نشریه فردوس هنر
پیاپی 4 (بهار 1400)

Fars province is one of the most important centers for producing handmade carpets in Iran. The handmade carpets of this province, according to the divisions in the nomadic sector, generally include the three Qashqai, Lor and Khamseh tribes. And Khamseh consists of five tribes: Arab, Baseri, Ina Lu, Baharlu and Nafar, which are scattered from north to south of the province in different urban and rural areas. This makes Fars province have a special place as one of the valuable regions of carpet weaving in Iran and exporter of carpets and rugs.The Carpet weaving in the villages and tribes of this province form part of the essentials of women's lives.Usually, the preparation of raw materials such as wool for weaving was provided by each family based on the number of livestock And the better the family was financially and the more girls weaver, the bigger the black tent and the more weaves it naturally had. Since the nomads were constantly migrating and traveling, their weaves were small and did not exceed 6 meters for easier transportation. However, the same opening and closing of the frame and carpet during the migration, would also lead to skewing in the weaves. This research is aimed at discovering  events and memories that occur in the process of production, wool, and the provision of raw materials, weave and restoration of Persian carpet by oral history.Oral history is in fact a consciously dialogue between two people about the dimensions of past events, both of which have historic significance and recorded to become a document and its durability. Oral history, as a research method from the beginning to the end, involves numerous, long, and timely stages. Which, if it meets its standards, will have tremendous results .According to the findings, the lack of attention to the oral history of hand-woven carpets in different regions of Iran has led to the isolation and non-transmission of science in this art-industry. And perhaps one of the reasons for the decline of carpet weaving and weavers turning to non-native patterns, was the lack of attention to oral history and carpet weaving history of each region and also the lack of attention to the experience and knowledge of weavers who had the largest share in producing this product. Therefore, recording oral history in any scientific field will create value and change in the existing tradition and establish scientific and cultural communication between generations. And its purpose is merely to record the lost historical documents, such as memories, experiences, and knowledge of people directly related to the topic in question. This process, in this research, was conducted through interviewing and away from any interference with and application of the researcher's personal views, merely to record the memories of individuals.In this qualitative research, Semi-structured interview tool was interviewed with 33 factors of rural and nomadic carpet Fars. Sampling method was selected as snowball or incremental and sample size based on theoretical saturation.As it is claimed, in Fars province, weaving was done in a completely decentralized manner, and this has led to more creativity and variety in weaving. But in the research conducted by Dr. Parham, 11 100-year-old carpets have been found that have been woven in the form of a workshop that was set up by 2 Qashqai khans between Khangasht and Deh Bid Fars. Also, Ordobadi factory, managed by Mr. Ebrahim Gharbi, which produced 150-140 machines for the production of large cloth carpets and was established until 1310, along with several other reasons mentioned in the text, is evidence of the rejection of this claim.In the past, among the nomads, they used their weaves as much as possible, and whenever the capacity of the carpets decreased, they used it for other purposes. For example, a carpet with worn lint was either spread out on the side of the stove or used as a bag for the feed of smaller and weaker animals. If there was a problem during and after weaving for newer carpets, they would repare  it with their own creativity and the like-mindedness of those around them, or eventually sell it. Later, about 50 years ago, reparings people  in the Vakil market learned the art and repaired problematic carpets purchased from nomads.

Statement of the Problem:  Whenever we seek to express a novel concept or sentiment, i.e., to produce meaning (especially in a creative productions), we may encounter a semantic gap to establish artistic communication. In fact, we intend to express a concept or emotion, but we do not have the verbal or artistic (visual) possibilities. This means that we do not find a single word or object that is able to convey the intended connotation.  It is in such circumstances that we need figurative devices such as similes, metaphors, or stories. They enable us to reach new semantic domains by accompanying, substituting, or combining existing concepts, or objects. Recently, Metaphor has been studied in many fields such as language, literature, philosophy and aesthetics. Scholars have studied metaphor with semantic, cognitive, pragmatic and rhetoric approaches. However, there are few studies examining the role of metaphor and metaphoric expression in various art media. Poster design, as one of the most widely used art media, has always included two important elements, visual and textual elements. Designers have used these elements as complementary objects. But it is noteworthy that contemporary Iranian designers, especially in the last decade, 1390s, have realized the potentiality of type and typography in poster designing and therefore have used type and typography as nearly independent medium. A comparative review of recent researches in 1370s-1390s, showed that designers' tendency to use type as the main element of a poster began almost in the mid-1370s and peaked in the 1390s. So, most of the posters designed in this period are based on type. Due to the fact that there is a wide variety of Iranian type-based posters, the ones which were designed for different events and exhibitions (in Azad Art Gallery) in the last decade have been selected to be analyzed. Previous researches have studied ‘typography’ only on its form characteristics, but in the present study, the relation between form and content has been considered and the types of metaphorical expressions in poster typography (especially type-based posters) have been analyzed. Through metaphoric analysis of nearly 500 posters, we have found different metaphoric expressions created by Iranian contemporary designers through the use of typography to express the intended notion of the poster. Then, through comprehensive analysis of different metaphoric expressions we have found some common patterns, most importantly the metaphoric expression of deconstruction. Metaphoric expression of “deconstruction” is the one in which the visual elements (type in particular) are conceptually reformed (redesigned) to express intended notion of the poster in novel and eye-catching ways. We have found that this metaphoric expression, deconstruction, in its different shapes or forms is the most common expression among all other metaphoric expressions we have noticed in the posters. Purpose of the article: In this article, we did metaphorically analysis of Persian Type in Recent Iranian type-based poster designs to find metaphorical relations between type and other visual objects, with a focus on “Metaphorical Expression of Deconstruction”. Conclusion Data obtained from this study has proved that most posters designed by contemporary Iranian designers in 1390s used type and typography as a more significant visual element than images. Additionally, the most common metaphoric expression of type and typography, being used in the posters, is different expressions of the concept of “deconstruction”. ‘on the verge of deconstruction’, ‘fracture’, and ‘melting’ are all different figurative expressions of the concept of “deconstruction” or as we call it in this paper metaphoric expressions of deconstruction. We have found three prevalent patterns in the metaphoric expressions. The first dominant pattern was "on the verge of deconstruction", the designer makes changes in the traditional way of using type and writing. In this case, the ‘type’ deviates slightly from its standard form, but does not completely disintegrate, and the visual elements as intermediaries prevent their complete deconstruction. In the second found pattern, metaphorical expression of "fracture", the ‘type’ loses its completeness or totality and finds a deformed shape. Therefore, the type is usually depicted in the form of three-dimensional and fragmented elements. In other words, one single word in the poster can presented in pieces of a broken glass or paper. In the last group, metaphorical expression of "melting", the designer visually melts the text to represent the concepts in the poster. In fact, the idea of letters or words being melted is an attempt to show the underlying idea of deconstruction. Finally, based on the results of this study we can claim that the "metaphorical expression of deconstruction" can be considered as a widely used model by contemporary designers. In this type of metaphorical expression, the designer considers type as the main visual object and tries to make a connection by creating a conceptual relationship between the type and the main idea of ​​the poster. The metaphorical expression of deconstruction transforms the type in favor of the intended concept and notion of ​​the poster.

Sultan Hussein Bāyqarā (1505-1468) was the last ruler of the Timurid dynasty. During the reign of 38 years, with the creation of relative calm, he caused the flourishing of arts and sciences. This was possible with the support of his wise minister, Amir Alishir Nava' that stimulated the various branches of art. Sultan Hussein Bāyqarā because of personal interest as well as the policies of his court gave more freedom to mystics and artists, especially painters. The presence of the mystics such as Jami in his court and the formation of many circles with attending of scholars and artists created new attitudes and interest in selected topics for illustrating the books. Part of this transformation can see in the appearance of king in both costumes and the style of royal coronation. Dervish-like presence of sultan at the scene of coronation is a main feature of these paintings. The present research base on a descriptive-analytical method and with using historical documentation study the paintings in which the person of Sultan Hussein Bāyqarā is present and try to show the influence of Islamic mysticism on the royal coronation paintings.The purpose of this study is to find out how mystical issues arose and to identify this effect in the art of Persian painting, especially the scenes of royal sittin  Have mystical schools been able to influence art such aspersion  painting? How did mystical themes appear in the Persian paintings The present study, based on a descriptive-analytical method in a qualitative manner and using historical documents and drawings in which Sultan Hussein Bayqara is present, tries to show the effect of Islamic mysticism on the drawings of the royal throne Earlier, in the field of the relationship between the Timurid kings and mystics and the presence of mystical figures in the court of Sultan Hussein Bayqara, in numerous books and articles, speeches and quotations have been included and the religious policies and attitudes of Sultan Hussein Bayqara have been addressed. These historical documents are summarized by Hamideh Shahidi in an article entitled; The religious policy of Sultan Hussein Bayqara is included. Historians were also among those who rose to prominence during the reign of Sultan Hussein Bayqara. In the books left by him, there are references to the religious tendencies of the Shah. According to him, the ruling religion in Iran and the Shah himself was Sunni Hanafi Islam, but the religious interactions and actions of Sultan Hussein showed a tendency and attention to Shiism, as some consider him a Shiite. But the question is, what effect did the connection and the type of religious view of the Shah have on the themes of that era? And have religious policies influenced the image of the king in the scenes of royal enthronement? Sultan Hussein Bayqara gave more freedom to mystics and artists, especially painters, due to his personal interest and also due to the court policies. The presence and role of mystics such as Jami in his court and the formation of many circles with the presence of scholars and artists caused new attitudes and tendencies in selected subjects to illustrate the book. Some of these developments can be seen in the appearance of the king, both in the cover and in the type of sitting. The presence of the Sultan's dervish in the scenes of the royal sitting is a prominent feature of these paintings.

Statement of the problem: Nowadays, In Iran, due to the lack of coordination between the walls, the issue of urban facades and their role in identifying the body of the city has become very critical. Since these views play a key role in transmitting the culture of the people and strengthening the urban image, examining their features and developing design principles based on it is important. In the meantime, examining and recognizing the historical walls in each period, which are an integral part of the city's memory, culture, and identity, and the analysis of the components affecting their design are some of the things that help us achieve this objective as much as possible. What is considered as an important and influential factor in the city and its appearance are urban walls, and this is what is happening today, especially in contemporary Iran, due to the visual disturbance of the appearance of cities and the lack of unity and coordination in them. It is regarded as a critical challenge to be addressed. Urban Landscape was first proposed by Thomas Sharp in 1948 in his Oxford study. But the visual encounter with the urban landscape in John Nash's work at the beginning of the 19th century was seen in the Olive work at the end of the 19th century. The philosophy of modern urban theory is entirely dependent on Gordon Cologne's theory. Gordon Cullen believes that the urban landscape can not only be understood technically but also requires aesthetic sensitivity. Although attention to the urban landscape is mainly a visual phenomenon, at the same time it evokes memories, reminds experiences, and creates emotional reactions.Urban walls can be a factor in the unity and identity of the city and affect the perception of the audience. Urban facades can express the culture of the city and be the link between man, his culture, and the urban body, so examining and recognizing the historical walls of the city, which are an integral part of the historical memory of cities, is very important in preserving values. Culture is also the restoration of the identity of contemporary cities. In this regard, the present study examines the physical characteristics of the walls of the two historical periods in Iran to recognize the commonalities and differences between them and understand the design characteristics of urban walls of that time.

Understanding the indicators and characteristics used in the design of historic streets leads us to formulate the principles of designing the current urban walls, which is a continuation of the historical identity of our cities. In this study, the Bala and Paein Khiaban streets of Mashhad, which was formed during the Safavid period and at the end of the Qajar period (early Pahlavi), the facade of this wall has become registered as cultural heritage, as well as the Tarbiat St. in Tabri, belongs to the first Pahlavi era, have been studied. The purpose of reviewing and comparing these two historical walls is to gain an understanding of the differences between the two periods in the construction of urban walls and also to achieve the commonalities of these walls to find a model for building and designing contemporary urban walls. Having a model and recognizing the characteristics of valuable historical buildings, especially urban walls, which are the first layers of people's encounter with the city and understanding its identity, can sometimes be considered important to identify contemporary constructions.According to the studies conducted so far, no comparative comparison has been made between the urban walls of the Qajar and Pahlavi periods, but there are research projects that have compiled information, document the urban walls and analyzed them. It is assumed that between these two streets with the necessary historical background in the two historical periods, some common principles and indicators can be evaluated in the continuity of the identity of the current cities.Research

To achieve this goal, the present study uses the physical characteristics of the facade, which includes sky and earth lines, background and shape, divisions and dominant lines, the width of parts, height, console, openings, color, the texture of materials and decorations. It is also an appendix and marks, evaluates the mentioned walls, and thus explains the physical characteristics of each by mentioning the common features and their differences. For this purpose, using analytical-descriptive, exploratory research method and also based on field studies in the form of direct observation and the presence of authors at the top and bottom of Mashhad Street and Tarbiat in Tabriz along with library studies, comparative study of the mentioned historical walls, this paper deals with the late Qajar period (Ayah Pahlavi) and the first Pahlavi period, recognizes the aspects of their differentiation and commonality, and explains their physical characteristics.

It is concluded that the views of these two walls from the perspective of the ground line, shape and background, width of parts, consoles, openings, horizontal and vertical divisions, extensions, signs, and panels have many similarities with each other, but their general difference is in the skyline, the materials differences in the height of the buildings and especially their decorations.

In the culture of nations and peoples, there are countless myths and legends, the basic similarities of which can be found in some works of art.Myth should be considered as a Minoan story, the origin of which is usually unknown, and the description of an action, belief, institution or phenomenon is beyond that at least part of it is taken from traditions and narrations and linked to religious rituals and beliefs. It is inseparable. In myth, events are narrated from the earliest times, in other words, how everything comes into being and continues to exist. The characters of the myth are supernatural beings and have always been possessed by an aura of holiness, its positive heroes. Myth sometimes seems to narrate historical events, but what is important in these narratives is not its historical accuracy, but the concept that the description of these stories contains for their believers, and also because it expresses man's views about himself, the world and the Creator. It does matter. Some theorists of myth in their definitions have referred to the narration of myths that many contemporary narratives and stories can be analyzed in order to obtain the mysteries in the text of the work based on myth. What has been studied in this research is somehow based on two dimensions of music and narration. Fereydoun's sad audio play, directed by Peyman Ghadimi and composed by Hossein Alizadeh, is a work that tells an almost contemporary storyline in a province in which "laughter" is the main theme in society, in which "Fereydoun" as the protagonist in It stands against oppression. At the beginning of the encounter with this work, a myth in ancient Iran called "Fereydoun and Zahak" is engraved in the mind of the audience, as if it has intertextual references to this myth. In that story, too, "Fereydoun" is the hero and they protest against the oppression of "Zahak". In Fereydoun, however, the subject is pursued in a different way and we see many metamorphoses related to Iranian myths and theories related to mythical narrations in this work. So that the victory in this work, unlike the story of Shahnameh about "Fereydoun", occurs with the death of the hero as a myth of fertility and is somehow related to the myth of "Siavash". The music in this work also helps to better understand the narrative-musical process of the story by using Iranian instruments and musical atmospheres with Western instruments, as well as relying on the Iranian instrumental line. Myths play an important role in the production of literary and artistic works as an intertextual system. In the present article, the structures and structural elements of the story by  A Requiem for Fereydoun with emphasis on semantic similarities with some Iranian myths such as Fereydoun and Zahak, Siavash and also the myth-gods of fertility and hero along with the process of melody-composition and musical arrangement of the work They have been analyzed based on the concepts of myth and music. Perhaps A Requiem for Fereydoun can also be considered as one of the narrations in which the author presents the events side by side and presents them in a way that engages the audience in belief and thought. The arrangement of the pieces of the narrative is such that the result of the work depicts a socio-political as well as a national description of the society and the days of the author and similar times.The purpose of this study was to answer the fundamental and important question of how the mythical elements in A Requiem for Fereydoun were presented as a narrative-musical work and what is the relationship between this work and Iranian mythology. Method of conducting research from the perspective of purpose; Practical and from the point of view of method; It is descriptive-analytical and the materials are obtained by collecting libraries. In the end, we came to the conclusion that in the work of A Requiem for Fereydoun, In any case, without considering music as a dynamic element of individual, social and cultural life, self-awareness and understanding of society's identity becomes impossible. As we have seen, in the parts where there is a need to convey a sad and mournful atmosphere, the role of the states of instruments or songs such as Shoor, Dashti and Homayoun has been used, and in expressing advice and invitation to hope and Activism in society has used fourfold, threefold and new. Melodic repetitions and rhythmic periods are also noteworthy in order to convey the meaning of the myth and accompany it. Victory in this work, unlike the story of Shahnameh about "Fereydoun", occurs with the death of the hero as a myth of fertility and is somehow related to the myth of "Siavash". This is where the protagonist lives in the contemporary time, and the audience of the work also leaves the calendar time and the narrative-musical myth of the story finds its existence in the present.

Abstract</strong>What is the Problem? Among the entertainment-related industries for the society, the computer game industry has had a rapid trend. Children, teens, and the whole family spend a lot of time playing these games according to their age and interests, and the industry market has seen billions of dollars in revenue in recent years. Germany, China and the United States have a large share of this market. In Asia, countries such as Japan and India have achieved great success in this field, but what is the share of national and traditional arts in the graphic design of these games? Given that in Ghahve-Khane painting, the audience plays an important role in shaping the painting, the audience is educated and the stories are taken from national myths, its use in the design of computer games that rely on the media to the audience and the narrator, it seems successful. The purpose of this study is to try to design a pattern to use the concepts of Ghahve-Khane painting, including insight, content and visual arrangements in designing space for a variety of game genres. Researchers' questions in this research include 1. What are the characteristic features of Ghahve-Khane painting in vision, content and visual arrangements? 2. Which of these features can be used to create a computer game space? Is. Researchers have hypothesized that narration and storytelling in this painting, the use of national myths, education and audience participation are the strengths of this painting for designing gameplay and play, and then symbolic, perspective and coloring. The presence of text symbols seems to be useful for graphic design of the game.

This study was conducted by Delphi policy-making and numerical method. For this purpose, 49 questionnaires were distributed among experts in the field of game design and familiar with Ghahve-Khane painting, of which only 16 people were willing to cooperate and participate in this research. All specialists are active members of the National Iranian Game Foundation. The opinions of these people were collected by a researcher-made questionnaire. Specialists should study the two concepts of play and Ghahve-Khane painting, if they agree with the relationship between these two concepts, regardless of the extent of this relationship to choose. Then the number of these agreements was counted and the average of each row and column was calculated. After calculating the average of the comments, once again, the results were provided to the experts to review and review, and after final confirmation, the results were published in the table.

Expert opinions on the use of these drawings in game design are converging.

The study shows that using the insight of this painting in the genres of strategy, adventure and action-adventure will be more successful, but not so suitable for the genres of sports, simulation and role-making. Also, using the themes of this painting in the genres of adventure, action, action adventure and role-playing will work well. It will not be successful in the genres of sports, simulation and strategy. In the field of game space design, using the visual arrangements of this painting to design the game environment will not be very successful. Interviewees do not quite agree with its use of visual arrangements in a realistic style, but in their view it would be more effective to use it in abstract and fantasy backs. Also, in terms of visual space layout, this painting is not considered very suitable for computer games. In this study, using the opinion of sixteen experts, the use of Ghahve-Khane painting in terms of insight, content in different game genres was examined and leveled, and then the use of visual Ghahve-Khane painting techniques to design the play space was measured. Currently, due to the lack of stronger resources, the model presented in this study can be used to design the game, but this must be done according to the limitations stated in this model. In other words, this study shows that in some cases there is a lot of agreement among experts, which makes it possible to make that design recommendation with more confidence and power, but in some cases due to disagreement of experts or reasons. Paradoxically, it is necessary to design more carefully and pay more attention to them in future studies. For example, in the design of ambient light or the use of visual arrangements for Ghahve-Khane painting in the design of the menu and introduction page, there is a great deal of disagreement, which can be partly due to the lack of field studies in this field and the theoretical knowledge of designers in He considered one of the two areas of painting and play to be related, which has led to the incompatibility of most experts. Another issue that may have caused this controversy is the lack of familiarity with the concepts of painting and the differences in the perceptions of experts on the concepts presented. Regardless of the cause of these differences, it is important to note that they are less reliable than other fields. Of course, this does not mean that the findings of these areas are invalid, but only highlights the need for further studies.