mehdi keshavarz afshar

The art of carpet weaving is one of the traditional and authentic Iranian arts, which displays a rare effect of traditional and decorative motifs and arrays. These arrays include various plant, animal, human and abstract species. Plant motifs are one of the most abundant and frequent arrays that have been used in carpets, and the role of a tree as a visual and narrative element is one of the main types of these plant elements that have been used in carpets of different historical periods. In the samples of the remaining carpets from the Safavid era to the present day samples, trees are woven in different and diverse ways, and they have caused diversity and appearance of different species in the tree carpets. Investigating the characteristics of designs containing trees, especially in the Safavid and Qajar periods, is one of the main goals of this research. And based on this, the following questions are raised;- What are the structural features of the tree array in the Safavid and Qajar period carpets?- Is it possible to define common and different criteria in terms of design and pattern for Safavid and Qajar tree rugs?This article has analyzed the features of the tree array in Safavid and Qajar period carpets and identified the commonalities and differences of this array in the two mentioned periods, and from this point of view, it has examined the changes that have occurred in the role of the tree.This research is descriptive-analytical and comparative, and the collection of materials has been done in a library manner. Based on the results of the research, it was found that the characteristic of Safavid period tree rugs is influenced by the carpet weaving art of this period and the general framework of the Safavid period carpet weaving art has been preserved. After the Safavid period, in the Qajar period, the weaving of tree rugs continued with the general preservation of the structure of the Safavid rugs. Comparing and comparing the Safavid and Qajar types shows more diversity in the design, tree form in the text of Qajar tree rugs. Also, in the Qajar period, the new trend of naturalism in carpet design has led to the emergence of new themes and the role of various materials in Iranian carpets, and has determined the variety of tree designs in this era.

In the field of medical literature, autism was first conceptualized by Swiss psychiatrist Eugen Bleuler as a sign of childhood schizophrenia. Leo Kanner, an American-Austrian psychiatrist, described this concept as a distinct disorder in 1943. During the 1960s and 1970s, research on this new syndrome became increasingly prevalent, but there was still much confusion surrounding it. Only a few individuals, even those working in the medical field, were aware of this condition, and only a handful of cases of autism had been documented. Some researchers and physicians still interpreted it as a form of childhood schizophrenia, while others considered the characteristics of autism to be related to brain dysfunction, mental retardation, or child psychopathology.In the 1980s, systematic research on autism increased, and researchers introduced biological factors such as deficits in theory of mind and mirror neurons as the primary causes of this abnormality. Autism was then officially classified as a distinct and diagnosable disorder within the wide spectrum of cognitive and behavioral dysfunctions in the DSM-III. It was separated from childhood schizophrenia, and the term "Asperger's syndrome" became commonly used. However, it was still thought to be a very rare occurrence.In the 1990s, more precise assessment criteria for this abnormality were formulated in the DSM-IV, and autism was described as a lifelong condition (lifetime) in individuals, classified under mental disorder number 299, and characterized by the triad of symptoms: weak social interaction, communication deficits (both verbal and non-verbal), and the presence of repetitive, stereotyped, and restricted behavioral patterns. Awareness of autism increased during the last two decades of the twentieth century. This trend grew to the point where autism became the most rapidly spreading among all developmental disabilities worldwide and turned into a global public health concern. So much so that in the DSM-5 (2013), the triad of autism symptoms was consolidated into two categories: "communication-social disorders and restricted, repetitive behaviors," Asperger's syndrome was removed from the manual, and autism was included as a wide spectrum of cognitive and behavioral dysfunctions, officially referred to as "Autism Spectrum Disorder.This definition of autism fits within the medical mode of disability. In this model, autism is considered a global neurocognitive disorder with consistent biological foundations, characterized by core symptoms and features (lack of eye contact, repetitive movements, etc.) based on deviations from normal and normative behavior. By officially recognizing autism as a new category of "developmental disabilities," a new institutional matrix was formed, comprising social therapy, specialized education, and intervention programs. Social institutions, particularly psychiatry and psychology, played a role in shaping the hegemonic discourse that labels autism primarily as a deficiency, disorder, and illness, which will ultimately be identified and treated through continuous efforts by scientific experts. However, the approach to these individuals was not that of treating an illness but rather leaned towards "rehabilitation," emphasizing empowerment and capacity-building. Thus, various interventions were deemed necessary for two purposes reducing autism symptoms and improving essential communication skills, social skills, and behavioral functioning. Art therapy is one of these interventions.On the opposite pole of the medical model is the social model of disability, which is created by disabled individuals themselves and looks at the barriers created by society in terms of the full participation of disabled individuals in everyday life. According to this model, disability is not only located in the body but is created by social and material conditions that render various minds and bodies "disabled" in terms of full participation. With this model, autism can be seen as a personal, family, and social experience. It also acknowledges autistic individuals as having emotions, feelings, and social relationships that are influenced by the cultural values of the societies they live in. In this way, the individual is viewed as disabled by societal shortcomings, and instead of focusing solely on autism as an illness, it examines the individual as a human, social, and cultural phenomenon. Therefore, it not only seeks to amend and treat the person but also employs various methods, including art in addressing the definitions of autism within the medical model in expressing their identity.In recent years, autism spectrum disorder has gained attention as a social and medical issue within the realms of scholarly and critical studies on disability. One of the primary branches of these studies focuses on the intersection of art and disability, which can be examined through two distinct perspectives: art therapy and disability arts.This article explores the complex intersection between art, rehabilitation, and disability, as well as how art interacts with disability from the perspectives of both the medical and social models. When we talk about intersection, we are referring to a discourse that relates an individual's life, artistic practices, and power relationships. This form of intersection and relationship shapes ideas about what disability is and how it should be addressed. By juxtaposing art therapy alongside the principles of neurodiversity and disability art, the differences between them and their approaches to individuals within the autism spectrum become evident.Based on this, the authors aim to move away from art therapy and the medical model, considering the social model to answer the following questions: How can disability art break down boundaries such as othering, power imbalances between the therapist and the client, and ableism perpetuated by art therapy? Additionally, how does art respond to the repetitive behaviors and stereotypies considered as core symptoms of individuals within the autism spectrum?This article employs a descriptive-analytical approach to analyze the concepts presented in critical disability studies and investigate the intersection between art therapy and disability art. Information is gathered through library resources, including written and online sources, translations of books and articles, and it emphasizes the concept of neurodiversity - which presents neurological disorders not as disorders but as diversity in human understanding - in exploring how these two artistic frameworks differ in their encounters with individuals within the autism spectrum.The results obtained from examining the conflicting relationship between the two frameworks, art therapy, and disability art, using critical disability studies in the context of individuals within the autism spectrum, demonstrate the following: On one side, there is the medical model that attributes all problems to the individual with disabilities and, based on the concept of empowerment, directs the disabled individual towards an ideal and normative world for acceptance by society. In this model, art therapy is used as an intervention and tool for improving and ultimately curing individual and behavioral deficiencies. Healthcare professionals, particularly psychologists, play a central role in this field. They view their primary task and objective as empowerment, improvement, and the elimination of autism symptoms such as social interaction deficits and repetitive behaviors. However, since the relationships established between the individual and the expert are based on the doctor-patient model and aimed at treatment, in most cases, the individual is considered as the other, and power relations between them are formative.On the other hand, disability arts aim to dismantle all the boundaries created by art therapy using the social model. It presents an autistic individual as a distinct identity. Unlike art therapy, it illustrates how autistic identities offer valuable insights into reimagining and expanding ideas related to "normalcy" or cognitive abilities. In contrast to medicalizing disability-related art and art therapy programs, which often solely provide art education and do not consider professional training for participants, disability arts transform the signs and characteristics of an autistic individual (considered deficits in the medical model) into strengths. In other words, art therapy is a systematic and therapeutic approach to art that is often conducted in clinical settings, with a focus on improvement and rehabilitation. In contrast, disability arts represent a recognized and accepted form of art within the artistic community, displayed in galleries, exhibitions, museums, etc. The artist's work and abilities are acknowledged with the label of disability. In essence, while art therapy seeks rehabilitation or "normalization," disability arts, which belong to disability studies, challenge this perspective by using a new paradigm called "neurodiversity." This paradigm does not see conditions like autism as disorders to be fixed but as alternative ways of living. In this context, the autism spectrum represents a range of cognitive styles and ways of experiencing the world. Disability arts, originating from lived experiences, challenge societal norms and resist dominant narratives, attempting to shift the conversation from "curing" or "overcoming" disability toward acceptance, empowerment, and celebration.

Justice is one of the main issues of Iranshahri political thought and a universal concept. In Iranshahri's thought, justice is the explanation of a political situation based on which the social order coincides with the cosmic order. This idea of justice as the establisher of social order is the main function of Kings. Regulating the relationship between the King and the subjects was one of the most important issues of justice. But, the realization of this function required the benefit of the Iranian race and recognition of the sacred cosmic order by the King. After this recognition, the king acquiring the wisdom of the just king could be possible. Acquiring this knowledge was possible only through the education of the king by the wise minister. Also, for the continuation of the political system, it was mandatory for the successor of the king, to be trained by a wise minister. Therefore, the role of the wise minister as well as his method of Andarzname was important. Andarzaname was an instructive expression of political wisdom in the context of the story and includes an important aspect of the history of Iranian thought. The aesthetic requirements of the Andraznamei method shape many artistic and literary works of Iran. Therefore, the most important updates of Iranshahri political thought have been formed in Persian arts and literature. Therefore, it is necessary to pay attention to the tradition of Andarzname and the political aspects of that, to be able to understand many subtleties of the works left over from Iranian art and literature. to what was mentioned, it is noteworthy that during the Timurid era, the issue of realization and continuity of justice in society was considered an essential principle for the rulers. Justice of the king is emphasized in many texts of this period. Also, it was common to adapt or to reproduce a copy of the important texts of Andrzanameh, with the aim of transferring knowledge and political wisdom. On this basis, Khamsa of Nizami was considered in this era. The copy of Or 6810 preserved in the British Royal Library, which was one of the products of the court library of Sultan Hossein Baiqara, is one of the most exquisite copies of Khamsa of Nizami, with a collection of Iranian arts. Also, this version contains a painting with the subject of the Khovarnaq Palace painted by the artist Kamaluddin Behzad. Considering the importance of Khamsa of Nizami and the art of painting in the Andrazname tradition, it is important to consider the various aspects of the manifestation of justice in this painting as one of the prominent works of Iranian art.  In this painting, the subjects are building a palace for the king. As noticed, the relationship between the subjects and the king was one of the main aspects of the concept of justice, which is depicted in this painting. Therefore the aim of this article is the cognition of relationship between the concept of justice and Iranian painting. The research method is descriptive-analytical and historical. The method of data collection is documentary and library research. In this article, the Miniature of the Khovarnaq Palace is analyzed as a case study. Based on this, in this study, the question was raised: what is the relationship between Khamsa of Nizami's account of the building of Khovarnaq Palace and its depiction by Kamaluddin Behzad with the necessity of establishing and continuing justice during the reign of Sultan Hossein Baiqara? The necessity and importance of this article are also in the study of Iranian art as a subject with multiple aspects. On one hand, it is important to examine the socio-political aspects of Iranian art, and on the other hand, how to find the relationship between socio-political aspects and aesthetics. The obtained results show that the painting of the Khovarnaq Palace building is one of the works of the Andarzname tradition and reveals the necessity of the ruler's attention to the establishment and continuation of justice. In the context of the narrative of Khamseh of Nizami and considering the historical events during the rule of Hossein Baiqara, several layers of meaning are formed when facing this image. In this painting, with the beauty of repetition, the shape of the bricks, the color of the palace, arrangement of the workers, an image of justice is brought to Sultan's attention. Also, the need for the Sultan to pay attention to the continuation of justice, the relationship of educating the successor of the king, and maintaining the community's jobs becomes a central aspect. In another layer of this painting, the issue of maintaining the jobs of professors and artists is also raised. By objectifying the most important aspects of justice in Iranshahri's thought, this painting has made justice in Armanshahr its main subject.

Nizam al-Din Ahmad Gilani, known as Hakim al-Mulk, the Hakim (physician) of the eleventh century AH, has been one of the cultural links between Iran and India during the Safavid rule over Iran and the monarchy of the Qutb Shahi dynasty in Hyderabad. Among his many works on various fields of science, mostly written under the patronage of Abdullah Qutb Shah, Hakim al-Mulk had a short treatise on music. This work has not yet been published and criticized. In this research, while investigating the life of the author and attempting to resolve some of the ambiguities surrounding him, we present the text of the treatise through the method of critical correction of texts, and in comparison, with the source texts. The digital image of the MS is also included. The result is that the treatise, like many of other music treatises of the period, mainly contains the words of predecessors. However, the very selection of him from Jame' ul-'Uloom by Fakhr al-Din Razi and Karamyeh by Dowre Sofre-Chi demonstrates the new trend of music authors of this period towards some pseudo-scholarly topics which is far away from the Greek-Arabic tradition of scholastic and systematist schools in the theory of music.

With the increasing number of individuals diagnized with autism spectrum disorder (ASD), various interventions have been developed to improved their condition. This systematic review aimed to investigate art intervantions for ASD.

analyze relavant articles from domestic and foreign journals, theses, dissertations, and domestic books published between 2001 and 2021. Sixteen studies were analyzed using the “COAT” model.

showed art interventions with individuals with ASD is a supportive and therapeutic including music therapy, rhythmic movements, drama, painting and pottery. The majority of studies focused on music therapy, while the least were on pottery therapy. These children were initially unable to properly use their artistic tools and express their emotions, but in the end, they were able to do so. Art therapist play a faciliative and supportive role. The goals of art interventions are consistent with the results in two main areas: improving communication and social skills and reducing behavioral problems such as stereotyped, limited and repetitive behaviours.

Based on limited descriptive evidence of participant characteristics, art therapists, and workspace, extensive research is recommended on the process of art therapy with individuals with ASD .

The Safavid period is considered the golden age of art in Iran. Numerous books were illustrated by painters in the royal courts of Safavid kings. On the other hand, Safavid king’s interest in Persian art led to the establishment of carpet weaving workshops. Carpets and miniatures with hunting designs are important groups of artworks in the 16th century, the most significant component of which are human motifs. The present study aims to identify the proportions of human motifs in carpets to miniatures with hunting scenery in the second school of Tabriz. Therefore, the main question is “what are the visual and characterological relations between Safavid hunting carpets and paintings in terms of human motifs?” The descriptive-comparative method is used to achieve research objectives. Moreover, data are collected from library and online resources. From the visual perspective, the results demonstrate close similarities between human images in hunting carpets and miniatures from the Safavid period, which can be due to the impact of miniature on carpet design and motifs. From the characterological viewpoint, five human characters, including hunters, Qurchis (royal bodyguards), musicians, attendants, and spectators, were detected, three of which (hunters, spectators, and attendants) exist in both, carpets and miniatures.

Legends are a large part of Iranian culture and art, and they are a good source for anime production mainly due to their coherence and suitable structural elements. Utilizing the capabilities of anime to convey the concepts in legends by using methods such as adaptation and re-creation creates an effective connection between the present and the future. Turning a legend or text into a Picture will make it easier to understand, and in addition, the animation of these Pictures helps the audience to relate better to the work of art. Today, the legends and t traditions of a society have become universal data for the production of artwork, in such a way that an artist can, in addition to relying on his cultural supports, be inspired and use different adaptation techniques to benefit from the works of other societies. It can be said that there is an intertextuality connection between the produced work and its pre-texts. Using this type of communication in anime production will provide a suitable platform to make the audience think. Of course, the type of adaptation and the amount of use can be different. One of the amines directed by Noriyuki Abe is called Arslan Senki. This work is based on a Japanese novel of the same name by Yoshi Ki Tanaka. As it is evident from the title of this work, it originated from a completely Iranian pre-text, but it was reproduced in a format specific to Japan. Therefore, to test this anime, the question raised for the researcher is as follows: what kind of intersexual communication can be seen from Gerard Genette's point of view in the Pictures of the famous Japanese anime by Arslan Senki, which also has an Iranian theme? Therefore, the purpose of this research is to study the intertextuality of Japanese anime pictures by Arslan Senki with an Iranian theme from Gerard Genette's point of view. This research is done using a descriptive-analytical method library and internet tools are utilized and Arslan Senki is watched and analyzed as the case study. The necessity of conducting this research is to examine and read works of art with Iranian content that have been produced in other societies. As a result, both the gap and the discontinuity of foreign Artworks as well as the capabilities of the pre-text or legends can be identified. The intertextuality of Japanese anime Pictures with Iranian content has not been analyzed before. To analyze and examine the visual content of the anime in question, Gerard Genette's intertextuality approach has been used.

It is essential to understand the multifaceted relationships that are formed among the works of art and make it possible to understand the meaning of the produced work. The problem of the current research is to understand how the "accumulation" of Kurosh Gulnari's work is formed and meaningful. This work is made by gluing a large number of coins onto a piece of metal written in Nastaliq script in the shape of the word "money". So far, this work has not been an independent research subject and it is necessary to analyze and evaluate it in the context of contemporary art developments. For this purpose, Gérard Genet's theory of transtextuality, which provides the possibility of interpreting works of art in intertextual relationships, has been used. The main goal of this research is to understand the possible semantic system of "accumulation" through intertextual reading. The main question is, how does "accumulation" become meaningful in relation to other works of art of recent decades? The current research is qualitative in terms of developmental goal, in terms of descriptive-analytical method, in terms of library and documentary data collection, and in terms of data analysis, and it has been analyzed by relying on the intertextual approach. The result of the research shows that it will not be possible to understand the meaning of this work without intertextual reference to the works that have been produced in recent decades. "Accumulation" forms a semantic system by creating intertextual relationships with works of art such as Parviz Tanavoli's "Hitch" sculpture and "Persian Money Maker Calligraphy" by Mahmoud Bakshimokher. In addition to materials and materials for the construction and application of calligraphy; The intertextual aspect in this work is the self-expression of the obsolescence of art, which can be found in the text of the logic of postmodern capitalism.

The methods arising from the tradition of political advisory in Iran, having their roots in ancient times, were continued during the Islamic Middle Ages and made it possible to shape the advisory aspects of Iranian artworks. During the reign of Sultan Hossein Baiqra, due to the political conflicts in the court, the continuity of the government and the establishment of the order of the court was especially accompanied by the necessity of distinguishing friends from enemies in the court. However, according to historical documents, numerous reports of Sultan Hossein Baiqara's negligence in choosing agents and his mistake in distinguishing friends from enemies have been recorded in the form of a risk for the continuation of the government. It seems that Kamal al-Din Behzad, who had a special position in the court of Sultan Hossein Bayqra, using his closeness and influence on the sultan, chose the illustration of Dara and Ramehdar (Herdsman) to admonish the sultan and to correct his mistakes in governance.This miniature, which is a leaf from the copy of Bostan Saadi dated 893 AH, in terms of the topic of the story selected from Saadi and also in terms of the artistic subtleties used by Behzad, teaches the importance of distinguishing friend from enemy in governance. The illustration of this miniature is such that, in contrast to the conventional images of kings, which show their power, fighting, or pleasure-seeking images, it depicts a lonely king among herds and herdsmen in such a way that he is receiving advice from the herdsman. Therefore, according to the fact that Sultan Hossein Baiqara's error in distinguishing friend from enemy is emphasized as a political problem and this phenomenon is taken into account in the subject and the way of illustration of miniature of Dara and Ramehdar, in this research, Dara and Ramehdar as an advisory miniature Has been studied.In this research, the question was raised: in what aspects and parts of this miniature did Kamaluddin Behzad achieve his advisory goals and what was his visual tool? The purpose of this research is to know the visual possibilities of the tradition of political advisory and the methods and visual tools to achieve this goal in the form of Herat school miniature. Therefore, this research is important and necessary to examine Iranian art as a subject with multiple aspects. In this research, on the one hand, it is necessary to examine the political-social aspects of Iranian art, and on the other hand, how to find the relationship between the political-social aspects and aesthetics is important.In this study, the descriptive-analytical and historical research methods and the method of data collection are documentary and library. In this article, the miniature of Dara and Ramehdar is analyzed as a case study. The sample selection method was purposeful and data analysis was done qualitatively. First, based on documents and library sources, the political necessity of the formation of this miniature from the Bostan Saadi version, during the reign of Sultan Hossein Baiqara, was studied. Considering the political necessities identified in this era, and the advisory qualities of Saadi's story, based on the theory of Iranshahri's political thought, the qualitative analysis of this miniature was carried out using the semiotics method of the tradition of political advisory and the concept of justice.The obtained results show that Kamaluddin Behzad, in illustrating the miniature of Dara and Ramehdar, by paying attention to advices Saadi, has embodied an advisory image in the context of the tradition of political advice. This miniature, which was depicted in a version of Bostan Saadi and for Sultan Hossein Baiqra, emphasizes the importance of establishing order in court affairs. On the other hand, Behzad, using various artistic arrangements and portraying Dara in the clothes and headgear of Sultan Hossein Baiqra, has rearranged the advice of Saadi about his contemporary conditions to point out the similarity between the behavior of Dara and Sultan Hossein Bayqra. In this miniature, instructions such as the supervision of subordinates and the importance of distinguishing friends from enemies are given attention, which seems to have been related to the necessity of eliminating the disorder in the court of Sultan Hossein Baiqara.Also, in this miniature, the selection of elements, composition, and quality of illustration is such that Sultan Hossein Baiqara's mistake in distinguishing friend from enemy, which appeared in Qeshlaq Marv, is reminded of him. The depiction of Sultan Hossein in this miniature shows the distinction between his behavior and his royal position as the main person responsible for establishing the overall order of affairs and the highest position in the court and the land. According to Saadi's poem and the behavior of Sultan Hossein Bayqra in the administration of court affairs, the elements of this picture depict the Sultan's presence in the meadow in such a way that he is embodied as the cause of disorder, astonishment, and confusion of his subordinates, in a lower position than his subordinates.

According to the epistemological foundation of Iranshahri political thought, establishing court order was a necessary principle. For the realization of Shah Farahmand, it was necessary to separate the forces of the army, religion, and court and to bring them into order by the minister. But the influence of these forces, especially during the crisis of succession, was always a factor in disrupting the order of the court. One of the challenges of the ministry was maintaining the balance of power. But with the arrival of Turkish and Mongolian traditions and the presence of court ladies, their power to interfere in court affairs created a critical condition for the continuation of Iranshahri political thought. The actions of the ministers in the face of the crisis, the involvement of women was necessary and due to the importance of the Indraznameh method, it led to the emergence of numerous literary and artistic works.During the reign of Sultan Hossein Baiqara, this crisis also occurred and was effective in the collapse of the Timurid dynasty. Due to the necessity of facing this crisis, many edicts were created to make the Sultan understand. The publication of Yusuf and Zuleikha by Kamaluddin Behzad was considered important and necessary, considering the importance of this story in the tradition of writing and considering the necessity of using aesthetic qualities to draw the Sultan's attention to this crisis. Analytical-descriptive and historical research method and library information collection.

According to the political thought of Iran Shahri, achieving justice in the social system was one of the main issues of the Middle Ages in Islamic Iran. In this political thought, justice was designed as a means of aligning social order with the sacred order of the cosmos. During this period, as a result of Iranians' confrontation with Turkish and Mongolian traditions, special aspects of various dimensions of the concept of justice were formed in Iranian culture, society, and artistic works. Based on tribal traditions, the power that was based on the sword was one of the most important components of the formation of the courts of Turkish and Mongolian rulers. One of the results of this approach was disorder and political instability at the level of the court and society. In the Timurid period, political changes resulted in the significance of the position of divan-salar and the emergence of competition between Timurid emirs and Iranian ministers to gain divan positions. These competitions were among the factors creating instability and disorder at the court. One of the measures taken to deal with such tensions was the use of miniature art in the context of political admonition tradition.

The research method is descriptive-analytical and historical in terms of fundamental goals and nature. The data collection method is documentary and library-based. In this research, a miniature with the title of “The Poet’s Praise of the Robber-Chief” was analyzed as a case study. The sample selection method was purposive, and the data analysis was done qualitatively. First, based on library documents and sources, the political necessities of the formation of this miniature from a manuscript from Sa’di's Gulistan during Shahrokh's reign were examined. Based on the identified political necessities during Shahrokh's era and the political advisory qualities of Sa’di's work, from Shahri's outlook, a qualitative analysis of this miniature was undertaken in relation to the political advisory tradition and the concept of justice.

Research Findings ‎:

Given the entry of emirs into bureaucratic affairs, the illustrating of the “The Poet’s Praise of the Robber-Chief” by Iranian artists from the Baysunghur library was a significant action. The subject of this miniature was based on the tenth story of the fourth chapter of Sa’di's Gulistan, entitled “On the Benefits of Silence.” In this story, Sa’di briefly portrayed how through the presence of a deceitful ruler, the disruption of the righteous social order and the disturbance in the system of epistemology occur. From Iran Shahri's perspective, when foreign rulers are falsely placed in the position of sovereignty, the court becomes a source of oppression, and the order of all affairs becomes disrupted by lies. Accordingly, Sa’di, by presenting two attributes of the “praiser” for the poet and the “thief” for the military commander, portrayed a situation of disorder of meanings and a disruption of the function of individuals emerged as a result of the oppression of the rulers. Through creating an interaction between the praising poet and the robber-chief, Sa’di emphasized the role of the deceitful rulers and highlighted the astonishing consequences of the contemporary oppression by referring to the nudity of the poet, wild dogs, and frozen stones.In the examined miniature, considering the similarity between the robber-chief depiction and the Timurid emirs' portrayal, this miniature gave a tangible representation of the past in proportion to their contemporary time and created a contemporary admonition. The drawing of facial features, clothing, sword, boots, and turban depicted for the robber-chief had a noticeable similarity to how these elements had been depicted in other miniatures of this period reflecting the characteristics of Timurid emirs. Attention to the decorations and details of the luxurious clothing for Dezdadan also added to the necessity for the reflection on this miniature. Based on this, in this miniature, thieves were depicted with clothing and faces similar to those belonged to Timurid emirs. By observing this miniature, it could be imagined that a poet, before what was depicted by painters, went to the palace of the holy city with the intention of praising the ruler living there; however, instead of receiving a reward, his clothes were stolen by the robber-chief, who falsely took his place in the palace. As a result, with the presence of deceitful emirs, this holy palace also lost its authority in order and righteousness and became a place for the residence of oppressors. Based on this, it can be concluded that in addition to the defined elements of military commanders, equating him with Timurid emirs, the depicted location for his presence in this miniature was not a ruin or a room in a remote village suitable for thieves, but a place equivalent to the government palace and court.

The miniature of the poet’s praise of the robber-chief is an example of political advisory art that emphasizes the importance of establishing order in the court and justice in governance. Iranian artists from the Baysunghur library created this miniature based on Saa’di's political advisory poem, representing contemporary political realities and confronting Turkish and Mongolian traditions present in Shahrokh's court. The artists depicted the disorder of the times and the transformation of roles and functions through the portrayal of astonishing elements such as stones, dogs, praising poets, and the clothing and the palace of the robber-chief. The miniature also highlights the role of Timurid emirs in the court and their similarity to Dezdadan. Through the continuation of Sa’di's role in political admonition, the artists also criticize the inappropriate behavior of praising poets in the court. The entry of Timurid emirs into bureaucratic affairs during Shahrokh's reign was considered a factor in disrupting the court's order from Iran Shahri's view. Therefore, depicting thieves with clothing and faces similar to Timurid emirs in this miniature can be seen as a critique of their behavior. Finally, this process highlights the role of artists from the Baysunghur library in reinterpreting and presenting Iran Shahri's political thought principles through political advisory art.

With the beginning of Safavid rule from the tenth century AH, the innovative creation of rugs with a different structure (design and weave) from the past took place in the first hundred years. Rugs in all original samples have a specific structure based on context and border. Borders are the most stable and regular rug spaces; consisting of repeating decorative qualities due to their spatial restrictions. Arabesques are one of the most frequent motifs in Safavid regional rugs and their borders. The samples searchable in this study, based on the existing identity and related to the rugs of the tenth century, belong to the six regions of Tabriz, Garabag, Bakhshayesh, Kashan, Kerman and Herat. It is obvious that the strong history of these areas in the field of culture, politics and art has turned them into centers for the production of works of art such as exquisite Safavid rugs.It is necessary to identify and present the most effective motifs and decorative patterns inspired by them in the borders of old urban rugs with a focus on products from different regions of Safavid Iran to be able to push the current traditional design towards the use of the artistic treasures of the past and to strengthen the design of current products based on the promotion of traditional and indigenous principles of the regions. Receiving stable decorative examples in the Iranian original traditional design and how artists use them in different spaces of works of art (case study of rugs’ border) are the main purpose of this article and answer the following two questions;1-How is the arabesque motif in the borders of 10th century AH rugs from the point of view of traditional carpet design in terms of types, decorative structures and placement?2-What is the distinguishing feature of the use of arabesque motif in the rugs’ border of the (quintet) weaving areas of the tenth century AH?In this paper, the research method is comparative analysis and data collection based on library and internet information (Metropolitan Museum Portal, V&A Museum Portal and MFA Museum Portal). It is also a tool for collecting information, studying, observing and preparing linear images of samples in the mentioned sources. In the first hundred years of Safavid rule, carpet weaving had a considerable growth in quantity and quality. Based on this, the rugs of the tenth century AH have been selected as the statistical population of this study due to their high diversity and local weave of which, 22 samples with the focus on the existence of arabesque in their decorative patterns were studied. Also the borders of studied samples should be free of damage and accordingly, sampling in the present paper has been done in a non-random way to achieve representativeness or comparability. In this method, the researcher seeks to reach a sample that represents a wider group of samples. The method of data analysis is qualitative with a structural content analysis approach. In this way, the authors categorized the three qualities based on arabesque usage in the border of the rugs based on the linear images extracted from the samples to be able to describe the distinctive features of the motif in productions of different regions.By analysis of 22 samples of the 10th century AH rugs from six rug weaving regions of Iran, with the focus on arabesque application in the border, the questions of the article were answered. In answer to the first question, by analyzing the linear images of the borders, the five types of arabesque are simple, floral, cloud band and dragon mouth, and six decorative systems including Sainak (Ghalamdani), reciprocating, floral arabesque, meander arabesque band, arabesque frame or symmetrical combinations, free cloudy arabesque and their application in three separate parts, main and sub-border, main border and sub-border were registered. In answer to the second question, most of the applications of arabesque motif and its types belonged to Tabriz and Herat rugs and in terms of decorations compression, the Tabriz, Herat and Garabag rugs were in the forefront. Examples of Tabriz and Herat were distinguished by the benefit of a variety of decorative structures. Also in Tabriz, Garabag and Kashan rugs, arabesque had been used in all three border areas. Therefore, the borders of Tabriz and Herat rugs were in the forefront in benefiting from the three qualities of arabesque motif.

The general subject of this paper is an interdisciplinary study in the field of organology, considering ancient Persian music with a reference to visual narration in Iranian painting. In current research, two significant issues are specifically addressed: first, the identification of musical instruments in the marginal illustrations of an exquisite manuscript of Divan of Hafez; and second, research on the gender composition of the musicians in these paintings. Among the questions are: Generally, which instruments are depicted with how many repetitions and variations in these paintings? Which instruments are primarily in the hands of male musicians? Which are mainly in the hands of female musicians, and which are almost in the hands of both genders? By answering these questions, iconographical knowledge can be obtained based on the images of common or famous instruments at the time and place of the creation and completion of the aforementioned  manuscript. As an implicit purpose, by analyzing the choices of painters in deciding the gender of instrumentalists, it is possible to try out hypotheses about the gender composition of musicians or produce new speculations in this field. In historical musicology, the musicological studies of images and paintings are known as iconography or iconology. The scope of research in the historical sociology of Persian music has not yet expanded, and the collection of musical literature that has been provided by using visual narratives and considering them as texts has remained relatively poor. Organology is a large branch of musicology with a broad scope; therefore, considering the limited scope of an article and the multitude and variety of research topics, we have to choose a case study regarding the material and its limits. The reigning period of the Timurid dynasty (1370-1507) is of particular significance in musical studies. The music of Iran in the post-Timurid era (especially in some periods of the Safavid era) until the Zand and Qajar eras, in which a rebirth takes place, has been stuck in a kind of stagnation and decline, especially in the theoretical aspect. The study materials in this research are divided into two categories: primary research material and comparative sources. Comparative sources are those sources that will be used for the comparative analysis of the primary material. Numerous books, treatises, and manuscripts about Persian music contain valuable organological information. The crucial premise of this research, in case of possible estimation and generalization of the gender structure of musicians to the entire musical culture of that time, is that painters did not act arbitrarily in deciding the gender of musicians of different instruments. Instead, according to their own experiences and the traditions of the musical culture of the time, they depicted the so-called ‘masculine’ instruments in the hands of male musicians and the ‘feminine’ instruments in the hands of female musicians. In the tradition of Persian painting, as well as the Indo-Mughal style, not only often are the time and place of the events not precisely known, but the identity and gender of the figures could hardly be determined only by the face. An exquisite copy of Divan of Hafez is held in the British Library under Or. 14319 is the primary material of the present research. Its creation and completion took place between the end of the Timurid era and the middle of the Safavid era, first in Herat and then in the Mughal court of India. What doubles its value and significance in organological studies are the images of the musicians. These images are depicted in the decorative zones in the margins of the poems. Due to the general inaccuracy of painters in drawing details, it is only possible to partially match the rigid descriptions of the ancient musicology with the paintings drawn by the painters. However, in general, the instruments of this collection are divided into several general groups and subgroups:Group 1 Wind instruments, including: a) Ney (mizmar) and similar instruments (without reed); b) Sorna and similar instruments (with reed). Group 2 Percussions: Dayereh Group 3 Bowed instruments: Kamancheh (fiddle, with or without a bow) and similar instruments. Group 4 String instruments, including: a) Rubab with a vase-shaped bowl similar to a tulip flower; b) Oud, Tanbur, and similar instruments; c) Qanun. It is peculiar that out of the relatively large number of string instruments in this collection, only one example can be matched with our knowledge about the Oud, an essential instrument in ancient Persian music. Therefore, it can be assumed that the creation of the illustrations in this manuscript took place at a time and place when the Oud gradually lost its importance compared to other string instruments, such as the Rubab, and diminished. Among the 34 musicians that we see in the illustrations of this version of Divan of Hafez, about 71% are men, and 29% are women. In addition, in this version: If we exclude the musicians depicted in the image of the angels, all the musicians of the wind instruments (Ney and Sorna) are men. Contrary to the widespread belief that Dayereh players were once women, only one out of six are female. About the musicians of bowed instruments, the creators have considered an almost equal share for men and women. None of the five Rubab musicians are women. Compared to wind and percussion instruments, more women are seen playing various string instruments (except Oud and Tanbur). The Qanun player is shown only once, and that time, according to the standard gender stereotype, is a female musician. In this research, thirty-four portraits of musicians have been studied. The instruments and gender of the musicians have been identified. Ney and Sorna instruments, Dayereh, Kamancheh or Ghezhak, Rubab, Oud, Tanbur, Seta, Sheshtai or Roohafzai, and Qanun, are present in the present collection. As much as the structure of instruments such as Ney, Sorna, and Dayereh is more straightforward, their design is also easier for painters. That is why half of the instruments in this collection are made up of these three. Also, the striking predominance of the presence of the Rubab compared to the essential instruments of old Persian music, i.e., Oud and Tanbur, indicates shifts in the typical instrument composition in this period (17th century). The contribution of female musicians in this manuscript could be more impressive. Some instruments such as Qanun and Setar, which stereotypically are considered ‘feminine’ even today, are seen in the hands of women. In addition, if we exclude the three angelic beings, none of the Ney, Sorna, and Rubab players in this collection are women; and this confirms that men often played wind instruments in ancient times. At the same time, we see only one Dayereh musician in the image of a woman. If this idea and method are used in the study and examination of a more significant number of paintings and manuscripts of the history of Persian art, perhaps it will bring more detailed results regarding the historical sociology of Persian music in terms of the gender composition of musicians. Although the number of images of musicians in this manuscript is significant compared to many others, we need a more reliable and suitable statistical sample to consider the results as generalizable.

Examining contemporary Iranian carpets may be achievable by understanding the visual aesthetic components of various designs in different regions. Golestani design is a type of modern carpet design in Tabriz, which has been developed based on the traditional and contemporary aesthetic approaches with a visual language (pictures) in a multi-textual structure. In this design, the pictorial images are embodied in the most eloquent expressions in the multitude of texts. The fundamental question of this research is the representation of naturalistic paintings in the transformation of Golestani design of Tabriz’s contemporary carpets. Therefore, this research analyzes the visual components of Golestani design to recognize Tabriz’s contemporary carpets. Hence, the fundamental inquiry of the research has been: what are the essential components of pictorial images as the pictorial characteristics of Tabriz’s Golestani design? This research is descriptive-analytical deploying an aesthetic approach. Through library sources and a study of visual documents, it has analyzed the visual images of Golestani design of Tabriz’s contemporary carpets. The under-study statistical group is contemporary Golestani carpets (throughout the last century). The under-study statistical sample is 9 examples of Golestani carpet images belonging to the contemporary era. We collected pictorial data by referring to museums' websites, by examining the images of theses and reference books, and by taking photographs of carpets. As the results of the research have showed, the transformation in Golestani design has occurred based on the traditional and contemporary aesthetic approaches. Traditional components such as Iranian-Islamic text, geometric structure, and multiplicity of texts are clear; contemporary components are visible in their pictorial images close to the nature. According to the aesthetic structure of this design, the multiplicity of use of visual images in Tabriz’s contemporary Golestani design manifested itself in the multiplicity of texts and visual components of the contemporary era (such as inspiration from nature as a realistic image).  Two visual components of Golestani design are the framing of the multi-text space with naturalistic images and the extensive use of more realistic pictorial images.

Iranian handwoven carpet is a phenomenon that carries the history, culture, tradition and civilization of Iran. But one of the less addressed issues is the women in the field of handwoven carpets. Since handwoven carpets have always been intertwined with women's lives, the main issue of research is to identify the female discourse in handwoven carpets and to articulate the effective elements of this discourse in Qajar and Pahlavi eras in Iran. Since handwoven carpet has always been considered masculine and women have not been looked at, more deeply than in the role of the weaver or the subject of the image in the pictorial carpets that were part of the productions of these two periods, this article tries to drag out the importance of the women's role in Iranian patriarchal society of those days.  In this study, based on Foucault's theories, a set of propositions producing knowledge in the field of women and carpet weaving in the Qajar and Pahlavi eras have been studied. However, Foucault had not clearly explained how the research must be conducted following the discourse, and it is difficult to find an easy guide to implement  in social research inspired by his work. Foucault uses archeology and genealogy in two major stages of his methodology. In archeology, Foucault focuses on the inner dimension of discourse and shows no interest in examining non-discourse elements. So, The present study emphasizes the method of Foucault's archeology and does not include genealogy as one of its components. The present study deals with the prevailing conditions in the Qajar and Pahlavi eras, especially in relation to the situation of women. According to Foucault's theory, in each period of epochs, a special discourse governs the behavior and actions of people and is accompanied by a series of discourse strategies that are inextricably linked with language and with the collapse of any system. Therefore, women in relation to handmade carpets in the two periods of Qajar and Pahlavi have been discussed and some power relations have been mentioned as well. In this regard, women have been analyzed in relation to handwoven carpets from three perspectives: 1) subjective; 2) objective and 3) the subject of the work. Also, an attempt has been made to discover the relationships of elements related to women and how to create meaning and discourse in the carpet. Also, the purpose of this study is to answer the following question: What was the position of women in Iranian handmade carpets during the Qajar and Pahlavi eras? The research method is qualitative and in terms of method of implementation is descriptive-analytical-historical. To study and understand past events, look at the causes, effects or trends of past events that helps to clarify current events and predict the future ones, Michel Foucault's archeology theory has been used as a theoretical framework and also as the conceptual model of the research to analyze the data and to respond to the problems. Considering the latter triad in Foucault's discourse analysis, the Iranian hand-woven carpet in the Qajar and Pahlavi eras has been studied from three perspectives. That is, women have been given subjective, objective, and conceptual situations in the handmade carpets of these two periods in order to recognize the dominant discourse of these two periods.Finally, a final assessment of the discourse position of handmade carpets in the two mentioned periods in Iran is obtained. Rival discourse sources in the construction of femininity in this period can be considered as written sources obtained from that period. Because these sources, which are at the same time expressive of the ruling discourse of this period, also express the demands of society, especially women. Because the identity that refers to women in modern times is not an absolute concept, but it is completely relative, which is realized in the historical process and within a certain cultural, traditional and social context, and is strongly dependent on the components and factors of its constituent context. The constituents of the context and their internal relations with each other are also involved in the process of application and construction of female identity. Accordingly, we will be confronted with different kinds of female beings and identities, and it is not possible to judge and define the conceptual nature of it. Therefore, woman is placed in different situations in relation to the handwoven carpet, then studied in the historical context of the period in order to understand the dominant discourse and at the same time, to recognize the power relations. In order to better understand and include discourse analysis based on the archaeological approach, it is necessary to explore the propositions confirming the phenomenon under study, to recognize power relations, and to identify competing discourses. Then to understand the current discourse of that phenomenon.  In historical and sociological analyzes, most women have been ignored and a distorted image of them has been obtained because they have always been on the margins of analysis and research. This is not just because of the exclusion of women from research examples, but also as a result of the systematic prejudices and inefficiencies that exist in common male-centered contexts. Even in the examples that include women in research categories, it is from a perspective that considers men as a common standard. Women are related to all aspects of Iranian handwoven carpets in the historical period under study, and according to the documents collected. Relying on the discourse method of Michel Foucault and adopting a triple response method in archeology, the propositions related to Iranian handmade carpets in the Qajar and Pahlavi periods were examined. Propositions whose function is revealed by dealing with historical narratives. Until the answer to the main question was found, which is looking for the place of women in Iranian handmade carpets. The richness of historical material and documents related to the daily events of men compared to women in history is so high and even the smallest daily activities of men have been recorded in the history. But women, as the half of the population, enjoy less of the richness of written documents, and the  recorded history for them is often an oral history. The main purpose of this article is to take women out of the historical isolation of that time and to identify their activities and to record propositions and elements in writing and to include them in the realm of discourse to recite  the forgotten identity of women living in the patriarchal society of that era. An identity that is not inherent in nature and has always been introduced to others by her male relatives. Also, the expression of propositions that may be considered more accurately and in detail in future research. The meaning of each of these propositions may not be important, but how they are combined and united is important. In order to answer the research question, which was to find the position of women in the field of handmade carpets in the two mentioned periods, by granting three special positions to women in relation to handmade carpets, women's footprints were observed in all related aspects of handmade carpets. Although discourse theories are always subject to change and transformation and unstable; However, according to the studied data, the role of women in economic, cultural discourses, tastes and representations of handmade carpets and looking at all its dimensions, from the stages of spinning wool and silk to the stages of production, ownership circle and even its designs in In both Pahlavi and Qajar periods, it can be said that the element of femininity has always been alive and well in the field of Iranian handwoven carpets. Therefore,  the position of women in the context  of Iranian handwoven carpets in this period cannot be denied.

The present study investigates a brief poem attributed to Abu al-Wafa Kharazmi and verifies the attribution. The verse has been composed to explain the suitability of the hours of an entire day with the twelve modes (maqāms) of ancient Persian music, and its content has a history in older writings that can be traced back to its origins. The purpose of the study is to introduce, describe, analyze, and critically correct this literary piece using recorded materials and sources as well as library documents and manuscripts. In the course of the discussion, the content of the poem has been comparatively studied with two other musical treatises, an earlier work (Kanz al-Tuhaf by Hassan Kashani), and a later one (Treatise on the Science of Music written by Mir Sadr al-Din Mohammad Qazvini). The findings show that the aforementioned trans-musical topic is one of the favourite subjects among the authors of the transition period of Persian music (late fourteenth century AH to the end of the Safavid era), which can be detected with the slightest modification in several treatises of this period. The actual source of this topic is the Kunz al-Tuhaf treatise, but it is allegedly based on the ideas of Avicenna; however, this attribution is quite far from the historical truth. Based on the evidence, the authors have concluded that the work in question in this study is by a lesser-known poet and Sufi named Khajeh Abu al-Wafa Kharazmi (760-835 AH) who, according to historical accounts, was familiar with the science of music (Advār) and had a treatise on music, which is not available today. Most likely, the poem was extracted from his lost musical treatise. So far, the validity of the attribution of this work to Khajeh Abu al-Wafa has not been scrutinized and no research has been done regarding its content.

Saif al-Din Farghani (d. 1348/ 749 AH) is among the lesser-known poets of the Iraqi period. He lived in the 13th-14th centuries, during the Mongol invasion and domination, and spent most of his life outside the borders of Iran in Aksaray (modern-day Turkey). The primary issue of the research is to discuss his merits in comparison with numerous Persian poets and writers, especially Qasida (ode) authors. As a criticiser and social reformer, he was committed to society and avoided praise poetry and a courtly career. In this paper, we will first examine the background of him, and then there will be a commentary on his beliefs, which can be helpful as a backdrop to comprehending Saif's qualities and works. Afterwards, we extend the main discussion into three parts: first, we have an overview of the troubled situation of his time. Second, we discuss Saif's response to that situation in the form of socio-political criticism included in his poems, which is significant from the perspective of the sociology of literature. And thirdly, we draw upon his moral and artistic behaviour according to the above topics. The research method is descriptive-analytical and, due to the extreme lack of first-hand sources, directly referring to the text of Diwan (Qasidas) and extracting facts related to the main subject. Drawing the attention of critics of the political aspect of Persian classical poetry to a rare and admirable poet is a side goal of the research. Among the findings, we should point out the inconsistency of some of Saif's beliefs with the progressive side of his character, including his opposition to reason, philosophy and the historical background of Iran; and on the other hand, the impact of Saif's adoration for the truth of Sufism and Shiism in pursuing a path that ultimately ended in his anonymity.

After the collapse of the Sassanid dynasty, their textiles' designs were still accepted and repeated among other regions. Sometimes, it isn't easy to distinguish the samples of each part. However, there are still some aspects in each place's designs that are helpful to determine the motifs of each region from the Sassanid.
This study's issue is to observe the significant similarities in the Byzantine and Egyptian textiles' patterns whit the Sassanid samples. It is noteworthy that in this period - from about the seventh to the tenth century AD - the Sassanid dynasty has disappeared. However, their pictorial designs were still on other lands' textiles, including the present study areas.
 The purpose is to study the intertextual relations and structural analysis of Sassanid, Byzantine, and Egyptian textile patterns and study the reasons for some differences between them in using the Sassanid patterns as an identical text in their fabrics. The results can help find the affecting factors of stability and acceptance of a template in terms of visual style and structure and applying outcomes in creating new designs.
For investigating this issue, the intertextual approach and Roland Barthes' theories have been used. Thus, by considering Sassanid motifs as a text, it is tried to study and analyze how they are placed in other regions' text. In the designed tables, the selected samples from each field are structurally examined and analyzed. Textiles' motifs composition structure related to the different areas has been studied separately in six thematic subjects and different compositions, including single birds in a medallion, single animals in the medallion, symmetrical double composition, symmetrical composition with a central motif, hunting, and narration. This division is based on the majority of repetitions of a subject among the prototypes of three geographical and historical areas, as well as its generalizability in all of them. The 'form text' and the 'written text' are obtained and presented in the tables by designing a diagram based on the fabric pattern’s structure.
Since the samples belonging to the Sassanid period are considered pre-text in this study, their compositional structure is extracted in the first column of the tables and used as a basis for analyzing samples for other areas.
The results show that different regions have different perceptions of the same "text" based on their previous knowledge and pre-texts. Also, in the reproduction stage of the design, they create a new " opus" in which, despite the similarity to the prototype, traces of features and symbols derived from their own regional identity or, in fact, their own texts are evident.
Comparing to Byzantine, Egypt has retained most of its outstanding features, which can be attributed to its long history in the textile industry, as well as a rich background of cultural, religious, and mythological texts, which allowed them to Have more choices in replacing the designs in a new structure. With the more affluent cultural background and context of a region, the result is not mere imitation. It moves towards creating an original artwork involving a structured text network.

The Mashhad school of painting was active in the second half of the 10th century under the guidance and support of Ebrahim Mirza Safavi. In this historical period, the illustrated version of Jami's Selselatozzehab was illustrated on the date of 977 AH. This lesser-known version of the Safavid period has 14 illustrations and is preserved in the treasury of Golestan Palace, which has various decorations of Tash'ir in the margins of the pages and illustrations? In the margins of the paintings, two types of Tash'ir decorations and decoration in Zarafshan style can be seen, half of the paintings and some of the pages are decorated with plant and animal motifs. Based on this, the main question of this research is that what are the visual and formal features of Tash'ir in the illustrated version of Jami's Selselatozzehab? The main purpose of this research is to examine the elements of poetry in the illustrated version of Jami's Selselatozzehab. This research is of a fundamental type, with a qualitative approach to the analysis of data using a descriptive-analytical-comparative method. According to the findings and general results of the research, the Tash,ir elements of this illustrated version can be categorized into several sections; The elements of poetry in the illustrated version of Jami's Selselatozzehab series include a variety of plant motifs (such as trees, flowers, slimy snakes), animals (birds, deer, goats, foxes, tigers, Kailin and Simorgh) and supplementary motifs (clouds, rivers and imaginary creatures).

During the era of Sultan Hossein Baiqara and the ministry of Khwaja Nizamul-Molk Khafi, despite the prosperity of Herat City, the emergence of a kind of fundamentalism in the society was prominent and caused dissatisfaction. Considering the relationship between art and political and social necessities in this era, the painting of a story from Bostan Saadi, with the subject of a drunkard person and a muezzin, in the version of 883 AH, is a significant issue; In this miniature, the emergence of fundamentalism was mentioned and it seems to be related to the social situation of this era. Therefore, with the aim of cognition of the relationship between the occurrence of fundamentalism in the court of Sultan Hossein Baiqara and the depiction of the drunkard in the mosque, this question was raised: What is the relation of selecting the story of drunkenness in the mosque from Bustan Saadi, for miniature in the 883 AH, version of Bustan Saadi, with the revealing of fundamentalism in the court of Sultan Hossein Baiqara? The necessity and importance of this article also in examining the social-political aspects of Iranian art. In this study, the descriptive-analytical and historical research methods and the data collection methods are documentary and library. The results show that visualizing the miniature of drunkenness in the mosque, embodying the contemporary social situation in Herat, distaste for fundamentalism, and the need to pay attention to monotheism are warned. Also considering the emergence of fundamentalism during Saadi's lifetime, in the story of the drunkard in the mosque, the fundamentalism that emerged in the community has been criticized and admonished as a moral and social problem. In this miniature, on the one hand, by using the way of space creation and motifs common in the Timurid period, the story of Saadi is rearranged in the era of Sultan Hossein. On the other hand, the method to visualize and add elements such as the image of a surprised youth, the hands and face of a drunkard as a defenseless and astonished person, pride and arrogance in the behavior and face of the eunuch, as well as the contrasts formed between the forms, figures, and atmosphere of the mosque, distinguishing fundamentalism and monotheistic faith in this era is considered visually and semantically. In this regard, the way of choosing noble Quranic verses and their role in the double inscription in this image is such that the distinction between fundamentalism and monotheistic faith in relation to Saadi's story and the visual and semantic qualities of this image is doubly noticed and necessary and advises to avoid this behavior from the point of view of divine laws. Therefore, in this miniature, while rearranging Saadi's story and using Quranic sources, the fundamentalism developed in the era of Sultan Hossein has been embodied and it has been warned to avoid it by using various artistic advice.

This article examines violence against art. Nowadays in many cases, the artwork is used as a commodity without considering its artistic value. Ignoring the value of the artwork in anyway constitutes violence against art and over time, causes the artwork to disappear and become a commodity. The main purpose of this study is to study examples of violence against art and its consequences; In this research, we are trying to introduce a new category in the field of art by raising this issue; violence against art means that art is not for art, the discussion of violence against art can be a new topic in relation to art. In violence against art, the discussion of the commodification and instrumental use of art or the dominance of the material dimension of art over its spiritual dimension can be identified. In this article, violence against art in the field of pictorial carpets is studied in a specialized way and resulting damages in the field of pictorial carpets are examined. The results of research show that coordinating pictorial carpets with other home appliances and having a capital view on it and its commodification are examples of violence against art. The main discussion in these results is the discussion of significant developments in the field of pictorial carpets consumption. Over time, the artistic dimension in the field of pictorial carpets has diminished and the precedence of commodification over the cultural aspects of pictorial carpets can be seen. This article examines violence against art. Nowadays in many cases, the artwork is used as a commodity without considering its artistic value. Ignoring the value of the artwork in anyway constitutes violence against art and over time, causes the artwork to disappear and become a commodity. The main purpose of this study is to study examples of violence against art and its consequences; In this research, we are trying to introduce a new category in the field of art by raising this issue; violence against art means that art is not for art, the discussion of violence against art can be a new topic in relation to art. In violence against art, the discussion of the commodification and instrumental use of art or the dominance of the material dimension of art over its spiritual dimension can be identified. In this article, violence against art in the field of pictorial carpets is studied in a specialized way and resulting damages in the field of pictorial carpets are examined. The results of research show that coordinating pictorial carpets with other home appliances and having a capital view on it and its commodification are examples of violence against art. The main discussion in these results is the discussion of significant developments in the field of pictorial carpets consumption. Over time, the artistic dimension in the field of pictorial carpets has diminished and the precedence of commodification over the cultural aspects of pictorial carpets can be seen. . The results of research show that coordinating pictorial carpets with other home appliances and having a capital view on it and its commodification are examples of violence against art. The main discussion in these results is the discussion of significant developments in the field of pictorial carpets consumption. Over time, the artistic dimension in the field of pictorial carpets has diminished and the precedence of commodification over the cultural aspects of pictorial carpets can be seen.

In his most notable work entitled Resale-ye Sena’iye, Abulqasim Mir Fendereski (c. 1562–1640), the Hakim and philosopher of the Safavid era, examines theoretical music. In this regard, he stands exceptional among the philosophers of the period. But unlike the philosophers of the early Islamic epoch, Mir Fendereski's purpose was not to teach music technically through the written text but to employ the example of theoretical music to clarify different kinds of crafts. Using the qualitative method of text analysis and historical resources, the present paper, written with the aim of investigating Mir Fendereski's philosophical views on music under a category within the crafts, briefly reviews the time, works and ideas of Mir, and explains the theoretical basis and terms of the treatise to analyze the author’s purpose by exemplary usage of theoretical music, so that one can comprehend his true intention. The most important conclusion of musical fragments is that in this period, scholars made a clear and decisive distinction between the science and practice of music. It was likely that a prominent religious figure, despite having full knowledge of theoretical music, an ear for music, and even instructing it, might have avoided practising music and even banned his pupils from it. This fact can be thought of as an obvious indication of the separation between musical science and practice in this era.

The Inter-hybrid camel is one of the types of composite creatures in Iranian art. This composite creature has an important distinction with other composite creatures such as Sphinx, Griffin and others. In this image, the organs of different animals are not combined in one body. Rather, a collection of human and animal figures, strange objects and imaginary creatures are depicted inside the body of a camel and in the form of various organs of her body. This form of the camel is seen in many Iranian arts such as painting and carpet. In addition, Inter-hybrid camel is depicted in many Indian paintings and there are some similarities between camels in Indian paintings and Iranian examples. In this regard, examples of components of the camel's body are referred to as repetitive visual conventions. These conventions, which have emerged as a series of human and animal standards, are found in both Iranian and Indian arts to be perfectly harmonious in form, but differing in their portrayal together. Prominent examples of these contracts are: Rabbit (in heads and legs), Fictitious Creatures (in the neck), Fish (in the neck and tail), Human face (at the junction of the neck to the body), Human in the sitting position (in the chest), Bird (in the chest) and creatures that have come out of the mouth of another creature (in the legs). Pictorial carpets, as one of the arts of Iran, depict the Inter-hybrid camel. Pictorial carpets including these figures often belong to the Qajar era and after this era, and there has been no sign of this figure before this period. Research on pictorial carpets plays an important role in understanding the Iranian carpet art flow in the contemporary period as well as the cultural components of Iranian society. The image of the Inter-hybrid camel in the pictorial carpets remains largely unknown and the lack of studies in this area has created ambiguities as well as misconceptions about the resources and motivations for its use in carpets; including that this figure of the Inter-hybrid camel on the carpet is known with the story of Leyli and Majnun by Nizami Ganjavi. However, the attribution of this camel to Leily is not true in all examples. The aim of this study is the investigation and analysis of the morphological features of the Inter-hybrid camel figures of the pictorial carpets of the Qajar era as well as finding the conceptual and pictorial source of this figure in the carpets. To reach this goal, we also explored the figure of the Inter-hybrid camel in addition to pictorial carpets in other arts. The questions in this study are: 1. What is the visual origin of the image of the Inter-hybrid camel in pictorial carpets? 2. What is the conceptual and semantic origin of this role in pictorial carpets? 3. What are the morphological and formal characteristics of this image in pictorial carpets? Type of the research in this study is descriptive - analytical, historical and a comparative study. Formal analysis method has been used to analyze the data. Information gathering is done through library sources and the Internet. The statistical population includes the Qajar carpets. Seven carpets were selected and compared with each other. Because of their small number, the selection of these rugs is based on available and accessible samples. In this research, using linear analysis, the formal analysis of the Inter-hybrid camel in the carpets and the review of their repetitive visual contracts were discussed. Subsequently, the carpets with this picture, in addition to each other, were compared and analyzed with samples of Iranian lithographic arts and paintings of Iran and India. The results show that the carpets have indirectly been influenced by the Iranian and Indian paintwork and have directly been influenced by the lithography of the Qajar era. The conceptual source of these carpets is the stories of Leyli and Majnun by Nizami Ganjavi, Prophet Muhammad’s ascension, stories from the Golestan of Saadi and the legend of the talking tree. Morphologically speaking, the consisting parts of the camel’s body are: 1. Animals, 2. Humans, 3. Composite-fictional creatures, 4. Objects. Among the different kinds of animal species, the most commonly used element is the body.

Gender Differences Arise From The Interaction Between Gender Physics And The Economic And Social Aspects Of Societies. This Approach Leads To The Emergence Of Characteristics Unique To Each Sex, Psychologically And Physically, And Ultimately The Acceptance Of These Characteristics By The Sexes Themselves, Societies And Cultures, Stereotypes And Gender Axioms. They Bring. Adopting These Stereotypes, Gender Patterns As A Background Affect All Relationships, Behaviors, And Social And Cultural Norms Of The Sexes. Behavioral Stereotypes That Always Exist In Evaluating The Performance Of Men And Women In Society Are The Differences Between The Way Of Thinking Of These Two Sexes And The Attribution Of Rational Behavior To Male Gender And Emotional Behavior To Female Gender. In Art, The Difference Between These Two Ways Of Thinking Is Reflected In Abstract And Realistic Works. Based On These Two Dimensions Of Mental Stereotypes In Society,It Seems That More Abstract And Geometric Works Are Considered Masculine And Realistic Works That Express A Kind Of Feeling Are Considered More Feminine. While Men And Women Do Not Differ Much In Terms Of Orientation Towards Different Arts And Also The Degree Of Success In Achieving Their Goals In Art. Based On This Assumption, In Addition To The Existence Of Various Styles And Artistic Tendencies, The Main Core Of The Present Study Is The Study Of Works With Realistic Style And Abstract Works To Help Achieve This Category Of Whether Gender Stereotypes In Attribution Is A Work Of Art Effective For A Man Or A Woman? The Present Research Method Is Of Survey And Field Type And Has Been Done By Relying On Experimental Methods And Quantitative Method As Well As Studying And Reviewing Scientific Documents. In Order To Measure The Research Hypothesis (Gender And Social Maps Affect The Attribution Of Works Of Art To Men And Women), The Scale Of Speculation Of The Gender Of The Creator Of The Work Was Used. Findings Show That In The Application Of A Work Of Art To A Particular Genre, It Is Influenced By The Audience, Stereotypes Or Gender Ideas, As Well As Gender Roles. For Example, The Adaptation Of The External Space To Men And The Internal Space To Women Is Due Same Mental Stereotypes In Assigning Social Roles To Gender. In Other Words, Audience Of The Work, By Default, Imagines Women In The Home And Indoor Environment, Which Depends On The Descriptive And Obligatory Aspects Of Gender Roles That Are Accepted Among Some Cultures And Societies That Women Are Involved In Housework And Affairs. They Are Closely Related To Breeding. Another Common Attitude In Judging Gender Is Color. Participants Attributed Most Of The Works With Limited Color Spectrum To Men, As Opposed To Those With A Wide Range Of Colors And Red, Pink, And Orange. This Stereotypical Behavior Towards Men And Women Can Be The Result Of Accepting Superficial Differences Between The Sexes; Basically, Men Recognize A Limited Range Of Colors, While Women Tend To Be Pink, Red, And Orange, And Have A High Degree Of Color Recognition.

The Treatise of Kerāmiyeh about music (Resāleh-ye Kerāmiyeh), attributed to Dowreh-ye Sofrehchi, is one of the most important writings on music in the Safavid era. This work has been published only once with a different title "On the Knowledge of Music Science", without critical correction and sufficient explanation, only based on a single manuscript, by Yahyā Zokā in a compilation of essays named Nāmeh-ye Minavi (1971) in Tehran. It has not been thoroughly and methodically analyzed and criticized. This printed version, despite its precedence over the present study, is not without errors and mistakes, and in many cases, both in the body of the prose and its poetic verses, differs pointedly from our compiled versions; As far as it can be considered as a completely different treatise due to the changes, additions, and deficiencies. In this study, while identifying the problems of Zokā's version in various fields, including incorrect recording of names and technical terms, the introductory prose (which is adorned with poetic verses and is also relevant from the perspective of literary studies) has been compared with 13 manuscripts and corrected by the method of "Apparatus Criticus". The most significant finding of this study is that a simple comparison between the proposed correction and the printed version reveals that the edition of Zokā is based on an eclectic and plagiarized version and bears no acceptable resemblance to the various preferred versions of the treatise. Therefore, a new correction of this important musical work of the Safavid era seems necessary.