نشریه پژوهش هنر
پیاپی 22 (پاییز و زمستان 1400)

Handicrafts are one of the arts that have a high potential to generate income and attract tourists. Some countries, such as China and India, have relied heavily on foreign exchange earnings, relying on the export capabilities of handicrafts. In Iran, too, liberation from an oil-dependent economy through non-oil production and exports such as handicrafts seems necessary. Enameling as a subset of handicrafts has many capabilities in exports due to the variety of products, the use of original Iranian designs and high resistance in different climatic conditions, low weight and appropriate packaging. The question posed in this article is what factors are effective in the export of enamel products and how are these factors prioritized? This research is a descriptive-survey type and data collection has been done by library and field methods. The purpose of this study is to identify and prioritize the factors affecting the export of enameling. The statistical methods used in this study were descriptive and inferential statistics (t-test of one population and Anova multi-population comparison test) and Kolmogorov-Smirnov test was used to determine the normality of the statistical population. Data were analyzed by SPSS and SMART-PLS software and Cronbach's alpha coefficient was used to calculate the reliability of the questionnaire. The results show that the components of quality, product design, price, export rules and regulations, managers' awareness of market opportunities and type of distribution channel, respectively, affect the export of enamel products and the advertising component has no significant effect on the export of enamel products. Also, the quality and design of the product has the highest rank and the advertisements have the lowest rank.

A scale is a measuring instrument that traditionally consists of one or two cups. Weights that are made based on weight units, both heavy and hot, were used to measure weight. Scales are one of the oldest measuring instruments. Qapani scales were very important in the Qajar period and were used in different sizes and scales for different applications. One of the arts of this period is to place the cap in lacquered boxes. Five boxes - Lacquer painted lacquer in the Qajar period at the Bonhams auction in England are the subject of this research. Studying and recognizing this box - painted scales based on scattered reports raises the following questions: What was the use of these scales with lacquered painted boxes? What are the designs of these boxes? The purpose of this study is to study and introduce this box - Qapan scales that have not been mentioned in domestic and foreign studies. The method of this research is descriptive-analytical and the method of collecting information is library. In search of an answer, it is determined: Weight and measurement in the box - Qapan in the form of a box is a branch of the science of measuring and weighing different objects, which is placed in a small size and in a box for ease of use, and for the beauty around Inside it is painted with various subjects. The quality of the images of these paintings with subjects such as Fath Ali Shah and his sons and the painting of the whole box shows that it was not for normal use and was for practical use in the court. The scale is a tool for weighing the mass of objects and based on two-balance. . Balance or scales were also widely used in the Qajar period. These scales were much more complex than ordinary and simple types. These scales had a lever, two cups and a hand and a number of weights. These scales have weights and are used for small objects. Its soles are brass and steel and have weights from 7 to 12 pieces. A study of the five Qapan boxes introduced at the Bonhams Auction in the United Kingdom shows that these boxes are engraved with a variety of themes, including the king and courtiers, the old man and the prince, Mary and Christ, and the theme of flowers, plants, and ornaments, and at the same time integrate with The visual features of Qajar painting are of the highest quality. On one of the boxes, gold paint has been used and one of the boxes has an inscription with Ferdowsi poems. Two weights of the scales are written by Hassan and Hashemi, and it is not clear whether the box has a name or not. At Bonhams auction, the quality of the box-caps is mentioned as high, courtly and very exquisite. The study of these boxes shows that these boxes were practical and were portable for weighing with weights in different scales.

If we consider the formation of a national government under the banner of Shiism as the most important achievement of the Safavids during 254 years, then it is not wrong to consider "artistic individuality" and its follower, "artistic self-awareness" as the most amazing achievement of Isfahan school painters. Some art critics and historians, while examining the paintings of the Isfahan school, refer to the "artistic individuality" of these painters, which is an emphasis on their artistic self-awareness. This article, while describing the concept of "artistic self-awareness", also deals with its most important achievements, the most important of which are the acquisition and emergence of an independent identity of the artist. Other effects of self-awareness and artistic individuality of the painters of this period include promoting the works of the author and writing memoirs and autographs of painters of this period such as "Law of Images" and "Assembly of Properties". They pay. But what factors have contributed to the emergence of this artistic self-awareness? This article, while describing the concept of artistic self-awareness, examines the various factors that have contributed to the development of this phenomenon among painters of the Isfahan school. The findings of this study are aimed at examining the results of this self-awareness in some drawings of Isfahan school professors. Painters of this era, while experiencing and consolidating their artistic taste, were not unaware of art markets outside of Iran, such as India and the Ottoman Empire, and sold their works to them. The research method of this article is descriptive-analytical and the method of collecting information is library's.

The subject of captivity is the most common subject of textiles of Shah Tahmasb period in the middle of the tenth century AH. An examination of the reasons for the pattern of captivity on these textiles shows that there are important purposes behind the formation of this role. It is important to study this subject when significant examples of them have been identified and dated, if there has been little artistic background on this subject so far. This provides the necessary motivation for this research. This provides the necessary motivation for this research. Therefore, the question that arises is what was the main reason for the role of captivity in the textiles of Shah Tahmasb period? Studies to date have identified the most important reasons for the formation of this role as Shah Tahmasb's successive expeditions to Georgia and the attainment of large numbers of male, female, and child prisoners. However, considering the role of these subjects only on the textiles of this period and its lack of formation on any other artistic field, the need for more research is felt, which is carefully in the political and social history of Shah Tahmasb period and changing the approaches of art supporters. This can be achieved by looking at past issues for textile design and the need to demonstrate the power and spiritual influence that prevails in the region. Among all the events of the period, the internal disputes of the Ghezelbash, the repentance of Shah Tahmasb and the rivalry with the Ottomans in the war against the infidels, along with religious restrictions in book illustration and also the practical role of textiles in managing one's inner feelings and the propaganda aspect of these textiles. Role-playing has been effective Among all the events of the period, the internal disputes of the Ghezelbash, the repentance of Shah Tahmasb and the rivalry with the Ottomans in the war against the infidels, along with religious restrictions in book illustration as well as the practical role of textiles in managing one's inner feelings and the propaganda aspect of these textiles. Role-playing has been effective. Thus, the present study with the approach of historical sociology to explain why and how this role is formed on the textiles of Shah Tahmasb period and the result of this discussion shows that a set of interrelated factors in this The period motivated the war with Georgia and the subsequent creation and production of these pictorial textiles.

Luster Pottery is one of the important arts of the Islamic era, which became popular in Iran at the same time as the first Islamic centuries and continued to exist until the end of the Qajar era. This art during the governments; The Seljuks, the Khwarezmshahs and the Ilkhanids in Iran have been the manifestation of such unique innovations that the glorious age is considered the history of this technique. The different ways of decorating Luster Pottery in these periods indicate the production of this type of pottery in pottery workshops in different centers and during different times. In the Glassaware and Ceramic Museum of Iran, there are ten pieces of Luster pottery belonging to the 6th and 7th centuries AH, which are uncertain about the time and center of their manufacture. Therefore, the chronology of these works can be determined by referring to the comparative study. Therefore, the aim of the current research is to clarify the time and place of making these pottery through a comparative study with the samples introduced in the sources and also the certified works on the website of the prestigious domestic and foreign museums, based on affinities such as The composition of motifs, decorations, shape, structure, form and body is stable. To answer the two main questions of this research, which are 1- The studied Luster pottery is made by which production center of Luster pottery? 2- At what point in time were these pottery made? The method of conducting this research is based on the descriptive-historical method, which is based on the direct observation and examination of museum works, along with library study and comparative study. The results of this research show that the city of Kashan was the place of production of these works and these vessels were made during the sixth and seventh centuries AH.

The tradition of designing frontispieces has been transferred from manuscripts to lithographic books, but with a big difference that in the frontispieces of lithographic books, symbols that have different meanings have been used, and these symbols have caused the frontispieces in this books in addition to being decorative, also have expressions. Therefore, the combination of art and politics in these frontispieces is the main difference between them and their predecessors in manuscripts, and this feature has necessitated the study of these frontispieces in the present article. As a result, the purpose of this study is 1- to identify frontispieces with political (royal) symbols. 2- Examining the form of the two symbols of “crown” and “lion and sun” in these frontispieces and 3- Explaining how the process of using these two symbols is related to contemporary political developments. The first part of the present study has been done by the method of content analysis of historical texts and the second part has been done by the descriptive-analytical method. The results of studies show that the combination of art and politics in the frontispieces of lithographic books has been done through the use of government symbols, and among the symbols used in the titles, the two symbols “lion and sun” and “crown” have been used the most and the symbol of the “crown” has been used much more than the symbol of the “lion and sun” in the frontispieces, and the evolution of the use of these symbols shows that the further we go on the timeline, the less the symbol of the “lion and sun” and the more the symbol of the “crown” has been used and this is parallel to the political developments of the society in which we are gradually approaching the time of signing the constitutional law (1324 AH). As a result, the extensive use of the “crown” as a royal symbol in these frontispieces can be considered as an attempt to maintain the monarchy and legitimize the government and protect the position and throne, which has become more unreliable with the intensification of the constitutional revolution.