نشریه مطالعات میان رشته ای هنر و علوم انسانی
پیاپی 2 (تابستان 1401)

Celebrations are one of the most common ceremonies in the history of ancient Iran. By studying it and analysing it, we can understand the culture and how to deal with the problems of the people of our time. One of the important issues in the study of Iranian holidays is the study of the reasons for their persistence over time and why people wanted to hold this custom and adhere to it. Economics, as one of the most important concerns of the ancient man, is a subject which may be a reason to honor the Yalda night and commemorate the century. The purpose of this research is to study the impact of economics on Iranian celebrations by studying the Yalda and Sedeh celebrations. The question of this research is to what extent the issue of the economy and trying to survive in the farmer’s life had an effect of holding the Yalda night and the celebration of the century. The current research is applied by nature and data collection was done by the library method and analysis was done with the qualitative method and realistic approach. This research shows that the sun and fire were high-ranking among ancient Iranians and were sacred. The sun has the appearance of life and fertilizes plants and earth, and fire also destroys the cold and darkness which is the work of Satan. The sun and fire by their actions give prosperity to agriculture and help the survival of the farmer’s life. As a result, holding both festivals has a direct impact on the economy and the livelihood of the farmer.

Chaharbagh School, which is also called Sultani School, is the last magnificent historical monument of the Safavid era in Isfahan, which was built to teach students of religious sciences during the period of Shah Sultan Hossein, the last Safavid king, from 1116 to 1126 AH. Chahar Bagh School, which according to many researchers was both a school and a mosque, is located on the eastern side of the Chahar Bagh Street in an area of 8500 square meters. In contrast, Hikmat Masha was founded by Aristotle, of whom Ibn Sina is regarded as the most important representative in the context of Islamic philosophy. In this article, using the library method and qualitative analysis, the elements of the Chahar Bagh school related to Hikmat Masha will be examined and analyzed. The results of this research show that Chahar Bagh religious school is one of the most beautiful and magnificent buildings built during the Safavid era and was a place for teaching students and those interested in religious sciences. Since there have been many people eager to learn and challenge the schools of other nations in Iran, the wisdom of Masha has also been studied and developed by Iranian scientists and philosophers. The construction of this school is actually an allegory for man’s effort to restore life after death on earth and it is an effort to reach the ideal paradise in this world. Considering the importance of learning science in the Safavid era, it was common to build many science teaching places, and Chaharbagh School is one of the best places in terms of architecture and construction.

Today, the discussion of semiotics and dramatic aspects has become an important preoccupation of experts and theorists on the subjects of the performing arts. Considering that nowadays, the social aspect of this science has been taken into consideration, therefore this research tries to analyze the semiotics of the show “Drought and Lies” as a work that has had a good position both socially and culturally. . The aim of the semiotic analysis of this work is to examine the personality and spatial profiles, based on Germas’s action model and Peirce’s theory, in order to explain effective analytical strategies. The present research is descriptive-analytical and based on the theoretical evidence of the performance of the show, and the method of collecting information is in the form of a library, which finally, after examining the show Drought and Lies and its related items, extracted its semiotic aspect and It has corresponded with the definitions and patterns proposed in the discussion of semiotics and Garmas’s action model and Peirce’s theory and has reached a new definition of this correspondence.

Today’s generation of questions has shown a strong desire for new questions and seeks to find an answer to their questioning mind. One of these significant and influential issues is the topic of art and its place in human life. In this article, with a logical and scientific method, we decided to answer what art is and its types, and its place in human life according to the approach of Allameh Mohammad Taqi Mesbah Yazdi. At first, art was examined from the point of view of etymology, and then I discussed its lexical issues, which in the word is synonymous with art, skill, perfection, frost, etc. In the following, the opinion of Allameh Mohammad Taqi Mesbah is examined. Mesbah introduces humanity’s desirable art as a religion and considers it as a goal because it leads to human growth and perfection. He considers beauty to be the distinguishing feature of desirable art from other types of art and defines beauty as the understanding of an object or a work suitable to the soul that causes surprise and pleasure. He has considered a general meaning in art, which is almost synonymous with skill, and he introduces it as the act of doing it regularly and purposefully by the subject to the will and trying to achieve it with greater speed and perfection (or directed in the best possible way) completed; To make it spend less time and materials and get more results.

The art of painting in Iran has always been in an unbreakable link with the rich literature full of mystical and wise expressions, and painters have also tried to express meanings in the language of images. One of the most important sources of illustration for Iranian painters at various epochs is Khamse Nizami. In this article, the painting “The madman reaches the night camp” is analyzed and studied. The purpose of opening the levels of meanings in accordance with the formal feature of Majnoon’s work is to highlight the image, rules and possibilities that the mentioned image opens for future art. As a result, the narrative centers and composition of the painting are not completely coherent and meaning is created in between. Significant is a collection of lines and colors that creates aesthetic motivation within a person. According to Roland Barthes, “the painting has a story, to the point that the painting itself is a sort of poetry and painting for poetry”. Specialization and composition are characteristics that show the connection between the structure of the image and the effectiveness of the conditions of the Safavid era. Indeed, to examine the meaning that exists in the work, one must examine its immediate and implied meaning. Objective meaning is the expected meaning for an audience from things seen, cultural meaning is the meaning determined by the particular values of a society or culture. Consequently, there are links between the form and levels of significance of interpretation and assessment. Showing the compatibility of form and content creates a sense of unity in the audience, and its scrutiny allows us to evaluate the artwork.

Based on rituals, ancient religions have always taken their crops, including grapes, figs, pomegranates, olives, etc., to the temples so that they may receive God’s attention and favor. Among other things, the grape blessing ceremony was done in the vineyards in the past, and then a portion was attributed to the birds. In Iranian mythology, grapes were considered a symbol of human blood, which is the main source of life. The vineyard is also a symbol of wisdom in mythology. A vine branch is a symbol of the gods, agriculture, fertility, and a symbol of life and immortality. In the Mithraic religion, one of the motifs used is grape clusters. These symbols and patterns of grapes can appear in different forms. We also encounter one of these roles in the Hittite civilization. In a painting belonging to the Hittite civilization, the king’s gift of holy liquor to God is engraved. In Greek civilization, its purpose was to represent the god Dionysus with the symbol of grapes. In Greek mythology, grapes are a symbol of fertility. When we look at history, we can say that grapes are generally a symbol of abundance and wealth. For this reason, if you ask what is meant by a bunch of grapes, it can be said that it is generally used in places where there is a lot of wealth and abundance. There are many answers to the question, what does the symbol of the cluster of grapes mean? In this article, with a research-descriptive method, we will examine this symbol in different religions, and then, according to the evidence and documents found in the stucco paintings of Nayin Mosque, we will compare it with Al-Mashti Palace in Jordan. Therefore, this research tries to prove the hypothesis that concepts such as fertility, life, power, victory and the like are common in the motifs used in the architecture of the two buildings.

Since flowers and plants are essential in Iranian painting, during its historical process, it has been researched and studied with different approaches and methods. The purpose of this research is to study the development and completion of flower and chicken painting from the Safavid period to the Qajar period. During this research, it was found that flowers and birds are used in various fields such as tile painting, lacquer works such as mirror work, pencil drawing, jewelry boxes, and textiles. The research questions are: What is the beginning of flower and bird painting in Iran? How is this painting compared to the Safavid to Qajar period in ancient times? How has this painting changed from Safavid to the Qajar period? What was the basis of creating this painting in each period? What is the interpretation of flower and bird paintings in each period? Who are the famous Iranian flower and chicken painters? The research method is descriptive-analytical and the method of collecting information is the library. A lot of research has been done in the field of painting flowers and birds. In this article, the mentioned research has been used to comprehensively examine the painting of flowers and birds in different periods, artists, and their applications. Naturalism has its roots in the ancient beliefs of the Iranian people and has been seen as an essential element in the paintings. The flour art plate is an Iranian painting from Safavid times. During the Zandiyeh era, this method was continued in the form of decorative methods in architecture and practical products. This process continued during the Qajar period with the reopening of the court workshops and continued in the form of applied arts with specific compositions and colors until the end of the Qajar period.

Iranian carpets have always been the epitome of beauty and represent the beliefs of different peoples of this land. Among the various plant and animal designs, carpets with the speaking tree also have a special place in this art. The speaking tree and the waq waq tree are examples of legendary trees that have been included in Islamic culture and art. This role is in the heart of several other cultures and it is mentioned in the Quran. Sometimes the creation of these motifs is due to the imagination or reaching excellence in the artist. Sheikh Eshraq is one of the people who deal with imagination in the topics of epistemology and ontology, and he is considered the first theoretician of the ideal world in Islamic civilization. This article, after stating the background of the role of waq waq in cultures and carpets and presenting a description of the power of imagination and its function as the epistemology of imagination (connected imagination), deals with the relationship between the two. This research shows that the role of the speaking tree in the carpet can be analyzed in such a way that the shape of the tree, with its curved and symmetrical shape, shows a combination of symmetrical branches and the shape of animals arising from them. This role is the result of imaginary perception connected to the human soul and is a creative work. There have been traditions related to the waq tree. Therefore, according to the meaning that already existed for it and the combination that occurred between the role of the tree and the animals in it, it can be said that the imagination has given it a form through the abstract method of composition and refinement.

The first archaeological evidence of Iranian textiles dates back to the fifth millennium BC. In the Safavid period, Iranian textile weaving, like other branches of art, was influenced by the policies of the rulers of that period. One of the most important artistic characteristics of this period is the formation of art centers under the patronage of the court and the close connection between art disciplines, especially textile weaving and painting. In this research, using the comparative and analytical method, referring to the library and visual sources, the fabrics of the Safavid and Qajar periods are examined. Covering was one of the most basic human needs that the first humans, covered themselves with the leaves of plants, and little by little, in different eras, this type of cover improved in such a way that meeting its need became one of the most fundamental concerns of humans and governments and the type of cover, sex Fabrics, and motifs sometimes represented the social class of people and distinguished the rich from the poor. During the Safavid period, which had a stable government, and during the time of Shah Abbas II in Isfahan, a special way of weaving cloth was created in terms of the way of weaving and the use of motifs, and it caused the “golden age of weaving” of Iran to be registered. During the Qajar period, many traditions and customs of the Iranians in the Safavid era still existed. The motifs used in the fabrics of these two periods can be classified into the human, animal, plant, and geometric motifs. The results of this research show that the human figure was used more in the Safavid period, just like the geometric motifs in the Qajar period, sometimes they both use the figure of an angel, but sometimes Western figures adorn their fabrics. The fabric material is very similar in the two periods. Safavid silk textiles were world-famous; As the Qajar penman was unique.

Islamic architecture is one of the greatest manifestations of an artistic truth in the material body. Islamic architecture, as one of the largest branches of Islamic art, has been able to institutionalize a huge part of the characteristics of Islamic art in the context of time and during various periods. Historically, architecture is considered the first art that was able to adapt itself to Islamic concepts and was favored by Muslims. The architecture of mosques seeks inspiration from the concepts of the divine word to create a link between the material space and the spiritual environment. This research aims to investigate the factors affecting the transmission and reception of spiritual sense in two historical monuments, Agha Bezor Mosque of Kashan and Sultan Ahmad Mosque. This research shows that the factors affecting receiving a spiritual sense from these places (Agha Bozorg Mosque and Sultan Ahmad Mosque) depend on various factors such as physical characteristics, perceptual or identity, characteristics, emotional characteristics and behavioral characteristics (or dependence and affiliation) that cause It improves receiving the spiritual sense of the place. Also, the physical characteristics of the building depend on creating a connection and meaning with the creation of a person’s mental image and association. In addition, the function of formal elements and elements in the structure of mosques to create and enhance the spiritual sense of place in traditional mosques has a direct relationship with the identity, space and simultaneous function of the elements. Also, the spiritual role of human feeling and its infinite pull from the hard and soulless earth to the top is one of the influencing factors on receiving the spiritual sense.