نشریه مطالعات میان رشته ای هنر و علوم انسانی
پیاپی 3 (پاییز 1401)

The Iranian carpet is famous worldwide and its different examples are woven into all regions of Iran. Among the carpets of different ethnic groups in Iran, the carpets of Turkmen and Northern Khorasan have much in common. In some instances, braids are so similar that it is difficult to distinguish and recognize them as belonging to a particular ethnic group. This group of handwoven fabrics is always in the interest of art lovers due to their special features and unique beauty, which is the product of the authentic taste of Iranian women weavers. This research aims to identify the patterns, composition and colouring of Turkmen and Northern Khorasan rugs and to discover their similarities and differences. This research aims to answer the question of what are the differences and similarities between the Turkmen and the rugs of North Khorasan. The search method is descriptive-analytical, which is chosen using original sources in the form of a library and materials. Comparison of the samples shows that the carpets of these two ethnic groups have geometric patterns that are routinely repeated in the text and border. On this basis, the similarities of the samples are more than their differences, and the works investigated are based on the characteristics of Turkmen carpets. Based on the present research, it seems that in a particular historical period, the tribes of Khorasan were more influenced by the Turkmen carpets than before and created more similarities between the carpets of the tribes. Also, the most important difference between Turkmen carpets and Khorasan carpets is that, although the sample of Turkmen carpets is older and more authentic, the variety of motifs in terms of subject matter and composition methods of Khorasan carpets is much more than that Turkmen carpets.

The production of clothing had different shapes and pictures in different periods. The sewing workshop in Iran is over 150 years old. Today, workshops around the world are being modernized like other sectors and are trying to teach sewing in a new way with the help of modern technologies. One of the most important pieces of the sewing workshops is the design of clothing patterns. Dress design, like anything else, has changed a lot over time. With the advancement of technology, two-dimensional pattern making has changed to three-dimensional pattern making, and professional tailors and designers no longer use traditional and manual methods to prepare clothes for tasteful and difficult people. Today, with advances in technology and practical tools, the use of traditional methods has become inefficient and outdated because of their high cost and duration of use. In today’s world, the secret of the success of the first world countries in clothing production is the use of industrial methods and along with it, the correct use of modern tools, new methods of design and production management, one of these tools is the use of graphic and design software. Only creators can conceive well in the field of apparel and textiles. But unfortunately, they’re not yet in their place and they’re not being used well. One of those reasons is the lack of familiarity with modern technology in this sector, which can cause the lack of motivation of designers and they lack of justification from the job market. Perhaps by knowing how software works in the clothing industry, we can make meaningful changes. In this research, which is a descriptive method, an attempt has been made to identify the functions of the software, and in field research, the extent of their non-use is determined.

Nature is so valuable in Iranian culture that it has had a significant impact on all motifs of Iranian art since long ago and has even been used in early pottery and the walls of various buildings. The Iranian mystical view of nature as a symbol of the Garden of Paradise originates from the direct and indirect references that the Qur’an has to the tree and gardens of Paradise. The connection and interlacing of nature with the subject of the painting are so inseparable that it is as if these two get meaning together. The elements of nature, like other elements in the paintings, have a symbolic role and are not only depicted as telling the story, but as a source of inspiration, reminding the truth that is imprinted in the depths of the Herat School painter. Iranian painting is actually an image for the arrangement of books, which researchers have divided into different schools based on the days of history, the coming and going of a king, or the centrality of a city and district. The search method in this article is descriptive and analytical, and the library studies method has been used to gather information. The results of the research show that man’s profound and wide connection with nature and its results have determined his attitude and vision of the world. How the relationship with nature was formed and what the artist’s attitude is derived from is one of the issues that can be used to understand the meaningful role of some elements of nature in the paintings.

As societies evolve and modernize, museums have also shifted to technology. Nowadays, museums are no longer only displaying the historical works of the past, but they are trying to familiarize society with the current realities and while moving towards a more modern society and a more advanced future, they play a more effective role than in the past. Technology museums are a kind of modern museum and seek to show a view of the future, as well as objective experience. The main goals of this research are to investigate and classify traditional and modern museums and compare them from three physical, functional, and social dimensions, to analyze the effective indicators in modern museum architecture and to present in the form of a conceptual model and analyze the components extracted from the conceptual model in the design of the future museum of Dubai. It’s a new museum. The current research method is descriptive analytics, and information was collected in the form of library documents and fields. In the first step, the literature on the types of museums (especially modern museums) has been reviewed and analyzed, the difference between traditional and modern museums has been reviewed, and the influential elements in the interior architecture of modern museums have been extracted in the form of a conceptual model. Then, in order to learn more about the progress of modern museums, based on the components presented in the conceptual model, a case study (Future Museum of Dubai) was reviewed. The findings show that museums are divided into two categories, traditional museums and modern museums, and the influential indicators in modern museum architecture include “technology, environment-friendly, natural and artificial light, color palette, decorations, public space, structure, and facilities”. As a new museum, the future museum of Dubai, with the aim of achieving sustainability, has used several concepts for each of the indicators of the new museum, and the most important of them is the use of new parametric modeling tools in the design of the structure of the technology index.

Although the space plays a role in painting both functionally and conceptually, however, the negative space plays a key role in the works of Kamaluddin Behzad, which is meaningful in connection with the positive space and has a special and unique meaning. The purpose of this article is to identify the negative space next to the positive space in the works of Kamaluddin Behzad. The used descriptive-analytical method and collection of materials is also a library and an observational one to analyze the negative space in Behzad’s works, which has been selected by the selective sampling method of Behzad’s works. What is “negative space” and how to classify space in Behzad’s works is the fundamental question of this research, which aims to understand the nature and types of negative space in Behzad’s works. The results of the research showed that the negative space in Behzad’s works has a functional nature, and this means that it plays a role in the technical analysis of the work’s components, and the focus is on isolating the work through the negative space. Based on his works, the choice of negative space is something intelligent and deliberate. Moreover, this space, by adding to the positive space, creates balance and balance, contributes to the attractiveness and greater visibility of components and image elements. Kamaluddin Behzad has shown positive and negative atmospheres throughout his paintings, in a manner that does not damage the overall space of the image and uses even the smallest negative space.

The first characteristic style of Nastaliq’s accepted calligraphy was the style of Mir Emad Hassani Qazvini (deceased 1024 AH) during the Safavid period. With the arrival of the printing industry in Iran during the Qajar period, due to the need for the script to be compatible with this industry, Mirza Reza Kalhor (deceased 1310 AH) solved this need by making changes in the Mir Emad script, but the chaotic situation that made calligraphy like other arts. It fell into oblivion and about two decades later with the appearance of Emad al-Kottab (deceased 1355 AH), the Nastaliq style of Kalhor was revived and by making changes in it, it was transferred to the contemporary era. This research aims to study the evolutions and changes in the style of Nastaliq calligraphy from the end of Qajar of the present by comparing the works of Siyah mashq of two artists. The main question in the research is whether the school that calligraphers attend today is called the Kalhor School or the Emad al-Kottab School. To this end, five works by Siah mashq are randomly chosen from each calligrapher and studied in a comparative manner. Research information was collected by the Library-Document method and analyzed by a qualitative method. After comparing the works, it was found that the style of Nastaliq writing, geometry, and skeletonization of Emad al-Kottab’s calligraphy is the same as that of Kalhor, but Emad al-Kottab has made some reforms in Kalhor’s Nastaliq. In terms of proportion, most of the letters and strengthening of the chair and combinations that Kahler had inevitably ignored in his course in order to adapt Nastaliq to the printing industry. Ultimately, the Nastaliq writing style of Emad al-Kottab complemented the Kalhar school.

Teleworking in Iran is one of the most important manifestations of spiritual and mystic concepts in art, which plays the main pillar in the decoration of mosques and religious places. The technical and artistic principles in the decorations, particularly the tiles, were of great interest. The purpose of this research is to compare Imamzadeh Mahrouq and Goharshad Mosque in terms of the type and decoration of tiles in order to determine the prominent effect in these two buildings considering that they were done in a historical period and a geographical area. In this research, with the documentary studies, we have seen that the type of tiling in the Goharshad Mosque and Imamzadeh Mahrouq building is the same, and the tiles are different depending on the space used and their role. In addition, the colours used differ. Maaqli tiles and seven-colour tiles are more common than other types of tiles in both locations because they save time for building renovations and restoration. The mosque of Goharshad is very important and prominent with respect to the extent and age of the tiles and its proximity to the courtyard of the 8th Imam.

The examination of the representation of a stake in the artist’s works is a way to find the world and its vision of the world. Briony Campbell went on one of the most beautiful and horrific work projects in “The Dad Project”. She wants to record the last encounters with her father and at the same time, represents the end of the father, who can be painful. This research may be a step in explaining Campbell’s aesthetic style and analyzing “The Dad Project” from this perspective. On this basis, the purpose of this research is to analyse how the father is depicted in the above collection. The major issue in this research is how the father is represented in Campbell’s dad project. In this article, after stating the theoretical foundations and introducing Campbell, the photos of “the Dad Project” are analyzed, focusing on the representation of the father and the role of the photographer as his daughter. This research has a practical nature. The method of this search is descriptive and analytic. Data collection by library method and image review. The analytical method used in this investigation is qualitative. Sampling this search is a selective method. 10 directly related photos about the article were selected for analysis. This research shows that this project can have both a personal and aesthetical aspect. In this project, Campbell acted as both a daughter and her father. Pictures have a different appeal and significance because they are accompanied by notes in a narrative process. Campbell tries to show one of the most painful stages of his life in the most beautiful way, but in this way, she tries to make us face the reality and accompany us. The Dad Project succeeds in showing the father’s last days explicitly and sometimes metaphorically. Maybe one of the beautiful aspects of this collection is to confront the public with bare reality without curtains.