadeh Assistant professor, Al-zahra university TRANSITION ROUTE OF THE LITHOGRAPHICAL Hekmatollah Mollasalehi ILLUSTRATION IN BOOKS AND LEAFLETS / 67 Assistant professor, Tehran university Maryam Nazari -Mohsen Marasi Ahmad Nadealian MANIFESTAION OF GNOSTICISM IN THE CARPET DESIGNS OF Assistant professor, Shahed university Note: THE SAFAVID PERIOD/ 85 Literary Editor: Dr. Mahdi Pourrezaeian 1) Negareh publishes the Ali Vandshoari-Ahmad Nadealian Logo type: Ali Asghar Shirazi scientiﬁc, studious, analytical ROLE OF THE REGULATOR LINES IN THE RELIEF NAMED Cover Designer:Morteza Afshari articles in the Iran- Islamic ﬁeld, Production Manager:Hosein Taghipoor IRANSHAHRS GREATMEN , APADANA HALL STAIRS , Layout: Hosein Solemani notably concerning the plastic Lithography & print: Senobar arts. PERSEPOLIS / 97 Price: 18000RlS 2) The respectale authors are Reza Afhami -Mahmod Tavoosi Adress: Faculty of Art, Shahed university, Tehran- Iran responsible for their articles only. GREAT CARPET PAINTERS SKETCHERS IN THE 2ND SCHOOL P.O.Box:1131697611 3) Using of Negareh`s contents is TelePhone: (+98-21) 66726822- 66733283 OF TABRIZ / 107 Fax: (+98-21) 66723337 conditional upon the inserting of Email: Negarehj- [email protected] its name as the reference. Samad Najjarpour -Mohammad Ali Rajabi

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