نشریه هنرهای صناعی اسلامی
سال پنجم شماره 2 (پیاپی 7، پاییز و زمستان 1400)

The use of decorations in iranian traditional and native architecture has always had a special position. Among the noteworthy architectural contexts for presenting decorative arrays, the homes of wealthy individuals with social and religious credit differ in historical periods, which are now referred to as historical homes.Ardebil's Qajar houses are among the historic houses that feature extensive and varied indigenous decorations, contrarily many of these houses have been completely demolished or are being demolished. In the meantime, some of Ardebil province's monuments also have durable wooden decorations such as: grille, lattice window, door- window and so on, but among the most prominent are sash windows. there are many monuments from the historical era of qajar in this province, many of which have sash windows. They are used in various sizes and often in homes . The luxurious and magnificent home of the deceased Haj Mirza Ibrahim Sadeghi is located in the Uç Decan district of Ardabil in the heart of Ardabil's historical context. The monument of Sadeghi's house was built in 1283 AH in accordance with the 1342 SH , which is one of the valuable relics of the Qajar era in the field of residential architecture in Ardabil. one of the Qajar houses of Ardabil city is the house of the deceased Haj Mirza Ebrahim Sadeghi which has artistic features of Qajar period such as: wooden decorations (qavareh bori, mirror decoration, flexure , grille), glass underpainting, murals, Inscriptions, gypsum decorations (Moqarnas and stringcourse) and brickwork that are listed in the country's National List of Works. Studies of the writers through field observations, interviews, and library studies indicate that the decorations and decorations in Sadeghi's home are among the hallmarks of the Qajar art. Including  Affiliated wooden decorations to  sash window that follow the current pattern in the Northwest region, meaning that the sash window frame is rectangular in shape and with inscriptions with a dominant geometric knot design. This pattern is common in Qajar houses in Tabriz.  The use of qavare bori technique  in wooden ornamentation of architecture is common, in the Qajar period and Sadeghi's home was no exception.  Given that the history of Sadeghi's house construction dates back to the late Qajar period, new innovations and principles influenced by Western art influence on architectural decorations, such as inspired by European paintings on the wall of Sadeghi's house are such as this. ; Including the pattern of European landscapes, castles, ships and Corent's column . The presence of western themes alongside indigenous arts such as Mogharnas and  stringcourse   in the decorating of Sadeghi's house indicates the coexistence of Western and Oriental arrays at a temporal and spatial point; in other words, the artist commits himself to performing indigenous decorations with the religious themes of his time, such as Quranic inscriptions are known in Arasi Hall, and on the other hand influenced by Western art, he turns to European style painting in King's Hall. Also, by adapting decorations and arrays to other Qajar houses (whether in Ardabil or otherwise), can find a common concept and theme in them, indicating that a particular pattern of decorations dominated the Qajar period. The data and information were analyzed using a descriptive-analytic approach. The purpose of this study is to investigate the arrays of Sadeghi Historical House in order to identify a particular pattern of Qajar decorations in the Northwest region and to answer the following questions: The Sadeghi  Historical House include what Architectural arrays and ornaments and what are the themes and concepts? Is there a particular pattern of decorations in the Qajar houses in Ardebil with an emphasis on Sadeghi's historic home? What kind of attribute does this template contain?

This article examines violence against art. Nowadays in many cases, the artwork is used as a commodity without considering its artistic value. Ignoring the value of the artwork in anyway constitutes violence against art and over time, causes the artwork to disappear and become a commodity. The main purpose of this study is to study examples of violence against art and its consequences; In this research, we are trying to introduce a new category in the field of art by raising this issue; violence against art means that art is not for art, the discussion of violence against art can be a new topic in relation to art. In violence against art, the discussion of the commodification and instrumental use of art or the dominance of the material dimension of art over its spiritual dimension can be identified. In this article, violence against art in the field of pictorial carpets is studied in a specialized way and resulting damages in the field of pictorial carpets are examined. The results of research show that coordinating pictorial carpets with other home appliances and having a capital view on it and its commodification are examples of violence against art. The main discussion in these results is the discussion of significant developments in the field of pictorial carpets consumption. Over time, the artistic dimension in the field of pictorial carpets has diminished and the precedence of commodification over the cultural aspects of pictorial carpets can be seen. This article examines violence against art. Nowadays in many cases, the artwork is used as a commodity without considering its artistic value. Ignoring the value of the artwork in anyway constitutes violence against art and over time, causes the artwork to disappear and become a commodity. The main purpose of this study is to study examples of violence against art and its consequences; In this research, we are trying to introduce a new category in the field of art by raising this issue; violence against art means that art is not for art, the discussion of violence against art can be a new topic in relation to art. In violence against art, the discussion of the commodification and instrumental use of art or the dominance of the material dimension of art over its spiritual dimension can be identified. In this article, violence against art in the field of pictorial carpets is studied in a specialized way and resulting damages in the field of pictorial carpets are examined. The results of research show that coordinating pictorial carpets with other home appliances and having a capital view on it and its commodification are examples of violence against art. The main discussion in these results is the discussion of significant developments in the field of pictorial carpets consumption. Over time, the artistic dimension in the field of pictorial carpets has diminished and the precedence of commodification over the cultural aspects of pictorial carpets can be seen. . The results of research show that coordinating pictorial carpets with other home appliances and having a capital view on it and its commodification are examples of violence against art. The main discussion in these results is the discussion of significant developments in the field of pictorial carpets consumption. Over time, the artistic dimension in the field of pictorial carpets has diminished and the precedence of commodification over the cultural aspects of pictorial carpets can be seen.

In every culture and civilization, there is a fundamental and the base art, on which other arts are created. Different arts are created for different purposes; Some are the origin of other arts and some derived from and influenced by other arts. In Iran, The foundation of many arts is known as poetry and a poet and poetry plays the role of the basic art in the creation of other arts. Among various arts, painting has a lot to do with poetry, in fact, painting is one of the arts that has a long-standing connection with poetry. among the works of painting, the role of romantic stories is outstanding, of which the story of lily and Majnun is of the most famous ones, compiled by Hakim Nizami Ganjavi. Nezami Ganjavi, the most famous poet in writing love stories, narrates the story of lily and Majnun with mysterious poems that each word gives different meaning to the audience. Poems in the poetry of lily and Majnun are cryptic, so To get the true meaning of poetry, they need to be carefully interpreted and their analysis, especially if a long history has passed since the creation of the work; also if the poet is world-renowned for speaking cryptically. This paper explores the art of the origin of poetry and tried to explore the relevance and extent of the art of painting of poetry; extract the descriptions related to the coverage of the main characters of the story of lily and Majnun from the poetry, and compare it with the clothing of related painting works. Ultimately, using the results, it is tried to answer the question: what is the effect of painting (follower Art) on poetry (basic art)? In this study, data collection method was documentation and library and the descriptive-analytical method was used to formulate and set it. the context of the poem, the poet in the poems describing the main characters of the story does not neglect to describe their coverage and devotes parts to it. It also appears that the artist, after reading the poem, has been illustrating the poetchr('39')s descriptions. In the present article, lily and Majnun coverage is derived from what is inferred from the military system and then, by comparing the paintings of lily and Majnun in the works of painting from the eighth to the eleventh centuries, the results are presented. among the points of interest to the poet in the poetry to describe the clothing of lily and Majnun are expressing material of the textile including Zarbaft, Parand, Diba, Fur, Khara, Plus and Leather. Indigo and sapphire were selected as colors. For the design, turban, bandage, Sarpech, clinch, mask, shirt, cuirass, plus, Salab, and Khalkhal were used for jewelry. By examining 14 pictures of the golden styles of Iranian painting, it is found that the effect of the painter from the text is more on the color of the clothing. It should be noted that all of the bits used the military jams, by Hassan Vahid Dastgerdi.

In architectural works, especially architectural decorative works, we see the abundance of designs and designs that are derived from geometric, plant or Islamic designs. The use of these designs is for two main reasons: first, it is used only for discussion of aesthetics and aesthetics in the building; Second, it is purposeful and has a meaning in its heart; These signs, which sometimes contain specific thoughts and ideas from a certain period that are closely related to the place and building used. One of these forms is a role consisting of two triangles that have been used in several different places; The composition of triangles in different mirrors has different meanings, in this article we try to find out whether this symbol speaks of another or not; If so, what is thinking or what is important behind it. The purpose of this research is to re-read this symbol and its general concepts based on the mystical details of its time; To find these influential thoughts, it is necessary to know and understand the mysticism of that period and the degree of its belief for that particular time. In this direction, we have tried to collect library and field information and analyze information based on temporal and spatial data to realize their effectiveness in this regard and by analyzing each topic to receive its effect. In a period in the Islamic history of Iran, a set of ideas was introduced and grew exponentially, which has led to the creation of a controversial line of thought up to the contemporary era; Illumination; This mysticism, of which Suhrawardi was the founder and thinker, and he also considered himself the inheritor of wisdom, which from his point of view was the preservers of the word in the two dynasties of East and West. Mr. Ibn Arabi considers the manifestation of divine love in creation and considers the motivator of God in this creation as love; They believe that man is the nature of love and the dough of existence is the product of love, and therefore we are moving towards the source of love. Ibn Arabi believes in the flow of love throughout life and believes that we cannot know existence until we understand love, and he considers love in the world as blood in the human vein; He believes that God's knowledge of His creatures is the same as His own knowledge, and ultimately means that His effect is unimpeded in the world. The most obvious issue in the subject is the symbol of its meaning, it is very clear that behind every form, there is a current and current thinking that has been influenced by the dominant thoughts of its time. In the same way, what has been presented before, the arc of ascent and descent, also represents the thought of that period and the mystical beliefs of Iran at the peak of mystical thoughts of the fourth to eighth centuries. According to this maximum, man has been from eternity and will return to eternity. Therefore, this descent is shown by the earthly life and the descent arc, and the ascent is represented by the ascending arc. Considering the time of construction and emergence of the tomb complex in 731 AH, one can clearly see the thoughts and beliefs related to the arc of ascent and descent, and it was concluded that they hoped that the noble man buried in his eternal place would originally to return. According to the sacred expression of the six-pointed star throughout history from the time of the Prophet Solomon to the Holy Prophet; It must be acknowledged that the two composite triangles and the arcs of its circumference can be the best sign of the published thoughts of Suhrawardi and Ibn Arabi, and by cleverly playing these volumes, it has made the return to the original understandable to all sections of its society.

Mashhad has been selected as the world city of precious and semi-precious stones by the World Crafts Council. Neishabour (Nishapur) turquoise stone mine is located near Mashhad. The use of turquoise stone has been common in Iran since ancient times and has been emphasized in Islam. Turquoise carving is one of the useful arts and turquoise carving artists in Mashhad, who work hard, have not made much progress. No research has been done on the development of this art. The purpose of this study is to identify the challenges in the art of turquoise carving, based on the right principles of strategic planning in Mashhad. Thus, the main question is described in this form: What can we do to improve the conditions in the turquoise carving art in Mashhad and achieve the desired conditions? The research method in this qualitative research is descriptive-analytical in type of content analysis; and using the evaluation matrix, the art of turquoise carving in Mashhad has been studied. The method of collecting information and field research was interview type, and the participants was ten informed person, Interviews’ information was labeled and inserted into the table. The result is that in quarrying turquoise stone by ore specialists, full productivity is obtained, training and practical skills are simultaneous; Veterans of this profession should be invited for the training practical skills to graduates. According to research, how to extract ore is still facing problems. Supervised specialists and engineers by maximizing the efficiency of ore mining by using new methods and in accordance with international standards. Turquoise and turquoise workshops have been set up in this area, which do turquoise work. If, according to their turquoise cutter, the turquoise cutting work is not done properly. Better results will be achieved if a turquoise school is built in this city and turquoise art is taught professionally in these schools, as well as veterans and highly skilled turquoise teachers are invited to teach this art. The art of turquoise carving requires a great deal of skill and experience. The art of turquoise carving requires a great deal of skill and experience. The skills and experience of turquoise carving artists, and veterans with experience in the field of education should be fully utilized. By creating jewelry art schools, and adding this field of study to the fields of work and knowledge, a positive step can be taken in expanding and teaching the art of jewelry making to the younger generation. In this way, the graduate who graduates from these conservatories will acquire both useful and useful skills and will have a high scientific level. Given the prospect, there is a world record for the art of turquoise carving in the future. It is better to teach this art as an academic discipline in art schools in provinces such as Khorasan, Isfahan, Kerman and the cities of Mashhad and Neishabour that have turquoise stone mines.

The famous version of the Wonders of Creatures written by Shams al-Din Muhammad ibn Mahmud ibn Ahmad Tusi (sixth century AH) is world famous. The paintings in this version are depicted in terms of the characteristics of exotic creatures, suitable for studying the typology of these creatures. The purpose of this research was first to introduce the version of the wonders of Tusi creatures (sixth century AH) and then to classify different species of creatures in the drawings of this version. According to the imagination used in the visual elements in the desired version, the drawings have special details and subtleties that need careful attention and analysis. Therefore, in this research, after introducing the version and its maps, types of images, types of maps have been categorized and introduced in a table. Accordingly, this article seeks to examine whether this version is capable of writing typology. And it seeks to answer this question: How many species of strange creatures are there in the version of the wonders of the Tusi creatures (sixth century AH)? The research method is descriptive-analytical and the method of data collection is library-documentary. The method of analyzing the works is based on qualitative studies and is fundamental in terms of purpose. An overview of the research acknowledges that the images in this version are divided into six types of strange creatures. The findings of those strange creatures fall into two categories: hybrid and hybrid. There are four types of hybrid creatures. Includes: 1- Human bodybuilding 2- Animal bodybuilding 3- Plant body 4- Paradise faces which of course are divided into categories. Composite creatures include two types: 1- Quranic stories and divine narrations 2- Strange and western creatures (combination) Dragon, Simorgh, Demon and Angel are divided.

Throughout history, they have used architecture to express their inner thoughts and human needs, and through this, they have been able to visualize intellectual and cultural themes, which, of course, have undergone various changes throughout history. In architecture, religion can be expressed in various forms. In this way, he can be a guide and friend of humanity in answering these issues. Decorations are one of the most prominent unifying elements in Islamic architecture; Which create value, harmony and efficiency in the architectural space. Based on the type of decorations, the goals of Islamic architecture can be understood. Undoubtedly, in Iranian-Islamic architecture, decorations are like the spirit that is blown into the body of the building, and artists have used religious concepts in decorating religious buildings. Due to their devotion to the family of the Prophet and the Imamate and their children, Muslim artists throughout history have created pure phenomena in architectural works, including sacred relics, and it is clear that they have used the sacred and divine arts on executive methods and brought them to the future. They have left. It is interesting to note that inscriptions play the most important role among other Islamic architectural decorations, which is quite evident in the tomb buildings. Gilan is one of the oldest lands that has been the epicenter of the history of Shiism in Iran and a refuge for those fleeing the oppression of the caliphs. There are many Imams in Gilan; One of the most famous of these Imams is Hazrat Sultan Seyyed Jalaluddin Ashraf (AS), who has been considered by Muslim artists throughout history. The city of Astana Ashrafieh is the fifth religious city in the country due to the existence of this tomb. The purpose of this study is to introduce the tomb, describe and study the written inscriptions of the Imamzadeh of Hazrat Sultan Seyyed Jalaluddin Ashraf (AS) in order to identify the thoughts of the Shiite religion. In order to achieve this goal, the main questions of this research are: What are the thematic, executive and practical features of the inscriptions on the tomb of Imamzadeh Hazrat Sultan Seyyed Jalaluddin Ashraf (AS)? What are the written inscriptions attributed to the Shiite religion in the tomb of Imamzadeh Hazrat Sultan Seyyed Jalaluddin Ashraf (AS)? The research method was descriptive-analytical based on collecting library and field information (combined). The statistical population of the study is the symbolic Shiite written arrays of the tomb of Agha Seyyed Jalaluddin Ashraf (AS), the sampling method is selective and the number of samples of all written arrays of this Imamzadeh and the data analysis method is qualitative. From the results of the present study, it can be seen that after the third line, the Nasta'liq script was the most used among the Shiite inscriptions, but the Shiite themes that are induced from the mentioned inscriptions are related to the province, the martyrs of Karbala, the event of Karbala, divine names and imams. Etc. What is important is the many narrations and hadiths that have been narrated and written in relation to the guardianship of Imam Ali (AS). The inscriptions of the mentioned building have a mystical theme with the concept of prayer, hadiths, etc. In the meantime, the abundance of inscriptions praising Amir al-Mu'minin as well as the event of Karbala shows that special attention has been paid to Shiite themes in the decorations of the arrays of this tomb. Therefore, the tomb of Imamzadeh Hazrat Sultan Seyyed Jalaluddin Ashraf (AS) is a complete manifestation of an Islamic building with Shiite religion due to Shiite written arrays.

Flowers and birds have an ancient history and in Iranian beliefs reach the tree of life or the tree of all seeds on which Simorghi is the guardian. During the Timurid period, attention was paid to tashir, including the companionship of Khatai flocks with birds that had a natural aspect. In this field, before the Safavid period, there are no significant murals. The aim is to visually study the symbolic themes of flower and bird paintings on a case-by-case basis in the murals of the Safavid palaces of Qazvin and Isfahan (chehelsotoun), Hasht Behesht and Rakibkhaneh tower in Isfahan and the Qajar extensions in them. The paintings on the walls of these palaces are decorated with paintings from the battle of the kings to the feasts and battles of lovers and flowers and birds.The findings show that the flower and birds paintings of the mentioned palaces have been visually and thoughtfully engraved on the walls and their visual composition has been studied in five categories: Golshan or Yaleh, flowers and vases, Golboteh, Khatai and birds, Afshan and Flowers and angels. The flower and the bird can be considered as an abstract form of the tree of life before Islam and the Touba tree after Islam, which, although it has undergone changes in form and appearance, still retains its original pattern. Painters interpreted mystical stories in Iranian literature for kings who considered themselves the heirs of the religion and the guardians of Islam, using their imagination to create a second paradise. One of the main reasons for the presence of Qajar rulers in Safavid palaces and subsequent Qajar additions in the architectural decorations of these palaces was that the early Qajar kings showed themselves as heirs to the Safavid right. In the study of flowers and birds in the murals of palaces, although in terms of execution technique, the composition and symmetry are different, but both emphasize a religious theme. The choice of the role of the cypress tree to the flowering plant is a sign of the importance of the solitary bird, and the depiction of the rose plant for the bird's nest shows the importance of the bird and the rose and their literary conceptual relationship. In the paintings of flowers and birds studied in the Safavid period, the location of the flowers is outside the axis of symmetry, the bird is identifiable and its location is on a tree or branch of a flower; But in the Qajar extensions, most of the flower plants are centered on the symmetry of the effect, the bird is not recognizable, the bird's location is above the rose or centipede. The flowers of Isfahan's Chehelston Palace match the flowers of Hasht Behesht Palace, and the flowers and birds of Rakib Khaneh match the flowers and birds of Hasht Behesht Palace.

The need for security in Iran, as in other parts of the world, has played a major role in the expansion and establishment of locksmith shops. However, the need for security has not been the only reason for the lockout in Iran. Locking has also been one of the elements to meet the spiritual needs of Iranians. The lock therefore contains symbolic meanings, and like a book that is opened, it has hidden secrets inside. But the beauty factor in locks and the like in this art-industry has not always been voluntary and subject to choice. Rather, it was due to the intimidation and trickery of Iranian artists in escaping from mainly religious and ideological restrictions and sanctions that restricted the freedom of art. If it were forbidden to make sculpture and iconography, he would turn tools such as locks [which he had to use] into a field for art. If he could not make huge sculptures in architecture or other places and display them in various places, from capitals and inside inscriptions to locks, etc., he would combine them with aesthetic tricks with practical aspects. From another perspective, the lock is full of Iranian aesthetic motives due to the fusion of industry and beauty in Iran. The combination of these delicacies and arts reaches such a level that the Iranian lock looks like a statue.Most of our attention to the more challenging locks in this research is due to better access as well as its elegance and beauty. Challenger locks are world famous from this perspective. In addition to beauty and elegance, these locks also lack symbolic functions. The sculptural locks studied in this article have also been prepared from the book of Iranian locks by Parviz Tanavoli.By analyzing the artistic beauties and symbolic functions in the locks of Iranian sculpture, this research aims to provide a better way of recognizing the artistic and aesthetic functions of Iranian art-industries, especially those created in relation to ideological concepts for the artist-craftsman. And open the way to the knowledge of the preparation and industrial-artistic craftsmanship-art of the Iranian artist.Traditional Iranian locks, especially the examples discussed in this article, have many cultural implications that reflect the attitude of society, aesthetic awareness, preparation and tricks to overcome the limiting and inhibiting factors of creativity and art. These locks are important carriers of culture and customs and, most importantly, the attitude and attitude of their users to important aspects of life, including longevity and guarding, and protection from disasters and unhappy matters, and the category of wealth, etc. . These people blend and reflect cultural meanings through materials, shapes, and decorations with aesthetic value, indicating intelligence, creativity, and a moral commitment to the concepts of life.Lock is one of the oldest tools that has maintained its role and position so far, both as an objective tool for protection and security and symbolically in the management and direction of cosmic and magical energies. "Love lock" is a symbol of an unbreakable bond that lovers engrave their name (in full or in short or symbolically) on the lock and throw the key in the river or far away. The lock of love is not almost specific to one country and culture, but in terms of its vast range from France to the United States, from South Korea to Russia and from China to Italy, shows the antiquity and symbolic and magical properties of the "lock" and its alignment with It has important categories such as love and security in human life. The permanence and continuity of the magical and symbolic nature of the lock until the contemporary era, indicates the importance and antiquity of this tool with its psychological aspects and magical belief of the human mind.

Iranian traditional arts are closely related to life and have a practical and aesthetic aspect, which shows the importance of both practical and artistic aspects in Iranian traditional arts; Because these works, in addition to meeting everyday needs and being practical, nurtured artistic talent and a sense of beauty in artists. Basket weaving is one of the traditional arts that is popular in different parts of Iran, including Kohgiluyeh and Boyer-Ahmad provinces located in the southwest of the country. In the past, baskets were woven with many uses in this province, but today, the prosperity of the art of basket weaving has diminished and is being forgotten. The aim of this study is to study basket weaving in Kohgiluyeh and Boyer-Ahmad provinces with a pathological approach and to find solutions to revive and preserve the art of basket weaving in this province. The aim of this study is to study basket weaving in Kohgiluyeh and Boyer-Ahmad provinces with a pathological approach and to find solutions to revive and preserve the art of basket weaving in this province. And became involved in today's life? This research has been carried out with pathological approach, and descriptive analytical method and data collection in a library and field method. The samples were purposefully selected based on the snowball method and included 11 people. By examining the information obtained based on the analysis of the interviews, the key points were identified and the data were coded, and the codes with common axes became a set of concepts. Then, through dividing the concepts, the categories are extracted, and ultimately interpret the categories and provide solutions. Based on data, art basket in Kohgiluyeh and Boyerahmad province in the past was commonly proportional to the conditions of nomadic and rural life, and woven baskets were used in abundance. Over time and the prevalence of urbanization culture and the introduction of technology and replacing applied appliances of plastic and metal, decrease use of handmade tools and made from natural materials in the lives of villagers. Many of those devices are no longer used today. And these baskets have fallen into disrepair, so much so that some of them are obsolete. According to the findings of this study, the cause of forgetfulness and obsolescence of basket weaving art in Kohgiluyeh and Boyer-Ahmad provinces is the lack of work in teaching this art and the lack of a market to sell products and weavers do not pay attention to innovation in the use of woven baskets. Finally, with the review of three categories of education, economics and application, useful strategies for re-boom this art are expressed. Some of these solutions are: Holding face-to-face and virtual classes in basket weaving training in relevant and supported organizations, allocating textbooks in each region to introduce and teach traditional indigenous arts of the region, as well as the private sector to use the capabilities and talents related to this art in the province, use advertising programs and Active participation of the province's radio and television in informing and widely promoting the traditional and indigenous arts of the province, especially the art of basket weaving, and Finally, pay attention to the application in a way that is useful for the use of all sections in today's society.

Guilan's holy shrine paintings is a display of folk art which most of them has been damaged or vanished over time because of different reasons. Shrine paintings is a representative of cultural identity of a community and it has been based on beliefs and narrations which have been common in the culture of that community. Shiism beliefs and narrations especially the Battle of Karbala are the subjects of these paintings. Similarity aspect of subjects and illustration methods of these paintings and coffee house painting have not been far off from the eyes of researchers, but Under-glass painting is one of the traditional arts in Iran which nowadays it’s getting less attention than before. It is worth to noted that under-glass religious painting has a lot of subjects and illustrations which is comparable with Guilan’s holy shrines paintings and Coffee house painting. Common text between these paintings are not only common subjects but also they consist of figurative and pictorial resemblances.On this basis, this question can be asked that how much these two kinds of arts affect each other and how much they accept changes from each other. These two paintings were almost popular and widely useful in the same period of time, based on the fact that these two paintings are subsets of religious arts. Wall paintings of Guilan's holy shrines are important because of the matter of recognition of the art of painting in Gulian and its origins. In previous years, journals، thesis and books have been written about these paintings and shrines, but the empty space of research and analysis in this field can be felt because of abundant numbers of painted shrines and paintings.Also Under-glass paintings have a historical record similar to Shrines paintings and it is a valuable part of Iran art which has not been getting enough attention in the past years, therefore study and research of this matter is necessary. One of the theoretical aspects of analysis and applied study which has been based on comparison and adaptation is, intertextuality. Hypertextuality analyses the relation between two artistic and literary texts, similar to intertextuality, this relation in hypertextuality in contrast to Intertextuality is not based on co-existence, but it's based on getting inspired and acquiring and taking. In other word in Hypertextuality, the impact of one text on another one is being analysed and not the existence of it. Of course we can say that there is always an impact in any existence and also there is always an existence in any impact. In this research, a comparative study has been conducted between six picture of Guilan's holy shrines and religious Under-glass paintings based on Gerard Genette's transtextuality with a hypertextual approach. The purpose of research, study and comparative analysis is the connection between represented forms in Guilan's holy shrines, Under-glass paintings and Hypertextual relations between these two. Guilan's wall paintings is important because of recognition of Guilan's art of painting and its origins. Gerard Genette’s transtextual theory has been used in order to answer the question of “what are the differences and similarities between holy shrines paintings and under-glass paintings” and the emphasize is on the Equality among works. Method of research is descriptive and analytic. Methods of library collecting contents are taking fiche notes and reading texts of pictures.  Results of analysis is qualitative. The results show that there is Intertextual, transtextual and hypertextual relations between Eastern Guilan’s holy shrine paintings and Under-glass paintings, also there is a Equality relation between Guilan’s holy shrine paintings and Under-glass paintings.

The use of jewelry and ornaments has always been one of the most important manifestations of the glory and grandeur of kings and courtiers in the imperial governments of Iran. One of the imperial dynasties in which the use of jewelry had a special place was the Qajar dynasty. In this era, due to socio-political interactions, very magnificent and expensive jewelry was made and exchanged between governments. Thus, throughout the imperial history, vast treasures of jewelry have been collected, each of which is kept locally. Meanwhile, the national jewelry treasure is one of the most comprehensive collections of expensive jewelry in history. Geometric patterns used include circles, ellipses, rectangles, triangles and polygons. Common plant motifs also include three-feathered, four-feathered, five-feathered, eight-feathered flowers, leaves, roses, sunflowers, and so on. Animal motifs such as birds, lions and dragonflies can also be seen in a number of specimens. Shamseh is another pattern that has been used in the center of most samples. Other motifs include inscription motifs that were observed in a number of embossments. In the study of the visual features of the Qajar royal palaces, the mentioned treasure can be seen as a visual element of balance, symmetry, strength and stagnation. The structure of the jackets and the decorative motifs are coordinated so that the motifs are organized and decorated according to the general form of the specimens. The most important aspect in beautifying these pavilions is the use of expensive jewelry such as diamonds, emeralds, diamonds, rubies, as well as the use of gold and silver metals.