mohammad afrough

The reflection of religious themes and stories that gradually became popular in the carpet weaving system of Iran from the Qajar era, has gradually become one of the significant parts of the iconography system in the design of Iranian carpets and pictorial designs. Among them, we can refer to the subjects taken from the holy books of the Old Testament and the Torah, especially the stories related to the apostles of the Israelites, in the carpets ordered by merchants and donated by influential Jewish people. "Taj-e Torah" is the special hand-woven works of the Jews, which includes selected parts of the sacred texts of the Jews, which are woven into carpets and tapestries with a religious-ritual and propaganda nature, to be installed in the synagogue. It was woven as a gift to special people to introduce Jewish law. This article aims to introduce these symbolic hanging wovens and read and analyze their content from a semantic and symbological perspective. The research question is, what are the hidden and implicit meanings behind the symbolic motifs and decorative arrays of the carpet text? Some of the findings of the research include the following: symbolic elements that have hidden layers of meaning in the crown of the Torah, including crown, angel, altar, palm, vine, sun, lion, pillar, wall of Nadba, Beyt Al-Moghadas (Jerusalem), Kandil, fountain, Star of David, Horse and Chariot, Trumpet (Shofar), each of which refers to a phenomenon or event. In the past, "Taj-e Torah" were woven from wool in the dimensions of carpets, but gradually they were woven from silk in the size of hanging decorations. Their design and formal structure is of pillared altar type with six-frames and mostly fixed pictorial narratives, in some cases, one or two new narratives have replaced the older ones. The contents of the narratives are the spring flowing from the stone with the staff of Moses, the image of Moses and the reading of the tablets of the Ten Commandments, the glorification of the cherubs (angels), and the arrival of people's prayers to the upper world, the Ascension of the Prophet Elijah to the sky, the sacrifice Isaac/Ishmael, the image of Aaron and the seven-branched menorah candlestick. This research is of qualitative and developmental type, descriptive-analytical research method, and library data collection method. The background of the carpets as a native and practical art, since the time of Qajar, and at the same time with the development of cinema, photography, and printing and the popularization of pictorial carpets and symbolic weaving, as a kind of media for subjects, became different. From this point of view, Jewish pictorial carpets were the important manifestations of this movement, which narrated the narratives and stories related to the sacred texts of Jews, the ups and downs of the people of Israel, and the stories of the apostles of this people in the form of images and icons. Therefore, Taj-e Torath carpets and tapestries (Keter Torah) are special examples of Jewish images that were woven and presented with the mentioned purpose. Torah crowns are ritual-decorative hangings with an almost definite and fixed figure and structure, whose content is narratives (generally six) of the themes of the sacred texts of the kilim and the icons of the prophets of Israel. Currently, due to the change in social conditions, attitude and way of life and the dimming of the ritual or the way of propagating the rituals and rituals and more importantly the migrations or the death of the ordering Jews, the weaving of Taj-e Torah has stopped and since their topics and content are specific and related to a specific religious class, it is difficult to access them. Therefore, by searching on reliable sites, access to twelve samples (six carpets and six woven panels) of them was possible. In this research, with the aim of semantic and aesthetic reading and discovering the symbolic meanings of their roles and paintings, they will be studied, examined, and analyzed in form and content. The Jewish people or the followers of Prophet Moses, who are also known as Kalimis in Iran, entered Iran from the distant past and settled in different areas, especially Kashan. "For several centuries, Kashan provided the most favorable environment for their coexistence and growth compared to other parts of Iran and the world. The conditions are so favorable that some Jews have called Kashan a small Jerusalem or a galaxy of Jewish scholars and writers" (Heydari & Falahian Vadaghani, 2013, 59). Trade and commerce have always been some of their most important professions; In such a way that in various professions and occupations, the biggest merchants were Jews. From the distant past, the art-craft of hand-woven carpets has always been considered one of the most important business areas of the Kalimis in Iran, so that "according to the atlas prepared from Jewish history, their traders from the century 6th BC, they started trading in Iran, and carpets gradually became one of their important commercial goods. As Shushtar was the center of carpet trade in 548 AH" (Gilbert, 2003, 11). Benyamin Todolai, a traveler and a Spanish Jewish rabbi, has collected useful and valuable information about the Jews of Iran. During his many trips to different countries, including the Middle East and North Africa, he studied the situation of the Jewish population and wrote in his narratives: At the end of the second century AD, most of the production and weaving of Iranian carpets was the result of the work of the Jewish population who lived in Hamadan, Isfahan, and Shiraz. Also, according to another of his contemporaries, the Jewish population of Shushtar (ancient Susa), which was approximately fifteen thousand Jews, was practically in charge of the trade of carpets in this region. Based on the examples in museums and authentic collections, the subject and theme of Jewish carpets and rugs, which are without exception considered to be pictorial type, include religious and ritual subjects. Subjects related to religious, moral, and Sharia narratives and excerpts from the lives and events of the messengers of the Israelites such as Noah, Abraham, Jacob, Yusuf, Suleiman, and Moses, signs and symbolic roles, events related to the Jewish people, and the Torah. These rugs are woven to introduce, promote, and remind the place of religion and the moral and ruling concepts mentioned in it. Kashan, Tabriz, Kerman, Isfahan, and Qom are prominent cities in the weaving of Jewish carpets. Although these carpets were woven in the past, nowadays their text and content are woven in the form of small-sized panels, mainly with silk. The types of carpets, rugs, and pictorial and narrative woven hangings of Kalimis, were woven in abundance in the cities of Kashan, Tabriz, Kerman, and Isfahan in the 19th century and during the Qajar and Pahlavi eras. There are special and relatively common examples with a religious-ritual function, in rectangular and mostly square shapes and in various dimensions and sizes, such as panels, backs, half cubits, two cubits, and rugs, which have figures and the physical structure and often the content are the same. However, the designer, according to his taste and creativity, may make changes in the type of patterning, composition and arrangement, dimensions and number of motifs, as well as coloring and the use of various colors. These hanging woven are known as "Taj-e Torah" or "Keter Torah" among Kalimis. From a lexical point of view, the phrase "Taj-e Torah" is used due to the presence of the crown above and in the middle of the hand-woven and considering that the hand-woven theme is part of the content of the Torah book and its teachings. The Taj-e Torahs is a woven or ritual-ornamental figure specific to the Kalimis, the subject of which was selected parts of the Torah. The designer used to paint and embellish the surrounding subjects. In the old examples, the surrounding of the woven is decorated with ornamental hangings or bouquets. In the past, the Taj-e Torah was woven in large dimensions (carpets) and later, especially in the middle of the last century, in smaller dimensions and sizes (panels). Also, the types of "Carpets" were made of wool and were often woven in Kashan and the types of "Panels" were made of silk, and the cities of Tabriz and Qom have silk products. Like other Jewish carpets, they are of a religious, ritual, and commemorative type to promote and remind some of the narratives and historical angles of the Old Testament, the Torah, the Jewish religion, and the apostles of the Israelites. The Taj-e Torahs were offered and woven to be installed in synagogues and temples or hung in houses by orders of merchants or religious and cultural dignitaries.

This study is field-based and has limited theoretical aspects and aims. It is the first time it has examined, analyzed, and introduced the origin and the formal, content-based, and technical dimensions of the Mostofi design in Arak and Farahan carpets. The lack of existing resources on this design and the necessity of understanding its roots and characteristics emphasize the importance of this research. The Mostofi design is a comprehensive pattern with floral motifs, structured around paired spiral Eslimi. Based on historical samples, it likely entered Arak and Farahan carpet-weaving schools in the late 19th century and gained popularity. Eighteen distinct designs were selected and studied after excluding similar examples. The primary research question is: what are the technical and aesthetic features of the Mostofi carpet design? This research adopts a developmental, qualitative approach using descriptive-analytical methods, with data collection carried out through fieldwork, library research, and credible online databases. Innovative research into carpet designs and patterns from various regions of Iran such as Arak and Farahan carpet-weaving schools and their affiliated hubs—including notable areas like Sarough, Lilian, and Mahallat—has been scarce. This absence of comprehensive documentation and research highlights the necessity of in-depth studies in traditional arts and handicrafts. From the mid-to-late 19th century, Arak and Farahan carpet weaving gained international fame, particularly in the U.S. and Europe, due to the display of exquisite handwoven pieces such as Sarough carpets. This study focuses on the Mostofi design, one of the traditional and authentic patterns of Arak and Farahan, which was woven and marketed from the late 19th century (13th century AH) to the mid-20th century. Simultaneously, this design was also popular in Bijar and Tabriz carpet-weaving schools. The Mostofi design features a modular composition with prominent elements such as spiral Eslimi, circular or oval floral motifs, and predominantly dark blue or azure backgrounds framed by red margins. This design represents a key aspect of the identity of the Arak and Farahan carpet-weaving tradition, although its production ceased decades ago. Only a few samples are now preserved in international collections. This study seeks to explore the historical origins and aesthetic and technical features of the Mostofi design.

Due to the difficulty in locating authentic historical samples of this design, the initial search was conducted in the markets of Arak and Tehran, the primary hubs for producing and distributing Arak and Farahan carpets. However, no examples of old Mostofi designs were found. Subsequently, attention was directed toward international online databases, where a few examples were identified. This study employs a qualitative and developmental approach with a descriptive-analytical methodology. Data collection is conducted through a combination of library research and investigation in reputable international databases. The statistical population includes 30 purposefully selected non-random samples.

Based on oral and market narratives in Arak, the Mostofi design likely entered the Arak and Farahan carpet-weaving system from Bijar, potentially originating from the Caucasus region before reaching Tabriz and subsequently Bijar. The Mostofi design is modular, featuring prominent motifs such as spiral Eslimi with a single rotation, miniature patterns within the spirals, small connecting floral motifs, and a central oval or circular floral motif with buds. The margins of the selected samples exhibit consistent aesthetic and compositional characteristics with few exceptions.

This study examined the Mostofi carpet design, one of the authentic and traditional patterns of the Arak and Farahan carpet-weaving schools. Eighteen samples were selected based on structural and content-based differences among a limited number of such carpets primarily sourced from reputable international databases. The Mostofi design is no longer woven in Iran, with only limited modern adaptations available, which are not widely accepted due to their design and color limitations. Historically, the Mostofi design was modular, consisting of background and margin elements. The background typically includes three components: paired spiral Eslimi, connecting floral motifs, and a central oval or circular floral motif with roses. Margin designs were largely uniform across samples, except for rare cases. The background color is predominantly dark blue, except in a few instances (samples 2, 6, 7, and 8) where black, azure, or cream was used. Margin colors, except for one onion-colored exception, were predominantly red. The Mostofi designs had dense and intricate patterns, with interconnected elements and small motifs filling the composition. Dimensions of the original Mostofi carpets ranged from 127 cm to 405 cm in width and 204 cm to 568 cm in length, reflecting their historical popularity and demand. In contrast, modern versions are smaller, typically woven in sizes of one and a half or two zar (traditional Persian units), with limited appeal due to weak design and color schemes. While the origins of the Mostofi design in Arak and Farahan remain unclear, it is likely the same age as its counterparts in Bijar and Tabriz. Recent inappropriate change and distortion, including rude Eslimi and unconventional color schemes, have further reduced its popularity. Additionally, Bijar and Tabriz Mostofi carpets are generally smaller than those from Arak and Farahan.

Art works and objects in museums are valuable cultural and civilizational treasures that are usually less prone to research and have been neglected by researchers to spawn new approaches to scientific study and introduction to the audience. Accordingly, the collection of works of art and particularly the rugs available in the Textile Treasury of the Cultural Complex (Museum) of the Oppressed and War Veterans Foundation are valuable examples of magnificent museum works and an exquisite treasure of the carpets of the Qajar period with great capacity and capabilities for research and introduction. These rugs have been collected from different weaving centers of Iran with various designs and patterns. A total of 51 rugs are stored in this museum, 8 ones of which have been woven in Farahan-Sarouk region, one of the major centers of carpet production for global export during the Qajar period. With this in mind, the current study sought to analyze and introduce these rugs from technical and artistic perspectives. The research question is, “What are the technical, aesthetic aspects (design, pattern and color) and, if any, the semantic concepts of the texture of Farahan-Sarouk rugs?” The findings of the study include the following: the designs and patterns of these rugs include Corner-Medallion, Vase-like Altar-shaped, Overall Flower with Corner, and Paisley with Medallion in various forms and colors. Additionally, the background color of these samples includes lacquer, ivory, copper, blue and navy blue, and the background color of the margins, except for two lacquer cases, is all navy blue - a feature that is a mostly fixed characteristic of Sarouk and Farahan’s rugs. This is a qualitative developmental study conducted using the descriptive-analytical research method with data collected through the desk-based method.

In the creation of literary and artistic works, the texts, while having obvious and hidden relationships, have a process of overlapping and modeling each other, so that from within this connection and modeling, new texts and works are created or expanded and developed. The aim of this research is to investigate and analyze a pictorial rug with the theme of Leyli and Majnoun based on the type of genetic polytextuality with interdisciplinary texts (pre-textual and multitextual rugs, three miniatures) in order to discover and explain the intertextual relationships. Hypertextuality is one of the pre-textual signs in the selected texts. Based on Genette's point of view, hyper-textuality is the re-reading of pre-textuality; that is, writing new content and reading pre-text creates a new text. Revelation in the relationship between texts, influence and hyper-textuality of each other, has always been one of the topics of interest of researchers in the field of human sciences and literary studies. In the 20th century, this issue was raised by Kristeva and Barthes and systematically developed by Genet in the form of transtextuality theory. Hypertextuality is a type of transtextuality that deals with the systematic relationship of a text with previous texts as sources of inspiration, based on change and imitation. For this reason, pictorial rugs with the theme of the story of Leyli and Majnoun are an expression of texts mixed with verbal and visual systems that were produced by using the artist's creativity and imitating literary and artistic pre-texts during Qajar period. In this research, a sample of the mentioned rugs will be studied and analyzed based on the multi-textual approach and focusing on the type overlap, with the aim of reading and discovering the degree of intertextual communication and imitation of internal and external pre-texts. Therefore, the main question of the research is: to what extent and how can the imitation of interdisciplinary texts be explained, and what do the verbal and visual signs in it indicate?The most important findings of this research are the followings: the designers of Leyli and Majnoun rugs enjoy from previous sources such as literary and visual texts to design these works; works which are based on imitation and change. More importantly they create motifs and peripheral and marginal narrative scenes based on individual innovation. In the interdisciplinary pre-texts (paintings) the painter, while being faithful to the previous literary sources, tries to create an exemplary and ideal space from the story of Leyli and Majnoun. This research is of a qualitative and developmental type and its research method is descriptive-analytical and data collection is desk-based. In the process of doing the work, while passing on the theoretical and fundamental studies of hypertextuality and the overlapping approaches, the research explores visual and verbal systems, literary and artistic pre-texts and finally analyses hypertexts. Relevant intra-disciplinary and inter-disciplinary themes will be conducted to the topic of Leyli and Majnoun.

Literary schools and theories are always considered to be the most efficient tools for clear understanding of literature and art. Formalism, is one of the most important deconstructive and progressive schools in literary criticism, which became the basis of a new definition and look at art in the late 19th century to the middle of the 20th century. formalism is one of the most important literary theories that created a significant impact on the path of literary and artistic theorizing. this theory emerged with the insight that form is a set of relations between the signs and components of the work and gives consistency, structure, framework and meaning to objects and phenomena and is based on the independence of the text. Regarding the importance of form and shape, Henfling believed: the essence of art should be found in its form. A theory "which considers the formal characteristics of the work as the most important element of its foundation and considers the content of the work as the result of the realization of the form" With its emergence, formalism established a new attitude towards literary traditions and the written and visual sphere, paying attention and focus on the form (motif), structure and form of poetry and artwork in order to achieve the goal of the work, i.e. literary and artistic, is the focus of the theory of formalists. also, "they tactfully tried to overcome the traditional duality between form and content" The formalists "used the form so widely that it absorbed what was usually called the content". They believed that human content (emotions, thoughts and reality in general) in itself lacks literary and artistic meaning and merely provides the basis for the performance of arrangements. the word formalism is avoiding representation and negation of automaticity and habituation and trying to discover, reread and re-see a text or work of art from a new lens, which requires a change in the structure, defamiliarization, norm avoidance and highlighting in that text. According to them, aesthetic understanding does not need to know non-perceptual features. In fact, understanding the work itself is the goal, and what is called the content of the work is itself a part of the form aspects. They were trying to show how literary arrangements create aesthetic results. Beardsley Fry writes in connection with repetition and habituation: it is enough to recognize an object or person, by doing this, they are somewhere in our mental list of things and persons. they find and are not really seen anymore. Therefore, in order to pass this procedure, representation and automation and descriptive qualities should be put aside. What if art is the revealer of fantasy life instead of real life. In formalism, the value of a work is in the meaningful and signifying form and the representational characteristics serve the form of objects. A separate form from time and place and paying attention to the social context and historical context, has an inner and essential truth and importance hidden in itself. In connection with formalism and specifically in this research, two key words are very important. First, defamiliarization, which is a central concept in formalism, and highlighting, which is one of the important concepts of Yan Mukarovsky's opinions and teachings. familiarization or alienation is the most prominent concept in the system of formalism theory. This term was coined for the first time by Viktor Shklovsky, a Russian critic in the mentioned book, which became the basis for important developments in literary and artistic studies. Shklovsky's article is so important that some have called it a statement of formalism. In this article, Shklovsky says that the main work of art is to change the shape of reality which is interpreted as "making strange" according to the root of the word in English. Highlighting was used for the first time by Yan Mukarovsky. The role of highlighting is to create literary [artistic] creativity and the opposite of automation. She believed that in artistic language, "highlighting reaches the maximum intensity to the extent that the act of communicating is pushed to the background. in fact, communication is no longer the goal of expression, but it is to highlight the expression itself and put it in the foreground". Leach believes that highlighting means artistic deviation; a deviation that has artistic motivation. This art and trick create a break in automaticity through unexpected, strange, and prominent words and expressions [patterns and images] and attracts the reader's attention. This feature in the formalistic attitude and especially in the nomadic handwoven carpets, is the most important type of crossing and deviation from the normal language of imagery, and therefore saves the imagery from approaching stereotypes and repetition and draws the viewer's attention away from the text. And the content (theme) attracts by the method of expression and the role itself, which has subjectivity in handwoven. According to Mukarovsky's point of view, nomadic handloomed are the most prominent in expression. Mukarovsky was one of the effective formalists in the development of this thought process, which has significant opinions regarding the nature and nature of the work of art. According to him, art has a semiotic nature and is considered a sign. A work of art, unlike a tool, does not serve any purpose and is created simply by its own existence. this feature is also prominent in the creation process of nomadic handlooms. "This disinterestedness since there is no specific subject and no rational reason for it, makes us measure the art of the nomads with a quality that is considered noble and original art in the aesthetic experience due to the principle of "disinterestedness". A thought and characteristic that is rooted in Kant's beliefs. In addition, the work of art can have different functions at the same time. On the other hand, Iranian handwoven carpets and nomadic handlooms and the mechanism of creating their text and motifs are in accordance with formalist beliefs and especially Mukarovsky's opinions. Iranian weavings include classical handwoven carpets (urban weaving) and especially nomadic weavings, which in this research, with the aim of measuring the degree of matching their form and content with the foundations of the formalism school and the thought of Jan Mukarovsky, a prominent member of this movement, has been studied and reviewed. in the first part of the research, the basics, and principles of the theory of formalism and in the second part, Mukarovsky's teachings about the nature, characteristics, and functions of the work of art, as well as highlighting as a focal concept in relation to the classical carpet and nomadic weavings were studied. In the transition of formalism structuralism, what the form (motif) conveys is placed in the second priority. In this research, an attempt was made to measure the motifs and images as the artistic language and literature of urban woven carpets and nomadic weaves based on the theory and approach of formalism, as the aim of the research. Therefore, the literary and artistic text is the same handwoven fragments and unusual, unfamiliar and exaggerated motifs, arising from the imagination that evokes strange and original words. Also, the main and raised question is, what are the characteristics and indicators of the nomadic handwoven text from the perspective of formalism and Mukarovsky's opinions, and to what extent is it consistent or close to the components and characteristics of formalism? This research is qualitative and developmental type, and the research method is descriptive-analytical. Also, data collection method has been done in library.

Appropriation is a new art approach in the postmodern era, which appears in various ways in the form or content of the newly created work. Therefore, returning to the past works and consciously using them to the desired extent and in a new format, to create a new concept and express a new idea so that the created work is original and not forgery, because a fake artwork is made to deceive the audience, but such works do not deceive the audience. When appropriation takes place, a work is created that can be counted among the original works. Although this approach can be observed in visual arts, it happens in a more limited and different way in native arts, especially hand-woven carpets. Although this approach, due to mere representation, has lost its function today, except in carpet weaving in this way, the main question of this research is, how does the approach of appropriation in carpet weaving happen and what are its characteristics? Also, the purpose of this research is to explain the approach of appropriation in this native art and to analyze and examine its dimensions and mechanisms. Some of the findings of this research are as follow: the artist in this native art is a designer (for urban woven carpets) or a weaver (for rural and nomadic carpets), doesn't create a new concept, but out of taste and simply to represent or celebrating the personality and status of celebrities creates a work. In this approach, adaptation of various works (painting, photography, architecture, sculpture, tiling, reliefs, painting, nature and its elements) occurs. Most of the subjects of appropriation in the carpet are related to the faces and icons of mythical figures (Hoshang, Jamshid, Anoushirvan, Dariush, Shapur, Purandokht), political, religious, cultural or scientific men, the elements of nature, buildings, and historical monuments. This research is a descriptive-analytical research the data is collected using library resources.

Hafeshjan is one of the most important centers for cutting and producing stone works (tombstones and stone lions). hafshjani stone carving artists have been engaged in this profession for generations and are now one of the active centers in the production of various types of stone works is includes a variety of tombstones, ritual and decorative stone lions and other functional and decorative stone volumes. this article is a field research that has been written with the aim of introducing different types of volumetric and stone works of hafshejan, examining, identifying and analyzing aesthetic aspects and knowing the reason for the formation of motifs in their context. the main question of the research is: what are the types of tombstones and stone lions of Hafshjan, the reason for their production and the aesthetic dimensions and decorative motifs of these works and what are their meanings? the findings of this study are based on field studies, some of which are: hafshejan stone works in the past included tombstones and stone lions, but today, in addition to its innovative production, various functional works (types of dishes) and decorative works (types of stone lions) are also produced. the production of lions in

The Reading of Picture "Saving Yusef from the Well” Based on the Approach of Hypertextuality The most important materials for studying literary theories and approaches are religious, mythological, epic, and lyrical stories depicted in the painting, which simultaneously has two visual and written systems. Also, knowing and investigating the types of intertextual relationships in works of art, especially paintings, requires the study of trans-textual types, especially the multi-textual approach, which has more affinity and relevance in analysing and decoding artistic text. This research studies Nejat-e Yusuf-e Nabi az Chah from the illustrated version of Haft Ourang-e Ebrahim Mirza with the approach of hyper-textuality which is one of the five kinds of trans-textuality. Its purpose is to analyse the interaction and connection between the literary text (poetry) and the image, as well as to study the visual characteristics of these texts. The main question is what are the visual and structural characteristics and content of the painting and other hypertexts, and how was the artist influenced by the text of the poem? Hypertextuality is one of the types of Gérard Genette's theory of transtextuality, which examines the relationship between two texts, one of which is derived from the other. "Any relationship that causes a link between a text (B) and a pre-text (A), as long as this relationship is not of an interpretative type” (Genette, 1982, 5). Also, Genette considers three main conditions for hypertextuality: textuality of the subject, having two or more texts, having a certain relationship between pre-text and hypertext (Namvar Motlagh, 2011, 141). The basis of this approach is based on "adaptation" and includes two types of identity (imitation) and transformation. In the first case, the change is not the goal, but in the second case, this change is necessary. "In the Identity, the goal is not to create change, and of course, the amount of change will not be significant either; because the goal is to highlight and be specific about the pre-text of the work. But in Transformation, the conscious change is to emphasize hypertextuality, and conscious change is done with the intention of transformation" (Namvar Motlagh, 2006, 10-11). This change includes increasing, decreasing, and displacement, which includes other elements. "Transformation and change of the hyper-textuality compared to the pre-text can be subjective, formal and thematic" (Hakim & Namvar Motlagh, 2017, 18). Hypertextuality is based on adaption, in other words, in hypertextuality, the effect of one text on another text is examined, not its presence. Of course, there is an impact in every presence and there is presence in every impact, but in hypertextuality, a broader and deeper impact is considered (Azar, 2015: 24). In hypertextuality "Identity or imitation, it is important to preserve the original version without any change or transformation. In this case, the artist or author tries to create his work by imitating and copying another work; However, no imitation can be imagined without partial transformation (Kangarani, 2011, 320). The main pre-text in this research is The Haft Awrang by Jami. Maulana Nur -ud-Din Abd-ur-Rahman, known as Jami and the last Persian poet, is one of the most prominent mystics of Iran in the Timurid era (ninth century A.H.). Among his important works are seven Masnavis or Haft Awrang, written in imitation of Nizami’s Khamsa. "Three Masnavis out of Haft Awrang are allegorical romances, the names of the main characters of these poems are Yusuf and Zuleikha, Salaman and Absal, Layla and Majnun, and the other three Masnavis contain informative speeches" (Shru Simpson, 2002, 14). In composing his works, Jami used pre-texts and previous sources in literature and religious sources and books such as the Quran, Torah, and the Bible. He was a follower of Naghshbandiye religion in mystical thought. The Masnavi of Yusuf and Zuleikha "is based on the Quranic verses of Surah Yusuf, and of course, traces of non-Islamic sources from the Talmud and other literature can be seen in it. Layla and Majnun were adapted from Layla and Majnun by Nizami and Majnun and Layla by Amir Khosrau Dehlavi and Salaman adapted from one of the two commentaries written by Khajeh Nasiruddin Tousi on Avicenna's Esharat and Tuhfa-al-Ahrar was written in the style of Makhzan-al-Asrar Nizami. (Khadivar & Sharifi, 2009, 81-80). Also, the Masnavi of Selsele-al-Zahb is adapted from the Masnavi of Rumi, the Tazkare-al-Awliya of Attar, and Nafahat-al-Ouns and the Chahar-Maghale of Aruzi Samarghandi. The Sabha-al-Abrar is adapted from the book of Tawasin by Mansour Hallaj, and the Tohfa-al-Ahrar is adapted from Kelileh and Demneh Nasrollah Monshi and the Kheradnameh from the Iskandarname Nezami. In addition, Mantehgh-al-Tayr Attar is also one of the other pre-texts of this painting. Haft Awrang was illustrated in the painting school of Mashhad during the reign of Sultan Ebrahim Mirza. What is known as the Mashhad School of Painting is the royal workshop and library of the Safavid artist Prince Sultan Ebrahim Mirza, the son of Bahram Mirza, the nephew and son-in-law of Shah Tahmasp Safavid, where valuable works such as Jami’s Haft Awrang were written and illustrated. "During his reign in Mashhad, the Safavid prince, like his uncle Shah Tahmasp, had a library with many artists under his supervision, and Moheb-Ali, as a librarian or library supervisor, helped the prince in preparing Haft Awrang" (ibid., 17-18). This system's technical and artistic features, such as the originality and quality of the assemblies, show the highest standards of Safavid era painting, which can be under the influence of the Tabriz school. This work's general characteristics and content, which are kept in the Freer Art Gallery of Washington, can be seen in Tables 1 and 2. Four of the six paintings of this poem have been illustrated by Mozafarali and Sheikh Mohammad (Nayebpour & Esfandiari, 2016, 1). These seven Masnavis "have 304 leaves of cream-coloured paper and margins with golden gilding, with 28 illustrated frames and 9 gildings in the beginning and end of each Masnavi" (Simpson, 1997, 339). Paintings regularly mix familiar visual elements with new and creative ones, while some common features can show the artist's creativity. The creation of scenes can be considered a reflection of the alignment of the images with the text.Its style is in harmony with the taste of the patron, Ibrahim Sultan. Also, a large part of the space of the paintings is dedicated to landscapes with very complex details. One of the Haft Awrang scenes is a picture of Prophet Yusuf's rescue from the well by caravans. Considering the important place of the story of Yusuf and Zuleikha in the Quran and the title of Ahsan al-Qasas (the best story), this story was very important for Jami in such a way that he dedicated one of the seven Masnavis to this story and its two main actors. In this symbolic and simultaneous (multidimensional) space, based on the aesthetic system resulting from his desired rules, the painter has depicted eight narratives on different levels, each of which contains a specific and independent event without any logical connection to others. But all of these scenes show the relaxation of the caravan, such as slaughtering sheep, drawing water from the well, baking bread, gathering firewood, etc. "These levels create a moving space that cannot be seen objectively, but the audience creates it with the help of their visual participation" (Shaygan, 2013: 83). In this painting, we are faced with a crowded, compact, and dense space and a scattered arrangement, and the variety of narratives and the crowding of human figures in it are remarkable. The main part of the current research is the image of Yusuf's rescue from the well in Haft Awrang Ebrahim's manuscript, first, its visual and verbal systems and then other hyper-texts, including the four rug images, will be studied. This research, based on the hypertextuality approach to reading and analyzing a picture from the Haft Awrang illustrated by Ebrahim Mirza with the theme "Rescuing Yusuf from the well", as the main picture and text along with other hypertexts that include four paintings from different schools and three pictorial rugs with the mentioned subject will be discussed. The chosen picture is from Yusuf and Zuleikha's love poem and one of the seven Masnavis of Haft Awrang by Jami, a poet of the Timurid period, which was illustrated by painters like Sheikh Mohammad, Mozafarali, Mirza Ali and Agha Mirak. The Masnavi of Yusuf and Zuleikha has six paintings and the painter is Mozafarali.

Problem Definition: 

The Lilian carpet is one of the important carpet brands of Iran and Khomeyn in the Qajar era, about which there has been little research to date. Actually, no trace of the popular Lilian carpets can be found in the domestic markets of Iran, and the popular Reyhan design is woven in a limited number in Khomeyn. Having this in mind, the present study seeks to investigate the two Lilian and Reyhan carpets from Khomeyn, Iran. The research question is: "What are the technical and aesthetic dimensions (structure, design, and color) of Lilian and Reyhan carpets?"

 This study aims to analyze Lilian and Reyhan designs in terms of technical indicators and aesthetic features for better identification of these carpets.

 This is a qualitative, developmental, and descriptive-analytical study. Data were collected using the desk-based method as well as through searches on reliable websites.

 The findings of this study show that Lilian carpets are often woven without medallions and corners with a unique structure comprising flowers and bushes, altar- and crescent-shaped wreaths as well as symmetrical and upside-down vases, and usually a wreath or a flower bush has replaced the space of the corner. Medallion-Corner and In-and-Out-Fish designs are also seen in these carpets. Lilian carpets contain plant motifs, but they have no animal (bird and non-bird) or human motifs. However, the Band-e Reyhan (Reyhan Dam) design is one design of Reyhan village with two important motifs, namely the important motif of the dam (pool) and the ibex motif, which reflects the ibex motifs found in the ancient petroglyphs of Teymareh region.

Studying the textual and contextual aspects of traditional and applied arts offers a pathway for the expansion and enhancement of the discourse analysis concerning ethnic art.This avenue opens the way and helps the audience understand the inner meanings of the narrative, verbal expressions and visual systems, and structures of the text of the artworks. Indigenious arts, especially Jewish pictorial rugs with religious and symbolic faces present an area ripe for examination within the realm of theoretical investigations, inclusive of the theory and methodology of iconology.This approach delves into the analysis and interpretation of visual compositions, aiming to unearth the profound essence of an image through its narrative, qualitative, and symbolic components, intricately woven together, while considering various structural and thematic facets of the piece. Image rugs are an expression of indigenious arts , offering a fusion of visual and textual discourse centered upon a foundation of objective narratives entwined with spiritual, national, and mythological subjects.Fabricated within specific temporal confines, these artworks serve as a means to preserve beliefs, ideals, epics, and ethnocultural memories. In the context of religiously themed works, these woven creations encapsulate not only images, visual elements, and aesthetics but also enduring ancient symbolic notions, archetypal constructs, and allegorical accounts.Deciphering these multifaceted dimensions mandates a grasp of the historical, cultural, and artistic contexts. This crucial undertaking is facilitated by methodologies such as iconology, denoting the science of image interpretation and analysis. This involves referencing textual sources that underpin the subject matter and concepts depicted within these works, while also scrutinizing the visual components to uncover latent objectives concealed behind the visual narrative.  These woven treasures, with the theme of famous stories and events in the Jewish religion, as well as figures of prophecy and sanctity, are a type of carpet weaving art of the Qajar community. In this research, the painted narratives and elements in the context of one of the examples of this type of weaving, namely the "Ghader-e Motlagh" carpet, are analyzed and explained from the perspective of the artistic lens of iconology.Investigating the images and the portrayal of symbolic and allegorical themes and concepts within artistic and visual compositions encapsulates a comprehensive, overarching description of this approach. This methodology strives to fathom images (icons) as entities transcending mere visual representation, striving to convey messages to the audience that surpass the surface.The "Ghader-e Motlagh" rug,, with the central theme of the sacrifice of Prophet Abraham, is one of the most important carpets in the tradition of Jewish carpet weaving. This rug is subject to an iconological analysis in this study. The question raised about the topic is what are verbal, narrative, and visual themes hidden in the narration of the sacrifice of Isaac.The research endeavor aims to unearth and comprehend the meanings and concealed strata of the narrative through an exploration of both formal dimensions (elements and motifs) and the intricate interplay between them.The findings of this research encompass a twofold significance. Firstly, they serve to reiterate the foundational moral tenets of the Judaic faith and Jewish identity. These tenets are presented in the form of theological systems, vividly depicted as symbolic imagery. Secondly, the study unveils the core message and intent of the narrative: prophecy, accentuating the religious, moral, and philosophical doctrine of "obedience and submission" to the divine through the rite of "sacrifice," which entails forsaking cherished possessions and desires.  The concept of sacrifice stands as an ancient archetype, woven throughout history, religions, tribes, and cultures, often at the behest of deities and adherents.The research methodology is qualitative and developmental, employing a Descriptive-analytical approach. The data collection method is rooted in library research.  Examining the "Ghader-e Motlagh" rug exposes a melange of icons, including motifs of sacrificial sons, humans, animals, and flora (Bidmanjoon and cypress tree), as well as inscriptions, architectural elements, and more. These components, harmoniously integrated, aid in the revelation of the intended hidden meanings. Especially within spiritual systems, these symbols embody a pursuit of perfection. This study resides within the realm of qualitative research, characterized by its descriptive-analytical nature, while its purpose assumes a developmental trajectory. Data collection relies on library resources. . Concurrently, the research constitutes a case study, with data analysis adopting the iconological or iconographic approach.  The purpose of this research is to analyze and interpret the written and visual themes related to the topic of sacrifice in the studied carpet. Iconology, which is referred to as the science of image interpretation and explanation, is made up of two words "icon" which means image and "logos" which means knowledge. In fact, iconology is the study of the logos of words, ideas, discourses, or recognition of icons or images, or similarities (Metchell, 1986, 1). ). While its origins trace back to ancient Greece, with Philocentrasnus' Book of Icons and Akmarasnis' literary style adaptation (Mokhtarian, 1390, 110), ), this approach found a distinct footing in the 19th century AD (Nasri, 1397, 18). Over time, it was Warburg who developed iconology in the late 19th century in order to apply it to various subjects. He not only extended iconography to religioussubjects but also was able to apply the defining range of iconographic methods in order to provide knowledge and the cultural history of art in a comprehensive manner. This method was later called iconology (ibid.), and Panofsky, one of Warburg's most prominent students, was able to structure this method. Iconology is "not only the description of icons - like iconography - but also the interpretation of images and symbols by revealing the interpretive aspect" (Namvar Motlagh, 2013, 73). Panofsky's ethnographic approach, aiming to discern the cultural conceptions attached to images, illuminates unexplored facets of a culture and its worldview (Keshavarz Afshar & Samanian, 2016, 96). The icon's essence, poised between sign and subject, invites a deep cultural probe for an understanding of its intrinsic meanings, aligning with elements deeply embedded within culture.Ergo, iconology, as the science of interpreting and explicating icons or images, strives to unearth the inherent meanings encapsulated within artworks and discern their symbolic significance. Concurrently, this endeavor necessitates a familiarity with the symbolic horizon of the icons or images, grounded in their cultural underpinnings spanning mythology, religion, philosophy, and history (Dayeri & Ashuri, 2015, 21).The theoretical framework of iconology unfolds across three stages. Pre-iconography phase constitutes the initial tier of comprehension. This phase entails an examination and description of the artwork (in this study, the selected carpet) and its concrete and tangible significance.This level encompasses a combination of both the real and expressive dimensions of meaning. Describing a work of art at this level necessitates knowingan understanding of its historical conte, its method, and style resemblances to comparable works, as well as relevant phenomena and themes. This level operates on the premise that visual constituents within the image are fashioned under the influence of specific factors.  The subsequent phase, iconographic analysis, delves into the exploration of the central and conventional meanings entrenched within the artistic creation. This stage mandates a grasp of specific themes and concepts, entailing familiarity with a wide spectrum of motifs. Referred to as iconographic analysis, this level of meaning embodies the interplay between artistic motifs and their compositional form to construct a secondary, conventional meaning (Panofsky, 2012, 103).The secondary meaning in the field of art is the meaning that a person achieves with the subject or at a higher level with their theme by establishing a mutual relationship between artistic motifs and the form of their composition (Panofsky, 1972, 6).Unlike the prior level, this mental facet encapsulates allegorical manifestations and cultural codes, acknowledged, condensed, and institutionalized within ethnic groups.The third and final stage entails the analysis of iconology or the content-driven meaning of an artwork, culminating in iconological interpretation. This phase demands a profound comprehension of the culture in which the work was conceived, encompassing its worldview, principles, values, religious tenets, cultural elements, social dynamics, and philosophical orientations. To engage in this level of interpretation, the analyst must grasp the historical journey of symbols and signs. This tier of meaning assumes an authorial essence, evolving through intuitive processes (Panofsky, 1972, 7-9). Crucially, the third level of interpretation amalgamates the preceding two stages, crafting a coherent and inseparable progression.

The tendency to beautify and beautify the desire to display beauty is one of the natural and innate tendencies of man, which from the beginning of life until now, man has always paid serious attention to it. Jewelry is one of the most important tools and elements of beauty, especially for women. Actually, the use of jewelry is a manifestation of beauty that has a serious presence in contemporary life compared to the past. in such a way that today the art-industry of jewelry making and production of all kinds of jewelry is considered one of the profitable and favored industries along with countless brands. in this art-industry, in addition to the quality of the material and its quality, "the form, design and body of the parts" is one of the most important components and indicators in the choice and favor of customers. therefore, the design and creation of popular forms and designs is one of the constant concerns of producers and one of the influential factors in the ups and downs of this field. designing jewelry is one of the prominent professions and important global skills in the world of beauty, grooming and business. Success in design requires having a certain amount of artistic and visual knowledge and skills, visual literacy, creativity and innovation, and more importantly, nobility in recognizing the visual and value-oriented treasures of the past and the knowledge of native art, which is the source is a fountain of ideas and creativity in designing, redesigning and producing modern works of art, especially ornaments and jewelry. in addition to the design and form, decoration and engraving of jewelry pieces is also of particular importance.directly exploiting or taking as a model the motifs and paintings of the native arts of Iran, such as hand-woven carpets in the design of ornaments, is one of the creative and innovative methods in creating ideas and creating original and eye-catching designs.from this point of view, the exquisite and original Farahan carpets that are kept in the Claremont collection are one of the valuable systems and rich resources in the design, redesign and production of contemporary works of art, which can lead to two desirable approaches: first, the preservation and introduction of Farahan carpets and their motifs as a component of identity and artistic heritage, and secondly, the use and application of patterns and paintings of this type of art in the formation and production of works and luxury and capital goods such as ornaments and jewelry. focusing on beauty and striving for beauty is one of the most important aspects of a person's life, which has been a kind of value, merit and necessity to be considered from the past until now. hence, the making of classical ornaments and jewels and artistic rhinestones is a strain of indigenous and contemporary art and knowledge, which is considered one of the most important arts and crafts. in the process of producing all kinds of decorative ornaments and original jewelry, important components are always considered by the designer, which include: the use of materials and the quality of construction, the design of the shape and drawing of the initial body and the shaping of the structure of the work, as well as the patterning and decoration of the ornaments. meanwhile, the design and creation of the shape and volume of all kinds of jewelry has a significant contribution to its success and acceptance by consumers and customers. on the other hand, the creative and innovative use and patterning of all kinds of motifs and patterns in traditional and native arts, such as the luxurious classical Iranian carpets, is a value-oriented look in the field of artistic productions and a new step in spreading this desirable attitude. for this reason, the main question of this research is how to use the treasure of Farahan carpet patterns in the design of today's ornaments and jewelry? therefore, the preservation and introduction of the exquisite Farahan carpets and their motifs as part of the artistic identity of this region in the form of their application and use in the design and production of various works of art is the aim of this research. this research is of applied type and descriptive-analytical research method. The method of data collection was in the form of a library and search in the sites of valid collections.

Metalworl art, manufacturing and decoration of various types of metal works during Islamic era, is one of the most important achievements of art in the fifth, sixth and seventh century AH at the same time as the seljuki and Mogul. this art at this time was able to conquer much of the geography of Islam and in particular Iran, mousel, syria and egypt, with the genius and creativity of Iranian and Muslim artists, become one of the most prominent arts of the mentioned periods. mousel metalwork School during the Boom of Mousel city and during the rule of Badr al-Din Lolo, (1229-1259/ 637-611), one of the most active schools and poles of metal production at the time, which - according to the manner of making and decoration of works that were ineffective, had great beauty and great use - was able to achieve significant prominence. Now many of the works of this school are decorated with the museums and collections of the world. In this article, two metallic works of two metalworkers are examined and analyzed, basin of ahmad zaki alnaghash mouseli and flower pot of ali ibn hamoud mouseli.the present study is fundamentally objective from the perspective of the research method, it is descriptive-analytic.the method of collecting information is also a library and search in museums.

The present research is the result of a field search to find and study surviving designs from the life and prosperity of carpet weaving among Mohajeran and their introduction. mohajeran was one of the Armenian villages and one of the most important centers of Arak weaving in the past, but today the body of the village and its art of carpet weaving have been lost. in addition to being influenced by the Arak weaving system, the mohajeran carpet has a design and map with its own identity, which has not been included in the research system and the research community has neglected to study and introduce it. therefore, identifying and investigating the technical and aesthetic dimensions of the immigrant carpets is the goal of this research. In this way, by searching the databases of Iranian carpet owners, a number of 31 different and diverse samples were selected from among a large number of immigrant carpets and were studied and examined for analysis and introduction. therefore, the main question is what are the technical and aesthetic dimensions of the immigrant carpet? the summary of the research findings is as follows: in mohajeran carpets, only abstract and abstract plant motifs in the form of bouquets and bushes, as well as dome and altar-shaped vases have been carved in the form of diffusion composition. also, there is a central structure or motif of trange in the form of a cross and similar to what can be seen in the Lilian carpet. in fact, the structure and nature of the mohajiran carpet, especially in the design, framing, and space creation of motifs, is very similar and close to the Lilian carpet in khomin. tnd this shows the preservation of the formal and visual characteristics of the designs and maps of the armenian woven carpets of iran, which may be rooted in the armenian carpet as the first origin of these carpets. this research is of a qualitative and developmental type and a descriptive-analytical research method. also, the method of data collection is searching in the arak market and reliable global collections.

Nomads of hand weavs and Sociology is one of the desirable discourses in the interdisciplinary field that has an acceptable capacity in creating a discourse of indigenous and ethnic arts and gaining knowledge of the active creators of these weaves, community and the cultural context in which such works are produced. in this article, gabbehs and qashqai lion will be studied, analyzed and analyzed from the perspective of giddens sociology and construction theory with the focus on the propositions of "structure and agency". the meaning of structure is the technical dimension of weaving, ie the type and technique of weaving and how the weaves and their patterns are formed, which is in the position of social structure. the question in these weaves is that the structure (rules and sources) of the texture by what mechanism has caused the persistence gabbegs and qashqai lion rugs continuation of their function? therefore, the purpose of this study is to investigate the components and effective factors in making (weaving), fame and symbolic power of Qashqai lion rugs and gabbehs. the findings of this study indicate that various components such as weaving structure and technique, as agents, play an essential role in the reputation and value of these weaves. also based on this theory, in the process of weaving and weaving production, not only weavers as actors and human agents,but other factors, such as natural colors and abstract motifs, the "mental weaving" and "improvisation" features, also contribute to the creation of weaving. this is a qualitative research and descriptive-analytical research method. The method of data collection is library.

Abstract
Problem statement: Turkmen handwoven and handkerchiefs are a field of native arts that, while meeting the needs of life and highlighting the artistic identity, have been a vehicle for revealing beliefs through the representation of abstract motifs. The critical point in these works is the importance and exceptional attention to the semantic and belief-oriented aspects of the motifs, along with the aesthetic dimension. This issue is relatively less in other nomadic societies. In the lifestyle of Turkmen society, there is a prominent presence of ancient (shamanic) and religious beliefs, rituals, and teachings that are presented to the audience through abstract artworks. Therefore, we can do an anthropological study on the Turkmen weavers’ worldview, which presents in the paintings. This approach seeks to study and understand artworks’ content in their creators’ cultural context. So the central question of the research is, what are the anthropological characteristics of Turkmen handwoven and handkerchief motifs? And how can we study their semantics and aesthetics in terms of this aspect and Turkmen cultural contexts?
Research

This study attempts to examine and understand Turkmen’s handmade motifs in the context of Turkmen weaving culture.
Research

The type of this study is qualitative and developmental and its method is descriptive-analytical with a library data collection.

The dominant style of painting motifs is more discrete than abstract. Also, the motifs are created relying on beliefs more than they have aesthetics (decorative) and symbolic and semantic aspects. Most of the motifs include the group of protective motifs (prayer, spell, armband), ram, local birds, and flowers (bergamot) That has a special marker and form in each tribe. Also, handmade have special functions.

The Armenian carpet is one of the artistic products of the native culture of this country and the oldest weaving system in the geography of the Caucasus, which has had a lively life since the past in the plateau of ancient Armenia. It was woven and presented based on the imagination and taste of Armenian weavers and the use of ritualistic, mythological, and religious symbolic concepts. The motifs in this carpet have been formed and continued over time in the cultural context and fabric of Armenian clothing. On this basis, any analysis and understanding of the Armenian carpet’s functional dimensions or its aesthetic and semantic concepts should consider the context of the culture in which it was created. Therefore, to achieve such a goal, The first stage is to look upon the study of the Armenian carpet with an anthropological approach to art to identify and analyze its forms and meaning.Anthropology of art is a comprehensive approach that is desirable and value-oriented in studying and understanding the art of native societies and their cultural background. This research tries to answer the question: What characteristics and indicators do Armenian carpets have, based on the anthropological approach of art and from the aesthetic and semantic point of view? And how can one understand the meaning and symbolic and aesthetic concepts of motifs based on the cultural context of Armenian society? The summary of the findings of the research includes the existence and presence of various plants, animal motifs, various geometrical and human shapes, and calligraphy in the text of the carpets, which, in addition to being created to fill with patterns and decorate the space of the carpets, they have an implicit mission as well, that is the symbolic and meaningful aspectof motifs, reminders, and cultural and religious messages that each of them has in their existence. Some of them include the dragon, the tree of life (Yasi), the cross, the altar and the church, and the bergamot, each of which has its meaning that has been formed over time and on the cultural background of Armenian society. This research is of a qualitative and developmental type, and the descriptive-analytical research method and the data collection is through library research.

Problem Definition: 

Sarouk rugs are one of the most crucial rug brands in Iran and one of the most famous rugs among the world audience, which were produced from the middle of the 19th century until the beginning of World War II under the management of French companies, especially Ziegler. There are samples of these rugs with Corner and Medallion designs and a unique structure in the Claremont collection, which differ from common samples regarding the type of design pattern. The limitation of comprehensive and salient research resources about Sarouk rug and its exquisite and export samples that were produced in the past reveals more of the necessity of research on this issue. The main research question is "What are the features, visual qualities, and structural elements of Claremont Collection rugs?"

 In the present research, the structural elements of Sarouk rugs of the last quarter of the 19th century, which are preserved in the Claremont Collection, will be analyzed. This article's structural and aesthetic elements include the background space, Medallion (Toranj) and space above Medallion (Sar Toranj), Corner, Margins, and the colors used.

 This research is qualitative and fundamental, and the research method is descriptive-analytical. The method of collecting data is library-based in addition to searching the websites.

 The Sarouk rugs produced in the late 19th century, which were woven for export, are all of the Corner and Medallion design and are unique in their design pattern and color. They are often produced on large scales with vegetable dyes. The color of the Margin and background change between red, navy, and ivory colors. In some rugs, the color of the central Medallion is the same as that of the Margin and Corner. All these rugs are various in Corner and Medallion design, and the central Medallion forms the structure and identity of Shakhe Shekasteh motifs (cursive-curve). The structure of the designing pattern, the logical color scheme and the visual order of the motifs are the differences between Sarouk rugs and other Iranian rugs.

Carving is one of the oldest traditional and applied arts that has a long history among other arts. body sculpting and making all kinds of statues and memorial sculptures are a manifestation of the art of craving which has been common among all civilizations. the stone lion is one of the most prominent ritual and identity symbols in the Bakhtiari people, representing stone carvings and sculptures. this symbolic art has a long history among Bakhtiari. The reason for the creation of lions is simply a memorial aspect and in honor of the memory and name and memory of brave and courageous men in the tribe. Some findings of this article are: stone lions in Bakhtiari are divided into two old types. 1. abstract form and 2. new (modern - which is natural and realistic) and, in a limited way, abstract. abstract lions stand upright and lie on their backs, it has a variety of designs and decorations, a calm and neutral face and small and medium body and natural and modern faucets sit and stand, without pattern and decoration. They are often simple and have angry faces.

Iranian hand-woven carpet as a domestic and national art and cultural text of society is facing many problems and challenges today. Explaining the reasons of these problems or some of them has been less studied from sociological point of view despite the presence of this cultural product in social life. Pierre Bourdieu’s theory of action is one of the most important theories in the field of sociology of art, which has made it possible to analyze different areas of art. The analysis and attempt to formulate the field of carpets according to this theory is the subject of this research. Since hand-woven carpets encompass numerous fields, this study examines three market fields (large manufacturers and exporters), designers and weavers, which are closer than other fields within the framework of this theory and Bourdieu’s system. In this way, the art of carpet weaving and hand-woven carpets are studied and analyzed according to the principles of action theory. Some of the research findings are as follows: Among the carpet fields, the bazaar field has a wider scope and is closer to Bourdieu’s vision of the field and the actors and the pursuit of power and capital. The actors of this field belong to the wealthy class and have all kinds of capital, but they try and compete with each other and exercise symbolic power and violence to gain more capital and resources. Designers and weavers belong to the middle and lower classes and have no capital and other resources. In the field of designers and weavers, although the actors try to make profit, there is no competition and symbolic power. Hence, the type of class, the type of profession, and the position of these actors, and finally the amount of capital and income they earn, do not matter and do not correspond to the market class. Even if one recognizes the need to study the impact of other fields on carpets, it has been shown that the field of Iranian hand-woven carpets, depending on its size, is restless and opaque and does not have the necessary independence, the power to use force and conflict to distribute or balance the capital in all its own fields.

Mythical criticism of literal and/or art works may be considered as one of the most important branches of criticism. In this respect, the idea of monomyth of Joseph Campbell, thanks to its distinctive feature, has been always referred to by many researchers in art, literature as well as linguistics. Campbell maintains that myths, in the beginning, follow architypes in terms of form, content and structure. In different cultures, however, they are transformed into different forms in the course of time. Here, a hero (more technically known protagonist) plays a major role in universal architypes. Religious myths, among other pivotal ones, have been represented into diverse derivations. Accordingly, the story of Moses, the Prophet, with its narrative dimensions, is a prime example of a religious myth. In the present study, the story of Moses depicted onto a rug ground has been read mythically. The main question here is how Campbell’s idea of monomyth can help us to read the course of the story from the start to the end of the journey as well as the role of the antagonist, the Moses, so that deeper layers of spiritual transformation of Moses can be appreciated more tangibly. In this story, Moses, the Prophet, as a religious mythical hero, has been chosen to fulfil his divine mission. Campbell holds that the journey of nearly all heroes may be formulated in three major pillars namely, Separation (departure), being Honored and Return. Findings According to Joseph Campbell’s idea of monomyth of Joseph Campbell, the form and content of the story of Moses, as a religious myth, can be safely put in those mythical stories enjoying primal architypes. Along with other symbolic elements and architypes, Moses, as the hero of the story, passes the three phases successfully one after another, in his own manner, to accomplish his mission. This study is essentially qualitative. The data were gathered mainly from library sources and then were analyzed descriptively.

One of the most important identity and cultural assets of the Baluch people, and one of the most well-known areas susceptible to study and analysis in anthropology and the anthropological approach to art, is carpets. Accordingly, presenting their altar rugs as artistic identities and visual examples of the weaving system, as well as recognizing and understanding the cultural significance of rug designs and motifs from the perspective of the creator of these designs and their connection with objects such as culture, myths, beliefs, customs that the anthropology of art refers to, is the purpose of this research. At the same time, the content of the rugs finds meaning and significance based on the understanding, thought and belief of their weavers. Therefore, the main question is: what are the characteristics of Baluch altar rugs from the perspective of the anthropology of art, and how can we understand the meaning and beauty of the designs of these rugs through this perspective and cultural context? Some research findings are as follows: These carpets have a functional, symbolic and decorative capacity in cognitive functional hours. In the semantic dimension, the representations of the motifs are in a non-iconic way (of course, based on references to the past and external examples) and concepts and motifs such as the altar (gate and gate of heaven), the tree of life (symbol of immortality and resurrection) and the peacock, It has added the quality of this dimension as much as possible. In the aesthetic part, the weaver has given a special personality to the space of the rugs, using the geometric (abstract) style and creating abstract patterns with warm and dark colors. This research is of qualitative and basic type and the descriptive-analytical research method and the data collection method is the library.

This article is the result of a field work written in connection with the documentation and introduction of the technical and aesthetic dimensions of the carpet of the village of Jiria as the most active area of weaving with about 500 active the loom framework in the central province. the texture quality is the most important feature of the Jiriya carpet, which is one of the most important brands of Iranian carpets that unfortunately has not been recognized and introduced.in Jiriya, various designs are woven into three categories. A: Indigenous designs include larch and bergamot (do hashiye, lachak va toranj khorshidi, daayereii, afshan, beyzi va lozi), dastgahi(goldaste), broken mostofi and tabrizi. B. Non-native designs includes kheshti, ravari, zirkhaki, zellol Sultan and haft dervishes. C: Designs that are designed by contemporary designers and includes atlasi, mostofi monhani, farhang, oghabi, koumeei,morghe mahikhar ,takboteh and hajkhanoumi. this research is of fundamental type and research method is descriptive-analytic. The method of data collection is fieldwork.

Imagination is one of the essential characteristics of human beings from which creativity is originated. In a sense, it is a quality without which art would be hardly appreciated. It is the source of thought as well as the origin of artworks creation and symbolic motifs. In this respect, the studies carried out by Gilbert Durand, a French cultural anthropologist and literary critic, are particularly noteworthy. Durand's studies are well known to scholars in the areas of philosophy, psychology and psychoanalysis, literary and cultural studies, sociology, history of religions and anthropology. Symbolic hermeneutics has an important role in Durand’s approach. Main studies of Durand deal with imagination and myth in artworks creation. According to him, they are involved in the creation of nearly all artworks and cultural activities. The two terms are the key concepts in Durand’s works. Imagination and myth are in fact like an intersection where historical, social and philosophical issues and psychological motives encounter. In Durand’s literary criticism approach, appropriate reading of a myth is the key to appreciating literary, artistic and even scientific/technical works. On this basis, the works made by humans are in a sense the act of recreation of myths. To Durand, myth is the manifestation of imagination: Myth is a prime example of the structures of imagination and the dynamic mechanism of symbols, archetypes as well as motives. Durand has laid the base of his criticism methodology on the assessment of the imagination and myth. In his stance, myth is the key to perception artwork. Artwork is the answer in the world the human being is looking for; the answer to the anxieties against time; the space in which a rebellion against time and death takes place.Unlike dominant western thought which has traditionally depreciated the ontological status of the image and validated historical facts instead, Durand without totally rejecting that validation, revitalized the values of myths and images. The classical western thinkers reduce the imagination to the fringe-area bordering of sensation. However, Durand considers that Reason and Imagination interact with each other. so, he defends a multidisciplinary approach in his authorship. He believes that the imaginary is born from conscious thought. Durand considers a triple structure for a myth including a drive, archetype, and symbol. each of these components might be revealed when analyzing artworks. In formulating his imagination approach, Durand maintains that all human being’s imaginations are inspired by the concept of time. All imagined forms, therefore, are essentially rooted in time. Accordingly, Durand tries to formulate the concept of time, its impact on human beings’ awareness, and how this awareness is represented. He also strives to prove the role of time in imagination. Durand holds that human beings, by imagination, become aware that existence is bound and limited to time. Human beings are defined by time, when they look at themselves, they find themselves alive and recognize that time exists penetrate their existence. In fact, through demarking the existence of humans, time declares its emergence. Life is defined by a limited period lasting from birth to death. Short life brings regret, and long life brings admiration. Nonetheless, everybody knows that the time we live is not in our control forever. Over time, feelings such as fear, boredom, weakness and oblivion appear and one experiences new senses such as anxiety, hopelessness, and sorrow. Lay people are not able to combat time passage but artists, poets, and writers can. Presuming that time is an integral part of human beings’ existence, Durand tries to delineate the impact of time on the human mind and awareness in his works. He believes that time represents itself through images. In a sense, nearly all the structures of imagined forms are based on the time axis. Accordingly, Durand marks the visual frameworks in artwork by this approach. As such, he maintains that pictures imply the fear of time, in that, behind each picture exists the fear of death and behind each death, the fear of time. Meanwhile, in order to classify archetypes and symbols, Durand distinguishes between two regimes: diurnal and nocturnal.  Durand's study deals with the structure of the human imaginary, within which it establishes a typology of figures, organized structurally according to several archetypes and focusing on man's subjective experience of space and ultimately time. Accordingly, among the various forms of artworks, Persian carpets are the major media in which imagination and creative motifs have been manifested most remarkably representing the national and vernacular art. Moreover, as the pivotal elements of cultural representations, myths have been the products of imaginative artists; Myths represent symbols. In the present research, Durand’s imagination approach has been used to analyze the visual content of Sangeshkou Carpet in Mayhou Museum and particularly its diurnal and nocturnal pictorial patterns. In the first part of the article, Durand’s imagination approach has been addressed. In the second part, the visual structure of the carpet has been analyzed based on the mentioned approach. That is, the visual components of the carpet have been examined in terms of mythical and imaginative aspects. Interestingly, the carpet designer has managed to apply this mythical and imaginative language most suitably to express his feelings and emotions. He has depicted his fantasies, feelings, emotions and concerns (fear of time passage, of approaching death rooted in his unconsciousness) in the form of symbols as well as mythical and imaginative pictures. The carpet ground is replete with mutual conflicts of symbolic and imaginative pictures of diurnal and nocturnal scenes originated from the unconsciousness of the carpet designer. In forming the symbols of both diurnal and nocturnal scenes, three elements seem to have been got involved: the language of emotional functions, aesthetic imagination and imaginative pictures. These three elements have been employed so skillfully that a sense of dynamism and vitalization is flowing through the carpet. The main question of the research is that how it is possible to read and interpret the mentioned mutual visual conflicts in the carpet giving a review of its internal-external pictorial organization. The findings of the research include the imagination element as well as the main visual themes depicting mutual conflicts well-rooted in the carpet designer’s unconscious mind. The carpet designer has represented his unconsciousness (the fear of the passage of time) adroitly in the forms of mutually conflicting visual designs and patterns. This research is conducted based on a qualitative descriptive methodology and the data were mainly extracted from library sources.

Horse Rugs are among the most functional hand-woven materials used by nomads in north-west regions of Iran particularly by Shahsavan tribes. In addition to meeting the urgent daily needs such as carrying persons and utensils, horse rugs have been a vehicle in which the aesthetic aspects of the nomad weavers’ imagination have been reflected. Motifs originated from communal beliefs, individual tastes as well as imaginative fantasies depicted by vivacious colors have given Shahsavan Horse Rugs, aesthetically, a unique character. In this study, 30 cases of Shahsavan horse rugs were analyzed, described and introduced in terms of weaving techniques and aesthetic considerations (colors and motifs). The study mainly focused on discovering the most dominant designs, motifs and colors in Shahsavan horse rugs. The findings implied that the Shahsavan horse rugs, often in rectangular shape, had a larger size than that of the other similar nomadic horse rugs. Meanwhile, the designs and motifs in Shahsavan horse rugs generally outnumbered those of other nomadic ones. The ground of each Shahsavan horse rug is divided into frames defined by almost narrow stripes. In each frame, different motifs, particularly animal ones, have been designed. Also, some Shahsavan horse rugs have all-over grounds with no frames or stripes; motifs are scattered across the length of the ground. The most commonly applied motifs include peacock and goat ones represented in a wide range of designs; plant motifs including trees, flowers as well as abstractly-designed shrubs have been used much less than the former ones. In terms of weaving technique, Shahsavan horse rugs, have a twisted-woven texture. The colors applied are limited in number mainly including natural and herbal dyes. Red, blue (in different hues such as dark blue), golden yellow and mustard, black, white, brown (dark and bright), green (dark and bright) are among the most commonly applied colors in Shahsavan horse rugs. This study is qualitative in nature with a descriptive-analytic methodology. The data were mainly collected based from library sources, reliable databased and museums.

In the nomadic weaves, although the functional aspect was intended, its aesthetic aspect with a variety of native motifs, resulting from the birth of personal and collective beliefs, it is more prominent and as if the woven were a space for arousal, representation of imagination and emotion. the horse's face is a representation of the nomadic weaving, and in particular the Qashqai, which provides a space for design and motif creation and companion native and natural colors are provided by the weaver. in this article, while briefly describing and introducing Qashqai woven fabrics, various types of horse coverings and ornaments, nomadic gullies, and in particular gashqai gullies in terms of weaving technique, structure and aesthetic dimensions, introducing, describing, and analyzing, 24 cover of horse were selected as the sample for this process. the results of the present study indicate that the cover of horse structure of all regions of Iran, regardless of some exceptions, follows a general form. while most of them are related to carpet weaving techniques woven has been with the carpet weaving technique ghalibori (Turkmennaghsh) or Gol Barjaste this