culture

The pomegranate flower, known as Golnār, has been a prominent symbol in Persian poetry and literature due to its vibrant red color, representing beauty, fertility, immortality, and love. It is one of the most beloved and widely used motifs in Iranian art. Persian poets have employed this symbol to express deep emotions and various concepts; for instance, the red pomegranate seeds are often compared to a lover’s lips, making the fruit a recurring emblem of love and beauty in poetry. In Persian literature, the pomegranate is considered a heavenly fruit, and divine religions have referenced its presence in paradise. Additionally, the infallible Imams have emphasized the significance of consuming this sacred fruit. Archaeological evidence highlights the depiction of pomegranates on pottery from the third and fourth millennia BCE. The earliest decorative motifs featuring pomegranates date back to the Parthian period, including the Yadzgard Fortress and other examples found in Sassanian stucco decorations (in Kish, Nezamabad, Ctesiphon, and others). During the Sassanian and Islamic periods, this motif remained an important symbol, frequently appearing in tilework, various decorations, and carpet designs. A notable example is the bas-relief at Persepolis, where an Achaemenid king holds a Golnār with two buds in his hand, symbolizing peace and friendship. This imagery is also associated with Anahita, the goddess of fertility and abundance, reflecting the deep-rooted significance of the pomegranate flower in ancient Iranian beliefs.

The architecture of houses has always been physically influenced by various factors such as social, cultural, climatic, and economic conditions of the people. The present study investigates the cultural elements affecting the formation of certain physical structure elements in the architecture of residential spaces in cold and mountainous climates. This article seeks to interpret the influence of cultural perspectives on the physical configuration of houses in the villages of cold and mountainous regions of Iran. The importance of this research lies in the fact that the physical architecture in the past, especially in regions that have preserved their traditional physical structure, was shaped by factors like culture and climate. In contrast, modern architecture tends to adopt a unidimensional view, often considering only the climate. This research demonstrates that cultural factors have also significantly contributed to the formation of the physical structure of rural houses. This qualitative study employs a descriptive-analytical method, with data collection based on library research and field observations. In the data analysis process, an effort is made to examine the cultural factors such as privacy, social relationships, family structure, customs, traditional rituals, and other aspects affecting the physical structure elements of residential spaces, including window dimensions, wall thickness, materials, insulation, house orientation, roof type, courtyard, and communal spaces in four villages: Masouleh, Palangan, Kandovan, and Atan, which are located in cold and mountainous climates and were selected randomly and sporadically. The research findings indicate that cultural elements significantly influence the physical structure of rural houses in cold and mountainous climates.

Carpet weaving stands among the most distinguished manifestations of conventional Iranian art, serving not only a practical purpose but also as a medium for transmitting cultural, ritual, and even mythological concepts. Among these, the Turkmen carpet holds a remarkable position. These creations not only have unique characteristics in terms of texture, color, and design, but they also possess a special richness in terms of concept and meaning.
This study desires to explore the roots, implications, and structure of one of the renowned symbols in Turkmen carpets—the Toghor Gol, which represents the eagle motif. The Toghor Gol pattern is one of the complex and fascinating instances of symmetrical geometric and representational designs that signifies the beauty, harmony, and tribal identity of the Turkmen people. The precise and intricate design of this motif, which consists of symmetry, broken and angular lines, simple geometric forms, and rhythmic combinations based on a strong and cohesive geometry, reflects its deep connection with the spiritual beliefs and cultural history of the Turkmen people.
The Toghor Gol pattern is woven in Turkmen carpets in abstract, geometric, and even minimalist forms and bears sophisticated meanings contrary to its simple appearance. In Turkmen society, the eagle is a holy bird which symbolizes strength, power, holiness, and celestial force. The history of eagle pattern can be traced back to ancient Iranian civilization, Zoroastrian myth, cosmic rituals, and even Islamic philosophy. These historical-religious connections have given the role of Toghor Gol a special conceptual depth.
The present study, using descriptive-analytical method and employing written sources and visual analyses, seeks to answer the fundamental question of why and how the eagle motif (Toghor Gol) has emerged in Turkmen carpets and what meaning and function it holds in this cultural context. The scope of this research has been the Golestan province, particularly its Turkmen-inhabited areas, which has long been considered the main center for the production of Turkmen carpets.
Turkmen weavers, particularly women who sustain this art, use patterns to express their thoughts, emotions, experiences, and beliefs. Toghor Gol is actually a cultural and mental symbol of the eagle, employed geometrically and in repetition on the carpet’s surface. This design approach reveals a certain worldview; a world where order, power, spirituality, and nature are interwoven.
Every Turkmen tribe possesses a unique carpet design. The Toghor Gol belongs to the Jafarbay clan of the Yomut tribe. This motif is considered a symbol of the tribe’s supremacy and its connection to nature and tribal history. Intellectual process is applied in carrying out the design, relying on visual memory as well as oral tradition. Without using a map, the weaver nurtures the pattern in his/her mind and cleverly brings it within the warp and weft of the carpet. This weaving technique itself is a sign of cultural authenticity and historical continuity in the transmission of knowledge.
There are three versions of the Toghor Gol motif in Turkmen carpets: first, a version resembling the shape of an eagle but still abstract; second, a simplified version depicting only some of the visual characteristics like wings; and third, a very abstract version where visual resemblance is lost, and only the concept remains in the mind. This evolution illustrates the influence of religious teachings, which forbids the depiction of living creatures in art. So the Turkmen artist resorts to unrealistic representations to preserve beliefs while also conveying concepts.
In ancient Iranian culture, the eagle was a symbol of Ahura Mazda and the celestial kingdom. One of the manifestations of Verethragna (Bahram) is in the form of an eagle. During the Sasanian Empire, the eagle was a celestial and imperial image seen mostly on coins and reliefs. Islamic texts also describe the eagle as a representation of glory and power. From its use in the flag of the Prophet of Islam (PBUH) to tales of the medicinal properties of its feathers and venom, everything indicates the high status of this bird in the minds of Muslims.
Aesthetically, the Turkmen carpets are geometric and ordered. Red, black, cream, and green are the dominant colors which, in conjunction with repetitive patterns, create an effect of visual balance and harmony. Symbolizing life, energy, and blood, red is the most utilized color in the Toghor Gol design. Color choice in Turkmen carpets is not so much a matter of aesthetics-each color is imbued with specific meaning and symbolic significance. Additionally, the nomadic lifestyle of the Turkmen, where stone architecture or fine visual arts are less prevalent, has made carpets the primary medium for cultural and artistic expression.
Hence, carpet patterns not only reflect beauty and taste but are also a way of expressing identity, collective memory, and religious as well as ethnic beliefs. The Toghor Gol is one of the most central patterns, which carries a significance beyond form and appearance—a significance drawn from the history, nature, rituals, and life experience of the Turkmen people.
In some native narratives, it is said that the eagle keeps only two of its chicks and lets the others go so that another bird can raise them. This statement embodies a concept of strictness in selection, natural selection, and the transfer of power to the deserving. This concept is symbolically represented in the Toghor Gol through geometric repetitions. Repetition of these patterns indicates cultural continuity and tradition preservation that the Turkmen have maintained against historical degradation and forgetfulness.
In conclusion, the Toghor Gol motif is a complex symbol rooted in layered culture, history, and religious practice. Although it appears simple, it is full of meanings that can only be understood by recognizing its cultural and historical context. The Toghor Gol pattern manifests the art of Turkmen women, reflects oral tribal history, and signifies the connection between myth, religion, and aesthetics. This research demonstrates that Turkmen carpets transcend mere decorative objects—they are cultural and historical texts requiring interdisciplinary and in-depth perspective to be realized.
Another significant aspect of Turkmen carpets is the transmission of cultural concepts through symbolism. In this artistic style, patterns aren’t merely decorative but carry semantic, historical, and ritual significance. These concepts have been passed down through generations and each weaver serving as a storyteller of his/her tribe’s history and culture. Among the Turkmen, carpets function as cultural documents revealing ethnographic elements, mythological aspects, and even social systems. The Toghor Gol pattern is no exception. This motif represents not only the eagle as a powerful predatory bird but also embodies fundamental values like loyalty, care, courage, and independence.
Since the animal motifs in Iranian art, particularly birds in traditional patterns, are so important, the Toghor Gol should be regarded as an extension of conventional Iranian pattern-making traditions. Birds have had a privileged status in Iranian mythology, literature, and painting, always symbolizing spirit, flying, transcendence, and the connection between earth and heaven. The eagle, as the highest bird in this symbolic system, establishes a connection between myth and reality that reaches its peak in Toghor Gol.
From an anthropological art perspective, the motifs such as Toghor Gol are not only do they represent an ethnic perspective on nature, but they also reflect cosmology and power structures in traditional societies. In Turkmen society, the eagle is not merely a celestial bird but rather a representative of the people’s perspective on the levels of existence, the division of power, and the cycle of life. This bird appears in the minds of weavers as a wise, powerful, and guardian creature, holding a ritualistic place in the biological cycle. Encoding such concepts in the visual structure of the carpet has turned it into a living medium for conveying collective memory—a medium that, despite the transformations of modernity, still retains the power to tell the continuity of indigenous culture.

In the contemporary and rather superficial perception of the road phenomenon, emphasis is placed solely on its communicative function. However, roads establish a profound connection with human life and can even be chosen as destinations for travelers. The existing gap in road studies stems from neglecting the dimensions that have historically been deeply intertwined with human life over time. Modern studies indicate that with the acceleration of life’s pace, movement speed and, consequently, road safety have become the primary concerns of planners, designers, and engineers. This one-dimensional and physical perspective on roads is a defining characteristic of engineering sciences. Beyond assessing the shortcomings of engineering interventions aimed at facilitating and accelerating movement, road studies can extend their scope further. Landscape knowledge, in collaboration with engineering techniques, adopts a holistic perspective on the road phenomenon, considering both tangible and intangible dimensions. This approach plays a crucial role in enhancing road quality by reviving its inherent meanings, ultimately transforming roads into destinations for tourists. However, from this viewpoint, policy-making regarding roads will differ from current practices.This qualitative research, based on qualitative content analysis, aims to examine the significant impact of the landscape approach on different levels of road studies by reviewing library resources, analyzing previous expert theories, and observing and analyzing conditions, with a particular emphasis on the necessity of road quality enhancement.

The use of permeable design, adaptable equipment, and diverse multifunctional spaces facilitates social interactions in cultural and artistic centers. Such centers provide individuals with unique opportunities to interact in social, engaging, and dynamic environments where they can discover, cultivate, and develop their skills. Additionally, employing portable and multipurpose items alongside multifunctional spaces strengthens spatial permeability. This approach enables cultural environments to cater to the diverse needs of individuals while considering cultural conditions. Drawing on global experiences in designing user-centered cultural centers has proven to be highly valuable and applicable in Iran.The aim of this study is to examine the influential components for achieving desirable spatial quality in designing permeable cultural centers. This research is applied and employs descriptive and qualitative methods, relying on documentary studies, literature reviews, and analysis of existing resources. A review of articles and successful case studies from inside and outside Iran indicates that architectural design, movement and circulation patterns, integration of indoor and outdoor spaces, and attention to effective elements in permeable space design contribute to fostering creativity, social interaction, and individual flourishing in cultural and artistic centers. Furthermore, cultural centers provide numerous opportunities for social interactions.

Throughout the history of society until today, with the growth of life,world peace has been one of the important problems that includes the root of many global problems. The consequences of its absence have been poverty, environmental destruction, denial of economic opportunities and inadequacies. With the formation of powerful civilizations and cultural growth, the importance of having platforms for peaceful discourse and away from continuous discussions and its unpleasant physiological and psychological effects was discussed. this challenge has been raised in the modern era, how does the application of event orientation define the characteristics of architecture in the body? This research has been done with the aim of explaining the between architecture and event management through creating a coherent space for self-knowledge. With the method of logical reasoning, case studies, content analysis,description of the event-oriented components from the temporal and physical point of view, with library and development-applied tools, the common language among the races has been recognized, and the arrangement of the space has been recognized. As a result, architecture has also acted as a communication bridge beyond time and place and has played a role by using identity indicators; The events are also connected to the re-creation of collective memories and common values through permeability and readability, flexibility, mental and objective security, appropriate space creation and transparency for vitality, preserving Identity, collective feeling, the formation of satisfactory interactions and as a result, the manifestation of diversity in unity and unity in multitude have been discussed. By using the pillars of civilization, knowledge, unity and respect have been discussed in a peaceful atmosphere away from conflicts. This design strategy is based on responding to based on interaction and can develop peace among people with different opinions at the international level.

Writing about a master of writing is a highly challenging endeavor. Nevertheless, Dr. Ali Akbar Jafari Noduhan, deeply devoted to the visionary of Iranian culture and literature, Dr. Mohammad-Ali Eslami Nodooshan, has undertaken this arduous path with admirable passion. This profound affection permeates every chapter, paragraph, sentence, and even the letters of the book “The Spokesperson of Iranian Culture.” Dr. Jafari chose the book’s title with deliberate literary ambiguity: “The Spokesperson of Iranian Culture” primarily refers to Eslami Nodushan, who for decades persistently championed Iran and its cultural heritage. However, the title carries a secondary meaning; it also signifies Jafari Nodushan’s role as the spokesperson for Eslami Nodushan. In essence, this book seeks to serve as the voice of the spokesperson of Iranian culture. The book in question is a reflection on the life, works and opinions of Mohammad Ali Eslami Nodushan, a prominent Iranian writer and thinker, in 182 pages with a preface, seven sections and concluding remarks published in the spring of 2022 by Marvarid Beh Zivor publisher at the same time as Eslami Nodushan passed away.

Handicrafts indicate the relationship between humans and their environment and manifest the identity, culture, skills, and attitudes of individuals in a region during different periods. A historical look at handicrafts in various eras reveals that this component has been adaptable to the conditions and requirements of each era. In other words, handicrafts, by being present in people's lives, have addressed the essential needs of societies and preserved and adapted themselves accordingly. This art industry, in the past, primarily aimed to fulfill needs and later became a means of income generation by utilizing raw materials from the surrounding environment. However, it appears that in current circumstances, the nature of handicrafts has transformed, and various factors influence its presence and continuity. Nowadays, in the modern world, societies consider handicrafts not only as economically influential but also as a creative cultural phenomenon, a social factor, and an important environmental component. Additionally, handicrafts are recognized as a significant part of indigenous culture and identity. The mentioned factors indicate that handicrafts have high importance from various aspects and now require attention and focus for their continuity and development. In other words, in the current conditions, handicrafts need certain measures, the formulation of principles, and standards to adapt to the current cultural, social, economic, and environmental conditions. According to the mentioned evidence, multiple factors play a role in the sustainable development of handicrafts. It seems necessary to identify and analyze the backgrounds and influential factors in the sustainable development and operation of handicrafts in current conditions through in-depth research. Therefore, this research aims to identify and analyze the factors and backgrounds emphasized in various sources and studies. In this regard, the research question is: What are the influential factors in the sustainable development of handicrafts? This study is a qualitative research and, from an objective perspective, falls under applied developmental research. It has utilized qualitative content analysis to identify the key variables and influential factors in the sustainable development of handicrafts. In other words, this research strives to extract the fundamental concepts and topics related to the sustainable development of handicrafts from credible scientific data. To achieve this, in the first step, reliable research sources in this field were collected from internet databases using relevant keywords. Then, with the aim of categorization and thematic analysis, qualitative content analysis of the data was conducted through stages including data management and organization, refinement and concept extraction, and thematic classification. Finally, relying on logical reasoning, each of the topics was scrutinized, explained, and comprehended. In the categorization and analysis of the topics, the concepts that had the highest applicability and thematic recurrence in most studies were given attention. Furthermore, in the thematic classification, efforts were made to maximize the similarity and resemblance of each issue, and ultimately a comprehensive theme was obtained by combining two or more concepts in that area. Based on this, the findings of the research were categorized and analyzed in topics such as "higher education," "emerging markets," "production methods," "handicraft capture and design," and "co-creation." According to findings, the foundation of handicraft industry development should be considered in the components of education, technology, emerging markets, and effective communication between industry owners and designers. As mentioned, attention to each of these factors forms the basis for transformation in others. In other words, the outcomes and results of each of these components have a common connection with other fields, and the importance of each lies in the attention it receives from others. Higher education nurtures specialized individuals who contribute to the artisan community through co-creation and collaborative efforts. Additionally, higher education provides a foundation for understanding theories and the needs of emerging markets. The emerging market necessitates the effective role of technology and industry in handicraft production. Consequently, the central role of higher education can act as a catalyst and essential requirement for the development of handicrafts. In general, innovative educational systems, by providing action-based teaching methods and processes, innovation, and creativity, will yield the following positive results 1- Providing management and business training to enhance the performance and prosperity of handicraft industries. 2- Transferring innovative production methods and strategies, acquainting with new tools and technologies to create new products and services in the craft industry. 3- Familiarity with current and future market needs. 4- Establishing connections with society and industry to exchange and acquire new knowledge and technologies, as well as developing collaborative projects and research. 5- Enhancing technical knowledge and expertise in the application of materials and tools used in handicrafts. 6- Understanding other related sciences that have an impact on the handicraft industry.It seems that a change in the approach to education and research in handicrafts and the establishment of a common infrastructure for research and education are necessary to connect and strengthen various academic disciplines and create "Craft Sciences" as an approach in the educational system. According to findings, new technologies and production methods also play a significant role in the development of handicrafts. Synchronizing handicraft production methods with advancements in this field in itself contributes to achieving the goals of handicraft development. Innovative technology, advanced industry, and high-quality raw materials increase the capability of producing handicrafts according to international standards, leading to effective and independent performance of handicrafts and improving productivity while reducing resource waste. This component improves supply chain management and control in stages such as raw material extraction, production, distribution, and overall performance and profitability of handicraft products. Reduction in labor, raw material, and energy costs are among the benefits of new technology, which increases the competitiveness and profitability of handicraft businesses. Utilizing media and communication technologies can facilitate the introduction of indigenous products to new communities and markets and improve and deepen business and communication relationships between the industry, business owners, and customers in this field. In general, the use of innovative production methods, advanced machinery, and tools can contribute to innovation, efficiency, quality, and diversity in the production of handicraft products, making these industries stronger in competition with others. Co-creation is also considered an effective solution for the development of handicrafts. The importance of co-creation and collaborative efforts in handicraft development is justified based on several key factors: 1- Improvement of quality: Co-creation can lead to improvement and facilitation in the transfer of knowledge and experience between handicraft producers and various related fields. As a result, the quality of handicraft products will also improve. 2- Diversity and innovation: By integrating different knowledge, experiences, and ideas, new products with new designs and forms can be introduced to the market, positively competing with other countries and contributing to export development. 3- Local economic development: Attracting talents and technical knowledge in rural areas and proper marketing of the produced goods increases the potential for establishing and developing handicraft enterprises in these regions. Consequently, employment, income generation, and a reduction in rural-to-urban migration can be improved. 4- Preservation of culture and identity: When a society loses some of its traditional skills, its culture and identity are also at risk. Co-creation provides an opportunity to preserve and continue these skills and helps the community maintain its cultural identity. Based on this, the practical process of co-creation can act as a solution for the sustainable development of handicrafts.

Examining the specific characteristics of various attributes and derivatives of the landscape is among the most important topics in the field of landscape study. The term “Persian landscape” refers to specific aspects of it that naturally possess unique features. Despite the significant importance of understanding the meaning and concept of the Persian landscape, its examples and instances are often referenced instead, while its essence and nature are overlooked. This has led to a multiplicity of meanings, causing various and sometimes inconsistent interpretations to arise. In the present study, an ontological approach is taken to delve into the essence and core concept of the Persian landscape, aiming to clarify its dimensions and constituent elements, and to refine this concept fundamentally. To explain the concept of the Persian landscape, this study employs an analytical-descriptive and documentary method. Initially, the constituent elements of the landscape were identified and introduced. Subsequently, the identity-giving components were examined to discuss their Persian characteristics. Accordingly, the Persian nature of the landscape is dependent on the existence and impact of natural and artificial elements with national identity, each encompassing a set of Persian identity-giving aspects. Additionally, the Persian-cultured human is recognized as an element with the highest capacity to manifest Persian identity in the creation of the landscape.

With the emergence of ecological crisis and the emergence of natural environmentalism, people, by turning their attention to the natural world, hope that by studying natural ecology and life mechanisms and by discovering the harmony between man and nature and to protect the earth's ecology, artificial nature or Create your ideal natural city. Model imitation or biomimetic is a kind of imitation of models, systems and elements taken from nature, which aims to solve complex human problems. Descriptive-analytical research method and logical reasoning method is based on meta-analysis, which was the data collection tool including library and documentary studies. With the etymology of bionics and re-examining the meaning of bionics in design, this article considers bionic architecture design as a starting point and categorizes the current bionic architecture design to examine new ideas of thinking in this matter. It has been tried to arrange the way of thinking of bionic architecture by considering biology, from the three dimensions of nature, body and world, and at the same time, the similarity between the physiological structure of living organisms and the spatial structure of buildings is studied and discussed. Which is especially important for future bionic design theories and cross-field bionic research and the development of architectural bionic works.

In the direction of sustainable rural development and the enjoyment of a sustainable livelihood for the villagers, it is possible to take advantage of the complementary activities of agriculture in the villages. It provides welfare services and facilities in the context of improving the quality of life and balanced distribution in the village. On the other hand, Iran's villages have natural attractions, potential social, cultural and environmental resources and potentials, it is a commitment in the development of rural tourism. The research method is a survey with the method of analyzing strategic factors in Masuleh, which was carried out in 1401. In the present research, which uses the survey and meta-analysis method, an attempt has been made to explain the position of tourism in the development of ecotourism in Masuleh in the framework of strategic factor analysis (SWOT) in addition to evaluating and revising the approaches of rural tourism development. The findings of the research show that the type of approach in the development process of functional, strategic, structural and strategic rural tourism, along with the commitment to sustainable rural development, can be effective in the planning process of rural tourism. Also, the development of health centers and infrastructures are among the main priorities for the development of ecotourism in Masuleh.

Ecology is the study of relationships and mutual links between living organisms and the natural environment, and cultural ecology examines the cultural aspect of human life with its ecosystem. Native arts are one of the most prominent identity and cultural components and one of the most important potential fields for investigation and analysis in the cultural ecology theory. Baloch handwoven is an example of these arts with local knowledge in creation and aesthetics, semantic values, and rich anthropological content. Nature, beliefs, and imagination are the most important models and sources of inspiration in these works. The creation begins from the natural patterns, and after passing through complex and often unknown stages of abstraction and summarization ends. In this research, the relationship between visual content and the influence of environmental components of Baloch on the handwoven of these people is investigated and analyzed in the form of a cultural ecology approach. This research is of the type of qualitative, fundamental, and interdisciplinary research and the research method is a combination of descriptive-analytical and ethnographic research. Also, the method of collecting data was in the form of a library and searching on reliable sites to find images of Baloch handwoven (due to the lack of access to handwoven in the domestic market). Due to the local nature of the research variables, the research data has been collected through observational methods with an analytical approach. Baloch handwoven have a variety of motifs and designs that are rooted in the deep cultural, national, and religious values of our country (Hosseinabadi & Falahmandeh, 2013, 60). In these works, the rhythm of the visual forces in the context of a fabric is formed by using visual qualities such as composition, symmetry, balance, and proportion. Works with different uses and various motifs that the necessity of use, weaving methods from the point of view of weaving technique, imagination, and taste of the weaver make them diverse. All kinds of Baloch handwoven are produced with various weaving techniques and mental patterns. Works with different uses and various motifs, the reason for its diversity is the necessity of use, weaving methods from the point of view of weaving technique, imagination, and taste of the weaver. All the visual elements that are examined in the studies of the basics of visual arts can be seen in the works of native arts, especially Baloch's Handwoven Although experimentally and self-taught. These qualities are transferred from one generation to another in the form of education and mental creation along with objectified beliefs during centuries and decades. In addition to these qualities, aesthetic components also have an outstanding contribution to the value of handwoven. These components include structure, design, theme and content, and nature and its elements. The motifs in these weaves, like other nomadic handwoven, are abstractly drawn with broken branches (semi-curved), which are divided into several categories, including plant and animal (animals and birds) motifs, human, strange and geometric motifs, and especially, motifs from the world of architecture such as motifs related to religious buildings (mosques) or towers. In addition to individual motifs, many beliefs, concepts, characters, and symbolic narratives of mythology, literature, and mysticism have also been depicted in the form of motifs in the text of handwoven, especially carpets. These motifs are derived from various components such as the ecosystem and its existing elements, individual and collective ideas and beliefs, the power of the weaver's imagination, etc., which are depicted in various and unique forms and warm and intense colors. In this research, the relationship between Baloch handwoven (as a part of the native and ethnic culture) and their ecosystem was studied based on the cultural ecology approach and the effective and constructive components in its structure and formation. Culture and environment are two basic elements in the formation of Baloch identity. Nature influences the handwoven along with the application, local raw materials, and effective technical components, as well as the human resources (weaving artists) and visual qualities, aesthetic components, and various types of motifs. Cultural ecology in nomadic handlooms and especially the Baloch people, is an approach that emphasizes two-way interaction and communication. The environment and elements of nature become symbols and part of the cultural and artistic components in the process of weaving a pattern in the handwoven's texture, and on the other hand, handwoven works and Ethnic culture products take an important part of their nature (patterns and images) from their environment. This approach is concerned with the fact that any study about the different dimensions of human life and the degree of relationship between culture and environment, especially in the field of culture and anthropology, should consider humans as biological beings. Necessarily, to get to know and understand the different aspects of human life, human characteristics and relationship with the environment and ecosystem must be taken into consideration, and there is always a complex interaction between these two areas. The living environment is not a separate phenomenon from humans. To understand the dimensions of his life, both the relationship of man with the environment and the mechanism of this relationship, his activities and abilities, whether in the physical or mental aspect, should be studied and examined with the environment. Therefore, the connection and the cultural adaptations that have emerged between the two depend on the social and cultural characteristics as well as on the environment and ecology, and humans always interact with their living environment. From this point of view, in the study and analysis of Baloch handwoven, the nature of their structure and texture, this mutual and inevitable connection is evident. In Baloch handwoven, the ecosystem and the elements in it, such as plant and vegetable elements (trees and types of flowers and bushes), animals (animals and birds), rivers and mountains, and some behaviors of the daily life of Nomadic and ethnic is reflected. And this is a sign of the close relationship between the environment and man and his culture. Also, in the technological dimension, this connection is very prominent, and the materials and production are also derived from the Baloch ecosystem in different ways. Baloch handwoven, which are woven and produced based on the needs of the local environment, have different and diverse shapes, dimensions, and motifs, inspired by nature and interaction with the ecosystem, and with the help of taste and Feelings, imaginations, ideas, and individual and collective beliefs of weavers are woven. In addition, in rooting the features, components, and differences in the production process as well as technical structures and aesthetic content, the cultural contexts of the Baloch people and geography should be investigated and studied.

In the following compact and short writing, an attempt has been made to analyze and explain the “Simultaneity” or the root, source, and essential kinship between culture in its general, macro, and comprehensive sense, with art and artistry, and creative, innovative, and artistic movements and actions. Human should be examined and articulated in the creation of secondary reality, as a work of art form. In other words, the issue is this: What is the connection between human cultural behaviors and artistic tendencies and actions, and his sphere of aesthetic experiences? Is the relation and kinship formal and incidental, or related to the roots, source, and substance? Is it coexistence and nature? Or coexisting and formal and incidental and different from each other? Is Man first a cultural person and then an artist, or first an artist and then a cultural person? Or is the relationship between human culture and artistry not the relationship between two separate principles, but rather, complementary and supporting one another? Culture in the general, macro, and comprehensive sense encompasses all the perceptual shields and lived experiences and the existential openness of man in the world. The relationship between culture, such as the openness of existence with art and artistry, and human creative and innovative movements and actions, is essential and based on coexistence and is inherent. There are two sides of the same coin. Of course, culture includes art, and art is specific to the cultural openness of man in the world. In other words, art and artistry and creative actions and taste and aesthetic experiences of man such as religion and lived experiences and man’s perceptions of the sacred, divine, sublime, and beyond such as the skills and technological and practical practices of man such as thinking, wisdom, and scholarship of all examples and manifestations and the signs of the existential openness of humans include and are cultural beings. Culture is also defined as cultural heritage. There is unity and unity between them. They are not connected like screws and nuts and inanimate pieces of metal. Reducing culture and its institutions and phenomena to mere mechanical systems conflicts with the vital coexistence of living, constructive elements, and humanity’s cultural presence and openness in the world. In simple clear language, every culture is a living, dynamic and creative ecosystem, and landscape. There is unity and continuity among its constituent parts, elements, and members. Human actors, possessing thought, will, determination, and emotion, always play a central, constructive, creative, and “poetic” role in the emergence and unfolding of any culture.

The central core of cities, as a valuable heritage and representative of the city's identity, is facing many problems today. Following developments in the technological, economic, and social fields, as well as the movement of population and activities, the central core of cities has faced a decrease in physical, economic, and social quality, and this process has reduced the dynamics of neighborhoods and created problematic urban contexts. As a result, it is necessary to think about various social, cultural and identity dimensions and find a suitable link between them with the physical and spatial dimension in the central core of cities. The aim of the current research is to identify the fields of realization of the development of local community culture in the re-creation of the central core of cities, in such a way that by providing a systematic approach for researchers through the combination of qualitative researches, we will explore new and basic topics and metaphors related to the research topic. This article is presented with the method of meta-combination of studies based on the development of local community culture and the re-creation of the base culture using the seven-point method of Sandusky and Barroso. The results show that the development of local community culture is one of the main indicators of community self-confidence and responds to the spiritual and material needs of people in their community through cultural and social planning.

The culture-centered design approach emerged as a response to concerns about the standardization of product design due to globalization. This approach prioritizes localization and cultural sensitivity, with designers seeking to uncover the symbolic underpinnings of historical works and adapt them to contemporary user sensibilities. To aid in this endeavor, researchers have proposed practical processes and models geared toward identifying and translating cultural nuances for designers. Consequently, a pertinent query emerges: what are the shared attributes and discrepancies among these models, and how do they contribute to the comprehension and translation of cultural symbols in design objects? To address the aforementioned inquiry, a descriptive-analytical study utilizing a comparative approach was undertaken. The study involved the collection of information through document analysis, focusing on the examination of three culture-centered design models. These particular models were selected based on their emphasis on practical application and output within the design process. Subsequently, the study delved into an exploration of the symbolic motifs inherent in a cultural artifact, specifically the Iranian carpet, within the framework provided by the selected models. Notably, the Iranian carpet serves as a significant source imbued with profound cultural and identity-related significance for designers, as its motifs are rooted in the artistic philosophies and thought processes of Iranian Muslim artisans. The findings from the analysis of the chosen sample within the context of product culture-oriented design models reveal that, despite variations in the underlying philosophical frameworks of these models, all three are rooted in the essential processes of identification, translation, and implementation. In the identification phase, the accurate recognition of cultural product symbols is paramount; failure in this aspect hinders the designer’s ability to effectively translate these symbols into the contemporary language of the audience, thereby impeding their comprehension of audience desires and needs, and hindering the establishment of effective product-audience communication.

Japan has been one of the export destinations of Persian carpets and has purchased a significant number of Persian carpets in recent years. Given that the criteria and reasons consumers choose carpets have a direct effect on the level of demand and supply, identifying and being aware of those standards and criteria is important and necessary for the manufacturers. The purpose of the present study is to study the cultural characteristics of Japan as one of the factors affecting the selection and purchase of carpets. For this purpose, this article studies the culture of both countries of Iran and Japan focusing on their cultural similarities and differences, and tries to explain the relationship between Japanese culture and people's taste in using carpet. The research data has been obtained through face-to-face conversations with carpet manufacturers and traders and the publication of a questionnaire which has been carefully examined. The results indicate that the culture of the destination country (Japan) can affect the choice and taste of consumers. Culture is used indirectly by applying the views of Japanese experts on exported Persian carpets. However, in the current products, the manufacturers of handmade carpets have not been able to implement the culture and point of view of the Japanese people in their products. Therefore, according toJapanese businessmen and Persian carpet exporters, more attention should be paid to this matter to stabilize the rank of Persian carpets in the expected market.Many consumers of works of art who have a different culture from the creators or manufacturers of the work do not pay much attention to matching and harmonizing their taste with the taste of the creators, and having a work of art from a culture other than their own can be considered the most important reason for buying or preparing works of art. But when it comes to the practical use of a product with practical and artistic features, criteria for choosing and purchasing become important because products that have practical and artistic features provide both material needs (as a means of livelihood) and spiritual needs (in line with the need of beauty and friendship) for those who are interested and consumers. Although these criteria are primarily related to the conditions and place of life and the material use of the product, since the living conditions of any society have a direct relationship with the cultural features of that society, it also affects the choice and purchasing criteria of the products used. On the other hand, it urges the creators of the works not to be indifferent to the cultural features of the consumer society in order to attract more audiences.Culture has many indicators, and failure to pay attention to any of these indicators will cause the failure of sales of products, produced in one country to export to another country. Therefore, before producing the product, the cultural compatibility of the product in the destination country should be checked. Based on the cultural indicators of that country, the manufacturer proceeded to produce the product in a targeted manner.The Persian carpet is a product that has two practical and artistic aspects. This product, whether it is one of the necessary means needed in life or a work of art, has for many years exceeded the scope of use by the people who produce it, beyond the geographical boundaries of production, and by exporting it as a commercial product to different countries and even continents, it is used by people with different lifestyles and aesthetic tastes. In the traditional way of exporting carpets, which has been customary in Iran for a long time, the factor of culture has not been comprehensively studied. In some cases, this neglect has caused irreparable damage to exports.Since the amount and volume of exports of this commercial product play a significant role in Iran's economy, it becomes important and necessary to identify factors such as cultural components that affect consumers' interest and the actual amount of carpet exports.Research Questions: Which aspect of Persian carpet production is prone to direct or indirect susceptibility from Japanese culture?Which part of the production process of handmade carpets is compatible with the culture of the mentioned country?What are the opportunities and challenges of Persian carpet manufacturers and exporters facing the consumers of this product in Japan?

 Current research uses the survey method to apply the opinions of experts in this field and analyze the information according to the dependent variables, including the type of raw materials of the carpet (wool, silk, cotton), the dimensions of the carpet, the design and pattern (medallion design-corner and hunting ground, etc.), dyeing and weaving style (urban, rural, nomadic).Research data has been collected through interviews and questionnaires and has been carefully analyzed. For this purpose, the manufacturers, exporters, and sellers of Persian carpets who have had a direct relationship with the culture of Japan (some Iranian and some Japanese) were considered as the statistical population, and the sampling was done by quota and purposive method.Also, the data from the questionnaire was analyzed in 2021 using descriptive-inferential statistics by SPSS 26 software, the Cronbach's alpha coefficient was 0.667, which means moderate reliability.

This article analyzes the role of artificial intelligence (AI) in the production and processing of ‎animation. The authors discuss how AI can be used to enhance the animation process, ‎including automating repetitive tasks, improving facial recognition and motion capture, and ‎generating realistic landscapes and textures. The article also explores the potential impact of ‎AI on the animation industry, including the development of new tools and techniques, as well ‎as potential job displacement. The results of this article indicate that other technologies such as ‎recognizing facial expressions can help to create them in cartoon and animated characters and ‎give them a more natural state. Many other things such as body position detection can help to ‎make this type of videos even better. Production of animation is one of the things that is ‎currently much more expensive than making a normal movie in Iran, but with the use of these ‎technologies, its cost can be reduced as much as possible.‎

Problem statement: 

This research seeks to understand the ways in which Information and Communication Technology (ICT) might be applied in the regeneration process of heritage areas within the cities, such as the Lalehzar neighborhood of Tehran. Considering the historical background of the selected case study and its particular location in the heart of the country’s capital, the significance of the research becomes more obvious. The migration of nobles and young people from historical centers has caused more urban decay in such centers.

The research aims to attract noble, active, creative, and young people to the historical context to revive it at a reasonable cost, in a short timeframe with modern technologies days and nights.

The research is qualitatively conducted by providing vision-action alternatives through a case study. Using the Delphi technique, the alternatives are evaluated by fifteen specialists in five groups (Urban Design, Architecture, Computer, Information, and Communication Technology, Art, and Digital Media) to select the most feasible alternative.

One of the findings of the research is that ICT facilitates the cultural-artistic vision in the Lalezar neighborhood and increases the possibility of implementing art festivals at the international level. The priorities of implementation are in the social-activity, cultural-historical, and physical aspects of the studied context, respectively. The selected vision-action alternative accelerates the people’s participation and best presents the collective memories of the place in terms of globalization, implementation, and economics. The alternative seriously competes with the previous alternatives for such neighborhoods. Lalehzar, due to its concentration of electrical businesses, has a strong potential for ICT adoption. However, success hinges on engaging stakeholders, particularly in the local industries of tourism, music, cinema, and digital media.