نقش مایه

Handicrafts of every people and nation are the crystallization of religion, customs, mythological vision and religious beliefs of that people and nation. Art and crafts of villagers and nomads are very rich and suitable sources for studying the art history of our country from the past. Qashqai handwovens have bright and happy colors with simple and geometric patterns. These motifs have high technical and visual capabilities and are, which have preserved their spiritual value during different eras. One of the important manifestations of the importance of symbolism can be seen in art. In this article, an attempt has been made to answer the question of what is the view and theory of the traditionalists about the role of the sun in the Qashqai carpet? be answered In fact, the purpose of this research is to investigate the symbols of Qashqai carpet from a technical and visual point of view and to reach their meaning and concept by relying on the theory of traditionalism and also the origin of these motifs. Finally, we find out that most Qashqai motifs are taken from mythology, and the use of old and national motifs of Iran will keep the past motifs alive and the deep meanings of these symbols will remain intact, and the culture will be correctly transferred from one generation to another. The research method of this research is developmental in terms of its purpose and is descriptive-analytical in terms of nature, and the collection of research information is in library form.

Stone Mosque of Tark has a different interior space compared to other Iranian mosques because of its interior architectural features; The placement of the tomb inside the mosque, the numerous altars and the lotus ornaments, which have been worked in large numbers and in different dimensions inside the altar, tomb and columns. It is worth noting that in addition to the spatial arrangement and interior elements, the ornaments of this mosque play a significant role in shaping its concept. In other words, in this mosque, the ornaments are not decorative and superfluous to the original work, rather they have become a means of completing an artwork and even a means of forming and creating it, because in Iranian art and architecture, being beautiful is associated with creating; The word “honar”, meaning art in persian, is “ho n are” which means creating beautiful, and the word “araye”, meaning ornaments in persian, is derived from the Indo-European root “ar”, meaning to place together, and is considered the main component of the word “art” and “honor” and, consequently, to make beautiful. For this reason, the main goal of this research was to explain the concept of the Stone Mosque of Tark according to its interior architectural features. In other words, this research aims to reveal the concepts hidden in this mosque through the analysis of the interior architecture of the Stone Mosque of Tark and its ornaments. Based on this, in order to understand the concept of the Stone Mosque of Tark, this research investigates and describes interior architectural elements of this mosque, including its ornaments and motifs. It should be mentioned that in addition to the form of each motif, its concept and meaning should also be considered. In this way, this research investigated the mentioned characteristics with the descriptive-analytical method and gathered information through field and library studies. This research after investigating the Literature review, has first described the Stone Mosque of Tark, then it has analyzed its interior architecture and its ornaments and motifs, and finally led to the conclusion that this building is a school-tomb-mosque, and the purpose of the founder or founders was to create a space-place for transcendence and evolution, as it can be seen from the interior space and its ornaments that the mentioned tomb belongs to their Qutb, and the various altars of those teachers who made their students rise and bring blessings to everyone.

Qajar art, being in the process of transition from traditionalism to modernity, has characteristics in the field of content and material, which has made it attractive for studies. As one of the decorative arts of this period, the art of tiling is also of special importance. Golestan Palace is one of the oldest and most important royal buildings of the Qajar period, which has many tile decorations. The tiles of the eastern enclosure of the palace, like an illustrated notebook, have displayed the features and socio-political conditions of the Qajar era. Therefore, the study and investigation of these motifs sheds light on many issues related to the art of the Qajar period, and by knowing the characteristics of each, the existing research gap can be covered to some extent. In this regard, the aim of this research is to investigate and classify each of the motifs of the eastern enclosure of the palace and to analyze the meaning of each one in the form of a table. Based on this, the questions raised are as follows: 1. What are the visual elements and motifs used in the tile paintings? 2. What are the sources of inspiration and painting methods used by tile painters in the palace? The research method of the current research is qualitative and the method of collecting information is field (photographic) and library. The results of this research show that in the eastern area of the palace, the paintings are divided into eight general categories, birds, fruits, flowers, animals, women, narrative motifs, landscapes and buildings, each of which is influenced by photography techniques, coffee house paintings, stamps and postcards. They describe a story from the Qajar period. After categorizing the motifs, we found that the various and colorful tiles were painted with the principles of projection, and by observing the principle of perspective, shadow and light, they created great realism for the viewer.

South Khorasan Province is considered as one of the important regions of carpet production in the southeastern part of Iran. The carpets produced in this province are primarily created in two well-known styles: urban weaving (centered around the provincial capital and the city of Birjand) and nomadic weaving (focused on Baluch and Arab nomads dispersed throughout the province). Throughout historical eras, South Khorasan has consistently attracted the attention of state rulers, who have utilized nomadic forces to ensure border security. Some tribes have migrated to South Khorasan by force, while others have voluntarily moved to find suitable grazing lands. Generally, among nomads weavers, most patterns are geometric and abstract. The stylized floral designs vary significantly depending on the region they belong to. In other words, specific patterns within each classification are determined based on nomad groups’s place of residence. Additionally, there some designs that have been adapted from other carpets. Despite its variety, the study of nomadic carpets in the South Khorasan province has received little attention due to the geographical dispersion of nomadic living areas and the difficulty in accessing authentic samples of these carpets.

The method of this research is descriptive-analytical, with data collected through both library and field studies. The historical background data of South Khorasan was gathered through library resources, while the identification of samples was carried out in the field. The statistical population was purposefully selected based on the accessible and currently produced carpets in the region. Given the diversity of design and pattern structures in nomadic areas, a classification based on common categories was employed for a better identification of patterns. These patterns were divided into seven general categories as illustrated in Fig. 1:Fig.1: classification of nomadic carpets of South Khorasan (authors)

The diversity of designs and patterns in the nomadic carpets of South Khorasan, as one of Iran's key carpet weaving centers, reflects various aspects of cultural and ethnic influences of the weavers. The associated patterns are intertwined with the nomadic lifestyle. Depending on their location in the mentioned regions, these designs and motifs were found to possess unique shapes and characteristics.In examining the patterns and motifs of nomadic carpets, the deployment of designs such as Medallion with corner, Pictorial, Tree, Mihrabi, Medallion, Repeated Design, and Lachak (Corner) is evident. The most commonly used design is the Panel pattern, while Pictorial, Corner, and Tree designs are less frequently used in this area. The design structure of carpets in this province includes 16 specific types, including: cloud flower medallion with corner, Fathollahi medallion with corner, bird medallion, peacock medallion, white corner, Gol Keshmiri repeated design, Madadkhani repeated design, double-flower repeated design, Chapat Ashtar repeated design, Bazubandi panel design, vase repeated design, Kashan flower repeated design, pine tree, Parjalaki mihrabi, and prayer rug mihrabi. The predominant form of the medallion in the carpets of the region is diamond-shaped, often featuring a single medallion. In terms of divisions, they are mostly executed in quarters. The form used in the structure of the region's corners is predominantly triangular, incorporating motifs related to the overall design. An examination of the borders in the nomadic carpets of South Khorasan reveals that certain designs are commonly shared among carpets, with the most significant borders being Kajhmar, Sizdahdomi, Attareh Shakhdar, Ya Ali, Golkoloucheh, and Chehelmorg. The most common border divisions include three, five, seven, and eight-part divisions. The shape diversity, found in rural and nomadic carpets of South Khorasan, is based on broken motifs, and the decorative elements used in the borders are considered one of the main structures examined in these carpets. Alongside the breadth and variety, specific motifs can be identified as fixed and repetitive patterns in carpets of the region.

The studies conducted on the common motifs in the nomadic carpets of South Khorasan Province indicate that the majority of the design space is occupied by abstract and broken motifs inspired by the weavers' surrounding environment. Given their lifestyle, the use of local plant motifs, including various flowers and leaves as well as animal motifs such as goats, camels, birds, and horses, is prevalent in these carpets. Additionally, abstract human motifs (stick figures) are observed in some carpets from the region.

Apart from the artistic and historical aspect, the works of art tell the transmission of cultural traditions and various cases in different periods. The study of these works can be examined in the field of depictions of women in the representation of women, the way they are covered and made up, and it is important for its conceptual and symbolic, decorative and visual features. Calligraphy, which flourished mostly in the Qajar period, is important in terms of artistic style and representation of women in a European way, and it is a suitable field for studies of changes in the recognition of visual characteristics, recognition of cultural changes, and the European representation of women of this period. The purpose of this research is to investigate and analyse the portraits of Qajar women and the female gaze as a part of the performance of the representation of women in the culture of  Qajar period. The study sample of this research is a qalamdan belonging to Kazem son of Najaf Ali, the Qajar calligrapher, sold in the Chiswick auction, which contains several women in the frame, and from this point of view, it is considered special and has a feminine attitude. The level of female gaze action among the elements of the western image in connection with other symbols such as gol-o morgh has a different meaning. The connection between the elements in the image of the qalamdan and the woman's, body shows the western cultural developments and the semantic view of women. The question of this research is how the female subject is represented in this lacquered qalamdan by Kazem son of Najaf Ali and what does it mean? The research method in this research is descriptive and analytical, using library sources and examining a museum sample of qalamdan, sold at the Chiswick auction in London, and it is a qualitative research. The results of this research show that the female subject is represented with European makeup and clothing and can be seen in frames surrounded by gol-o morgh Motifs. Women in this qalamdan and in the frames are depicted individually and as two people in separate frames. The most important feature of this frame is the bold presence of women in light frames on a dark background for emphasis. The desire for cultural changes and deconstruction in the representation of women is represented in the picture frames.The representation of women in the case study shows that due to cultural interactions, authentic Iranian arts have also been affected and western patterns have been implemented in these images. In the drawing of figures in Iranian pencil cases, the main characters are depicted in specific frames. Anthropocentrism and emphasis on the physical beauty of women can be examined in these images. The representation of women in this collection is important in the sense that it is a mixture of several types of paintings in a row, portrait painting and painting of gol-o morgh, the effects of western painting in the representation of women are influenced by western culture in makeup and clothing. It is one of the cultural and social developments of the Qajar period. The portrait of young women is placed as the most important part in the connection between the images and the background painting of Qalamdan. The human presence of women as a part of decorative arts in the Qajar period is the main focus of the painting of the Qajar period and is in connection with the art of Qajar court painting. Two portraits of women (picture 2) completely shows the characteristics of a portrait of a Qajar woman in European clothes. Well-groomed women who have done their hair and neck in a western style and are far away from the traditional woman represented in the pictures. A semi-open western dress that belongs to the aristocracy and shows the changes of a court woman influenced by western culture. Women's hair decorated with flowers is a symbol of beauty and elegance, women in these two main figures are considered a symbol of Western European culture. The women in these pictures as an active agent are a strong reflection of the social and cultural changes of the Qajar period, unlike the dance of the two genders, male and female, two females are dancing with each other, and the women's clothes have complementary colors and remind of the symbolic interaction. There is a proportionality between the portrait of the woman and its framing, the confinement of the woman in the limited framing space around it refers to the inner space of the house. These frames show a feminine space decorated with gol-o morgh around the frame.The painting around the space of the female frame encloses it and covers the charm of the female space. The dark colors make the display of the frame stand out and emphasize a nostalgic aspect of the paradise garden in the past and tradition. The space of qalmadan is surrounded by flowers and bushes and paintings of flowers and chickens, but basically these motifs are in the background and only women's faces stand out in the frame of the picture. The portrait of the women is located in the middle of the longitudinal and transverse frames, and the form of the placement of the frames is the direction of balance and their focus towards the frames of the women's faces. The background is painted almost dark and has colours that make the frames with bright colours more visible and more prominent to show the presence of female faces. The use of gol-o morgh in the court painting of the Qajar period in combination with painting of women is usual in Qajar paintings. In these female images, there is an authoritative look, unlike the court portrait female paintings, there is no staring at the audience, and the women’s three-quarter profile are drawn looking at the outer space or looking at each other in the main frame. The two portraits in the frame indicate the relationship between the body space and the gol-o morgh space around the female figures. The image of women in the frame is like a window or a window that is opened to the outside world. The young women's heads are turned towards each other. In the main frame, two women are staring at each other and are dancing and holding each other's hands, which reminds of a man and a woman and two lovers in western dance, but in this picture, two women are in each other's arms. And the man, according to the changes in the cultural context of Qajar painting, creates a mutual and opposite exchange of action, which shows the two lovers looking at each other in the woman's view in the picture frame, and actually creates a kind of break and violates all the laws of the past, and departs from the traditional view and represents a break with social traditions in all social cultural components in Qajar art. The woman is on the verge of entering a new space and world, and her body is in a break with the female limitations within the frame, which is represented differently and tries to show its change. It is the process of looking out of the frame of a woman. The presence of the female body in the image framing is the main theme and invites the audience from the outside into the image frame and the female world of the work. With the image of three frames of a woman, two women dancing with each other and in each other's arms, with western clothes and make-up, this frame represents a different gender identity and independence for Qajar women, and in the hidden layers of the meaning of the image, western cultural changes and depicts its influence in the Qajar world. In these frames, the woman shows her suspended state of presence and absence. A woman by the window, between being and not being enclosed in a frame and changing, shows the passing of traditions and entering the new world influenced by western culture. A woman is trying to find her identity and independence, breaking away from the traditional world of court women and trying to get out of the frame of the picture, the manifestation of the function of the female space dominates the whole representation of women in the picture, and in the frames of qalmadan, she shows herself individually and in pairs. The nature and structure of an image of the presence of women influenced by Iranian culture (gol-o morgh painting) and western painting (influenced by western makeup and clothing) shows a different genre of the presence of women in this collection, which shows the independent identity of women in the Qajar period and changes it reminds. The images that break the contrast with the traditional feminine space more than ideal feminine beauty.The portrait of young women with open and western clothes in this collection can be considered a powerful representation of women in the Qajar period and the attempt to change the space from inside to outside and to find a new identity. This qalamdan shows the way of female representation and western influences on its surface, which actually indicates the ideological and cultural functions of the Qajar society inside and inside it in a hidden way. The structural and formal connection of women in the picture frames, the connection with the painting space of gol-o morgh, the representation of a bird (morgh) looking at a flower bud (gol) can be a metaphor for the male gaze. The woman looks out of the window frame, the vast space that exists outside the feminine enclosed frame. The relation that has been created between the elements of gol-o morgh painting, the presence of women in the picture frames, reminds us of the relationship between Iranian and European meaning of women's world. The image of a woman between Iranian and European women, the feminine attitude about the qalamdan as the main subject in the image space is one of these. Framing around women is a metaphor of the outside world that women consciously tend to change like western clothes. All these concepts are signs of the changes in women's thinking in the Qajar period arising from social changes, the influence of Western culture in social studies, which has shown itself in the interpretation. It shows a different meaning in the eyes of women, which can be seen in the faces of these women on qalamdan. In studying the shape of the part where the ink is stored in the pencil case, it can be mentioned that it is made of silver and is in the shape of a fly, which is very realistic and drawn in detail.Applying a different space to women compared to previous works in the form of qalamdan is one of the important points in the study of this one. The effects of European culture in the painting of this painting can be seen in the framing and the way women are represented in their facial appearance, make-up and clothing, which was considered by the illustrator. The use of dark colours has tried to create a visual dimension in the picture frame and emphasize the subject of women in the picture frames. The painting has separate frames showing women as the main elements in the image. Paying attention to women's body and drawing its features, paying attention to the placement of women in the image frame, emphasizing human physical beauty and focusing on women as the main and central motifs, the central body in these paintings can be investigated. The nature and structure of qalamdan influenced by Iranian culture in the representation of women shows a different view of women, which reminds the independent female identity of the Qajar period. The images that, more than women's beauty and having the ideal face of women, break the confrontation with the male world and the desire to change it. The framed faces of young women in European clothes and naked in the upper part of the body can be considered as an attempt to change the inner space as an open space for women and to try to get out of the safe space and to find an identity. The way women are represented in this book and the display of western influences indicate the functions of ideological and cultural changes in the Qajar society. The structural and formal relationship of women in multiple frames of the image is related to the outer space. The woman looks out of the window frame from the inner and closed space, her gaze is on the vast space that is depicted outside the female enclosed frame. The relationship between the elements of gol-o morgh painting, the presence of women in the picture frames, reminds us of the connection between the Iranian and European forms of women. The Iranian-European woman and the feminine look at the space of this qalamdan reminds of the changing space and transformation of women in the Qajar period and the desire to break the framing space around women, all these concepts can be signs of changes in the world of women, not only in makeup, and cover. The representation of women in the frames of this book originated from social developments, the influence of western culture in the social demands of women, which is represented in the image and its components.

In addition to structural and aesthetic indicators, we would like to categorize the arts in terms of cultural-social components, production fields, and proportions with the environment and geography. In that case, clothing has been the most important practical tool of mankind from the past until now, which can be the narrator of culture due to its conceptual and content characteristics. The social culture’s artistic and economic tastes and behaviors. The cultural-economic infrastructure of society’s management-government space has been influenced by all kinds of clothes throughout history, for this credit. The economic-industrial dimension has gradually overtaken the artistic-cultural extent as new methods and tools for fabric and clothing production and distribution have emerged. On the one hand, the artistic aspects of clothing, as a cultural heritage, are the narrator of traditional culture and art, and in this project, in particular, I have addressed the artistic features of Kurdish ethnic clothing. The characteristics of ethnic clothing and the main identity of clothing are essential for those who want to identify a part of their culture and identity in the future; Because the identity of each dress can be found in the expression of its characteristics. Such as fabric texture based on clothing design, fabric cutting, and clothing decorations (embroidery, needlework), all of which are important in terms of technique, role, and design, in the philosophy of motifs. Investigating the changes and evolutions of the clothing of the Kurdish tribes of Northeast Khorasan (Klat, laying, Zavin), the main goal of the research is that motifs have been examined from the point of view of style and pattern in the classification of tribal clothing. The method of library collection, field observation, and qualitative analysis have been employed in this research. According to the results of the research, the patterns of Kurdish clothing do not have a predetermined plan and are usually produced improvised, only the artist knows the name of the patterns used and most of these patterns have their name and were taken from nature and created by artists. These motifs are based on the culture of these people and are rooted in common beliefs.

Aali Qapu Palace, one of the prominent buildings of the Safavid era in Isfahan, is significant in terms of architecture and decorations. Despite numerous studies that have been conducted on this building, it still has outstanding capabilities, especially in examining the types of decorations and architectural ornaments. By taking a closer look at the motifs in the plaster decorations of this palace (killed paste), we encounter repeated geometric patterns in the plant motifs. These characteristics were overlooked due to reasons such as: The density of motifs, wear, and fading of the plasters. Therefore, this research intends to analyze and draw the Girih in the stucco decorations of Aali Qapo Palace and to find the characteristics of the motifs used. The main question of this research is: What are the Girih and geometric patterns used in the plaster decorations of Aali Qapo Palace, and how do they interact with plant motifs? The data for this study was collected through field study and library research. The research method was descriptive-analytical. By analyzing the motifs under investigation, it was found that the use of geometric patterns (Girih) is sometimes evident (for example, in the Girihs of the roof tiles and windows) and sometimes hidden in the combination of Arabesque motifs and khatais in plaster of Aali Qapo Palace. These geometric patterns and hidden Girihs include: The Rhombus network, the Square network Qenas, Upside Down Ferfereh Girih, Moj, Hasht and Chahar Lengeh, Sineh-Baz, Sormeh-Dan Qenas, Chahar Lengeh Hasht with Tabl, Shamseh, and Chahar Soli which due to the transformation of broken lines into curves and the concealment of the surface of the Girih by Arabesque and khatais, it has undergone changes in appearance and its visual characteristics have changed.

The monster slayer is a recurring concept repeated in art. This research was written with the aim of connecting the carpet to the chain of artworks containing the dragon pattern. In other words, the carpet is considered as a work of art and a representation of an ancient pattern. Two carpets woven in the city of Khawf contain a monster slayer pattern. The production of two similar carpets over a short period of time indicates the aforementioned pattern of prosperity in the region. Is it possible to discover the meanings and passwords hidden in the "dragon" theme? It seems that the "dragonfly" theme in the visual rug second Pahlavi era has taken the iconographic gravity points into account, and this has caused the role to be repeated over a short period of time. It is likely that "rain-seeking" is the most important concept arising from the role of "dragonfly" in both instances. The present study was a qualitative one, using the transformation of the iconography method, so that the samples were first described and then analyzed. Gathering information from library studies and carpet images is the product of imaging the works displayed at the Baluch Carpet (suffering to treasure) exhibition. Studying the role of the "dragonfly" has opened up many passwords. Of the two types of general and minor transformations, the "dragonfly" role of visual rugs had minor modifications. The study showed that the least change was at the carpet center and the role of the "dragonfly" was a recurring pattern. Rainfall is the most important meaning of the "dragonfly" pattern in the rugs.

Statement of the problem: 

The Saqaqhana school is one of the most important artistic movements of the 1940s in Iran, which was formed with a traditionalist and at the same time innovative approach and was inspired by the global art method and the artists attributed to this movement are respected. Incorporating old visual elements, they created works that looked for differences in their art. The mentioned art can be studied from the field of culture, identity, art, etc., with structural, semiotic, psychological, etc. approaches. Many artists are active in this field, one of them is Nasser Owaisi, who can be considered as one of the prominent artists of this school.

Importance and necessity of conducting research:

 The present article aims to introduce and examine the visual characteristics and symbolic aspects of decorative motifs in selected works of the Saqaqhana school of painting by Nasser Owais, which is analyzed with the tools of structuralism and semiotics based on Peirce's point of view. They are explained.

Objectives of the article: 

The objective of this article is to analyze the symbolic aspects of decorative motifs in the works of Nasser Owaisi from Peirce's point of view.

Research question: 

Therefore, this article seeks to answer two basic questions: What are the visual characteristics of Naser Owaisi's Saqakhane paintings and what are the meanings of the decorative motifs? What is the performance of the semiotic approach in the selected works of Nasser Owaisi?

This research has been researched with a descriptive-analytical method. This article is a qualitative research and study samples are collected from library sources.

The results of this paper indicate that motifs are classified into six categories: abstract, human, animal, plant, and geometric motifs. written The painter has used motifs such as chamomile flowers, pomegranates, horses, women, shapes (squares, circles, triangles and rhombuses) and improvisational lines, objects such as three strings in his works, which are associated with concepts such as power , tolerance, pleasure, fertility, creation and freedom are related. Balance, equilibrium, movement are among the visual characteristics of these works. The signs of the decorative motifs of the above-mentioned artist's works are mostly symbolic and indexical and are considered figurative-abstract and abstract-similatory signs.

Lustre glaze was a novel invention by the artists of the Islamic era, which was used for gold and silver metals. In the course of its development, this pottery went through three periods, among which the beginning period and the middle period for change are of special importance. The country of Iraq was one of the most important production centers of lustre ware at the beginning of Islam, and by exporting this type of pottery, it played an important role in spreading this type of technique. The fall of the Abbasids and the migration of artists to other Islamic lands has caused the amalgamation of the Abbasid and native styles. Neishabur, as one of the centers of lustre ware production in the early period, despite being influenced by the Abbasid style, has also had differences in the style of drawing motifs. This research intends to analyze 16 examples of the typical vessels of lustre ware Iraq and Neishabur, to categorize the patterns, themes and stylistic differences of these two centers and to answer these questions: the motifs used in the lustre ware of Iraq and What themes does Neishabur include? The information and data of the study in this research have been collected using library sources and then analyzed by descriptive-analytical method. The results of the research indicate this Scenes such as playing an instrument, the use of eye and dotted motifs in the background, teardrop and circular motifs on the back of the dish, the use of birds, especially pigeons, which are conjugated or accompanied by a leaf on the beak, are among the things that are used in a comparative manner in the pottery of the two centers. but despite these common motifs, differences such as the style of drawing human motifs, including curly hair, big eyes, have distinguished them from Iraqi lustreware vessels. In addition to this, the animal motifs of lustreware Iraq and Neishabur are completely influenced by the ecology of these regions, for example, we can mention the pattern of camels and fish-eating chickens, which in Neishabur examples include other motifs such as cows, pigeons and lions as Iranian symbols. which has been used since before Islam. The widespread use of inscriptions is one of the factors that shows the obvious difference between the lustre ware of Iraq and Neishabur. The inscriptions of Neyshabur vessels, which are often seen on the edge, include hadiths and Quranic verses, which are also used frequently in the lustre ware of this region, and it indicates the local style of this period, while Iraqi gold often has court concepts and inscriptions are rarely used. And it is usually used on the bottom of dishes. Therefore, the special features that can be seen in each of the golden dishes of Iraq and Neishabour are indicative of a special and local style that, in addition to influencing each other, has also made them different from each other.

Research in the field of kilim and its different types have attracted specific position among academic studies and has been addressed from various perspectives in the last two decades. Meanwhile, studies have been done over Varni. Varni is a kind of kilim which is woven by the women and girls of Shahsavan tribe mentally and without any paper maps, using a Sumak technic in the north-west of Iran. Considering the prevalent nomadic lifestyle, these Varnies used to be used as rugs, salt bags, saddle bags, mafrash, and cover horse. There is little written information about the history of this weave due to the oral culture of the nomads and the lack of knowledge of weavers' theory information despite their practical skills.  Categories displayed in Table one represent the literature review in Varni. Analysis with this methodology is widespread in basic science and subjects that are related to handicraft, such as Varni have been less discussed in Iran. Research  similar to this article is an article titled "Study of  handi-crafts theses in Art university based on approved regulations of Art university: Case Study of Graduate theses from September 2012 to September 2017" that published in Journal of Visual & Applied Art by Samanian and Babaei in 2021. The discovery of the strengths and weaknesses of theses and improvement of the quality of the future works of research in the field of handicrafts was the aim of this article. The main aim of this study, however, is to analyze Varni's studies in the field of kilim's studies and classify the works of research  done in this field. Thus the researcher has analyzed and reviewed academic studies in the field of Varnies by identifying thirty-four dissertations, master's theses and articles.; Moreover , to introduce all research  done over this subject and avoid repetitive research, this study may pave the way for the researchers and can shed the light on the direction of future research in this field. This study  has been conducted by descriptive-analytical method and the data are collected based on library resources.Identifieing forty-nine sources about Varnies by researching in Various databases, such as National Library of Iran, Irandoc, Magiran and Civilica with keywords, including sumak, needle kilim, handwovens of Ardebil and shahsavan and Varni (Because everyone uses different names for this handwoven and different textiles are not classified appropriately). After reviewing the statistical population, thirty-four articles, master's theses, and dissertations resources were considered for the final analysis.Written sources are less than half a century old regarding the Varni feild, and the first published reference refers to Varni in 1985. It was Parvez Tanavoli (1985) who first discussed Shahsavan textile mentionining Varni among others shahsavan textile productions. He published a book in English called "Shahsavan Iranian Rugs and Textiles".  On the account of foreign resources, John.T.Wertim (1998), authored a book titled "Sumak Bags of Northwest Persian and Transcaucasia" and emphasized the importance of khorjin, salt bag and mafrash. Although the issue of Varni was neglected in the 60 decades (solar calender), it has received more academic studies in the 90s. From the whole sources of Varni that were analyzed and reviewed,  twenty- one articles, eleven master theses and two dissertations. Were chosen for further conteplation The articles have been published in various journals, and six journals have been evaluated in the fields of humanities, art & architecture by the Ministry of Science, Research and Technology. Quarterly Scientific-Research Goljaam Iran Carpet Scientific Association has dealt with this subject  more than other journals.Researchers have considered  general introduction of varnies, tools and techniques, economic contexts, socio-cultural contexts, and the design and motifs of Varnies. Most studies have been done in design and motif of Varni. The use of Varni motifs in modern life and decoration, a comparative study of these motifs (Shahsavan tribe) with the hand-woven motifs of other tribes, including the Qashqai and Caucasian tribes, the symbolic motifs, such as rain and life symbol in Varnies,  the structure of  Moharramat design and some motifs, such as the peacock and Swastika have been investigated.  Salt bags and rugs have been the most popular among the various Varni products.Moreover in his dissertation , Saadati (2021) utilized the structuralist approach and its most important component, binary opposition, in analysis of the Varnies (rugs, salt bags, saddle bags, mafrash and cover horse). The study of these works was done synchronously, and given that the human mind understands the structure of the world and the rules of action can be obtained by discovering the basic elements.The present research aims to extract the motifs and relationships between them as well as to develop a structural model of Varni products. Still more, Izadi.jeiran investigated from an anthropological perspective based on Howard Morphy theories the Varnis of Lome-Dara village.Researchers with different fields and from various universities worked in this field. Researchers studied in different majors, including handicrafts (4), art research (3), visual communication (3), illustration (1), carpet design (1) and sociology (1) and from the universities of Tehran ( 2), Al-Zahra (2), Science and Art of Yazd (2), Islamic Azad university (2), Sooreh, Art University of Isfahan, Tabriz  Islamic  Art  University, Tehran university of art and Semnan university graduated. Among sixty researchers, thirty-three women and twenty-seven men have worked in this field. Although, considering this subject as feminine art, men also care for that. As mentioned above, the use of the word Varni is less than half a century in the publishing discourse, but special attention has been paid to it in  academic fields in the last decade. The researchers of handicrafts major, then visual communication and art research more than other fields have addressed the subject of Varni in their master's theses and doctoral theses. This subject (Varni) has more capable and application in these disciplines apparently.In Varnies research, tools and techniques, economic field and socio-cultural field have recieved less attention. In contrast, designs and motifs have been considered widely. Thanks to its unique features of Varni, such as subjective and abstract motifs, it has occupied more than eighty percent of the studies. The symbolic study of these motifs, the structure of various design, the use of designs in other contemporary arts (graphic design, illustration, decoration, etc..( The researchers conducted the comparative study of these motifs with the handwoven motifs of other ethnic groups (Qashqai and Caucasus).However, it is possible to study the subject of design and the motif of Varnies from different and other theories such as anthropology and ethnography. Considering the limited sources of Varni, it is worth mentioning that Parviz Tanavoli's book, which was the first resource that refers to Varni, is available in English language and has not been translated into Persian language yet. Also the book about Khorjin, Mafarsh, and saltbags in the north-west of Iran and the Caucasus is also available in English language (not translated into Persian language).   The review of Shahsavan nomads' handwovens book is also witten in English language. This book contains a worthwhile  visual resource about different kind of Varnies, especially saltbags (Namakdan).  Cover horse (Jole- asb) was translated by Nazila Daryaei into Persian language, nevetheleess.  Various type of handwoven of Shahsavan tribe are appealing in an international area due to their unique features.

Problem statement:

 Embroidery with different applications has been common since ancient Iran in decorating fabrics with a wide variety of patterns, colors, and types of sewing according to their production area. The embroideries with the motif of “Lady Sun” (Khorshid Khanum in Persian) are used in some Iran areas to avoid the Evil eye, such as Sahebqaraniyeh Palace’s Embroideries.

There are some questions about the reasons why the “Lady Sun” motif has been used in Iranian embroideries, such as why do the sun illustrations have female faces? What are the cultural and functional meanings of this motif in these embroideries, and what is the relationship between this motif and the Evil eye? An iconographic approach was used to answer those questions.The purpose is to identify the iconography of “Lady Sun” motives in embroideries of the Sahebqaraniyeh treasure and its relationship with the Evil eye both descriptively and analytically.

This research is qualitative and descriptive-analytical, and the data was collected in the field and library based on the iconographic approach of the Ervin Panofsky school.

In ancient culture, the sun was closely associated with the eye and the Evil eye. A woman’s face in the sun can be considered a symbol of Anahita and the sun as a symbol of Myhr, who both were protectors against the devil. The sun resembles the eye of the sky and is both destructive and protective. In many cases, the sun is described with a female face in literature. In the folklore of some regions of Iran, a beautiful female face was painted on a Sabu (pottery jar), called “Cheshmaro”, to avoid the Evil eye. In some other parts, it is called “Chesh Cheshi” or “Cheshouk” and is used to stay away from the Evil eye, which can be considered the use of Sahebqaraniyeh samples for this purpose.

Due to their special connections with humans, tombstones can be a proper manifestation of people’s beliefs and opinions from different areas. Special patterns on some tombstones, some of which are uniquely engraved, and some others are occasionally repeated show the importance of tombstones (the engraved images semiology), and the idea of our ancestors about death. The cemeteries built by the Armenian minority during various periods are a sign of the historical coexistence of Armenians and the Muslim majority. Therefore, this study seeks to evaluate Armenian tombstones in Sang-e Sefid, Aligudarz city and study the relationship between the engravings on tombstones and thoughts and beliefs of Armenians living in Sang-e Sefid in the last 100 years through field and library research (especially primary sources such as Armenian books and articles). The question we are trying to answer is: What kind of symbols and concepts are used in the tombstone engravings in Sang-e Sefid cemeteries? Epigraphs, humans (men and women), winged angels (scarfs, couple and symmetrical), tools (scissors, chains, crosses, and canes), plants (lilies and vases), celestial objects (sun), symbols (Khachkar), animals (eagles) and most importantly, oval and Mihrab-shaped frames were used to organize and arrange inscriptions and patterns with special symbolic meanings. The results indicate that the tombstones of Aligudarz were a constituent of Armenians’ culture and beliefs living in Sang-e Sefid.Building monuments for the dead was rooted in other beliefs as well. Greeks believed that if they did not bury the dead properly, their souls would wander around. In general, tombstones are an amalgam of multiple components including individual identity, community relations, mythological mind, ethnicity, and religion. In other words, when someone passed away, the essence of their existence was manifested in the engravings on their tombstones. Like tombstones of other regions in Iran, the tombstones of Sang-e Sefid are engraved with historical, cultural, social, and religious concepts of the region.  It is worth noticing that human and plant engravings are almost always together which indicates the popular culture, beliefs, and tradition of that time. The tradition of Armenians living in Sang-e Sefid was rooted in Christian-European culture. Similar to other migrants, they brought their native culture to the target land.This study used a descriptive-analytic approach, and the data were collected using field and library research (especially primary sources such as Armenian books and articles). The sources for field research were direct observation, photography, and interviewing Armenians living in Iran and familiar with the engravings. For the library research, primary Armenian sources, especially a quarterly magazine published by Iranian-Armenians since 1998 was studied. Fifteen tombstones in the Armenian cemetery in Sang-e Sefid were introduced, and their engravings were compared with the data collected using the methods.Most of the tombstones found in this cemetery were horizontal while some were headstones. All the graves were in the east-west direction in the shape of boxes and boulders. The box-shaped tombstones were often bigger and the tombstones were smaller and filled with engravings.The patterns were in the form of engravings or reliefs. For reliefs, the patterns were carved out to highlight the patterns. This method was time-consuming, very delicate, and it was mostly adopted for the main patterns (humans, plants, animals, etc.). For the engravings, the patterns were engraved on the tombstone. It was mostly used for frames, writings, or small patterns.Tombstones are generally categorized into three groups.Initial or framing patterns: Frames are on the top of the tombstone. On the bottom, delicate Mihrab or sigmoid-shaped lines are drawn surrounding the stone.Middle patterns: The main patterns are in the middle including humans, plants, birds, and geometrical shapes.Finishing patterns: These patterns include Armenian script (name of the deceased, seeking forgiveness, and date of death)The local culture has a major influence on the engravings of the tombstones. From an anthropological point of view, engraved motifs are very important. In the Sang-e Sefid cemetery, there are 9 major motifs including plants, animals, geometrical shapes, sun, humans, angels, tools, epigraphs, and framings.Fifteen tombstones in the Sang-e Sefid cemetery were introduced and evaluated, and their engravings were assessed in detail. Various motifs of tombstones in the region indicated that the Armenians pay special attention to preserving the burial rites and cherishing the memory of their loved ones, and used these symbolic and geometrical engravings to highlight this fact. These patterns are inspired by the beliefs and ideas of the people living in the region, and they include human, plant, geometrical shape, animal, symbolical and even framing motifs. The symbolical aspect of these motifs is more dominant than the decorative one. This symbolical aspect is most pronounced in angel, sun, and cross motifs. Since the motifs were engraved with the transcendental world in mind, concepts such as guidance for the dead, protection and guardianship, symbol and manifestation of enlightenment, etc. come to mind. Religious motifs such as the cross, the altar of angels decorated with flowers, and the clothing are representative of the deceased’s faith, beliefs, and honesty. Rather than depicting the religious character of the deceased, such religious motifs are remnants of the ancient religious mindset of their ancestors in Armenia, many of which are rooted in the mythological culture of the Armenian people. The interesting thing about the tombstones is the motif of the cross and people with religious coverings, which seem to indicate that most of the people buried in this cemetery are Armenians who were followers of Mithraism.

The most important handicrafts of shahsavan are known as Sumak which in local dialect is called Varni. This close textured kilim has a different design and pattern in addition different woven technique. Various works are produced with this weaving technique, such as khorjin, namakdan (salt bag), horse cover and floor covering. Nowadays floor covering produce more than others because this works have been welcomed in national and international markets; and another factor to produce more floor covering is changing the way nomads live. The most important feature of Varni is woven by heart, by women of Shahsavan tribe. Today Varnis are woven different structure such as Multiple – panel, Stripped, medallion design – Corner … and without pattern. As regards human categorize all phenomena, matters and concepts in a confrontational structure, because this handicraft has been created by mental, can be used binary opposition theory for analysis this. Binary opposition is a key concept in structuralism, a theory of sociology, anthropology and linguistics that states that all elements of human culture can only be understood in relation to one another and how they function within a larger system or the overall environment. We often encounter binary oppositions in cultural studies when exploring the relationships between different groups of people, for instance: upper-class and lower-class or disabled and non-disabled. On the surface, these seem like mere identifying labels, but what makes them binary opposites is the notion that they cannot coexist. In order to gain a clear understanding of the term “binary opposition” it is of primary importance to acknowledge its origins in Saussurean structuralist theory. According to Ferdinand de Saussure, the binary opposition is the “means by which the units of language have value or meaning; each unit is defined against what it is not”. Essentially, the concept of the binary opposition is engendered by the Western propensity to organize everything into a hierarchical structure; terms and concepts are related to positives or negatives, with no apparent latitude for deviation: i.e. Man/Woman, Black/White, Life/Death, Inside/Outside, Presence/Absence, and so on. Thus, the binary opposition is fundamentally a structurally derived … Actually human has realized the importance of dual contrasts, at least since the classical period. Aristotle, for example, in metaphysics declares the fundamental opposites as follows: form / matter, natural / unnatural, active / passive, whole / part, unity / plurality, before / after and existence / non-existence. Of course, these oppositions find expressive power and importance not only in their composition but also in their composition in relation to other oppositions. Structuralists believe that the human mind has a structure through which it perceives the world around it and it can be said that one of the ways of knowledge is possible through reciprocal pairs. No structure is independent of dual opposites, so understanding the different angles of any structure depends on recognizing its reciprocal pairs. In thinking, too, dual confrontations are of paramount importance. Because thinking and cognition begin with the application of these contrasts. Therefore, dual opposition is rooted in the human mind, and human beings, due to the free functioning of the mind and its opposition system, always see objects and concepts as positive and negative or good and evil, and generally in the form of a confrontational pair. Dual opposites are elements that seem to be in opposition to each other and are opposed to each other, but in fact complement each other and find meaning and complement each other, and in works of art all the constituent elements , Can include binary contrasts. Claude Levi-Strauss (1908-2009), a structuralist anthropologist, believes that one of the basic functions of the human mind is to create contrasts. Some things are edible, some are not; Some creatures are dangerous, some are not. Influenced by Jacobsen, Strauss considers dual contrasts to be the most important function of the human collective mind. According to him, our ancestors, because they did not have enough knowledge, created double confrontations to understand the world around them. Hence, the structure of human thought is based on dual opposites such as good / bad, holy / unholy, etc. In his view, the structure of the human mind to understand phenomena puts each continuum in a binary reciprocal polarity. This pervasive mental action will eventually lead to the binary opposition, such as nature and culture. The purpose of this article is to identify and analyze the structure of contemporary of Moghan plain Varnis. How represent structural binary opposition in Varnis? Response based on structuralism substantial theory (binary opposition), with descriptively and analytically method. Forty seven photos of Varnis provide by field studied and theoretical framework gather by library resources. Based on Statistical population of this research; findings indicate; Varnis have background with three border, in some case the number of border few or more than three. Medallion pattern has two main structures: corner medallion and just medallion, there are variety of medallion pattern and composition, include one Medallion to twelve Medallions. And this pattern is important among other patterns. In this pattern animal motifs used widely. In medallion pattern, corner motifs can be a quarter of medallion or different pattern from medallion. "Gainagligol" medallion is the most widely used in medallion pattern and have variety shape such as square, rhombic, 6 sided rectangular, 8 sided rectangular, 12 sided rectangular and 16-sided rectangular shapes as medallion. Most important feature of design Straipped is they did not have animal motifs. In Combined design that some of them waving from picture or another pattern, used human motifs such as Achaemenid soldiers and contemporary miniature figures. Ilangoli motif is abstract design that waving by heart and one of the famous motifs among Varnis. In multiple – panel design, motifs drawn in Square or rhombus panel. Rooster motif that most important and famous motif wave in this way. In some case rooster motif is alone and another case rooster motif is alternately used with a plant motif. Animal motifs are represented from the side view, front view, top view and three faces view. Among the animal motifs, just eagle motif is represented from front view. This motif has been used in multiple – panel design, Combined design and medallion design and has not been used in Stripped design and overall design. Also, some insects, especially butterflies, are drawn from top view. Animal motifs have been used in the border of multiple – panel design and overall designs. Animal motifs are usually drawn statically and immobile and in some cases dynamically. Most of the bird motifs in Verni are depicted as motionless and some as swimming and flying. Although domestic animals motifs and wild animals motifs indicate in Varni, the frequency of domestic animals motifs is more than wild animals motifs. Most motifs are separated in Varnis especially in background; narrow border motifs are connected and wide border motifs are separate. Geometric micro-motifs are used inside some motifs, especially animal motifs. Motifs are usually woven with border line with dark colors, light colors or the same color as the motif. Some patterns are also woven without border lines. Usually light colors are used in the background and dark colors are used in the border.Some of the motifs are woven in one color, and some are woven with several colors.

Petroglyph is one of the arts whose sculpture has continued from the Paleolithic period to the present day. This art is found in almost all parts of the world. So far, a large number of rock motifs have been identified and introduced, a large part of which is located in the Central Zagros, especially in western Iran (Kurdistan Province). In this study, during archeological studies in 2020, newly discovered lithographs of Zarrineh in mountainous areas at a distance of 1.5 km west of Zarrineh village were examined. The research method in this article is fieldwork along with a historical-comparative-analytical approach. In the field section, the site in Kurdistan province has been studied. In the historical section, books, articles, and reports related to the subject are examined. The main research questions include: What designs do Zarrineh drawings contain? What are the themes of the golden motifs? What areas are Zarrineh lithographs comparable to? What is the relative chronology of the area? Zarrineh lithographic motifs include motifs in the form of collections of images of animals (horse, goat, leopard, camel), geometric (cross, wheel), tools (bow and arrow, bow, cane), and human figures. The paintings are stylized and volumetric and have been created on igneous rocks. The figures narrate scenes that are directly related to the thoughts and ideas of past peoples. Even in recent years, these motifs have shown the continuation of a long tradition. The motifs can be traced back to the Iron Age or later. The lithographs can be compared and analyzed in terms of style, technique, and variety of similarities with the regions within the Iranian plateau, especially Azerbaijan (Songun Arasbaran) and Lorestan (Bauki Azna). The study of these works in western Iran is important because these works are located in a region that has always been considered as a strategic passage between different ethnic groups from prehistoric times to Islamic periods.

The Qajar period is one of the brightest periods of the art of pen and ink painting. In the Qajar era, we are witnessing the flourishing of calligraphy, and many artists began to make and decorate pens. With the construction of Qalmadan, a suitable platform was provided for the illustration of artists. The designs used on the pens, like other arts in the Qajar period, were influenced by European art. Painting became popular due to the rise of courtiers, statesmen, men, and the rich. The art of calligraphy in the 13th century AH. It reached its peak. Agha Najafali Naghashbashi, one of the leading painters of calligraphy and calligraphy, has been very effective in the flourishing of this art. He is one of the most important artists of calligraphy and calligraphy painting in the Qajar period. One of the motifs used in his works. The aim of this research is to study the role of dogs and their impact on European painting and the actual breed of dogs in Agha Najafali's painting. This study is an analysis with a historical approach. The main question of this research includes the following cases of how the role of dogs in the works of Agha Najafali has been worked on? To what extent is it influenced by European art? To what extent has realism and nature been addressed? The present research method is qualitative and analytical-descriptive. The method of collecting information is documentary (library). In this study, it is assumed that Agha Najafali is influenced by European painting, and he has tried to portray the realistic role of dogs. The necessity of this research is that in the researches that have been done so far, the role of dogs and its influence on European painting in the art of painting and especially the works of Agha Najafali has not been studied. The statistical population of this study is the study of five works of painted pencils on the subject of dogs. In the second half of Qajar, it reaches its peak of prosperity. Painting and engraving in the Qajar period, due to the general popularity, attracts great masters. The European travels of the kings of Qajar and his connection with Europe make the courtiers and nobles more familiar with the manifestations of life and luxury in the West. Therefore, decorative items and equipment are in greater demand. Pencils, mirrors, mirror frames, jewelry boxes, forks and seals for rich men and women bring prosperity to related jobs. Many artists are engaged in making and preparing such objects, and the ground is laid for illustrating the faces. Due to the court's support for artists in the late Qajar period, artists turned to small family workshops. Lucky pens and objects grew significantly because they were made of more common materials. Artists had worked a lot in the field of pen painting and lacquer painting before the Qajar period, but it is in the second half of the Qajar period that this art reaches its peak. Lacquer painting and calligraphy in the Qajar period attracted great masters due to their popularity. Many artists made and made such objects. Agha Najafali is also one of the most prolific artists of his time. He is one of the creators of great and influential changes in lacquer painting and pen painting. In fact, he brought the methods of the Karim Khan and Nasserite eras closer together. The royal court called him"Naghashbashi" and, according to evidence, he was associated with the royal court. Agha Najaf used the style of Isfahani masters and the style of European painters living in Isfahan equally. Agha Najafali had a precise and excellent style in working and polishing Lucky works. An examination of Agha Najafali's works shows that he was mainly engaged in carrying out the orders of the authorities in Isfahan. Agha Najafali's personal and prolific methods introduce him as an influential artist and stylist. In this article, the art of calligraphy in the Qajar period is examined and the role of dogs in the works of Agha Najafali is discussed. Five pens from Agha Najafali's pens, in which the role of the dog is illustrated, are examined. At the end of the study, it was concluded that a variety of hunting dogs, guards, herds and ornaments were painted in the pictures of the pen in question. The motifs used for dogs in pen drawings are influenced by European paintings and are based on the study of the actual breeds of dogs.

One of the traditional art of iran is Daraeebafi. The origins of this art can be found in Ikat. The uniqueness of this type of fabric dyeing and create a plan that is in motion blur. Some cities have already produced assets but today it is produced only in the city of Yazd is limited. There are currently a number of artists in Yazd old opacity produced assets most desktop and bed sheet and scarves is that they produce. In this paper we have tried to reflect asset worthy of revival in sports clothing provided. Sources used in this thesis is a library and research Given that the last word has been referred casual sports clothing But now, since the younger generation, we are looking for stylish clothes and yet comfortable sport another word for not exercising But a bunch of clothes can be used daily. The results showed that most production assets weaving in Yazd, as bed sheet, desktop, bundle, Lang (paper Yazdi) and curtain fabrics used and the most famous assets wrapper asset that is unique in its kind. The results showed that Yazd weaving motifs of assets are: Cedar, peacocks, diamond, stripes, clouds, wind, triangle and square. From the perspective of semiotics these motifs not only for form, but each of these designs, with themes that are rooted in the arts and culture. In other words, weaving motifs asset Yazd has several layers in the first layer, motifs can be seen as forms the next layer, the concepts and discourses expressed. Finally, this paper is to try new and original model in order to provide needed community Much attention and provide valuable art enthusiasts.

Jewelry designing is a dynamic and creative process that in many cases requires inspiration and brainorming. Recognition of inspirational designing sources such as nature, ancient pices, patterns and motifs, can guid designers to create some models that not only have originality and beauty, but also in line with the tastes of present's audience and ensure market success.One of the best sources of inspiration and ideas for Iranian designers and artists is the huge and outstanding treasure of luxury jewelry of Iran that has been kept in many museums and collections known around the world today. Rich art of various decorative motifs of plants, animals and geometric shapes. Iranians have long been familiar with the methods of melting and forming precious metals and cutting all kinds of gems, and had mastered these techniques, so there is a rich and precious background of the evolution of this art in our country. In this research, while reviewing the history, materials and methods used in making jewelry in Iran, we have tried to studied some special ones from the jewelry index samples in the Qajar and Pahlavi periods that have been kept in "National Jewelry Museum" to be evaluated and extracted. The results has been categorized and presented in the form of tables and sketches.