نشریه رهپویه هنرهای صناعی
پیاپی 2 (زمستان 1400)

Certainly, the Safavid period is one of the most well-known and prosperous periods of textile weaving in Iran. During this period, all kinds of silk, velvet, gold and other types of fabrics were woven to order by the court. The city of Yazd at the end of the tenth century AH, was one of the most important centers of textile weaving and Khajeh Ghyath Ad-din Ali Naqshband Yazdi, the founder of the Yazd textile school, was one of the prominent artists of the court and a favorite of Shah Abbas. This article aims to introduce the most well-known Design adaptations and patterns of fabrics of Ghyath fabrics in the Safavid period, to introduce the types of designs and roles of Ghyath fabrics. For this purpose, information was collected based on the basic-theoretical purpose and descriptive, analytical and library and observational methods. The results indicate that the designs and patterns of Ghyath fabrics are on the one hand adapted from Tabriz school painters such as Kamaluddin Behzad, Sultan Mohammad and Mohammad Heravi and also Isfahan school painters such as Reza Abbasi and his followers and on the other hand inspired by the decorative patterns of fabrics. Past eras and some Chinese art and calligraphy have been created; Meanwhile, Ghyath has been able to create unique and special methods of Yazd school by using the carpet designs of Tabriz, Zilou of Yazd, plant and animal designs specific to the nature and climate of Yazd, as well as innovative and personal methods in textile design.

Since the clothing of women in each country reflects the civilization and culture of that society and the review of literary works both past and present acknowladges this purpose of this study is to obtain how information on the nature, type and design of women's clothing in The seven military figures and paintings of the Herat school are from the Timurid period. Existence of rich Iranian culture and review of sources of Persian literature to produce clothing that is more in line with the culture of this region. Therefore, the technic of the present reading is descriptive-comparative and with an aesthetic approach and examines the study samples and drawings of seven military figures and paintings of the Herat school of the Timurid period. In general, the results obtained from the adaptation of women's clothing in the study of military poetry, especially the seven figures and paintings of the Herat school of the Timurid period, state that; In military poems, the emphasis is on formal beauty, so that aesthetics used in words, phrases and themes, makes the eyes of any tasteful admirer. Attention to the beauty aspect, both in clothing and appearance, and according to the main components of women's tunics, which include clothing (type, design or shape, material, role, ornaments), jewelry, makeup, is as follows: Headgear, which include: headband (multi-layered), hat (crown, half-crown), mask, mask, scarf, tent. T-shirts or tunics, which include: undergarments (shirts), shirt covers, robes, robes. Footwear or leggings, which are: pants, socks, shoes, which are another result of research.

The Fatimids dynasty was Ismaili Shiite who related themselves to Prophet Muhammad (PBUH). The Fatimids Caliphate originated in Tunisia and ended in Egypt. The history of this period cannot be ignored in the formation of art industries such as glassware art. The aim of the present study is to identify some animal species and the function of these motifs in the Fatimids Glassware. Therefore, the present study seeks to answer two questions. A. What are the animal species used in Fatimids glassware decoration? B: What is the function of animal motifs on the glassware of this period? This study has been conducted in a historical method with a descriptive-analytical approach and with reference to library resources. The results show that the animal species performed on the Fatimid glass include birds, aquatic animals, quadruped and mythical creatures that have been performed on the works due to not only their aesthetic aspect but also their symbolic aspect. These motifs are associated with special meanings and concepts rooted in the cultural beliefs of this period, which is manifested in animal motifs and is also reminiscent of the goddesses and family symbol of the Fatimids. The motifs are often seen in a consecutive trajectory around the works, sometimes the animal motifs are performed alone or in combination with calligraphy, geometric and plant motifs by engraving, molding and coloring.

The Ahwaz Mandaean people in Khuzestan province are one of the religious minorities in Iran and they are monotheistic. Their job is goldsmith and Niello work and the Niello art is their ancestral industry and occupation. The religious system of this nation is a closed system with no propaganda feature. It should be noted that there is a relationship between the art of this nation and their beliefs and therefore the importance of nation culture and art and the significance of studying these two cases in the social sphere has made this research necessary.The purpose of this study is to identify the indigenous culture and national beliefs of the Sabeine Mandae people and introduce of their Niello art and identify the decorative motifs of the Niello art and relationship between these decorative motifs and Sabeine nation culture. Therefore, the research questions are these: 1- What are the cultural characteristics of the Ahwaz Mandaean nation? 2- What are the decorative motifs of the Ahwaz Mandaean Niello art? 3. What is the relationship between the decorative motifs of Mandaean Niello art and their indigenous culture? In this research library information and field data were analyzed using a descriptive-analytical and comparative approach. The results show that there is a direct relationship between Mandaean Niello art and their indigenous culture and the subject of migration and biogeography (along with running water and desert environment) is one of the most important decorative motifs of their art.

The work of the craftsmen of the Islamic era, which are considered to be the original works of Islamic art today, have been mentioned in earlier sources from two different perspectives; One is concerned with their practical aspect in the life of the general public and the other with the prestige of their ornamental and luxurious aspect in the treasures of the rich people. These dual interpretations in the writings of some former authors of the Islamic world have become the basis for the classification of handicrafts into two essential and luxurious groups. The purpose of this article is to approach to the perception of the former peoples of the Islamic world of the craftswork by searching for these objects and their related crafts in historical texts. The result shows that the objects that are known today as works of crafts belong to the second group; But this artistic dignity does not come from today's point of view, but they have been respected by their original creators and owners beyond their practical aspects and have been appreciated and maintained in the place of exquisite masterpieces. On the other hand, everyday objects have their own status and have never been far from the focus of Islamic authors.

The purpose of this study is to identify the essential skills and infrastructure of sustainable education in higher education in the field of industry by conforming to the education model for sustainable development. Education for sustainable development (ESD), is known as a tool for institutionalizing and promoting sustainable development in societies, and a historical study of three decades of sustainable development discourse shows that handicrafts have been introduced to the world as one of the ways to achieve sustainable development. The study is an applied type and research method, descriptive analysis and library and documentary information, collection method and is done by re-reading the three areas of knowledge, attitude and ability of handicrafts and adapting it to existing patterns and examples. Findings include three sets of knowledge, ability and attitude skills. Knowledge skills include reading and analyzing texts of existing handicraft educational content with a sustainability approach and generalizing it to related challenges in three dimensions of sustainability, competence skills including the ability to think systemically, interdisciplinary collaboration, critical thinking and creativity in three dimensions of sustainability in handicrafts As well as the ability to change attitudes and beliefs about the superiority of common artistic, social and cultural discourses in the field of handicrafts and the aristocracy of sustainability over them, are basic and essential skills of education for sustainable development. As a result, utilizing training skills for sustainable development in handicraft higher education will not only affect the economic development of handicrafts and preserve existing resources and ssocial and cultural capital for future generations, but also to identify components of education. Sustainability is also essential in handicrafts and will be useful as a relevant and up-to-date model in reviewing handicraft education.

This article follows the discourse systems represented in the iconography of the Qajar period Pen- Boxes, This article follows the discourse systems represented in the iconography of Qajar period pens, which follow the function of awarding a position. Therefore, relying on Fairclough's three-dimensional approach to critical discourse analysis, he has recognized the concepts of discourse and power as an arena for reconfiguring the function of the pen- Box, not as an artistic object but as a tool for assigning a position. And it tries to answer the question: What are the discourse systems in the iconography of Pen- Boxes. This research is based on assumptions. According to Fairclough, discourse also includes visual text. Accordingly, discourse as social action is manifested in three levels: text analysis, discourse, and critical discourse. The findings of the research show that the artist consciously created a discourse to legitimize the Qajar government by combining the discourses of tradition and modernity, breaking the rules of time, and combining metaphorical elements in terms of the use of positions and common themes. Defining metaphors by pencil illustrators, by displaying history and events based on the discourse of their class, somehow create their desired meaning and then create different and newer metaphors according to the function of ideology, culture and history. . In this way, they legitimize their discourse and de-legitimize the rival discourse, and this is the process of convincing the audience. According to the research findings, painters and iconographers confiscate metaphors in their favor and even depict icons in order to replace the metaphorical function of the pen to give a position instead of a pen maintenance tool. As the article showed, pens were a dual-purpose tool for maintaining writing tools and giving positions in the Qajar period. The undercoat painting of the pens is like text and consists of multiple layers. In answer to the question: What are the discourse systems in the iconography of pens? It should be said that the systems of these motifs are in line with the dominant discourses of the Qajar period, the discourse of archeology and nationalism, the religious in the Qajar period. The metaphorical encounter with the "other" is clearly seen in many works of the Qajar period, including tiles and pens. Putting together several pictorial texts, including Heaven and Hell and images of war, evokes the Qajar kings' concern about political relations with other countries, as well as the sense of fear and threat posed by Russia's recent invasion of Iranian territory.In addition to being a tool for writing, pens had a metaphorical function for giving verdicts to individuals in the Qajar period. Iconography of pens as a medium by using metaphorical images and related mental concepts, create the audience's mental belief. In order for the discourse of power to gain more legitimacy, the discourse of power of the Qajar kings uses the metaphors of the rival discourse from the iconography of the battlefields with the enemies and rivals of Iran in the Qajar period.

As a renowned historical figure for Iranians, Jamshid is noted for his celestial and terrestrial aspects in the Persian classic literature. Choosing to be an instructor to provide humans with welfare and prosperity, he lost the “divine glory” or khvarenah (divine mystical force or power projected upon and aiding the appointed) as a result of ignoring his celestial aspect, yet remained well-known in the end. There have remained various scenes concerning the life of Jamshid in Persian miniature painting some of which deal with his teaching the required techniques to craftsmen. Painted shortly after each other during the Ilkhanid period, two of these works are now preserved at the Chester Beatty Library, Ireland. A study of these works would demonstrate how the challenges of dissociative identity disorder of a free, authorized character like Jamshid have been reflected in the field of visual arts. Furthermore, we may ask about the commonest features in these works as well. The present research has been carried out in comparative-analytical methodology through library studies. The results reveal that the two miniature paintings enjoy the same subject and were illustrated in an iconographic style. The illustrators have intelligently attempted at reflecting reality in the works, thus a representation of real life’s objects has brought about a relative similarity in them. Incidentally, applying the visual arts’ principles as well as an organized composition by illustrators to convey the dissociative identity disorder has been in relation to the desired purpose.