نشریه هنرهای صناعی ایران
سال چهارم شماره 1 (پیاپی 6، بهار و تابستان 1400)

Works of art with religious themes have always been a means of propagation of religious beliefs and been indicative of interest of Shi’ites in Islam and the Quranic traditions. In the meantime, themes relating the Judgment Day and the resurrection, narrations from the Judgment Day, the resurrection of the dead and auditing the deeds on the Judgment Day are the topics much discussed in the Holy Quran. Among these, religious murals are considered as important platforms for the visual representation of such themes. In this research, it is intended to study the various dimensions of these works based on a comparative approach. The question to be answered is as follows: What are the common features in the mural painting in the tomb at Licha and the canvas painted by Mohammad Modabber (as case studies)? The results indicate that, in addition to the impact of religious themes on the human soul, the role and substantial presence of the Holy Quran in the lives of Muslims has been of deep significance in Islamic era. By looking at images with the theme of the hereafter, Muslims would actually remind themselves that one day their deeds are to be audited. In addition to the differences seen in both works, there are visual similarities as well, which is not simply because of the common theme addressed, but due to paying attention to Quranic themes and narrations popular among the people in line with their Shi’ite beliefs. This has been manifested with clarity and simplicity in the form of expressing the spiritual concept of Judgment Day in such illustrations.

A new worldview with the idea of a global village leads all civilizations towards globalization.  Globalization has undoubtedly had positive effects such as a universal understanding of the concepts in culture and art and a kind of dialogue of civilizations, but the preservation of indigenous and national identities and the purity of works in the field of traditional arts have always been challenging issues in globalization. What is important is the interaction between the idea of globalization and the preservation of indigenous and traditional culture and related arts, regarding to changes which have taken place in the new educational system. This article begins with the question of how the phenomenon of globalization affects the production and teaching of traditional arts and concluded that the process of a system based on traditional education (not copying the traditional system) has comparative and effective advantages in communicating constructively with the audience and guiding committed art. This article besides disintegration of modern education system, wish to address the importance of traditional system of education which could train the creative artists. What is important here is the ability of making balance between globalization and tradition and protection of all its belongings. This Study shows that traditional art education system has a lot of relative advantages in making relationship with audiences. In the other hand globalization is universally understood in order to contain general features. Hence, the combination of cultural specificity and populism, which is one of the cultural reactions to globalization, can place traditional arts, while preserving indigenous values, beyond the geographical borders. This research has been done using documentary besides descriptive-analytical method.

Handmade carpet as an original branch of the Iranian applied and decorative art has been playing a special role in the lives of the people of this region for thousands of years. Therefore, research on this art is done from different aspects at the present time. Technological research on handmade carpets is also one of the specialized branches of research in this field, especially the technology of old and antique carpets or those groups of carpets that are important and different in terms of weaving technique or raw materials. By applying scientific technology, we can understand the production technique and the type of raw materials used in carpets. This category helps us to promote this art by using the findings and presenting them. The present study examines the technology of golābetun (metallic threads) used in the Pahlavi era, with a general introduction to the Bashariat Rug and it examines the texture technique and production and pathology of the golābetuns used in this rug by laboratory methods, including microscopic imaging, EDS, infrared spectroscopy, etc. Based on the research data, it would be possible to understand the knowledge of golābetun production in the Pahlavi era. In addition, by examining the type and cause of damage to these fibers, we may prevent damage to the carpets or even fibers under similar conditions.  Finally, with the help of laboratory methods used in this study and related research, new and scientific methods can be used to identify the carpet. On the other hand, according to the type of golābetun used in this carpet, it will be possible to create original works with the help of golābetun fibers.Finally, based on the research data, it is possible to understand the knowledge of glabton production in the Pahlavi era. In addition, by examining the type and cause of damage to these fibers, it is possible to prevent damage to carpets or even fibers with similar conditions.Finally, with the help of laboratory methods used in this study and related research, new and scientific methods can be used to identify the carpet. . On the other hand, according to the type of use of glabton in this carpet, it is possible to create and create original works with the help of golabtonchr('39')s fibers

Among the methods and techniques used in decorating pottery wares, luster-glaze was one of the most beautiful and magnificent ones. In the 6th and 7th AH/ AD 12th and 13th centuries, Kashan was known as a main center for the production of luster-glazed pottery. The magnificent works produced in this city are now preserved in many museums and collections. Examining the well-known signed works of Kashan ceramists in these centuries, we come across a series of family relationships that indicate the transmission of this art from one generation to the next. Famous families and artists who had been active in the field of Kashan luster-glaze technique would be mentioned as follows: the families of Abu-Tāhir, Abu-Zaid and Al-Husseini, about whom many scholars and researchers have written much. One of the artists who had signed his works in the luster-glaze technique of Kashan was Mohammad ibn Abi Al-Hassan al-Maqri, with six signed works known so far. The purpose of this study is to introduce and identify the features of Al-Maqri’s works as an independent skilfull ceramist. The results of the research show that Al-Maqri was a ceramist in that time and it is wrong to attribute other titles to him such a “patron” of arts. He has also been one of the most unique artists of his time due to his special style in combining mina’i and luster-glaze techniques. This research is based on a descriptive-analytical methodology and has been done by using library sources and documents.

The Chāhārfasl (Four Seasons) Bathhouse is considered as one of the most beautiful historic places with glorious tiles from the Qajar dynasty, Iran. This bathhouse is unique for its diverse artistic patterns, particularly in its apodyterium. The tile patterns and motifs of this bathhouse are a testimony to the past rich culture and art of the Islamic world, which in the absence of written documents would play a considerable role in depicting Qajar artistic taste. On the other hand, such traditional patterns reflect the beliefs and culture of the people. Therefore, an analysis of subjects and concepts of the mentioned patterns of these tiles can help us extend our understanding of Iranian architecture and art in the recent centuries. The shortage of academic studies on the architecture and art of Arak is a matter emphasizing the importance of carrying out a detailed investigation into its historic sites and places, most specifically the Chāhārfasl Bathhouse. It should also be noted that no specific study has ever been undertaken on the themes of this bathhouse’s ornaments. Considering this issue and the need to know more on art and culture connections, we proceeded to study the themes and subjects of the tiles in the bathhouse’s apodyterium. This study is based on analytical-descriptive methodology conducted by the means of field and desk research. The motifs studied here could be categorized as: sun, spiral icons, human soldiers, lion and dragon, lion and cow, birds, owl, flower and vase, landscapes and arabesque and khata’i. Results of the study indicate that these icons, patterns and designs are not just decorative, but they derive inspirations from epic, historic, religious, political and western figures.

The present study seeks to answer the question that what are the Rhombus geometrical signs in ancient Persian inscriptions and how they are similar to their reflections in contemporary Persian textiles. An attempt is made here to analyze the evolution of inscription signs by emphasizing the theory of evolution in the field of art anthropology. The purpose of the research is to express a part of the continuity of ancient Elamite linear signs on Persian rugs. This study is descriptive-analytical in terms of methodology. The data collection method is based on library review and data analysis was done qualitatively. The statistical population of the study is Elamite tablets and Iranian nomadic and tribal rugs. Sampling method is optional. Linear specimens of pre-Elamite and Elamite inscriptions and visual specimens of woven artifacts have been collected by library methods. A comparative form has been used to express the similarity of the works, and the readings of linear symbols are based on Walter Hintz’s theories. A total of 10 linear Signs have been compared with similar motifs in 26 woven pieces. According to the results of the research, geometric motifs are the basis of the formation of many signs in the pre-Elamite and Elamite ancient inscriptions. The continuity of these signs is evident in contemporary Persian rug designs in that some of the rhombuses are motifs represented in the structure of rugs, while some appear with slight modifications. The relation of the composition of the inscriptional signs seen in the ancient writings and the contemporary Persian rugs can also be studied. The difference between the linear signs and the rugs’ motifs is that the rhombus signs are arranged on the basis of the structure of Elamite script in the inscriptions, but in contemporary Persian rugs these motifs are regular. Sequential or periodic iterations on the rugs background and margin have emerged, or their proportions have changed in such a way that sometimes a writing sign constitutes the whole rug design. Like framing designs or three-rhombus designs, the badges sometimes fill in the form of periodic and duplicate units of background and margin, and in some cases the single roles are accompanied by addition to similar badges on the lines.

In the Islamic architecture, functional geometric designs have more than technical means, in other words, the spirit of Islamic art has always been reasonable to the world and the world, because of the alternative to the materialist art, and in any case, the Muslim artist was able to draw a picture of the geometry of science. The application of this geometry, which is generally in different forms of geometry in the interior and exterior of buildings, these varied forms in the traditional domain of the Islamic religion can be able accompanied by national religious approaches. The symbol of the eight-pointed star due to its geometry and its specific form in Iran, especially in the sanctuary Razavi, has been considered as a spiritual center on the religious position of Imam Reza.The purpose of this article is to investigate the link between the symbolic concept of the 8th star in the sanctuary Razavi with the spiritual position of Imam Reza. Geometric shapes are an important part of the identity Iranian-Islamic art, this study examines the relationship between the star's eight and the imam of the eighth by examining the existential nature of the geometric role of the star.  To examine the relationship between the symbolic concept of the eighth star in Razavi's area and the spiritual position of Imam Reza. The research approach of this artical is based on a descriptive-analytical method based on library and field studies. According to the analyzes, the combination of spirituality and science in the context of the symbolic dimensions of geometric shapes (in particular the geometric role of the 8th star) and the theme of this form in terms of the science of numbers and graphs represent the artist's perception of their semantic function, and the relation of the symbol to the position The spirituality of Imam Eight was fully observed in the architecture of Razavi's shrine in Mashhad. Overcoming the symbol of the other symbols and diversity that artists have drawn in and painted has a symbolic link. Reviewing the historical background of the shape of the eight star and its application in the Razavi sanctuary indicates that the artists, using the science of numbers and the knowledge of the symbolic meaning of the number eight and the geometric shape of the eitgh angke star, have deep links with Imam Reza.

Sometime replete with sense of life, Gonabad pottery and its motifs have gradually lost their original meanings and concepts in the course of time and now those meaningful motifs reduced to just some decorative motifs without their initiative notions for most of potters making pottery and applying those motifs on the works. Therefore, it seems necessary to authors to determine the basic, essential concepts of motifs on the pottery forgotten as a result of transmission by oral history as well as time passage. The aim of this study is to introduce and reexamine the concealed thoughts, ideas and philosophies these motifs have maintained within them during thousands of years. The research is based on descriptive-analytical methodology and the data collection method on library review. According to the concept of study, the main sources for related data, articles and so forth in the research were scientific databases.The results indicate that there are generally three types of motifs on Gonagad pottery, including zoomorphic, vegetal and geometric. In the zoomorphic group, peacock, sparrow (little bird) and pigeon (big bird) are so prominent that those like peacock and sparrow have appeared on Gonabad Great Mosque’s portal as well. In the vegetal motifs the tree and in geometric ones the sun motif is of significance. In fact, the basic concepts of such motifs are embedded in popular stories as well as in folk beliefs, manifested symbolically in the form of single images on the pottery. Furthermore, the motifs had strong and close relations with the religious beliefs of that period as well as the subsequent eras. Specifically, peacock motif on the one hand was prominent in Islamic Art and on the other it carried Zoroastrian connotations.

Iran and India enjoy a long history of cultural interactions. Meanwhile, the migration of many Safavid artists and elites to the Mughal court, and the promotion of the Persian language in India are marked as turning points in the history of Indo-Iranian cultural relations. Iranian migrant painters had a privileged position in the Mughal court by creating many works and educating many apprentices. Considering the works of Iranian immigrant artists in the Mughal court as an intercultural text, this study has tried to examine the Mughal court painting thorough intercultural semiotics. The main purpose is to find the Mughal approach in cultural relations with Iran and to identify the limits and roles of each culture involved in these interactions. For this purpose, samples of the works of Iranian painters or projects under their supervision in the Mughal court were studied with a cultural, semiotic approach. The Mughal fascination with Iranian culture and art at the Indian court provided favorable conditions for the influence of Iranian artists, elements and compositions. Furthermore, the Mughal painting is considered much more naturalistic than its Persian counterpart.    As a result, the Mughal tried to emphasize their difference from Hindu culture, as “the other”, by idealizing Persian culture, which at that time had immense popularity and position in the Islamic world. This process did not lead to the complete absorption of Persian culture and the total rejection of Hindu culture in Mughal paintings; hence, the elements of Indian painting in Mughal art were still visible. Mughal painting is an intercultural text in which Iranian culture and consequently Mongol culture (due to its identification with Iranian culture) is centralized and the Hindu culture left to the sideline. Yet, this text reclaims its identity from the constant interchange of the center’s and margin’s borders.

Mosques were established after Islam in different cities and different periods. In general, post-Islamic Iranian architectural methodology could be categorized under four styles, including Khorāssāni, Rāzi, Āzari and Isfahāni. The heyday of mosques construction in Iran occurred in the Rāzi style. This style reached its peak during the Seljuk period in the central plateau of Iran. In the meantime, the names of Ardestān and Zavāreh mosques besides the Isfahan Grand Mosque are among the most important buildings constructed in this style and period. A significant common element in these two mosques and the reason for choosing the two is that their architect as well as their geographical area was the same, and the year of construction of both buildings was close to each other. In this research, the decorative features of these two mosques have been examined, and by enumerating the features of Rāzi and Āzari styles, the relationship between the elements of the two mosques in these styles is examined. The research is based on descriptive-analytical methodology and the method of data collection based on library sources and field studies of the buildings. Results show that the decorative elements of Ardestān Mosque share more affinities with the Seljuk period and the Rāzi style, while the decorative elements of Zavāreh Mosque do with the Ilkhanid era and the Āzari style. Their common elements are mostly laid in their structures and their differences are more evident in the field of decorations.

In this paper researchers give an introduction to concepts of brand and packaging with special attention to packaging designers and industry owners as well as concepts such as green industries and the reduction of environmental pollutants in the world. Incidentally, introducing and expressing handicrafts and features of traditional and indigenous arts of Iran are to be discussed. Here, we examine the possibility of using them in packaging industry in order to identify and promote the brand. In the other part of this article, while pointing to the importance of identity in packaging design, we discuss the importance of the concept of COO and the significance of using cultural and traditional features of Iranian art in such as field.This article is done in descriptive-analytical methodology and on the basis of some extant examples in the world. Handicrafts are divided here into three groups from the perspective of packaging and production costs as follows: cheap (products such as some hand-woven fabrics and traditional prints), fine (products such as mat weaving, simple wooden and ceramic boxes), and expensive (products such as inlaid boxes, special fabrics such as cashmere, etc.).According to the main title of the research, the authors believe that different types of handicrafts can be used as packaging for other products. Retaining their original characteristics, especially cultural potentials, unity and uniqueness; it seems that handicrafts can be used as a complete package by observing their key points such as product protection, identity building, purchase attraction and personalization for industry and business owners.

The evolution of clothing in the history of the Qajar period in Iran is considered distinct due to the extensive cultural and social changes. During this period, as a result of the expansion of intercultural relations with other nations, especially the West, and the prevalence of fashion among courtiers, the desire for traditional Iranian clothing with beautiful and charming embellishments, especially a wide range of embroidery, still had its potential patrons, mostly courtiers. From this perspective, while explaining and analyzing the hidden concepts in the embroidered patterns for Qajar men and women, the following questions would be answered in this research: What concepts existed in the embroidered patterns of Qajar courtiers’ costumes? What are the differences between the embroidered patterns of men’s and women’s clothing in the Qajar era? This fundamental research adopts a qualitative approach and is comparative-analytical in its nature. The required data has been gathered through documentary studies and library resources and in some cases through field studies. The statistical population of the research has been selected by reviewing the paintings and matching them with a number of costumes in museums and private collections, left from the Qajar period. Having analyzed the findings, it could be concluded that the clothing of men and women in the Qajar court was not much different from each other and were generally divided into two categories: interior and exterior. Meanwhile, the woven ornaments would add to the dignity and beauty of costumes in accordance with the position and rank of the persons wearing them. Among the extant ornaments, motifs used were generally geometric and vegetal designs such flowers, plants and shrubs commonly seen in men’s and women’s clothing, which is mainly based on the traditional and religious beliefs of people.