نشریه فردوس هنر
پیاپی 6 (پاییز 1400)

In Islamic lands, especially Iran, tombs are recognized as a feature of religion; Which can be studied from different aspects of architecture, historical, artistic and religious development. With the coming to power of the Safavid government in 906 AH and the introduction of the Shiite religion as the official religion of Iran, the construction and reconstruction of monuments to the Imams and their companions flourished. The tomb of Rabi 'Ibn al-Khathim was built in Mashhad during the Safavid dynasty on the recommendation of Sheikh Baha'i and by order of Shah Abbas. He was one of the companions of Imam Ali (PBUH) who went to Khorasan and is known as Khajeh Rabie in Iran. Other people buried in this tomb include Fath Ali Khan Qajar, Sheikh Kafi and Noorullah Mirzaei. The geographical location of the tomb of Khajeh Rabi and the location of this building in Khorasan, which was once the capital of the Timurids, in terms of architectural style and decorations, has a lot to do with the architectural works of that period and the construction of the tomb during the Safavid rule, ‌ The work should not be without its effects without changes in the method of tiling and designs used in Safavid architecture. This method can be seen in parts of the building such as the plinth inside the tomb and the inner strip of the four porches of the main sides of the building, using seven-color tiles. The structure of the tomb is octagonal and its decorations include plaster-molding, painting, carving and also brick working. In the discussion of previous research and studies on the tomb of Khajeh Rabi, some research has been done from the architectural perspective: In the book of Khajeh Rabi, written by Seyyed Mohsen Hosseini, which was published in 2008 by the Astan Quds Research Foundation, a detailed biography And the life of Khajeh Rabi and an overview of his tomb from the perspective of architecture and construction of the building; And in this book, there are only brief references to tiling patterns and its formal features. Topics related to the architecture of the tomb, in a research conference entitled "Study of the architecture and decorations of the tomb of Khajeh Rabi", written by Neda Sargolzaei and Dr. Alireza Taheri in 1397 and presented at the National Conference on the National Role of Khorasan in Iranian-Islamic art and architecture, They only need a brief explanation about the tiling of the building. The present study intends to document these motifs through their location on all external edges of the building by deductive analysis of the form and variety of decorative motifs used in the tiling. The research method is analytical-descriptive and the data were gathered through library and field-based visit of the monument. The photos which have documented by the author are categorized based on the edges' direction and the differences and similarities between them presented through tables. It is evident that geometric, Islamic and inscription motifs have been used in most of the tiles on the exterior of the tomb and the inner plinth, but in one case the animal motif is seen. In tiling the outer shell of Khajeh Rabi's tomb, the methods of Moqali, Mosaic and Haftrang have been used depending on the type of role and its place in the overall composition of the building. Moqeli tile has a larger share of exterior decorations due to its fast execution as well as its resistance to environmental factors. Based on the position of the motifs and the tiling technique of each edge, it can be concluded that most of them in the Safavid era are somewhat close to the Timurid style. Among the motifs of Bannai script tiles which are located in back edges of the tomb, the similarity in pattern and color is very obvious while there are differences in "mosaic" and also the "tiling in seven colors". Do not repeat and do not follow a single pattern in the decorative patterns of mosaic tiles on each side. From the study and comparison of the obtained tiling patterns, it is clear that there is less difference in the back-to-back sides (north-south and east-west) and there are many similarities between them.

The study of illustrated manuscripts is an important of cultural and civilization research. Shahnama of Shah Tahmasp is one of the manuscript and masterpieces of Iranian and Persian paintings and one of the excellent and distinguished cultural and literary masterpieces of paintings art that presents a social, political, cultural and artistic structure of that period and time. The Shahnameh contains 258 images and miniatures that include the various and different scenes from the Shahnameh stories and adventures. Tahmasp's Shahnameh is one of the illustrated manuscript of the Safavid period and Shah Ismail and Shah Tahmasp period. Jamshid's court is the name of one of the paintings in this Shahnameh manuscript, and the quality of Jamshid's kingdom and its Function during his reign is illustrated in this painting. Since this king is one of the most important proponents of Iranian culture and civilization, so the importance of the subject has led to the study of "an Analysis of presentation of Culture and Civilization Concepts in Jamshid Court Paintings in Tahmasp's Shahnameh". It should be noted that in Firdausi's Shahnameh, Jamshid is mentioned as the most powerful and strong king of Pishdadi and he is son of Tahmours king. Also Jamshid king played an important and significant role in shaping and enhancing Iranian culture and civilization and this king is the first to build weapons and armaments such as armor and swords and also he has also been credited with techniques such as textiles, homebuilding, shipbuilding, medicine and precious and valuable stone mining from the mountains and the sea and metal mining. It should be added that Jamshid king tried to increase the level of health of the people and ordered them to take bath and to observe public and individual health. He has also built roads and developed Iran. In Firdausi's Shahnameh, the government of Jamshid is seven hundred years old and represents the golden age of all over the world. Therefore the purpose and goal of this study and research is to identify the quality of visual presentation of concepts and meaning of culture and civilization in Jamshid's king painting. Also in the present study this question is expressed: 1- How are the concepts and meaning of civilization and culture presented in the painting of Jamshid court in Tahmasp's Shahnameh? In order to answer this question library data and documentary information has been studied with a descriptive- analytical approach and this Research variables include the concepts of culture, civilization and presentation of these concepts in the painting of Jamshid king court in Tahmasp's Shahnameh and the results and consequences show that the concept of culture is more in the form of clothing of human elements and the basis of civilization and its general properties are presented in the most of this painting. In other words, it must be said that Jamshid king throne is placed in the center of the painting and he sits on the king's throne and this king has a magnificent and luxurious clothing and glorious crown. Also seen the images of two demons behind the king's throne of Jamshid king and they seem to be protecting the Jamshid king. It should also be mentioned that the pillars of king's throne are adorned with the motifs of giant elephants. All of the above cases emphasize emphasizes on the Leadership power, king's authority and political power and these are some of the general characteristics and basis of civilization. Also economics, economic power, and social wealth and abundance have also been portrayed as active craftsmen around the Jamshid king and a green space and garden. Inside and outside the palace and In other words the outer garden show an advanced civilization. The fourth basis of civilization is the most important subject of the painting and the fourth basis is the development of science and the development of arts by expanding various occupations and different crafts. Also it also can't be commented on Ethical and spiritual concepts. The ambiguous point in this picture is presenting a bowl full of drink to the Jamshid King. It has two meanings. In other words Jamshid king was a bacchanal and bibulous person and also these bowl drink and the variety dishes full of foods shows the abundance of blessings and very comfortable during the reign of Jamshid king. Also cannot be seen the images of the court women in the details of this painting. This subject has two meanings. Ethics and spirituality may have been preserved by the lack of Illustration of the court women. While reviewing Tahmasebi's Shahnameh paintings show that there is privacy and the motifs of women in other paintings of Shahnameh. Another reason for the lack of women motifs in the Shahnameh paintings is the Ineffective social role of women in the cultural and society space of Safavid period.

Bahman Jalali, a contemporary Iranian photographer, spent three decades of his artistic career on documenting people life in different cities of Iran, the Islamic Revolution, and the imposed war, and spent the last decade on reconstructing Qajar photographs and eventually producing photomontages and photo collages entitled "The Image of Imagination". "The Image of Imagination" is a completely different collection of other Bahman Jalali’s art works in which he has reproduced the remaining photographs from the Qajar period. Bahman jalali is one of the artists who have had a significant impact on Iranian photography especially after the Islamic Revolution. The efforts of him and his wife, Rana Javadi, have been a great step in the development of Iranian photography as well as its introduction to the world; The establishment of "Akaskhane Shahr Gallery" and "Aks nameh" magazine and the restoration of the negatives of the Qajar period and the publication of photographs in a book entitled Visible Treasure are among the important activities of Bahman Jalali in the development of Iranian photography. Bahman Jalali's acquaintance with Tamasha magazine and publishing his photos in this magazine, as well as participating in various group competitions and exhibitions, led to his introduction to the world of photography. In 1979, with the beginning of the popular protests against the Pahlavi government, Bahman Jalali, like other Iranian and foreign photographers, photographed these revolutionary scenes. The result of his efforts, which was done in collaboration with Rana Javadi, is the publication of the book Days of blood, Days of fire. After the revolution, he photographed the imposed war between Iran and Iraq, and a selection of photographs of the war was published in two books entitled: Khorramshahr and Abadan, which is fighting. After the end of the Iran-Iraq war, Bahman Jalali had the opportunity, in addition to documentary photography, and teaching photography in Iranian universities, to create a new transformation in the attitude of critics towards Iranian photography. He revived Iranian photography by establishing a Akaskhane Shahr Gallery, repairing glass negatives of the Qajar period in Golestan Palace, As well as the publication of the Aks nameh magazine, revived Iranian photography. During the printed the "Visible Treasure”, Jalali decided to create the collection of “The Image of Imaginations”. The collection of “the image of imagination" was a completely different work from all his photographs. The photos in this time were not taken by Bahman Jalali's camera, and appropriated by him. The collection of photomontages and photo collages of "Image of Imagination" includes collages such as combining Qajar period photographs with Pahlavi period photographs; combining Qajar women images with a photo from the painting gallery entitled "Red", as well as two other collections of combining women photographs with mirrors and combining the same photographs by flowers. The Genre change in the works of Bahaman Jalali is one of the topics that has considered by some critics and fan of this artist, both during his life time and after his death. Now there is a question, what are the values, social and cultural conditions cause to create such works by Bahman Jalali? Most artists create their works influence of cultural, social, political, etc. conditions in the society, and with each change in the conditions of the society, the style and the genre of the artist also changes. But achieving such an answer requires research by a particular approach or method. Considering the focus of the iconology on historical, social, political, artistic documents, etc., and comparing the changes of an icon during different periods, and according to the purpose set in this research, the writers have found the iconology approach as one of the most appropriate approaches, Among the approaches of art history. This approach is one of the few approaches in art history that focuses on the context of production to discover the form of works of art to explore history, culture, philosophy, art, myths, etc. The focus of the iconology approach is on the study of written and visual texts simultaneously with the work of art, it also studies the works from a political, cultural and social perspective according to the context of art production. For this reason, today, despite the shortcomings of this approach, it has been considered as one of the best methods of interpreting and finding the content of works of art by many art historians and philosopher of the last century. Aiming to focus as much as possible, collection of “Flowers” Has been selected of “imagine of imagination” collection in this article, use the flowers as an icon to find symbolic values of society, the time place situations that effect to create these art works. The method of researching used in this article, is descriptive - analytical. Similarly Data collected in based on library resources, archive files and file studies.

The graphic style of a game is one of the most important things in game development. The visual style of a game often plays an important role in the player's game experience, and this is one of the things that makes the game interesting and entertaining, and at first glance, draws the audience's attention to the game. In this study, researchers have studied the style of a number of games made influenced by ancient paintings and culture, and based on the pattern followed by these games, after examining the characteristics of the Qajar school of painting, the strengths and weaknesses They dealt with it in each of the styles.

This study was a descriptive-analytical method based on two previous successful experiences of game developers in using drawing to make games. These two games have been time and essence, mountain, secret.

The study shows that the use of Qajar school of painting in design in fantasy and abstract style, shows a more effective relationship between design and audience, but design in abstract and realistic style, with challenges and It will be more creative. The researchers further found that the game-making team in designing fantasy style is associated with fewer problems and challenges, and in this style, design will be associated with better quality.

Statement of Problem:

 One person can achieve many successes by entering the world of handicrafts with creativity and perseverance. Handicrafts always provide a part of the needs of the society and the society reciprocally supports this beauty and originality. In the same way, artists can present their products to the audience according to this need. Perseverance, patience and creativity among students and artists in the field of handicrafts and other related fields are the prerequisites for success. Time must pass before the artist and his works that express his mind can be trusted and loved in society. At the beginning of the path, artists who are just beginning to work in this field may have hesitated and regretted that they had entered this field. A person who has just entered the field of handicrafts, by upgrading the level of his ability and knowledge, can identify the needs of the people of the society and present the needs of his products to the audience accordingly. The field of Islamic art and its tendencies is taught as an independent field in universities, however, sometimes students enter the labor market in fields unrelated to their field of study after graduation. From the perspective of economic activists, handicrafts have the potential to be selected in the form of entrepreneurship and job creation as a source of income, and even as a non-oil export currency.

Choosing Islamic arts or crafts as a university discipline for students may have ambiguities and fears. Career future after graduation will be their most important concern. Perhaps even because of these fears, students have abandoned the path of handicrafts and are looking for administrative and government jobs that are not related to their interests. This study examines the activity of graduates in the field of arts and metal work, hoping that the collected materials will be useful for students and those who are eager to start their work in this field. So The purpose of this study is to investigate the working conditions of Islamic Art graduates (arts and metalwork), identify barriers and incentives for graduates to enter the market and identify strategies to improve their employment status in this field.

Research questions:

What are the working conditions of students after graduation? What are the job barriers and their stimuli in the market of Islamic arts and handicrafts? What branches of Islamic arts and handicrafts are most welcomed?

This research is of a developmental type in terms of applied purpose. In terms of nature and method, it is a descriptive-analytical research of survey type. In terms of how to collect information, this research is a survey. In addition to using library methods, field methods such as questionnaires have been used, where sampling has been done voluntarily. The statistical population of this study includes; 128 undergraduate and graduate students of Islamic Arts major in metal arts of Tabriz Islamic Art University. In this study, 42 students answered the questionnaire and the rest of the graduates did not show any desire to answer due to sending the questionnaire.

Entrepreneurship is widely recognized as a vital element of success in today's society due to its significant contribution to economic growth, job creation and technological advances. The importance of entrepreneurship and its key role in the development of societies, has caused most universities in developed and developing countries to consider its use and in this direction through the formulation of policies And scientific programs and applied strategies to develop and strengthen the culture, spirit and entrepreneurial behavior among members of society in general and students and academics in particular.In this research, the economic and entrepreneurial conditions of the graduates of a branch of Islamic art called art and metal industries have been analyzed. Undergraduate students of Islamic art (metal) with four years and graduates of master with two years of teaching experience can find acceptable experiences in this field. Graduates' career motivations and barriers can be divided into two groups. The first group is at the disposal of the artist, who can improve it and facilitate business conditions in this field. The second group is beyond the artist's control, and the market conditions and the economic situation of the society and the support of the government can restore and facilitate it.

problem statement :

Islamic illustrated manuscripts show us the most beautiful works of beautiful techniques and industries, engraving, gilding, decoration and painting.The oldest Islamic manuscripts, which have many pictures, are books that have been translated or written in medicine, science and mechanical technology, and the most famous of them is the book "AlHail AlJame 'Bine AlAlam wa AlAmal". Then there is the book "Ajaiebe Makhloght" of Qazvini. Some literary books have also been seen in which excessive attention and attention have been paid in this regard, especially in each of the two books "Kelileh and Demneh" and "Maghamate Hariri " in which forms have been drawn to clarify the text report and description. And have painted. This was done by Eastern Christian teachers and church men or some Muslims who were influenced by his technical style.Europeans have paid a lot of attention to the research and study of painting of the Islamic era and the buildings and structures of this period. The art of Islamic periods has been written and arranged in an orderly and clear historical manner. Arnold and his colleague, among others, have written a special book on the science of bibliography and its diagnosis.There is no doubt that in order to express an issue and describe it along with a measured and coherent text, it is necessary to use clear and beautiful images along with the text. Medical science and anatomy are no exception to this rule, and it may be necessary to include images related to the text to better convey the message.One of the scientific fields of which many versions are available is the field of medical science. The study of human anatomy is seen throughout the excellent history of Iran. For thousands of years, morphological descriptions have originated from this point in the world and formed the basis of modern anatomy.Iranian physicians have sometimes used themselves and sometimes some painters to draw images of human and animal organs for their understanding. The present study has been compiled with the aim of examining the illustrations in the illustrated manuscript of the "Zakhire Kharazmshahi" preserved in the National Library with the registration number. 814227Purpose of the article:Objective In this study, after presenting a brief history of illustration and medical science in Iran, we will identify, introduce and study this manuscript. In the illustration of medical manuscripts illustrated in Iran, the predominant subject is mostly the science of anatomy. Of course, illustration can be seen with other subjects such as medicinal plants, animals and veterinary, the relationship between teacher and student, various tools and methods of medicine and medicine, including phlebotomy or bloodletting and dentistry.Each of the six images in the version is presented separately with artistic descriptions along with an anatomical description. These six images include: Maternal and fetal circulatory system in the uterus Arterial circulatory system Muscular system Vein circulatory system Central nervous system Skeletal devices and bones Article question:This article tries to answer these questions: Who did the illustration of these colored statues? Did such illustrations express a special style such as illustrating literary versions? To what extent has the illustrator's skill and mastery in observing the principles and rules of illustration?

This research is descriptiveanalytical and is a method of collecting library information.

In design, it should not be the anatomy of the goal, but it should be a means to achieve the goal that is the design, and this is while in this treatise, the subject is completely opposite and the goal; More emphasis is placed on the discussion of anatomy and image medicine.Seyyed Ismail Jorjani's masterpiece is his "Zakhire Kharazmshahi" book. The first plan in compiling a reserve consists of 9 books or 9 sections, and after completing these 9 books, two more chapters are later added to their own compilation.After examining the pictures of the illustrated version of this book, it can be said that; In drawing some organs such as face, eyes, nose and lips, extreme care and skill have been used and it has definitely been the work of an artist and painter Dominate with design and illustration. But in other organs, such as the hands and feet, such precision has not been used, and sometimes to create volume in the limbs and the body around the body, evenly (like a strip) around the limbs has been drawing using paint.In any case, in the history of painting and in most illustrated versions, the illustrator and the author were not always the same, except in rare cases, the illustrator of the book was a nonauthor. Also, the illustrators of this medical manuscript were usually the authors of books and less painters.These drawings are due to differences in the style of illustration so It can be produced more than one.sometimes it seems a copy of the original version.Also, according to studies from various sources, the origin of these images maybe goes back to Hellenistic art.The results of the study indicate that the illustration in this book did not correspond to the style of literary versions. This research can be used for art and medical students