En
  • دکتری (1375)

    ارتباط تصویری - گرافیک

    بیرمنگام، انگلستان

  • کارشناسی‌ارشد (1370)

    ارتباط تصویری - گرافیک

    دانشگاه تربیت مدرس،

  • کارشناسی (1367)

    ارتباط تصویری - گرافیک

    دانشگاه تهران، ایران

  • نماد پردازی در هنر ایران
  • هنرهای تزئینی ایران

    داده ای یافت نشد

    ارتباط

    رزومه

    REFLECTION OF CONFIGURATION OF TWO SOCIAL PHENOMENA ON LUSTER CERAMICS IN SELJUK ERA (THE APPEARANCE OF MIDDLE CLASS AND PO...

    HANIEH NIKKHAH, MOHAMMAD KHAZAIE, GHOLAM ALI HATAM, JAVAD NEYESTANI
    Journal Papers , Volume 3 , Issue 9, 2011 January 1, {Pages 107-125 }

    Abstract

    Luster pottery that had a significant prevalence from sixth to the eighth century AH in Iran, almost emerged simultaneously with the Seljuk rule in Iran. Analysis of these masterpieces in addition to the technical, structural and aesthetic aspects, sometimes help us to find political, economic, social and cultural status of this period. In this article to identify the social configuration and conditions of this period we want to scrutinize and recognize the luster ceramics of the sixth century AH. The emergence and widespread augmentation of this precious ceramics in the Seljuk Era raises some questions that this paper attempts to answer: Can sociological interpretation be offered for this artistic phenomenon and if it is possible to repres

    Reflection of Configuration of two Social Phenomena on luster Ceramics in Seljuk Era (The Appearance of Middle Class and Popular Art)

    H NIKKHAH, M KHAZAIE, GALI HATAM, J NEYESTANI
    Journal Papers , , {Pages }

    Abstract

    Decorative Elements in the Shrine of Imamzadeh Ismail of Qom

    MOHAMMAD KHAZAIE, MOHAMMAD GHASIM HOSSEINI
    Journal Papers , Volume 6 , Issue 12, 2009 January 1, {Pages 99-112 }

    Abstract

    Among the various subcategories of Islamic art, Islamic architecture specifically Islamic ornamentation is of excessive significance. The remaining artworks of Islamic ornamentation from mosques and tombs of pious men behold a unique and profound characteristic of visual art. Qom, a city in central Iran, has become a treasure for Islamic architectural decoration; mainly for the holy presence of Hazrat-e-Masoumeh and the many Imamzadeh shrines. Among them, Imamzadeh Ismail known as" Seyed Sarbakhsh" will be the focus of this paper. The tomb which dates back to the fourteenth/eight century during the reign of the Ilkhanid era is embellished with exquisite and remarkable ornamentation. The current study is based on the introduction and explora

    The arabesque (islimi): Its formation and religious devotion in early Islamic art of Persia

    Mohammad Khazaie
    Journal PapersGOYA , Issue 312, 2006 May 1, {Pages 131-+ }

    Abstract

    Muslim Persian designer covered everyday and religious objects with many different types of decoration. Among them, the most universal motif is the arabesque, a highly abstract and rhythmic ornament. It is found in a wide variety of media: the arts of the book, ceramics, tiles, stucco, stonework, wood, metalwork, textiles and so on. The arabesque ornament was popular in all periods of Persian art, which it has lasted until the present day. In this article some aspects of the arabesque motifs in early Islamic art of Persia, such as origin, formation, development, and finally its significance and relation to the Islamic world view, would be discussed.

    El arabesco (isl?m?): Su formaci?n y significado religioso en el primer arte isl?mico de Persia

    Mohammad Khaz?ie
    Journal PapersGoya: Revista de arte , Issue 312, 2006 January , {Pages 131-142 }

    Abstract

    El artesano persa musulm?n recubre objetos cotidianos y religiosos con tipos de decoraci?n muy diferentes. Entre ellos, el motivo m?s universal es el arabesco, un ornamento de car?cter abstracto y r?tmico que se encuentra en una gran variedad de medios: las artes del libro, cer?micas, azulejos, estucos, relieves en piedra y madera, metalister?a, tejidos, etc. El arabesco fue muy popular en todos los periodos del arte isl?mico persa, siendo empleado hasta el d?a de hoy. En este art?culo se tratan algunos aspectos de este importante motivo decorativo en el primer arte isl?mico de Persia, como su origen, formaci?n, desarrollo y, finalmente, su significado y relaci?n con el punto de vista del mundo isl?mico

    El arabesco (islîmî): su formación y significado religioso en el primer arte islámico de Persia

    M Khazâie
    Journal Papers , , {Pages }

    Abstract

    The Source and Religious Symbolism of the Arabesque in Medieval Islamic Art of Persia

    Mohammad Khaz?ie
    Journal PapersCentral Asiatic Journal , Volume 49 , Issue 1, 2005 January 1, {Pages 27-50 }

    Abstract

    The most common motif in Islamic art of all countries is the arabesque. Muslim artists of all regions used the arabesque and provided new vari-ants, although these always followed the original spirit. Several misleading definitions of the arabesque exist in which the term is applied to almost every form of Islamic decoration. 1 Properly, the arabesque is a particular Islamic form of a conventionalised vegetal ornament composed of spiral or stylised waves and abstract elements suggesting a leaf, in which the abstract elements are set on either side of curving scrolls. The examples gathered together in this article demonstrate the impor-tance, the variety and the richness of the arabesque as a decorative motif in its setting of the daily life

    The Qur'an Manuscripts from Early Islamic Iran (10th to mid-13th AD)

    Mohammad Khazaie
    Journal Papers , Volume 9 , Issue 2, 2002 January 1, {Pages 37-46 }

    Abstract

    The Qur'an manuscripts played a dominant role in Islamic art. Our knowledge of the Islamic book in the early centuries of the Islamic era is based entirely on Qur'anic material. There are no finely illuminated Islamic manuscripts from 10th AD century Iran other than copies of the Qur'an; in fact, there are no other manuscripts at all. As to the period covered in this article, it has been found that the late 10th century was the formative period for Qur'an manuscripts. From the 11th to mid-13th centuries, the classical age when Qur'an manuscripts were perfected, we find a limitless variety of themes. The artists of these periods formulated a decorative vocabulary that became the most proninent characteristic of Islamic works of Qur'an and wa

    The arabesque motif (islimi) in early Islamic Persian art: origin, form and meaning.

    Mohammad Khazaie
    Journal Papers , 1997 January , {Pages }

    Abstract

    Ornament; Iran; Iranian.

    THE STATUS OF PERSIAN BOOK DESIGNERS IN TOPKAPI-SARAY ART WORKSHOPS, ON THE BASIS OF OTTOMAN “EHL-I HIREF” DOCUMENTS OF THE SIXT...

    FARZANEH FAROKHFAR, MOHAMMAD KHAZAIE, GHOLAMALI HATAM
    Journal Papers , Volume 8 , Issue 15, January , {Pages 35-52 }

    Abstract

    The beginning of sixteenth century coincided with political unrest in Persia that led to migration of many of Persian artists to the eastern and western area of the country. A number of Persian artists travelled to the Ottoman Empire. Ottoman Ehl-i Hiref (Community of the Talented) are one of the reliable documents that provide considerable information about activities of a number of immigrant Persian artists in Topkapi-Saray art workshops. The importance of reexamining such documents is reinforced by the fact that many professions of the Turkish court in the initial decades of the tenth century hegira mimicked the Persian art workshops and were established by Persian artists. Therefore, it is hypothesized that immigrant Persian artists wer

    THE STATUS OF PERSIAN BOOK DESIGNERS IN TOPKAPI-SARAY ART WORKSHOPS, ON THE BASIS OF OTTOMAN “EHL-I HIREF” DOCUMENTS OF THE SIXTEENTH CENTURY

    FARZANEH FAROKHFAR, MOHAMMAD KHAZAIE, GHOLAMALI HATAM
    Journal Papers , Volume 8 , Issue 15, January , {Pages 35-52 }

    Abstract

    The beginning of sixteenth century coincided with political unrest in Persia that led to migration of many of Persian artists to the eastern and western area of the country. A number of Persian artists travelled to the Ottoman Empire. Ottoman Ehl-i Hiref (Community of the Talented) are one of the reliable documents that provide considerable information about activities of a number of immigrant Persian artists in Topkapi-Saray art workshops. The importance of reexamining such documents is reinforced by the fact that many professions of the Turkish court in the initial decades of the tenth century hegira mimicked the Persian art workshops and were established by Persian artists. Therefore, it is hypothesized that immigrant Persian artists wer

    A SURVEY ON THE STRUCTURES AND MOTIFS OF TIMURID MADRASEHS IN THE KHORASAN PROVINCE

    MOHAMMAD KHAZAIE
    Journal Papers , Volume 6 , Issue 11, January , {Pages 59-78 }

    Abstract

    According to the studies in hand, the Timurid period is known as the golden age of Persian art. Hence, the remaining structures from this age undoubtedly verify this truth. The most significant elements of Timurid art and architecture can be seen in the Madrasehs of this age where many artists and architects paid tribute in order to enhance the superiority of Persian art. Here the Timurid Madrasehs located in the Khorasan province of Iran will be discussed.

    TURKMEN RUG MOTIFS IN RENAISSANCE PAINTINGS: REFLECTIONS ON THE JOURNEY OF TURKMEN MOTIFS FROM EAST TO WEST

    Mahnaz Shayestehfar, Mohammad Khazaie, Rezvan Khazaie, Erfan Khazaie
    Journal Papers , January , {Pages }

    Abstract

    Turkmen rugs are woven in extraordinary patterns; many of these unique patterns can be depicted on the Renaissance paintings of Europe. The commonality between these designs with origins so far apart is a delicate matter of discussion. Having studied the history and designs of Turkmen rugs we trace the apparent journey of these rugs and their designs from their initial origins to the western world. Since the eighteenth century; rugs have been always considered as items of great interest for researchers and art scholars especially in the Oriental world. Such researchers are often amazed by the designs and patterns woven artistically on such the rugs. Recently the attention of scholars has been engaged with a number of European paintings that

    دروس نیمسال جاری

    • كارشناسي ارشد
      ارتباط تصويري تخصصي 1 ( گرافيك رسانه هاي چاپي) (1 واحد)
      دانشکده هنر، گروه گرافيك (ارتباط تصويري)
    • كارشناسي ارشد
      ارتباط تصويري تخصصي 1 ( گرافيك رسانه هاي چاپي) (3 واحد)
    • كارشناسي ارشد
      گرافيك و هنر جديد (1 واحد)
    • كارشناسي ارشد
      گرافيك و هنر جديد (1 واحد)
    • كارشناسي ارشد
      گرافيك و هنر جديد (2 واحد)
    • كارشناسي ارشد
      گرافيك و هنر جديد (2 واحد)

    دروس نیمسال قبل

    • كارشناسي ارشد
      ارتباط تصويري تخصصي 1 ( گرافيك رسانه هاي چاپي) (1 واحد)
      دانشکده هنر، گروه گرافيك (ارتباط تصويري)
    • كارشناسي ارشد
      ارتباط تصويري تخصصي 1 ( گرافيك رسانه هاي چاپي) (3 واحد)
    • كارشناسي ارشد
      گرافيك و هنر جديد (1 واحد)
    • كارشناسي ارشد
      گرافيك و هنر جديد (1 واحد)
    • كارشناسي ارشد
      گرافيك و هنر جديد (2 واحد)
    • كارشناسي ارشد
      گرافيك و هنر جديد (2 واحد)
    • 1397
      اقائي, مينا
      بررسي جنبه هاي بصري طومارهاي تصويري چاپ سنگي دوره قاجار- پروژه عملي: طراحي 12 عدد پوستر با موضوعات فرهنگي، با اقتباس از الگو و ساختار بدست آمده در بررسي طومارهاي تصويري
    • 1397
      بهجتي كوچصفهاني, عاطفه
    • 1397
      جعفري جم, محمدمهدي
    • 1397
      شكري, زهرا
    • 1397
      ساروخاني, مهدي
    • 1397
      ساوري كتولي, اعظم
    • 1397
      وزيري زاده, محمدامين
    • 1398
      تهمتن, فاطمه
    • 1398
      رنجبرمرزدشتي, رخساره
    • 1398
      زارع, مريم
    • 1398
      نوذري, مريم
    • 1398
      چگيني, سميه
    • 1396
      بهداني, مجيد
      تحليل صور نجومي در كاشي هاي كوكبي و چليپاي عصر ايلخاني
    • مدیرگروه هنرهای اسلامی ( گرایش نگارگری)
    • مدیر گروه ارتباط تصویری
    • نشان عالی هنرهای تجسمی فجر و نخل زرین(نشان مفاخر هنری)- 1389

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