مقالات رزومه دکتر مجیدرضا مقنی پور

One of the most important and fundamental secrets of the universe is death; explained in different ideas and worldviews in various forms and methods. On one hand, the representation of this theme, in the form of art media, is taken from the same ideas and worldviews explaining it; on the other hand, it is derived from its worth as well as its stylistic and media limitations. Literature, in the field of Persian miniature in a relatively long historical context, has also had a great effect on forming different themes. The narrative literature in Iran had always been one of the most prominent sources of inspiration to manifest artists of the other media; among which visual and performing arts have more contributions. The Iranian miniature had depended on the literature to a great extent. So, by the middle of the Safavid era, the Iranian miniature was categorized as a subset of the “calligraphy” art which its major function had been the visualization of literary narratives.Reviewing miniature works of the Herat and the Second Tabriz Schools showed that nearly one hundred and fifty images refer directly and indirectly to the theme of death – their notable examples are seen in the Shahnamehs of Baysonghor and Shah Tahmasp. The main problem in this research, regarding the theme of death in Iranian images, is responding to the question of how one can get to one knowledge about the representation of this theme in the images. The ultimate aim of the research is to gain the full and profound knowledge about the features of forms, themes, and contents of the Iranian miniature; the most superior form of art in this land. Its functional purpose is to study semiologically the images with the theme of death in two illustrated Shahnamehs of Baysonghor and Shah Tahmasp. Based on the patterns of layered semiology, the research aim is achieved through analyzing the linguistic, visual, and cognitive semiotics. The research will respond to the following questions: How linguistic and visual symbols, related to the theme of death, are matched with each other in the studied images? Can anyone reach one knowledge about the representation of the theme of death in the studied works? Iranian paintings have been studied by many methods and models. Some researchers have tried to provide an aesthetic and formal reading of the painting, while others have re-examined the overt or covert meaning of these works, and in these studies, some have considered themselves bound to align with new study methods and patterns. Researchers, on the other hand, have not bound themselves to any cognitive pattern and have left their minds, hearts, and senses free for intuitive cognition. The researches of the first group are formulated and minimalist studies that have not been able to fully identify and discover some of the basic features of these works. On the other hand, the results and interpretations of the research of the second group cannot be repeated and proven. Therefore, it is necessary to find a solution or model that can eliminate the listed shortcomings in the field of painting research. “Layered semiotics” is a theoretical and efficient approach that provides the basis for extensive analysis of texts in the context of the interactive relationship between sign systems and textual layers that creates a complex network of semantic relationships. “Layered semiotics” is an approach in the process of which the researcher or the audience, by entering from the outer layer of the work to the semantic layers, goes through the outer meaning to its inner meaning. The result of this journey is neither minimalist nor unprovable, and the choice of this method and pattern in the study and selection of selected works of Iranian painting, reveals the importance of this research. This descriptive-analytic study has a poststructural semiology approach. The data collecting uses the library and documentary method. Furthermore, the Delphi method has been used to analyze the research qualitatively – experts in miniature and semiology have done it in the form of an open and exploratory interview. The samples studied in this study have been purposefully selected, which include two images with a common narrative and related to the theme of death. It should be emphasized that the criterion for selecting these two paintings was their common theme which is portrayal of the narration of "Siyâvash's death".  The linguistic and visual features and the type of adaptation of the signs are different from each other in the studied images. But, the results suggest that the common knowledge of the two images should be considered in the study of the cognitive layer of images. It seems that though the works have been pictured in two separate periods with different stylistic knowledge and skills, both of the artists had been successful in the tragic, yet the eternal and mythical representation of death.

The study of art research dissertations in Iran can provide a perspective of art research. The purpose of this research is to analyze the subject and methodology of art research dissertations. Data were collected through a descriptive-analytical method in a library and analyzed both quantitatively and qualitatively. The samples studied include 1732 theses available in the master's degree course in art research from 1996 to the end of 2020. The findings indicate that most of the dissertations in art adopted a descriptive method and the most highly selected subjects were Iranian painting and motifs. Factors such as the subdisciplines of the department and supervisors, access to resources, student’s gender and undergraduate field of study were the most important factors influencing the choice of dissertation subject in art.

In the late nineteenth to mid-twentieth century, major changes took place in the traditional organization and methods of production and supply of carpets in the country, the main reasons for these changes should be sought in the commercialization of Iranian carpets and the influence of foreign factors. This commercial approach to carpets led to the emergence of different and new structures in the carpets produced in some areas. Areas such as Kerman, which had a more direct relationship with foreign traders and customers in the form of European and American companies investing in carpet production, saw the most changes in the appearance of their carpets. But it seems that the extensive changes in Kerman carpets at this time cannot be related only to the presence of foreign companies; the main question in this study is the historical analysis of indigenous and local factors influencing these developments along with external factors. The research method is descriptive-analytical and data collection in the form of documents and libraries. According to research results, the most important factors in the extensive carpet developments in this region are as follows: The deep impact of shawl weaving in Kerman carpets, the presence of creative designers and style owners, the effect of technical features of Ravar rural area carpet weaving and the support of some local rulers, extensive activity of domestic traders in the field of carpet production and the region carpets export, the establishment of Iran Carpet Company in the first Pahlavi period, along with the presence of foreign investors in the production of Kerman carpets.

The various types of coins with different materials, shapes, and themes in each period are a reflection of the cultural functions of that period, and in addition to the economic function, have presented a set of ideologies of the ruling system. Coinage is one of the first obvious signs of civilization and a kind of beginning of the complex social life of the tribes. Patterns and themes engraved on coins have been a constant trend throughout history, but on the other hand in each period they would change and these changes have been influenced by the political and religious attitudes of rulers and artists who designed these coins. The coins of the Safavid period are no exception to this rule and these works have been an important platform and media for the presentation and expression of ideas and beliefs of the time, and the Safavids have used this tool well. Shiite religion, which played a key role in the formation and perpetuation of the Safavid rule, also played an important and stable role in the formation of culture and art of this era, and this area was not unaffected by the change in ideology and social developments of the time. By changing the political, military, economic, and religious structures in Iran, the Safavids achieved significant development, progress and cultural advancement. The concentration and integration of the Safavid state organization caused all the arts to flourish and many productions to be made in all fields of art, and thus the arts in this era grew significantly in quantity. The works formed during this period, backed by valuable experiences of the Timurids, had a unique strength and integrity and masterful skill that is less seen in the post-Safavid period. Shiite philosophy and thought had a special manifestation in the works of this period, to the extent that with the recognition of the Safavid Shiite dynasty in Iran, artists put more emphasis on Shiite themes as the basis of their works and used Shiite calligraphy and religious ideology in applied arts as decorative elements and tools to propagate and strengthen Shiite values. Due to the existence of two characteristic features of Shiite religion and national identity, the art of this period had become a tool for expression and was used in service of the religion. Various disciplines of art in this period were associated with Shiite thought, and symbolic language expressed the ideas of this religion. Iranian and Shiite artists reflected the spirit of Shiite thought, i.e. devotion to the family of the Prophet and the Imams, and especially Ali ibn Abi Talib (AS) himself in various ways in their works of art. This article aims to explore the hidden and less studied characteristics of copper coins or foluses of this period. Accordingly, while introducing the silver motifs on these foluses, it analyzes the motifs regarding the image of "lion and sun" as a relatively recurring theme in these works. This research with a descriptive-analytical method and historical approach, studies the content of the theme of "Lion and Sun" engraved on the common foluses of the late Safavid period, based on prefixes such as: "Content of common astronomical knowledge", "presented descriptions", “Shiite index themes in the content of narrations and hadiths" and "descriptions of Shiite index themes in literary sources", "written themes of contemporary coins" and "functional contexts of these coins". Data collection was done by library method and their analysis was qualitative. 41 folus coins minted in the Safavid period decorated with the image of lion and sun, form the samples studied in this study. The results of this study show that the designs stamped on Safavid copper coins include human (human body on horseback), cattle (horse, lion, elephant, deer, wild goat, monkey, camel, etc.), birds (with emphasis on the image of peacocks), aquatics (with emphasis on the image of fish), plants (cypress and arabesque), celestial (sun and constellations) and hybrid (peacock and snake, lion and sun, cow and fish or whale, etc.). Meanwhile, the image of "lion and sun" was one of the most frequent motifs on these copper coins. In the process of semantic analysis of this image, various contexts such as "content of common astronomical knowledge", "literary sources", "content of narrations and hadiths", "written themes of contemporary coins", "examples of paintings" and the "functional contexts of these coins" were studied, and finally, the religious and Shiite content for this image and this functional context was found more probable than other assumed contents (astronomical, ancient). According to the study of the above-mentioned texts, the content of this image is related to one of the most important principles of Shiite belief; namely the succession and guardianship of Imam Ali (AS) after the Holy Prophet of Islam (PBUH) and has a high status since it represents Imam Ali (AS) in Shiite thought.

Shiraz is one of the centers of handicrafts in Iran with more than 17 groups, 80 active fields and sub-fields handicrafts. Therefore, in 2019, Shiraz was registered as a world handicrafts city by UNESCO. After the group of hand-woven, wooden and wicker handicrafts have the most craftsmen in terms of quantity. Activists in this group are men and women in different age groups.Joak Kari (a special type of inlay), bamboo weaving, Khatam (inlay), matting, woodturning, moharagh-e sagheh-e gandom (burning of wheat stem surface), Peykareh Tarashi (wooden sculpture), wood carving, Kapoo making (type of matting with colored yarn and mat), lattice work, Gereh Chini (special type of lattice work with geometric design), Monabbat-e-Choob (wood carving with small knife), Moaragh-e-Choob (wood mosaic), Moaragh-e-Monabbat (composition of mosaic and wood carving), Monabbat-e-Moshabbak (lattice work with wood carving), joinery work are considered as the fields of wood and wicker arts of Shiraz. The art of Khatam (inlay), wood mosaic and wood carving are the most well-known among the people. Some of the wooden and wicker handicrafts of Shiraz are active in home workshops and others in small workshops with one to three craftsmen. In Shiraz, several families have been active for several generations in the field of Khatam, in other words, learning has been inherited in these families. In other fields of wood art, learning is more acquired and in rare cases inherited.This paper, which is part of a research project, is based on survey research aims to identify, collect, identification of families with a history, and classify wooden and wicker handicraft workshops in Shiraz in terms of geographical distribution, number of workshops, the portion of these workshops in GDP, as well as employed manpower, will answer the following question. What are the craftsmen family relationships, diversity, geographical distribution, the portion of wooden and wicker handicrafts workshops in GDP, and abundance of these workshops by field in Shiraz? The research method in this article is descriptive-analytical and qualitative methods have been used in the analysis section. The required information is provided in the form of graphs and tables. Basic information, definitions and historical topics are obtained from library studies. Other information has been received by field research according to issue by the Deputy of Handicrafts and Traditional Arts of Fars province. Further information has been gathered by snowball method. The data collection tool was observation card and questionnaire form. In some cases, for better results, interviews with experts, interviews with researchers and activists in this field were used. In this way, comprehensive and accurate information can be obtained from the status of existing wooden and wicker handicrafts workshops in Shiraz. The statistical population of this research is Shiraz handicrafts workshops and the sample size is wooden and wicker handicrafts workshops.Since the job of handicrafts is considered as the main source of income for most craftsmen, its role in the circulation of the household economy can be considered directly. However, due to the multiplicity, smallness and dispersion in the city, being home workshop, not having full time job for somebody, not being transparent in the number of financial exchanges in this profession and non-payment of taxes by craftsmen, any statistics in the economic field and its impact on the country's economy is approximate. According to experts, the role of handicrafts in GDP is quite noticeable. On the other hand, since handicrafts rely on domestic resources, it can be said that about 80% of the value of their data (such as labor, raw materials, production tools, etc.) is provided from within the country. It is possible that any increase in production and sales will have a direct effect on gross national income. The findings of this article show that 1360 craftsmen work in 1183 workshops in 16 fields of wood and wicker handicrafts. Among the various fields of wooden and wicker handicrafts, the Khatam has many applicants, followed by mosaics and wood carving, as well as wooden sculpture. Apart from Joak Kari, the fields whose craftsmen are less than ten people, its craftsmen have often migrated to Shiraz from other cities, such as bamboo weaving, Moharagh-e-Sagheh-e-Gandom (burning of wheat stem surface), Kapoo making (type of matting with colored yarn and mat), joinery work. In some cases, craftsmen have mastered another field in addition to their field of specialization, such as wood carving, lattice work, and wood mosaic. Although the number of women in the fields studied is less than men, but their number is also significant. Despite the large number of graduates in the field of handicrafts during the last three decades, their activities in these fields are low and the absence of educated people and designers among these craftsmen has made the designs repetitive. The presence of women was also prominent with a fragile difference compared to men, and it seems that the home-based activities of these workshops, especially the fields that can be produced at home, have been effective in welcoming women. In terms of geographical distribution of wooden and wicker handicrafts group in Shiraz, it can be said that they are scattered in the ten regions of Shiraz. The highest distribution of wooden handicraft workshops is in regions 5, 8, 4, 9 and 3, respectively. Wood workshops that provide wood art infrastructure or provide raw materials are scattered in regions 4 and 5 that located in the area of Adalat Boulevard, Rahmat Boulevard, and the southern ring road of Shiraz. These workshops are also considered as the main centers for furniture production. The wood sculpture and wood carving are more concentrated in areas 5, 4, 3 and 8. Among the wood arts, Khatam and wood mosaic are more scattered throughout the city.

Taste is one of the main signs and elements of social identity that has been considered by many sociologists like Pierre Bourdieu as the most important one. Bourdieu is a sociologist who, inspired by Weber's French tradition of studies of stratification and pluralism, cites taste as an acquired mode of social distinction. Bourdieu saw differences in lifestyle and, consequently, differences in aesthetic tastes as manifestations of social class differences. Bourdieu saw differences in lifestyle and, consequently, differences in aesthetic tastes as manifestations of social class differences. He argued that culture always gets involved with social class, which reproduced class domination, and called class domination through cultural imposition a symbolic form of violence. The present article is a survey of the influence of class and cultural and social capital on artistic tastes based on Pierre Bourdieu approach. In the present study, which was conducted among the citizens of Shiraz in 1398, at first, using the available resources, the necessary criteria for compiling the questionnaire were explained and 363 questionnaires were distributed among the citizens of Shiraz, in which the most important findings can be summarized as follows: the effect of class on literary and musical taste, the effect of cultural capital on literary and cinematic taste, the effect of individual education on literary, musical and cinematic taste and finally the effect of field of study on literary, musical and cinematic tastes.

Consumption of different goods has different functions and meanings for each particular person in each particular society. Consumers’ experiences in the field of works of art also offer different meanings to consumers and help them to construct their own identity. In this paper, the methods of using works of art (paintings) have been studied. The data collection technique was in-depth interview and the participants were selected based on theoretical sampling method and the findings were analyzed through thematic analysis. For the adequacy of the sample, the thematic saturation criterion was used, which finally 16 people participated in this study. Findings indicate that in the use of paintings in addition to aesthetic and economic values, identity value has also been considered by individuals. In fact, freedom of consumption has led to the freedom to choose a personal identity and to accept an image and talent in accordance with personal preferences, which is formed by the consumption and display of certain objects that have cultural significance.

"Myth" is, in the view of the great Neo-Kantianism philosopher Ernest Cassirer, the most primitive and at the same time the most different human methodological method. According to him, in order to be aware of his existence and his surroundings, man has not started from the rational form of cognition at once, and before that, he has led a long period with elementary knowledge, which is the initial form of human knowledge called "mythical consciousness". is introduced to us. Perceptions and the world formed in this form of consciousness have contents and characteristics that are not easy to understand and accept by today's standards of theoretical knowledge; Therefore, these contents should be studied in the context of mythological system. In mythological consciousness, categories such as "space", "time" and "number", like today's rational consciousness, are introduced to us as "perceptual mediators"; But the nature, function, and embodiment of these intermediaries are in the consciousness of myths quite different from our perception of them today. The main issue in this research is to identify the nature of the "mythical number" and the sources that identify it. To achieve this goal, by carefully studying the works and views of Cassirer, in addition to identifying the nature, position and type of number representation in mythical consciousness, the factors that shape the specific nature of number in this form of consciousness are examined.

Ottoman carpet weaving has a wide range of designs and patterns, colors and weavings that are of special importance in the history of world carpet weaving. During the Ottoman rule (1299-1922 AD) carpet production developed more than the previous period, so that the sixteenth century and the first half of the seventeenth century is considered the most glorious period. By examining the carpets of this period, one can see the traces of Iranian art. The influence of Iranian art on Ottoman carpets intensified after the conquest of Istanbul (1453 AD) and its effects can be seen in changing the design, pattern and weaving technique of carpets. For this purpose, Ottoman carpets can be historically divided into two groups. The first group includes carpets that are often woven before the 16th century and the influence of Iranian art and carpet weaving is not directly visible. This group of carpets continues the Seljuk style and their designs are geometric. The second group is carpets that are woven and presented under the influence of Iranian art and artists. The main purpose of this paper is identifying the Ottoman carpet and identifying the influential factors of Iranian art in the formation of the second group of Ottoman carpets. Accordingly, the main questions of the present article are; Which group of carpets of the Ottoman period was woven and presented under the influence of Iranian art? What are the influential factors of Iranian art in forming Ottoman carpets? The research method is descriptive-analytical. Research findings show that some factors such as the influence of Iranian art, gifts of kings, forced and voluntary migration of artists to the Ottoman court, looting of Iranian works of art by the Ottomans during the occupation, the export of Iranian carpets to the Ottomans are the main reasons for the expansion Ottoman carpet. The most influential factors can be seen in the identification of three groups of Ottoman carpets: 1) Ottoman palace carpets, 2) Ushak Carpets, especially carpets with medallion layouts, and 3) Herke carpets. The method of collecting information is library studies and some images have been obtained by searching in museums.

The study of "form," which means components of perceptible artwork, requires distinctive considerations in different works and arts, in such a way, that the form is in numerous media formats as well as various social and cultural contexts. There is a different presence and existence, and this different entity has led to some works titled "fine arts" and others "applied arts." The study, description, and analysis of form in the applied arts is an incomplete process without considering the biological, social, and cultural identities of the productive societies and the practical necessities of these works. The main issue in this research is the analysis and analysis of the type of feminine component of carpet as one of the essential applied arts in Iran with the cultural context of its production, to recognize and interpret the kind of impact of the components of cultural and social relations and interactions of carpet manufacturing communities on the formal characteristics of the product. The type of research correlates with the required information gathered by library and field methods (observation card). This information has also been analyzed using "third type quantization" and "cluster analysis" methods as efficient methods in social and cultural studies. The results of this study, while presenting a clear picture of the type of distribution and clustering of form characteristics of the carpet as well as the cultural components of the production of this product in the target community, show the association of the various orientations of the femoral features with the social and cultural context of production; Specifically, these orientations are more evident concerning the type of social-cultural structure of urban/non-urban carpet producing groups Including the influence of formal characteristics of the carpet production system and how it continues, as well as the geographical dependencies of producers (especially in areas where the lifestyle and cultural context of production communities are more dependent on geography and natural environment).

In the process of producing the artworks, the artist either considers himself/herself bound by certain stylistic and scholastic principles, or goes beyond it and lays the foundations of another style. Meanwhile, in works where stylistic and scholastic codes have a strong presence, there is less opportunity for the presence of the artist's personal codes. Iranian painting is one of the arts that due to the heavy presence of stylistic and scholastic rules, the presence of the author in it faces many challenges and limitations. But it seems that in the contexts in which Iranian painters have been able to free themselves to some extent from these restrictions, some forms of the presence of these personal codes have also spread. One of these contexts is the "Indo-Iranian" school, which was founded by Iranian artists in India. This research deals with the stylistic and thematic analysis of the painting “Humayun and Akbar Meeting” which belongs to Indo-Iranian school. The research is based on the assumption that this work is a distinctive example in terms of using different forms of artist presence in an oriental painting. Therefore, the main question is what are the different types of the artist's presence in the “Humayun and Akbar Meeting” painting? The research method was descriptive-analytical in the process of which the stylistic, written and thematic layers of the image were studied. The results show that the artist's stylistic loyalty to the Iranian tradition of Tabriz school, especially the mobility and dynamics of the figures and the type of composition of Behzad's paintings, recording the artist's figure in the inscription and in the text itself, is an example of the artist's personal codes in the work. Also here and in a very rare phenomenon in the oriental art, we see the visual presence of the artist himself in the painting and also the representation of the image of the whole painting in the work, which in addition to being the most important form of the author's presence in the work, makes the “Humayun and Akbar Meeting” a distinct artwork. This research deals with the stylistic and thematic analysis of the painting of “Majles-e Homāyoun va Akbar" of this school. The research is based on the assumption that this work is a distinctive example in terms of using different forms of the artist's presence in an Oriental painting. The main question can be posed like this; what are the different types of the artist's presence in the "Majles-e Homāyoun Akbar" painting? The research method is descriptive-analytical in which the stylistic, written and thematic layers of the image are studied. The results show that the artist's stylistic loyalty to the Iranian tradition of Tabriz school, especially the movement and dynamics of the figures and the type of composition of Behzad's paintings, recording the artist's figure in the inscription and also in the text of the work itself, are examples of personal artist codes in the work under study. In very rare phenomena in Oriental art, we see the visual presence of the artist himself in the painting and also the representation of the image of the whole painting in the work. These forms of the artist's presence, in addition to being the most important form of the author's presence in the work and turning “Majles-e Homāyoun and Akbar" into a distinct work, .

Due to the characteristics of Islamic art and the need to revive and strengthen them, programs have been formed to train specialized personnel at the level of higher education, of which the field of Islamic art with fifteen years of experience is the most important. It seems necessary to examine this program and study the conformity of its educational components with the educational etiquette of the students of these fields in the past. Therefore, while identifying the etiquettes and characteristics of education in the past societies (relying on the contents of the Books of Gallantry) as well as the curriculum of the undergraduate program in Islamic art, items such as: "purpose", "principles and bases", "method", "teacher conditions" and "Student conditions" have been compared in two ways. The research method is descriptive-analytical using library resources and field information. The results of this study showed that although the educational objectives in both methods were somewhat similar, but due to the predominance of the structure and system of semester-unit education in university, items such as the principles and methods of teaching and the conditions of teacher and student are different from the traditional teaching of these arts. In the new approach, the nature and purpose of education is revealed in a transformative way.

Studying the process of producing scientific articles in any field of knowledge, can provide a clear picture of the scientific trajectory of a journal and, identify research gaps in that area. Meantime, reviewing the published researches in tourism studies can provide a correct understanding of theoretical approaches, methods, and techniques used by researchers. Moreover, it indicates how theoretical development and methodological progress, can provide documentary information. It presents the evolution and process of conducting these researches over a specific period of time. Yet it can provide clear vision of limitations, harms, and issues that need more attention from researchers as well as managers and planners in this field. The purpose of this study is to review scientific articles published in the journal "Tourism Management Studies" based on four components: characteristics and pattern of participation of authors and methodological, citation, and functional characteristics of articles. The research method is descriptive and the content analysis method has been used specifically. The collection of information is in the form of libraries and the method of their analysis is quantitative. Samples are 219 articles (N = 219), including all articles published in Tourism Management Studies journal, during 1391 to 1398, in 8 periods and 32 issues (17-48). Study result has revealed, a clear picture of authors' participatory patterns as well as the methodological, functional and citation features of articles. It also describes the trajectory and trend of stability or changes in each of the patterns and features studied, in eight years of this journal.

Regardless of their titles or designations, games and dances have always been an integral part of the culture of Iranian ethnicities, and while preserving their original form and content to some extent, many of them have persisted as paykubi (the Persian word for dance), dhikr, and Sama. Such dances are known as listeks (games) among Kurmanjis in northern Khorasan. For the Kurds of Khorasan, in addition to being a ritual physical exercise, dance is a type of collective game. The main structure and theme of such games are political and social events, passionate epics, historical events, and enchanting emotional fables. Ritual dance and games are one of the most prominent features of the Kurmanji community’s identity in Khorasan, which is in serious danger of being forgotten due to various political and cultural reasons, its declining role in people's lives, and the fact that their performance has been limited to domestic and foreign festivals. Therefore, given the oral transmission of this culture and despite the linguistic and cultural gap between the young and old generations, it is essential to carry out studies to preserve such dramatic rituals.

The descriptive-analytical study was an attempt to present the structure of form and content of some dramatic rituals of the Kurmanjis in northern Khorasan, Iran. To analyze their formal structure, the rituals were observed thoroughly, described and categorized, and their different stages of their movements were recorded through photographing, filming, and illustrating them as graphics. In order to analyze the symbolic content of these dances based on the Kurmanji cultural background, Kurmanji music, drama, and folklore scholars and researchers were interviewed as the target population. The interviews were conducted using in-depth and unstructured methods.

Qarsa games are one of the oldest Kurmanji group or hand-hold dances. Clapping or qarsaing is one of the main characteristics of this type of dance that creates a sense of cheerfulness and vivacity. Qarsa denotes "clapping", derived from the ancient Persian Dari term "Qarsak" (striking the palms of one's hands together repeatedly). These games, which mostly involve moving the hands and upper part of the body and are considered a type of exercise, start with slow movements (one qarsa) and proceed to fast and uninterrupted jumping, bouncing, and rotating movements or "twelve qarsas". At the end of the game, the players move their legs up and forward swiftly while half-raised. The alternation used to create balance at this stage is so exhilarating that it is referred to as the ancient word "shelang andaz" suggesting buoyancy and cheerfulness and its music is also called "shelangi" (Javid, 2015, p. 115). Each qarsa is one clap; clapping indeed implies that the palms move to strike each other, but barely touch and do not make the clapping sound. In general, more common today among the Kurmanjis of Khorasan are games of one, two, three, six, and twelve qarsas. It should be noted that the manner and order of movements in these games slightly vary in different regions (personal interview, Kashmiri, December 30, 2017). This study presented and analyzed "one-qarsa", "two-qarsa" and "six-qarsa" listeks (Kurdish dance).In order to analyze the formal structure of Kurmanji listeks, in addition to observing the performances thoroughly and making videos and taking photographs, using Adobe Illustrator, the general structure of listek dancers' movements and postures were drawn in a graphic plan. First, the general form of the dances and rotations around the circle, as well as the dancers' rotations around the dance circle and also around themselves were recorded in an overhead shot, and then the specific movements and postures performed in each game, including hand and leg movements, were illustrated.
Just as the human speech system is a communication tool originating from the existing system in social and cultural structures and organizations, dancing also has its own unique conventional language, which designates elements within the socio-cultural networks of a society. In other words, ritual dance is an arena in which the individual and collective desires, aspirations, and goals are expressed at their highest and most refined levels. The narrative language of ritual dances reflects events from various parts of life (marriage, war, birth, mourning, etc.) that cannot be expressed in words, rather in the conventional signs and symbols associated with such events. This rich and strong symbolism inherent in folk dances necessitates the deciphering of symbols and signs for its interpreters. To understand such a symbolic language, decipher, and make sense of it, it is necessary to obtain a reasonable grasp of the cultural context of a particular folk. Thus, the concepts incorporated in the dance's purpose are achieved through the symbolic language of the dance, that is, the process that goes from perception to knowledge and creates an understanding of a different type of life (different style) in the audience (Fakuhi, 2016, p. 132).In order to approach the symbolic content of the qarsa games, this study first separated the general form of the dances and their specific movements. Then the relationship between forms and movements with the cultural identity and social system of the Kurmanji people was discovered. Data was collected through interviews with researchers and experts in Kurmanji music and folklore, who have published credible studies in this field. Other sources included documented literature that had analyzed the ritual dances of different ethnicities in Iran. Then, from the obtained information, common points and features expressed by the participants in the analysis of dances were obtained as the following six points:  Circular and rotational movements; Counterclockwise movements; Snapping fingers; Qarsas and claps; Special feet movements; Special head movements.

This study investigated the form and symbolic content of listeks (Kurdish dance) of the Kurmanjis of northern Khorasan. In the first part of the research aiming to analyze the formal structure of actions and movements in the dances, the steps in each performance were described and then graphical presentation or so-called "note-taking" was carried out for each dance in Adobe Illustrator. The general structure of the actions was drawn as overhead shots, and movements and rotations of each dancer were drawn separately. In the second part aiming to analyze the listeks' symbolic content of the actions and movements, and building on data obtained through interviews with researchers and scholars in this field and the experiences of listek dancers in each region, the commonalities of the contents were obtained in six categories. It is also worth mentioning that in conducting this part of the research, many commonalities were found between the ritual dances of different Iranian ethnicities, particularly between the Bakhtiari nomads and the Kurmanjis.Multiple circular or chain-like dances among the Kurmanjis of northern Khorasan start from "one qarsa" with slow and gentle movements and rhythms, and proceed to anaraky or hand warm-up, and then lead to "two qarsas", "larilari" or "three qarsas”, "six qarsas", and "twelve qarsas", in which the movements of the feet and sitting and standing are done entirely for sports and martial purposes. According to the findings, listek is a combination of Kurmanjis' bravery and border guardianship and is rooted in the combat rituals of the people because warfare and combat are an integral part of the cultural identity of the Kurmanjis living in northern Khorasan. Over time, due to their forced migration from their original homeland to the northeastern borders, their religious dance of thanksgiving and praise have given way to multiple dances, all featuring combat actions, movements, and jumps aimed at increasing physical strength.

Humanity today seeks its whole existence in a logical and rational framework, and he is unaware of the fact that systematic rational methods are just one of the ways in which humans are aware of the world around them. This neglect itself is the basis for cognitive misunderstandings of his past existence. Folk literature is one of those culture that, despite being pervasive, many of the Folk literature is one of those objects that, in spite of being pervasive, many of the characteristics embodied in them are not so much in line with the logic that governs the rational consciousness of modern man; the main question in this study is the search for a cognitive sample governing the constituent components of the legendary “Pari-Čehel Gisū (= Fairy with forty hairs)” of the folk and oral literature of the Fars region. The research method is descriptive-analytical, and the used analytical way that is Ernest Cassirer's which has been obtained from the study of his various and numerous works in the field of epistemology. By adapting these irrational themes and patterns to the content of the components of the Pari-Čehel Gisū myth, it was determined that there are seven characteristics associated with irrational cognition and myth in various ways in the form of places, time characters, actions and frequencies are present in this narration, the most of which include “mythical number” and “destiny-orientation”.

As a Kant, Cassirer saw the only path to human cognition through forms of mental and abstract concepts that are in fact human cognitive tools; but on the other hand he deeply believed that these forms were not limited to rational models only. But irrational forms and patterns also play a role in the process of human knowledge. Because the logic of human consciousness has not always been rational, and human senses and emotions have been involved in shaping his cognitive forms. In the meantime, he presents "Myth" as one of the most important forms of human cognition and introduces the features and contents of this form of human knowledge. The main purpose of this article is to separate and layer the contents introduced by Cassirer from this epistemological form based on the three indicators of "being fixed", "fundamental" and "their extent of influence" on other contents. The results of this study, based on a careful reading of Cassirer's ideas in this regard, contain the contents of the cognitive system of mythological consciousness in the form of five layers: "fundamental confrontation", "laws", "mediators", "special categories" and " Perceptions” were separated. Accordingly, all of this content is based on the fundamental "Holy / unholy" opposition that occupies the central core of this consciousness. Also, these contents, based on their proximity to the central core of this cognitive system, have more stability and have a wider impact on the outer and posterior layers.

In a God-oriented society, every human action is based on the teachings of the divine "tradition" and leans towards achieving the oneness of God; dealing with art and transmitting the customs and principles related to it is no exception to this rule, but with the changes that have taken place in the form of most of the societies in the contemporary era, many of the contexts of a traditional society have disappeared and numerous traditional arts and related teachings and customs have been forgotten. The main issue in this research is to compare the raising methods and customs of artists in traditional societies with modern societies (with emphasis on university education). The research method is descriptive-analytical and the method of data collection is library-based and interview. While emphasizing the central role of "tradition" in educating artists in a traditional society, the results of this study confirm the fundamental differences in the goals, principles and methods of education in the process of educating artists between traditional societies and today's university education methods.

When investigating the historical roots of many cultures and beliefs that accompany phenomena such as performing rituals (festivals and mourning) and creating artworks, there are narratives with a deep scope of effect on the lives of the ancient people; to the extent that these narratives presented an explanation and reason for every natural and supernatural phenomenon. These narratives that are introduced to us as "myths", play a key role in shaping the visual culture of ancient peoples and civilizations, since illustration and visual forming of these narratives can be seen as the earliest artistic attempts of these cultures. Considering the importance of myths, there have been and still are various, and sometimes contradictory, approaches toward this phenomenon, according to which, myth is sometimes introduced as linguistic disease and distress of peoples. Ernst Cassirer is among those who have struggled to upgrade myth into a human cognitive form. Unlike Kant, Cassirer believed that human cognitive forms are not limited to rational patterns, rather irrational patterns also have a part to play in the human cognition and knowledge processes. Therefore, he introduced myth as one of the major irrational cognition forms of human life. According to Cassirer, the perceptions and the world created in mythology have certain features and contents that are not easy to grasp and accept based on the current standards of theoretical and rational knowledge. Therefore, these principles must be investigated within the framework of an irrational cognitive mechanism of the myths under study. In other words, rationality, as the dominant cognitive tool in the contemporary world, is not capable of properly explaining phenomena whose origin and nature flow from irrational foundations. Rationalism and its cognitive tools, therefore, cannot be used as similar models for analyzing the artworks of different civilizations. The problems are doubled when judging and reviewing non-Europeans artworks, particularly those created before the rise of Western civilization. The contemporary humans who live within the framework of knowledge and rational form of cognition assess the worlds existing before them and other than themselves using the same present-day rationality. They seek their entire world in rational cognition, even though rationality and ways of rational perception are only one of the paths of cognition and one of the types of human knowledge. This negligence is the root cause of cognitive misunderstanding of ancient culture and civilizations. On the other hand, similar to other narrative forms, the myth has presented visual imagination with an undeniable role. As such, a mythical narrative consists of a combination of mental, and of course imaginary, images that are consolidated based on a specific model and objective. In these narratives, the human knowledge and cognition of its self and its surroundings are expressed as special and mental (and also substantive) images. These mythical narratives and the visual world created in them have special features and contents which themselves are created based on the foundations of mythical knowledge. It seems that recovering these principles can bring us to an understanding of why and how the type of images shaped in mythology was created. The main focus of this study is to discover the relationship between the main features and contents of mythical knowledge (from the perspectives of Cassirer) and their type of visual representations in an example of ancient mythology, aiming to take effective steps toward a theoretical model for formal (visual) and content analysis and explanation of mythologies based on the fundamental features and content that shape mythical knowledge. The main research questions are: What are the fundamental features and contents of myth (as a cognitive form) from the perspective of Cassirer? What are the effects of the features and contents of mythical cognitive form on visual representations in a Mesopotamian mythical narrative from the perspective of Cassirer? The research method was descriptive-analytical, including the introduction of the features and contents of myth as a cognitive form and analysis of an example of mythical illustration and art based on these contents. The research data was collected through secondary research and analyzed qualitatively. The sample under study was a protective tablet for the sick, attributed to Pazuzu from the Neo-Babylon era (in the Mesopotamian civilization).  According to the results, the main distinctions in features and content of mythical knowledge compared to rational cognition and knowledge were identified in differentiation and unification of phenomena and affairs, the quality orientation of phenomena, the concept of causality, perceptual mediators (space, time, and number) and representation of phenomena and affairs. In the analysis of the Mesopotamian case study, features such as spatial differentiation in mythical knowledge, the qualitative nature of mythical numbers, the substantive realization of mental and abstract phenomena and affairs, and semiotic representation of phenomena were analyzed.

The narrative literature in Iran has always been one of the main sources of inspiration for many arts. In the meantime, the contribution of visual arts and drama is more than other arts. Accordingly, painting and cinema create the strongest link with literature, and in a fruitful effort, they offer valuable literary materials in a new garb, tailored to the needs of the day and in the form of a new media. Undoubtedly, in this transaction, the theme is also evolving due to the capabilities and features of the destination. Such developments, if intelligently and consciously recognized by the artist and the critic, are not only not considered shortcomings, but can also be added to the original value of the theme. With such a necessity and purpose in the present research, we try to examine the developments of the media and, of course, the sign of the narrative of the "passage of Siavash of Fire" from literature to painting.This research is descriptive-analytic and based on Propchr('39')s pattern. The results indicate that the frequency of the role of the special features of the story varies according to the characteristics of the destination media (painting). In fact, the artist painter based on his artistic taste emphasizes the consequences of the story, which is not very frequent in Ferdowsichr('39')s narrative.

Ernst Cassirer, a Neo-Kantian philosopher, believes that myth is one of the primary and most important cognitive forms. To get a grasp on being, humans have not begun from a conceptual knowledge overnight, rather they have long spent their lives on acquiring basic knowledge. This basic human knowledge is known as mythical knowledge. In this type of knowledge, perceptions and formed-world have certain characteristics that cannot easily be perceived and affirmed by today's theoretical knowledge. Therefore, such characteristics should be studied within a mythical cognitive framework. In mythical knowledge, such components as space, time, and numbers are known as perceptual mediators. This research investigated the nature and principles that form the mythical space and its objective embodiment compared with sensory perception and geometric spaces. In so doing, Ernst Cassirer's works were studied thoroughly and objective instances of mythical space were reviewed in ancient civilizations. Moreover, the place, rules, and patterns governing the formation of mythical knowledge and its spatial embodiment were studied and such space's characteristics were compared with sensory perceptions and abstract geometrical spaces.

Among the Islamic calligraphy, Nastaliq script, as the second script whose shape is characterized by roundness and curvature, is one of the notable inventions of Iranians. Meanwhile, in Qajar era, Shiraz was the center of this script. Thus, a raft of Shirazi calligraphers in this period, both in Shiraz and in the capital, promoted a particular style of Nastaliq individually. The present research, adopting a descriptive-analytical method, looks into the characteristics of the Nastaliq script in Shiraz during the Qajar era. In this process, while analyzing the role of Shirazi calligraphers in the expansion of Nastaliq calligraphy, it elaborates on the characteristics of the script introduced by four prominent Shirazi calligraphers at the Qajar era, i.e. Agha Fathali Hijab Shirazi, Mirza Alinaghi Shirazi, Mirza Assadallah Shirazi and Mohammad Hossein Shirazi.

Consideration of comparative research as a “separate and different research process” is an issue that has not been addressed thoroughly, at least in Iran, and few of the research conducted under the title of “comparative” refer to studies conducted using different methods than the usual research methods. On the other hand, it seems that with the importance of the interaction between the fields of knowledge and the emergence of interdisciplinary studies, it is possible to provide practical models for shaping comparative topics in the field of art. Accordingly, the main question in the present study is that: What are the sub-fields of study resulting from the relationship between the subjects of the field of art and other fields of knowledge, based on the theoretical foundations and categories presented in “Interdisciplinary Studies”? And the aim is to develop previous models and provide a cognitive and practical framework for shaping the topic in this group of studies and researches.This descriptive study relies on the process and results of other related research, trying to complete the models presented for the formation, identification, and classification of comparative studies in art, based on two factors of “type of relationship between research corpus in the field of art and other fields of knowledge” and “temporal and spatial scope of research corpus being compared.” Data collection was done through library method and data analysis using the qualitative method. According to the results, interaction between other fields of knowledge with art studies can be categorized into two general groups, i.e. interdisciplinary studies and intra-disciplinary studies, which is the result of discourses and internal interactions of art disciplines in different languages and artistic media. Moreover, concerning the classification of comparative art research based on temporal and spatial scopes, the cognitive model presented by Zekrgou was taken as the basis and a few items such as preparatory comparisons and classification-centered comparisons were added to this model.

"Causality" is one of the concepts that has a long history in philosophy and human cognition. from the very beginning of human life, man wanted to discover the reason and cause of phenomena; this concept has gone through many ups and downs in the history of philosophical thought. The answers given to the cause of phenomena have been entirely influenced by the type of human consciousness and cognition in different historical and geographical areas; the knowledge and cognitions that thinkers such as Ernest Cassirer believed were not consistently logical. They were not always had a rational patterns, and irrational patterns were involved in shaping human cognitive forms; It is referred to as the "mythical knowledge."The purpose of writing this article is to introduce the types of causal relationships in this most irrational form of human cognition, based on which, based on the basics, rules and other sources of information in this awareness, to review, describe and analyze The types of causal relationships are discussed in this cognitive form.

The study of various works and handmade in Iran leads us to the conclusion that many of the traditional professionsand techniques of Iran have an ancient background in this land. But today, for a variety of reasons, there isless detailed written information on the technology and methods of producing these products in the past. For thisreason, the use of indirect documents and resources sometimes provides useful information. In this regard, Iranianpainting, apart from its formal and aesthetic aspects, has been repeatedly referred to by the researchers as a sourceof information and awareness. Some examples are the recognition of the design and color of many carpets, thetype of cover, the cloth, decorations and architectural accessories in different periods. In this article, in order torecognize the techniques and tools associated with some of the common occupations of this land in the past, especiallyduring the Timurid period, the painting “The Kingdom of Jamshid was seven hundred years old.” has beenstudied from the collection of Shahnameh Baisenqiri related to 833 AH. The professions displayed in this painting,along with the tools and technologies associated with each profession, have been studied. The research method isdescriptive-analytical and the required data is gathered through library and documentary resources.