حجت الا سلام دکتر سیدعلی محمد یثربی author text article 2008 per پردیس هنرهای زیبا_دانشگاه تهران 33 v. 33 no. 2008 https://jhz.ut.ac.ir/article_19036_c9e363586e166e3ab953cee98b3add50.pdf دکترعباس احمد آخوندی author دکتر ناصر برک پور author ایرج اسدی author میثم بصیرت author حبیب الله طاهرخانی author text article 2008 per پردیس هنرهای زیبا_دانشگاه تهران 33 v. 33 no. 2008 https://jhz.ut.ac.ir/article_19037_9353ac39fe08060bfc8385ab9648f37e.pdf دکترکیومرث حبیبی author دکتر احمد پوراحمد author دکتر ابوالفضل مشکینی author دکتر علی عسگری author مهندس سعید نظری عدلی author text article 2008 per پردیس هنرهای زیبا_دانشگاه تهران 33 v. 33 no. 2008 https://jhz.ut.ac.ir/article_19038_df4f499df2112a3595b9582631805af4.pdf مهندس محسن بینا author text article 2008 per پردیس هنرهای زیبا_دانشگاه تهران 33 v. 33 no. 2008 https://jhz.ut.ac.ir/article_19039_bdd8626d54f4f9bcae7ca0d993d60902.pdf مهندس مهدی معینی author text article 2008 per پردیس هنرهای زیبا_دانشگاه تهران 33 v. 33 no. 2008 https://jhz.ut.ac.ir/article_19040_83910bc84af5b7df340527ca1778b1f6.pdf دکتر یاسمن خداداده author مینو ضیایی author text article 2008 per پردیس هنرهای زیبا_دانشگاه تهران 33 v. 33 no. 2008 https://jhz.ut.ac.ir/article_19041_8521ef02566cee9e246cf58f8e622382.pdf دکتر یعقوب آژند author text article 2008 per The key to the creation of the Ilkhanid and Jalayirid? s art lies in the methods and objectives of the kitabkhana staff, those artists and craftsmen responsible for visualizing princely aspirations. Their adherence to strict notions of artistic conception and transmission was repeatedly borne out by works in a variety of media. There are intriguing anologies among painting, decorative arts, poetry and royal myth. The painting and calligraphies surviving from khitabhana make it possible to begin to reconstruct formal categories. Kitabkhana had two ateliers: ketabatkhana and suratkhana. These divisions were not absolute in conception and practice, they clearly constituted loose groupings reflective of a dynastic visual program. Links with Ilkhanid and JalayiridH s ateliers are comfirmed by the »chain of transmission« between master and pupil. The confluence of highly trained artists from this heritage encouraged the creation of an ambition, state sponsored program of artistic production. Litrary evidence often implies a close relationship between ketabatkhana and suratkhana. While details of the relationship between kitabatkhana and suratkhana may be debated, the nature of the art born of that conjunction is vastly clarified by an abunbace of technical material preserved in the manuscripts and albums. The various idioms of the illustrative category: epic, poetic, historical and scientific, were all created by Ilkhanid and Jalayirid patronage. During Ilkhanid and Jalayirid period the production of luxury manuscripts was such an elaborate process of specialists, or even team of specialists, were required for calligraphy, decoration, gilding, illustration and binding. The complicated paintings in such luxury manuscripts were undoubtedly executed by several artists and apprentices. We know the names of one team of scribe and illuminator and painter who worked in Rashid al- DinH s atelier, presumably at Tabriz. Several scribes from Kashan also penned illustrated and illuminated manuscripts in the Ilkhanid period. By studying the kitabatkhana and suratkhana ( writing and picture gallery ) we can get a sense of working methods developed by the artists in Ilkhanid and Jalayirid period. A Tradition of illustrated manscripts can be documented in the Persian – speaking lands of Iraq and western Iran during the rule of Ilkhanid dynasty, when several distinct Style of book painting emerged. The reason for this apparent spurt in Production are not totally clear but it was undeniably related to the general cultural revival sponsored by the Ilkhanids. Familiarity with Chinese illustrated Scrolls may also have played arole in this development. Extant manuscripts show that the scribe first copied the text, having blanks for illustration. Sometimes the Scribe himself Painted the Pictures: sometimes another artist did. The best example of a 14Th- century Scriptorium is the one founded by the by the vizier Rashid al-Din in Rab- I Rashidi, his quarter in Tabriz. Its endowment deed Providedfor the annual copying of the Koran and other religious manuscripts, and an addendum Provided for the annual copying of the vizier`s Collected works in Arabic and Persian. Some of the 220 slaves attached to the complex were assigned to the tasks of calligraphy, Painting and gilding, and all manuscrips were to be done on good Baghdadi paper in a net hand, collated with the originals in the library and bound in Fine leather. In this article the Trend of this elements was Studied. پردیس هنرهای زیبا_دانشگاه تهران 33 v. 33 no. 2008 https://jhz.ut.ac.ir/article_19042_d3ce96022f68d4996c603b7b15f23c5f.pdf دکتر صداقت جباری author text article 2008 per پردیس هنرهای زیبا_دانشگاه تهران 33 v. 33 no. 2008 https://jhz.ut.ac.ir/article_19043_7e54da6d6b3d805f0ccf6b24b068dc5f.pdf دکتر زهرا رهبرنیا author سمیه مهریزی ثانی author text article 2008 per One of the important divisions which could be attached to assortment of photos, is to separate them in the means of the extent to which they are adapted to the external reality and the amount of their allegiance to objective record of affairs. Since there has not been any significant and decisive delimitation between photographs from this point of view, with a general assortment based on it, it’s been attempted in this essay to separate all photographs in three groups of realistic, abstract and nonobjective, and signify the boundaries between them. With this aim the meanings of the words realism, abstract, and nonobjective is been over viewed briefly and in concision and then meantime recognition of their characteristics and designation of new borders is proceeded. The first group contains realistic photographs in which this category comprehends news and documented photographs, its main aim is to record the whole reality in a tangible and faithful way which is conveyed in a narrative frame and definite location and time. The photographer creates his own special world concordant with the nature and does his best along to record an image near to the outside truth and tries to record the actual reality authentically. The abstract photographs have been separated in the next group which recapitulation and elimination of supernumeraries in it’s characteristic sign of this group of photos. The photographer in this procedure tries to create an image farther from reality with disregard for camera’s mirroring presentment and an optional perception, simplification and an unconventional view, and exact presentment of outside reality is no more completely the criterion of action and distinguishing the essence of case is impossible without calculation. The photographer in this grade is trying to establish a balance between his faith to nature and independence of the image which he creates. Nonobjective photos are set in the last category in which the picture itself is concerned as the object instead of the entities and the photographer cuts his connection with nature and recording the tangible reality and the picture is no more a site for demonstration of an issue from the sensible world. nonobjective photo does not contain a recital of nature and real universe and no efforts are made in order to inspiration of an external image. nonobjective in photography is mostly generated by affectation and technical interpolation and is virtually independent of the objective or seen reality and the communication between the photographer and camera is dropped to a negligible amount. The main goal for these photos is to exhibit the human’s inner world without appealing to external world’s tropes. Indeed, on the other hand this should be noted that there couldn’t be decisive and constant borders in separation of artistic procedures, because lots of artistic conceptions and values are changeable during the history and different cultures and construction of a catholic version for all times is impossible. Accordingly, this essay reviews the quality of viewing the photographic opuses mostly from formalistic and a general observation. پردیس هنرهای زیبا_دانشگاه تهران 33 v. 33 no. 2008 https://jhz.ut.ac.ir/article_19044_4ef31a73a25121f23b105c69f0464551.pdf سامره کاظمی author text article 2008 per پردیس هنرهای زیبا_دانشگاه تهران 33 v. 33 no. 2008 https://jhz.ut.ac.ir/article_19045_2d065769610b811f7fc44dc4eb46760d.pdf دکتر اصغر کفشچیان مقدم author سمیرا رویان author text article 2008 per پردیس هنرهای زیبا_دانشگاه تهران 33 v. 33 no. 2008 https://jhz.ut.ac.ir/article_19046_562ebe7308671514261110a120abd1d9.pdf سید نجم‌الدین امیر شاه‌کرمی author لیلا کسائی author سید بدرالدین احمدی author text article 2008 per پردیس هنرهای زیبا_دانشگاه تهران 33 v. 33 no. 2008 https://jhz.ut.ac.ir/article_19047_3abf8e07792a0ddd5aabadf0148ed86d.pdf