نشریه هنرهای صناعی ایران
سال چهارم شماره 2 (پیاپی 7، پاییز و زمستان 1400)

The Buyid period is culturally and artistically a turning point in the history of Iranian art. During this period, a variety of arts, including wood art, flourished considerably. Among the valuable wooden artifacts of this period, there are the wooden tablets of Imam Ali (AS) in the Cairo Arabic Museum and the Rabino Collection as well as the wooden door preserved in the National Museum of Iran No. 3292. According to the inscription in it, Abu Mansour Foulad Sotoun in Fars region was built between the years 440 and 448 AH by order of the last ruler of the Buyid. The various Kufic inscriptions in these works are comparable in terms of design and structure. The purpose of this study is to identify the features and decorative structure of the inscriptions of these works and compare them with each other. The present study aimed at discovering the characteristics of the decorative structure of Kufic inscriptions as well as the characteristics of the contents of the Kufic inscriptions of these works. The research also deals with the commonalities and differences among Kufic inscriptions of these works. The research method is descriptive-analytical and data collection included documentary and field libraries using comparative study. The results show that the general structure of the design of the inscriptions follows the same pattern. One of the common features of these works is the use of Shia themes, which is one of the characteristics of the art of the Buyid period. Also, the equal embossed pattern of the plant motifs with the inscriptions can be observed, so that the inscriptions look like flowery Kufic type at the first sight while the letters are not connected with the surrounding plant motifs. Another commonalities of these works is the simple Kufic script of the inscriptions which are remarkably similar in structure. By extracting the contents of the inscriptions, it seems that most of the letters are designed in a similar way. Except for some letters such as "ح", "ک", "ط", "ع" and "ی" which are designed differently but have the same basic structure. Another difference among these works is the greater variety in the design of the letters on the wooden door preserved in the National Museum of Iran than the tablets of Imam Ali (AS). In the inscriptions of this wooden door, two types of simple and flowery kufi have been used leading to wider variety in the design of the letters.

The motifs and patterns of Ilam rugs, like other cultural expressions, can be taken into account as the crucial and decisive factors. Obviously, historical, religious, cultural and natural components influence the formation of the art superstructure. A large number of ancient hills and historical monuments in Ilam are considered as sources of inspiration and ideas for rug motifs. The themes related to "Mihr"(Mitra) are abundant and can be traced in Iranian motifs. A lot of motifs and symbols are explicitly and implicitly associated with "Mihr". The present study attempts to investigate understanding and identifying the theme of "Mihr" in "Howz and Jamek" pattern and the motif of "birth" of Ilam rugs. Indeed, the purpose of this study is to scrutinize the theme of "Mihr" as one of the theoretical foundations of Ilam rug patterns. This research is qualitative and the findings are the result of library studies and field research. Interviews with Ilam native weavers were also carried out. The data analysis includes descriptive-analytical approach. On the one hand, myth critique paved the way to identify themes and on the other hand, to match the data with other representations in the cultural space of Ilam."Lachak" (headgear) and "Toranj" pattern with the local name "Howzi" had the greatest frequency among Ilam rug patterns. Meanwhile, the "Houz and Jamek" resulted from "houzi" pattern branches was selected as a study sample. The motif of "birth" in the margins of the "Lachak and Toranj" pattern was considered. The results showed that the theme of "Mihr" has formed the structure of "Howz and Jamek" patterns as well as the motif of "birth" of Ilam rug. Four types of analyses of the motif of "birth" were performed, all of which indicate the implicit presence of the theme of "Mihr". Despite the diversity of the four analysis dimensions; "birth" or "Woman giving birth", "Rural weaver girl", "The motif of Doskumi or Dostkami" and "Manifestation of a three-branch plant", "Mihr" is a repetition of an old pattern worthy of attention. Understanding the continuation of the life of myth in Ilam rug is one of the main results of this study. Metamorphosis has taken place in myth, but belief in the concept of basis (blessing and procreation) persists among people. First, samples are selected from the old and original rugs of Ilam, then analyzes were carried out.

Traditional arts can be considered as the collection of original, indigenous and popular arts of each country, which have deep roots in the culture and civilization. One of the precious arts in Iran, which has been created according to the climate of each region, is weaving Giveh. Weaving Maliki Giveh is one of the traditional arts produced in Dehaghan, Isfahan province, and has high quality. Unfortunately, the lack of attention to this art due to the ignorance of industrial products has declined the production as well as use of this traditional footwear among people. Therefore, enormous efforts should be made to preserve the aforesaid ancient heritage. Accordingly, the present study aimed at doing in-depth analysis of weaving Giveh in Dehaghan, considering the crucial factors, and proposing appropriate strategies and solutions for development, continuity and having better future of this art. Also, the study seeks to find out the ways to persuade people to learn and produce the above-mentioned art.This ethnographic research has been compiled using a futuristic approach including descriptive-analytical method. The data analysis was done through library documents. To this end, 20 artists and experts were interviewed by the field and documentary-based method. Accordingly, the qualitative data were also analyzed by deductive method. The finding revealed that four scenarios of Darna hope, Simorgh, IQ son and Little Prince were presented based on six key driving factors. In the scenario of Darna hope, which showed the unfavorable situation, the lack of awareness of this art and the scarcity of students has led to the isolation of this art and the basic problems in production. Therefore, national media, educational, cultural and economic institutions can play an effective role in raising awareness and creating a culture of this art. In the Little Prince scenario, which showed a more favorable situation, the family can be observed as a key factor in institutionalizing this art, strengthening cultural beliefs and the spirit of self-confidence at all ages. The realization of these factors attracts students and causes the continuation and development of this art and a favorable future can be expected for aforesaid art.

"Jol" (manta) is a covering and ornamental fabric for horses in tribal and nomadic communities. This hand-woven fabric has always been produced with the desired quality among the tribes and nomads because of the importance of the role of the horse as a guide and human companion. Due to the phenomenon of nomadic settlement, the production of Jol fell and caused a stagnation of weaving, leading to the loss of one of the evidences of the indigenous cultural identity of the nomadic community and neglecting the knowledge domain of nomadic hand-woven fabrics. This study was conducted with the aim of pathological analysis of the settlement phenomenon in the stagnation of Jol weaving of Qashqai nomads. Preserving the legacy of knowledge of the above-mentioned hand-woven fabric has considerable importance in manifesting the identity of nomadic tribal life. In the present study, the environmental factors resulting from the settlement leading to the stagnation of Jol production as well as the most important factor in reducing and stagnation of Jol were investigated. Data collection has been in the form of library and field and also the research method has been descriptive-analytical. In the first step, the relevant factors were identified using free conversation and interviews and surveys of technical experts. In the second step, the obtained components were compiled in the form of a questionnaire. Then the research questions were answered by distributing the questionnaire and obtaining primary data which was in line with the research objectives. The statistical population included 129 carpet producers and weavers of Qashqai tribes in Fars province. Results showed that the reduction of Jol weaving is directly related to the reduction of its use. Moreover, technology among thirteen identified factors played the most important role in reduction of Jol weaving. Indeed, technology is now preferred as replacement for horse.

Islamic art inherits the ancient tradition of illustration and motif, which was developed under the religious teachings of Islam. The desire for happiness and blessing in the form of written expressions and word repetition observed on the pottery surfaces of the Islamic period, is part of this legacy. The study of Elamite inscriptions as one of the oldest civilizations in the world, shows that the concept of blessing and abundance is one of the important themes of these writings, which is especially illustrated in scenes dedicated to Elamite works. In Elamite art and on Islamic pottery, inscription is associated with the concept of blessing and benevolence, which are placed next to pictorial symbols. In the pottery of the Islamic period, the text is decorated with an abstract plant symbol. The concept of blessing and fertility can be considered as one of the main aspects of human thought. Blessing and fertility is directly linked with human life. Thus, it can be represented as text and image on artwork. The present study seeks to discover how the concept of blessing and fertility appeared in ancient Iranian art, particularly in the Elamite civilization, and how this concept is represented in the pottery of the Islamic period. The purpose of the research is to explain the philosophical concept of blessing in Iranian art and to identify symbolic characters on Iranian-Islamic pottery. This research aimed at comparing the methods of expressing blessing in the oldest Iranian arts with symbolic examples in the pottery art of the Middle Ages of the Islamic period. The type of research is fundamental with respect to the purpose of the study. The research method was descriptive - analytical and data collecting is via library study by taking notes and image. The data analysis is qualitative. The findings indicated that concept of blessing emerged not only in written texts and inscriptions on seals and containers, but also in the form of animal visual symbols such as birds, fish, plant symbols such as the tree of life, and abstract symbols such as zigzag lines, circles and spirals, stars, and divine symbol. Written inscriptions revealed the concept of blessing, felicity and prosperity in the form of prayer decorated the Islamic pottery in Middle Ages. The same pictorial signs symbolizing blessing in Elamite art are also depicted on pottery next to the word blessing.The concept of blessing and fertility is one of the main aspects of human thinking. Blessing and fertility is linked with human life. Thus, it can be represented as text and image on works of art. This study seeks to answer the question. What is blessing and fertility symbol in ancient Iranian art, especially in the Elamite civilization and aspects of this concept in Islamic pottery. The main hypothesis is the emergence of the concept of blessing and fertility symbol for inscription, As well as icons in Elamite art and culture, its continuity in the Islamic pottery especially the works of Nishapur . The reserch method was descriptive - analytical and data collecting is via library study by taking notes and image. Thte analysis of data is qualitative. Based on research findings, blessing have appeared In the Elamite writing of art on stamps and with animal symbols such as bird, fish and plant motifs, the tree of life, and abstract symbols, such as zigzag lines, circles and spirals, stars and divine symbol. Written inscriptions with concept of blessing, good luck and prosperity for prayer,decorated the Islamic pottery.

Safavid era is considered as one of the most influential periods of history in Iran. There exists plenty of written works about understanding the social, cultural and artistic changes. The theoretical knowledge of Iran carpet in historical periods needs to consider the historical documents. In this regard, travelogues written in Safavid period can shed further light on the information available about Iran carpet. The present study attempted to focus mainly on above-mentioned information about Iran carpet in the travelogues. The main purpose of the research is to identify the attitude of the western tourists as well as subjects of hand woven carpet reflected in travelogues in Safavid period. Specifically, this study examined why the information about Iran carpets in Safavid period should exist in travelogues and how the other related subjects were presented in that period. Indeed, the aim of study focuses on the variety and the geographical position of weaving, the applications, materials and dimensions of the carpets. The research method is historical-descriptive and the data analysis method is qualitative. The data were gathered through library studies and the statistical sample consisting 24 travelogues. It is noteworthy that the present study focused on 21 travelogues texts in which carpet subjects were scrutinized. The results indicated that carpet had various applications in this period and plenty of information can be attained by the text of these travelogues. However, the results revealed that despite the fact that the technical information such as the raw materials, weaving style, applications and geographical position of carpet weaving have been reflected in the travelogues and the western authors have frequently mentioned Iran carpet in their notes, no instance of the artistic aspects such as design, pattern, color and even the aesthetic properties can be tracked.

Morphology phenomenon can be regarded as one of dominant topics in identifying and studying of Iranian pottery. Accordingly, some Iranian earthenware products including pots for victuals are considered as outstanding artworks. The works studied in the present research include from first millennium B.C to 11th century AH. Some samples of antiquities in this research reveal that these pots can be taken into account as ancient pottery products. The pots for victuals can also be considered as ones used in the court because they were commonly used in the palaces of Seljukian rulers (Sultan). The geographical scope of the above-mentioned pots production included Iran, Turkey, Syria, and Egypt. However, Iran in Islamic period had the most existing works. The research method used in this study has been descriptive-analytical. Moreover, the data collection method is in the form of library and field research. The results show that techniques of making earthenware pots for victuals seem distinctly different from techniques utilized for other pottery. These pots were made with molded style in both single and double glazed types.The outward appearance of these earthenware is in the form of a pot with a number of identical hollows which set side by side in a concentrated and symmetrical composition. These hollows are often seven and circular. Apparently, food was placed inside the hollows. This type of works, in Persian texts, are often introduced as "Zorouf maakulat" (pots for victuals) or "Zorouf Haft Sin", while, in western texts, they were represented as "Zorouf Shirinikhori" (Sweet-dish). The variety of attitudes and opinions about aforementioned pots sounds evident. Sometimes, the opinions are seemingly accurate. In the present study, topic of pots for victuals were used for this artwork. Indeed, this topic contains a comprehensive concept of mentioned names in various sources and also in line with the main use of these pots

One of the manifestations of artistic activities is the production of textiles and related accessories such as clothing and decorative fabrics and functional necessities, which have changed during different periods including Qajar. Throughout this period, vast number of arts, including textile design, has been influenced by many factors such as political and social developments. Accordingly, it seems necessary to mention that discourse approaches have transformed a lot of social structures of power. The discourse analysis approach considers the tools and functions of the power network as a method which influences the structural form of the social system using defined mechanisms. Furthermore, it enables the discovery of meaning and understanding of actions that are systematically unknown for many people. The present study seeks to find out which effects the structure of the ruling power in Qajar period had on the textiles. This research is qualitative (descriptive-analytical) and the theoretical framework of the research is based on the discourse analysis approach. In the current study, 12 samples of fabrics in museums were examined by discourse analysis method using observation tools and a purposeful sampling method. It is noteworthy that the ruling power had the most significant effect on color, material, and texture. This study examined the fabrics of Qajar period by representing these effects. Findings indicated that the military, political and social formation of the rulers of Qajar period was effective on the textiles production in this period and the system of textile production and consumption had undergone special changes following the effects of the discourse of the ruling power of the society.

The diversity of Girih tiles has led to their wide usage in architecture. Khansar and Golpayegan are located on the margin of Dasht-e Kavir with religious, residential, and service buildings. Girih tiles play a crucial role in architecture of above-mentioned cities. The purpose of this study is to recognize and understand the typology of the technical and artistic characteristics of Girih tiles in the buildings of Khansar and Golpayegan. The present study seeks to discover the different Girih tile techniques used in the religious and non-religious building of Khansar and Golpayegan. This research also deals with the different typology patterns and form of Girih tiles in aforementioned buildings. The research method is descriptive-analytical and the sampling method is targeted convenience. The data collection was in the library and field study forms. The results show that Girih tiles were used in sash windows, normal windows, main doors, openings, tombstones, Minbars, and Zarihs in religious buildings of Khansar and Golpayegan, while they were utilized the windows, openings, and sash windows in non-religious buildings. The Girih tiles of religious buildings have a wider application. "Hollow Linework" was the most common technique. The linework and glass were mostly used for creating sash windows and slating, while the linework and different textured Girihs were used more in religious buildings than non-religious ones for creating entrances. Different geometric Girihs can be observed in religious and non-religious buildings of these cities, but the religious buildings have more diversity. Four, six, eight, ten, and twelve Girihs are regarded as the most common and the four based Girihs have the widest application.

Bushrouyeh is one of the rug weaving areas in South Khorasan province. The people of this area have been engaged with weaving carpets using their own style for nearly a century. In recent decades, however, the weaving of these types of rugs has also been neglected due to various factors such as the change in the lifestyle of the local people, the prevalence of using machine-made carpets and the prevalence of weaving rugs with Naeen style. On the other hand, Bushrouyeh rug has always been marketed under the name of Ferdows carpet (neighboring city of Bushrouyeh), which has made these handwoven rugs unknown. Therefore, it is essential to study the characteristics of Bushrouyeh rugs with the aim of recognizing and introducing them. The purpose of this research is to study and identify Bushrouyeh rug in terms of historical background, design and motif, color and technical characteristics. The current study is a type of fundamental research and its method is descriptive-analytical based on field studies. The scope of the research included the city of Bushrouyeh. Moreover, statistical population consisted of genuine Bushrouyeh carpets as well as people who were active in the field of weaving and supply of Bushrouyeh carpets (weavers, producers, dealers and local intermediaries). The results of this study show that the traditional rugs of Bushrouyeh are rustic style rugs woven narrow and long. Usually, all the stages of production, including the preparation of raw materials and tools, dyeing and warp winding, and also weaving process, are done by the weaver. Due to the fact that carpet weaving is not very old in Bushrouyeh and has become popular in the region since around 1310 AD with the recession of Barak weaving (Barak bafi), the design and pattern of carpets, like Turkmen and Arabic designs, have been adapted and brought from other weaving regions. All kinds of Toranji, Turkmen, Arabic designs and designs known as Eresk can be mentioned among the common designs in the region. Meanwhile, Toranji designs are more abundant than the other ones.

Safi al-Din Abu al-Fatah Ishaq, nicknamed "Shams al-Din" and known as "Sheikh Safi", is a mystic and poet of the seventh century AH. He is one of the famous mystics of Al-Jaito and Abu Saeed Ilkhani eras. He was born in 650 AH in a village called Kalkhoran (Kahrlan) near Ardabil. During his life, he was accompanied by great and knowledgeable people of that time, including Maulana Jalaluddin Rumi, Saadi Shirazi and others. After his death, the tomb of Sheikh Safi al-Din Ardabili was established by order of his son. A beautiful and precious box was also made by his order. This box is located under the dome of Allah (God) and in the mausoleum of Sheikh Safi al-Din, where it was his home and monastery. The engraving used on the box seems very attractive because of type of ornament using different techniques. The present study attempts to decipher geometric knots on the box with a different perspective. The purpose of this research is the structural analysis of geometric knots and the expression of transfer methods as well as the introduction of this type of knots and patterns to those interested in this type of art work. This research seeks to discover what salient features of the geometric knots used on this box. Furthermore, the current study deals with how these knots are drawn and what kind of drawing method they followed. The data of this research have been in the form of library-field (box photography). It is noteworthy that the analysis of the work has been done manually and software (Corel and Photoshop). The research method is descriptive-analytical, which is a qualitative and technical analysis. The results of this study show that the main knot of "Dah tond"(ten sharp) on this box has been implemented in a rotating manner and has been multiplied by a quarter. The method of being rotating and also the type of reproduction caused a series of other instruments such as termites (dolls), pubs, crackers, seeds (rhombuses), six loose, eight suns, six bands, etc., depending on the type of space as well as the design, is added to this knot in the final composition .

Pottery is a cultural and artistic phenomenon and its role as a symbolic as well as allegorical expression has been a means of conveying ideas and beliefs. The bird is one of the creatures whose motif has been drawn by human because of the close and constant presence in human life and proximity of its habitats to human dwelling. This research aimed at reviewing the motifs of ancient birds as well as birds of the Islamic period in Iran. Indeed, the present study seeks to discover which ideas, beliefs and themes emerged in ancient times as well as in the Islamic period, and also scrutinizes whether these themes were same in these periods. Moreover, the research attempts to find out the commonalities and differences in the design of the form, symbolism, and message transmission of bird motifs in these periods. This research is descriptive-analytical and the required data has been collected in a library method. The results show that the use of bird motifs in ancient pottery was not only symbolic but also a reflection of spiritual beliefs and seeking help from the bird's natural power in nature. However, motifs of birds in Islamic period show the symbolism of these motifs. Although the artist in ancient times made the designs seem natural, motifs seem very abstract; meanwhile, the opposite can be observed in Islamic motifs. In addition to the mentioned contradictions, commonalities can be seen among these pottery. For instance, these pottery were at the heart of people daily lives in both periods.