نشریه فردوس هنر
پیاپی 5 (تابستان 1400)

Mu'awiyah became the caliph in 41 AH after the Rashidun caliphs and initiated the Umayyad rule in Syria. Of course, the Umayyad dynasty began in 18 AH (during the Caliphate of Umar) in this part of the Islamic world and the Umayyad dynasty in Syria ended in 132 AH. The Umayyad dynasty was founded in 138 AH by one of their survivors, Abdul Rahman Dakhil, in Spain in 138 AH, and continued until 422 AH. The Umayyad rulers and caliphs of Spain, like their Syrian ancestors, sought to have fun. With the beginning of the Umayyad dynasty after the Rashidun caliphs, the way of governing in Islamic civilization changed and moved away from the simplicity of life and equality and brotherhood that was in the beginning of Islam. . Many historical books refer to the luxurious and monarchist nature of this family, which according to historical documents can be considered the legacy of their ancestors, Mu'awiyah, and some artworks that left from this period are also different from other periods in terms of luxury. Some of these works are so in conflict with the beliefs, religion and character of Islam that some scholars have called them blasphemous art that have never been repeated in the history of Islamic art. The Umayyad artefacts have been studied separately in previous studies, but so far no research has been done to study these works from the perspective of features such as "luxury". Therefore, considering that artworks are tools that put human beings in direct contact with the culture of historical periods, the purpose of this study is to identify the royal aspects of Umayyad rule based on their artworks. Accordingly, the purpose of this study was to examine the works of art of the Umayyads in Syria and Andalusia in terms of displaying their luxurious aspects and to find out how and in what way these works met the goals of their rulers.The questions that we want to answer are these: What are the most important works of Umayyad art?  and What are the luxuries of the Umayyad dynasty? And how did these works achieve the goals of their owners? In this article, to answer these questions, at the first stage, Historical and religious books were studied, and then their content was analyzed, In the second step, the Umayyad artworks, including Architectural structures and artworks kept in museums, were studied and analyzed. Studies show that the spirit of luxury of the Umayyad can be seen from Damascus to Andalus, through their surviving artworks.The Umayyad dynasty is the period of the construction of huge and glorious mosques that have been used for a lot of money. These mosques are called royal mosques in art history books. Mosques such as the Dome of the Rock in Jerusalem, the Grand Mosque in Damascus and the Cordoba Mosque are examples of such mosques. Through those mosques, the Umayyads displayed the power and glory of their empire. The elements that were added to the mosques, such as the "minbar" (pulpit) and the “maqsoorah” and the “mihrab” (altar), are related to showing the position and authority of the Umayyad caliphs.In addition to mosques and their elements, royal palaces and baths have survived from the Umayyad period. The decorations inside these structures, including paintings and sculptures, all reflect the Umayyad luxury character. After the collapse of the Umayyad rule in Syria, their aristocratic character continued in Spain by their survivors. The construction of a magnificent mosque full of decorations in Cordoba demonstrates this. The construction of palaces in Spain continued so much that now the best Islamic palaces such as Madinah Al-Zahra and Al-Hamra are preserved in this land. Manifestations of Umayyad luxury can also be identified in their other works of art. The use of the word "king" to mean king on Spanish pottery and the presence of motifs such as portraits of musicians, singers, and dancers on works of art also reflects the way the Umayyad rulers lived and how they spent their leisure time. The presence of perfumers in the hands of the king and the presence of musicians next to them are all symbols of royalty and luxury.

This article tries to psychologically analyze the female character in the Suffocation movie from the perspective of Jeffrey Young's abandonment schema. The pattern of abandonment is shaped by what happened in childhood. This article deals with the category of cinema and its role in recognizing schemas with the aim of answering the question of whether the female character of the Suffocation movie can be studied on the basis of schema theory.In this research, an attempt has been made to analyze and critique the character of the Sahra Mashreghi in the movie by describing Jeffrey Young's schemas. The method of collecting library information is to review and watch the movie directly. The main questions of this research are how cinema can play an important role in awaring the audience about their mental health in terms of schema cognition? What is the role of the audience's identification with the characters in recognizing the schemas? The results show that the audience can see the character of the film who is caught in these schemas, identify with them and find a connection between their mental problems and the characters of the film, and look for a way to cut this The cycle becomes flawed. Therefore, the role of cinema in showing schemas can be very effective.Throughout his life, man is constantly grappling with various psychological issues and, without knowing it, institutionalizes them within himself as childhood perceptions of society, parents, family, and other environments in which he grows up. Human personality disorders have different symptoms. Such as anxiety, depression, addiction, overeating, insomnia, fear, etc. Humans can change their lives with small changes in their social interactions as well as personal and social relationships. One of the most important ways to understand human neuropathy is through schema, which psychologists Jeffrey Young and Janet Closco use instead of the term life trap. Jeffrey Young is a faculty member in psychiatry, the founder and director of the New York Center for Cognitive Therapy, which raises the issue of schema-based therapy. He believes that childhood plays a very important and significant role in human life, as well as the development and formation of his personality. In fact, the experiences that occur in childhood for a person, both positively and negatively, can be the reason for expressing his reactions and answers to problems. It is as if the patterns, patterns, and behaviors that occurred in childhood are repeated throughout the stages of life, and this vicious cycle will not fail unless man becomes aware of this repetitive vicious cycle and consciously recognizes it, and with the help of the psyche. The therapist or by using his own exercises to end or modify the sequential process .In this article, first, the issue of schemas is raised with the aim of informing cinema and the audience about issues and problems that create traps in human life in childhood and are repeated in adulthood, and Jeffrey Young calls them schemas or traps. He remembers the events of life, events that constantly repeat themselves and do not stop.This article tries to examine the release trap seen in the character of the Eastern Desert in the film Suffocation, and also raises the question of whether the audience who is caught in this release trap, with Does watching this movie realize your problem and take action to fix it? Basically, does cinema have the ability to play an important role in informing the audience about its mental health? How much does the family put the issue of child mental health awareness at the top of the child's upbringing and development? How effective is cinema in this awareness? Is the role and position of the audience's identification with the film characters effective in recognizing and informing the family to prevent or recognize and treat schemas? The method of library research is direct review and observation in a descriptive and analytical manner.In fact, the key concept of schema therapy is to identify early maladaptive schemas that are always constant throughout life. The basis of schemas is based on the principle of cognitive coordination, in which human beings explain situations and issues in order to prove and perpetuate their views in order to confirm their schemas.This article deals with the category of cinema and its role in recognizing schemas in order to answer the question of whether the female character of the film Suffocation can be studied on the basis of schema theory. In this research, an attempt has been made to analyze and critique the character of the Eastern Desert in the movie Suffocation by describing Jeffrey Young's schemas.

The holy shrine of Imam Reza maintains precious works in its treasury as one of the main religious centres in Iran. The libraries and museums of Astan Quds Razavi have paid a lot of attention to the presentation of these artworks. The treasures of libraries and the Astan Quds Razavi Museum are among the supreme centres considered by artists and researchers in Islamic studies. It preserves the most valuable artworks such as calligraphy, painting, book decoration, and handicrafts. Keeping and protecting these decorative motifs, as essential elements in Iranian art, has always been a part of Astan Quds Razavi's vital responsibilities. Art has been monopolized by religion, since the arrival of Islam in Iran. Mosques and religious sites soon became one of the main bases for artists. Khorasan is a vast land that has played a key role in political, social, and cultural developments and producing works of art in different historical periods. Mashhad was one of the important cities in producing these valuable works during Timur and his children. Islamic metalworks has always been considered by archaeologists and artists as one of the most prominent branches of Islamic art. Metalworking has found a high position in Iran from the past to the present. The art of metalworking was discovered in Khorasan and western Iran in the 7th and 8th centuries AH. The flourishing of metalworking art after the Mongol invasion emerged from western Iran in the early 7th century AH and gradually penetrated the Persian region of western Khorasan. After the collapse of the Sassanid government and the beginning of the Islamic era, the only art that could continue its way without interruption was the art of metalworking. The art of metalworking quickly gained popularity due to its many properties. Gradually, humans realized the many capabilities of metal, such as its strength and durability. So as a very practical tool, artists decided to make use of it in the form of art. Also, due to the strength of the metal, it was considered a complete source by researchers and archaeologists. It became one of the most reliable evidence for the formation and evolution of the artworks in different historical periods. In the meantime, the art of Timurid metalworking with all its delicacies, motifs, decorations, and Islamic inscriptions had been considered so precious. This period in terms of the artistic developments that took place in it, is recognized a very significant era in Iranian art history because art had a unique technical structure, thought, and worldview. The research on the artistic value of artworks can be examined based on the visual composition of the designs. One of the works related to the Timurid period is a steel window presented to the shrine of Imam Reza by Shahrokh, son of Timur. In addition to the plant and geometric arrays in the mentioned window, its embossed line works were also examined visually. Principles of aesthetics of metalwork during the Timurid period have increased the unity and visual appeal in this field of art. They have helped to increase the quality of art in this field. The calligraphy found its prominent place among artists and people from the very beginning due to the recording of the divine word. After metal working artists realized the decorative nature of Arabic calligraphy, they tried to use calligraphy in creating their works. Examining the visual composition from the perspective of rhythm, fit, and balance of calligraphy with all plant and geometric arrays in this steel window's composition can help us aesthetically understand the artistic aspects of works of art in the Timurid times. Combinations are proportions, concepts, and definitions that add to the work's visual appeal in most visual arts. In terms of aesthetics, decorations and patterns of steel windows contribute to the positive and negative spaces of the lines. This article studies the permanent companionship between the illumination and divine revelation in the aesthetic features of the calligraphy, and analyses the window. Various issues such as fit, balance, visual tone, compositions, and positive and negative space are also examined. Shapes take on a different form visually from the space they occupy, Shapes have different types visually from the space they occupy, and due to the visual forces caused by the shape, they acquire a particular conceptual context., they acquire a separate meaning. In these inscriptions, the artist used various visual factors to strengthen and express the subtleties; including Islamic and Khatai motifs, lines such as Naskh and Nastaliq, and special gilding techniques described in detail below.

A psychological theory of how visual perception by the human brain explains. In fact, the mind at first glance, instead of understanding the details of a picture, is a percentage that presents a whole. Pergnan's law is one of the principles of Gestalt and visual perception, which is one of the best study methods for research in the field of book design. Pergnan's law is one of the eight principles that can be used in the art of painting. The art of painting is one of the best illustrations in which intelligent visual and psychological capabilities can be examined.

The present study, while introducing the capabilities of Gestalt psychology in the analysis of visual elements, examines three selected paintings from the Herat school from the Shahnameh of Baysanghari and then explains how to perceive and recognize visual patterns in the components using Gestalt laws.

In this research, qualitative research method has been used. Therefore, according to the paintings of the Herat period, from the illustrated copies of this period, the Shahnameh of Baysanghari and its three paintings with structural themes (architecture, war and hunting), as the main features for applying Gestalt patterns, visual analysis Done. The most important thing in this research is the study of Gestalt laws in other image sources that are cited in the research process. Therefore, in order to do this, in addition to studying library resources, Internet resources have also been used. It can be said that the present research is descriptive-analytical. The approach of the present study is based on structuralism. Research study methods are descriptive-analytical and information has been collected using library and Internet resources. This research has been done in response to two basic questions: The rules and principles of visual perception of Gestalt psychologists, to what extent can it be used in the analysis of visual elements in selected images? What is the function of Pergnance rules in selected paintings from Herat school?

The conclusion of the present study from Gestalt theory states that this view, about visual perception, the meaning of visual pattern and how the human organism acts in seeing and visually organizing, the desired results are presented that make the characteristic clear. Cognitive aspects in the formal structure of drawings. A qualitative study of the Gestalt laws in the drawings requires the presentation of quantitative results in the form of tables and graphs that help us to recognize the presence of these rules in the drawings. Since the field of study in this research is to identify the visual features hidden in the components of the drawings, first the theoretical issues of Gestalt theory and then the modeling of visual examples from the principle of Gestalt law and context have been studied. But the main focus of the present study is analysis and inferences that are the result of visual studies based on Gestalt principles and their adaptation in three drawings of Baysanghari Shahnameh which narrates three different topics (architecture, war and hunting). , Are shown in the form of percentage tables and graphs and the result of the analysis is distributed with the criterion of selecting the number of images. Therefore, according to these results, the strongest application of the Gestalt principle has its own form and context. Visual studies based on Gestalt principles and their adaptation in three drawings of Baysanghari Shahnameh, which narrates three different topics (architecture, war and hunting), are shown in the form of percentage tables and graphs and the result of the analysis is measured. Select the number of images distributed.

Iranian rug has been manifested with artistic and visual language as a representation of visual and symbolic elements. Presence of symbolic concepts in the form of visual elements in the Iranian rug is rooted in Iranian-Islamic culture, including the prominent manifestations of Sheikh Safi rug belonging to the Safavid era. During this period, a number of exquisite rugs in the history of Iranian rug weaving have been woven such as Sheikh Safi Ardebili rug, which was one of the examples of bergamot rugs. This rug is one of the valuable rugs of Safavid history and belongs to the northwest of Iran. This artistic masterpiece like other expensive Safavid art works (especially rug weaving) is a clear representation of the ideological, intellectual and spiritual situations of that time in addition to its artistic and aesthetic value. Symbolic designs and motifs have been used in this rug that express the values, messages, and valuable meanings of the Safavid era. Sheikh Safi Ardebili rug was one of the important documents in the history of Iranian-Islamic culture and art, since the existence of symbolic visual motifs used in this rug with deep mental and intellectual support indicates the thinking and way of life of the people of the Safavid era as one of the brilliant periods of Iranian art. This rug can be considered as one of the prominent examples of using visual and symbolic elements in Iranian rug waving art. This exquisite work is a valuable collection of motifs with Iranian-Islamic concepts. In order to percept the symbolic concepts used in Iranian-Islamic arts, especially Iranian rugs, a visual reading of the visual elements of one of the two samples of Sheikh Safi Ardebili rugs (the sample in the Los Angeles City Museum) has been performed in this research. In this regard, due to the reference and artistic source of the motifs and visual elements of this rug, it has been tried to find out the original concepts of Iranian-Islamic art by studying these motifs and the basic concepts behind their formation. Goals: The goal of this research was to identify and introduce the visual elements and motifs of Iranian-Islamic rugs according to the existing artistic masterpieces and to clarify their symbolic concepts that reveal the basis of Islamic-Iranian visual art. In this research, by examining the valuable sample of Sheikh Safi rug in the Los Angeles Museum from the Safavid era, it has been tried to introduce and study the visual elements of the motifs of this rug. In this way, we can recognize the deep intellectual support of the Iranian rug motifs that have appeared in the form of symbolic motifs. Questions: In line with this research, the following questions have been raised: to what extent has Iranian rug, as one of the artistic forms, conveyed Iranian-Islamic symbolic elements and motifs? What are the foundations of the visual and symbolic features of Sheikh Safi rug motifs? 

This research is a historical research in terms of time and it is descriptive-analytical in terms of purpose. The method of collecting information is documentary. 

The results showed that the growth, creativity and creation of golden examples of art works in the Safavid era, which was also the peak of Iranian rug weaving, was due to social, religious conditions and innovative views in the field of art.  Presence of artistic masterpieces in various fields, including the rug itself, has testified the rise of the arts in this period. Sheikh Safi rug has a flexible and bergamot design and the structure of the text and margins, which is manifested with a coherent structure of visual elements along with the symbolic concept of the garden of eternal paradise and a manifestation of unity in multiplicity. By studying the symbolic concepts of Sheikh Safi rug motifs and their combinations way in a structure that is based on the concept of paradise gardens in Islam, it can be found that the selection of patterns and visual elements used in this rug is conscious and in line with cultural infrastructure and a Safavid ritual. The structure of this rug is derived from the concept of Minoan paradise and Iranian-Islamic Minoan garden, because the motifs of Iranian rugs indicate a transcendental world. The use of motifs with aesthetic dimensions in the appearance and structure of the rug along with special and symbolic concepts are among the features of this exquisite rug. In such a way that visual elements including elastic, bergamot and central sun or the same bergamot and candlestick are manifested in a coherent combination with their symbolic semantic load. The unique structure of the designs in this rug can be considered as the composition and unity of the designs around the axis of the bergamot, which can be achieved by using balance and bergamot maps (bergamot, elastics, and margins) in combination with other elements. The Islamic patterns movement along with the motifs of Laleh Abbasi has created a single combination around the axis of the central bergamot with a chandelier, which is a clear manifestation of unity in the multiplicity and garden of Iranian-Islamic art. The structure of the rug is visible with flowers, buds, leaves and stems as khatai motifs along with a spiral structure moving in combination with the margins that depict the uniqueness of God and express the concept of unity in plurality. Presence of a pair of chandeliers in this rug is another prominent feature of this work because chandelier motif is rooted in the importance of the concept of light in Iranian-Islamic art. The chandelier can be considered as a symbol of a means that passes the material light through the knots and heavenly patterns, so that what is seen is more similar to spiritual light. In examining the visual elements, the proportionate of the patterns in combination with the brilliant color scheme is more visible. In this rug, the design and color in a harmonious combination with each other and with a suitable arrangement in each part have caused the eyes to rotate throughout the work and have appeared to convey a single concept.

Privacy is one of the most important features of a desirable home and one of the basic needs of people in a residential space and means a process during which a person achieves regulation of how he interacts with others and experiences self-esteem. The comfort of the family and the possibility of proper communication of its members with each other and even with other relatives, requires privacy in housing; Because housing means a place where peace and tranquility flow, requires a kind of solitude. Due to the fact that human beings need spaces with individual privacy and collective solitude, so it is necessary for a number of spaces to provide individual privacy and bring peace to human beings, and a number of spaces also provide collective privacy for communication and interaction with other family members.Importance and necessity of conducting research: If both individual and collective privacy are not considered at the same time, human needs will not be fully met and the home space will become an inefficient environment. Therefore, it is necessary to know and study how to achieve the range of privacy in successful examples and use them to create a balance between individual and collective privacy.Aims of the article: The purpose of this article is to identify the range of privacy in residential space and to study and compare comparative individual to collective privacy in traditional and contemporary housing.Research Question: In order to achieve the objectives of the research, the following questions are asked: What range of privacy is needed in a residential space to meet human needs? How is individual to collective solitude realized in traditional and contemporary homes?

According to the subject, the present research is practical in nature and qualitative in terms of method. In the first step, it has been used through library and documentary studies to reach the theoretical foundations and study the research background. The authors first traced the lexical roots of housing and privacy and examined the theories related to each, then analyzed the content of the concept of privacy in housing and obtained a conceptual model of the research. In the second step, through field studies, case studies are examined and the realization of individual privacy and collective privacy in a sample of two groups of traditional houses (Darogheh house) and contemporary Iranian houses (father and daughter house). Has been studied. In the third step, through inferential analysis, privacy is compared in case samples and the obtained data are classified and presented in a table.

In the first step of this study, the spectrum of privacy in traditional and contemporary residential space has been studied and the findings show: on one side of the spectrum of privacy, individual privacy and on the other hand, collective privacy. While both belong to the same nature. Paying attention to one aspect of privacy alone creates spaces in which family members will either lose their privacy due to the lack of individual privacy or due to the lack of collective privacy necessary for social interactions and They do not have to be together. According to the issues raised in traditional houses, each member of the family was not assigned a private room, and due to the way the space was designed, the number of openings and entrances in each room was high, and this reduced and eliminated Going into solitude is personal; Also, in contemporary houses, with the disappearance of some spaces and also the personalization of spaces, collective solitude is eliminated and there is no tendency to gather together in a collective space. In the next step, through field studies, case studies (drug house and father and daughter house) are examined and the realization of individual and collective privacy in a sample of two groups of traditional houses and contemporary houses in Iran is studied. Is located. Analyzes show in the case study of a traditional house (drug house); The crypt has too much solitude, which leads to isolation, loneliness and boredom in this space; The kitchen and bathroom have a personal privacy that creates a personal space and a specific territory; The mezzanine, the winter solstice, the windbreak, and the window sill have a collective privacy that promotes interpersonal relationships with other family members and self-evaluation among others; The vestibule and the front have lost privacy, which creates a sense of congestion, aggression, and encroachment on the privacy of others. In the case of a contemporary house (father and daughter house); The warehouse has more privacy than needed, which leads to isolation, loneliness and boredom; The bedroom, the parents' room, and the bathroom have individual privacy that creates a border-area, personal independence, and personal space; The courtyard, kitchen and reception have a collective privacy that expands relationships with other family members; The hallway and the entrance filter have lost privacy, which causes congestion, encroachment and invasion on the privacy of family members.