مجله جلوه هنر
سال چهاردهم شماره 4 (زمستان 1401)

There exist various intentions and goals behind the creation experience of a work of art. And of the most important among them is utilization of the artistic instinct to express emotions to the audience through the sublime. This capability which is inherent in art and the creation process has always been a source of inspiration for Sigmund Freud, the prominent Austrian psychoanalyst in the 20th century. Sigmund Freud’s theories on human psyche and its mechanisms have been an important source for the psychological and artistic studies to this day. According to Freud’s studies, it is not just the forefront and obvious part of the human psyche that directs the manifestation of behavior, but that there lies a hidden depth beyond the obvious, not easily accessible, that is also the source. Understanding this hidden depth is not only important, but also according to him, most of the human expressions stem from this part. He also believes that the creation process of a work of art is a manifestation of this hidden depth, which he calls the unconscious. He believed that there are similarities between established processes of psychological treatments to understand and access the unconscious, such as free association, slip of the tongue, or hypnotism, and the particulars of a work of art; according to him art was a window to the artist’s psyche and unconscious.Freud’s studies on the unconscious, lead him to theories about the essence and origin of instincts, their place in human psyche, and their role in the manifestation of expressions and behavior.  According to Sigmund Freud's theory of instincts, all human behaviors originate from the confrontation and conflict between two fundamental instincts, Eros and Thanatos; Eros as the symbol of life and creation, and Thanatos as the symbol of death and destruction. Since he believed that this conflict exists in the unconscious, the unconscious can be considered the arena for this eternal battle between creation and destruction, Eros and Thanatos.In the present study, first Freud’s established pattern of the psyche is introduced; since understanding this pattern is fundamental to the understanding of his other theories. Then his theories of parapsychology are discussed, including his views on the psychic energy, the interaction between internal forces in human psyche, the origin of pleasure and deferred gratification, and the function of instincts, in order to establish a study frame, to offer new perspectives on the Scottish contemporary artist Ken Currie's paintings, and his interpretation of man in different periods of his career. The focal point of this study is the evolution of this artist’s interpretation of man, and man in relation to the external world. How is the conflict between instincts manifests in Currie’s works? What aspects of human existence are expressed? This study implements the descriptive-analytical method, using library and online sources. No previous study has been conducted on Ken Currie’s works in Farsi resources, even though his interpretation of man and man’s interaction with his environment is quite noteworthy and significant, so a better introduction and comprehension of his works is a necessity. The hypothesis is that the artist in order to criticize the humanity that has gone through two consecutive and devastating world wars, is inclined to reflect a world deprived of value and credibility, a world filled with discrimination, that despite reaching the heights of civilization and achievements is drowned in despair and destitution. The goal is to discuss the manifestations of conflict between instincts in Ken Currie’s works, mostly depicted as a dual opposition of creation-destruction, birth-death, and civilization-barbarism.Currie has been raised in the industrial environment of Glasgow, Scotland, which has greatly influenced his standpoint on the relation between man and his surroundings. This influence is specifically significant in Currie’s earlier works. The atmosphere of his works in earlier years is chaotic and crowded, but as he evolved, the chaos turned into silence, with works mostly depicting solitary figures with a vast and dark background. Despite these obvious imagery differences, there exists a very significant similarity among his creations, and that is his detailed attention to man’s desperation and suffering. His attention to the individuality has resulted in a very detailed depiction of the physical aspects, since physicality is specific and defines the individual in relation to the surrounding. In this regard his later works mostly focus on physical wounds as metaphorical manifestation of human suffering. Suffering is projected through ailments, death, and disability. His implication of the physical suffering to project psychological sufferings has gone so far so that a metamorphosis is manifested and in accordance an absolute physicality. In this sense we witness a transformation from a man with purpose, identity, and certainty – which define his values and credibility – to a man void of any value and purpose, manifested simultaneously in one work of art. In Ken Currie’s works, man is caught in the middle of an endless conflict between two opposing instincts. Man is filled with ambiguity, duality, and hesitation, which can be interpreted as a manifesto against warmongering and politics of the powers that be, discrimination, and inequality that instill a sense of impotence in the collective consciousness of humanity. This sense of impotence implies the broader concept of psychological and physical suffering. Regardless, it is necessary to note that in these works no fine line is depicted between destroying and being destroyed, since the existence of man in these works is depicted as an arena for the battle between life and death, in the form of a dynamic interaction and confrontation, which inevitably results in the dominance of the instinct of death and destruction, so that artist can voice his concerns about the place of man in relation to the world. But it is also important to note that life and all its implications are never absolutely absent in his works.In Currie’s works man is never the wise existent with agency, on the contrary, the artist depicts the instances in which man is void of both as a reflection of the dominance of Thanatos, which not only has a significant role in man’s internal musings but also reflects its influence on the external world. In the general sense, Ken Currie’s works depict the man in confrontation with his inabilities, who is destroyed and created in accordance with those inabilities. Currie brings forth the various factors that confront man with suffering and raise a voice to question the internal and external factors that are the cause of man’s desperation and despair.

The Manuscript of the Rashidi Jami 'al-tawarikh, written by Khajeh Rashid al-Din Fazlullah, is a history book belonging to the Ilkhanid period. among its imageries are paintings with the themes of the history of the prophets that have many historical and artistic values. Paintings of the Jami 'al-Tawarikh Manuscripts in the Library of the University of Edinburgh in Scotland and the Royal Asian Society in London (Nasser Khalili Collection) are important copies of this invaluable manuscript. Many studies have been done on the paintings of these collections, but the findings of those studies have not been comprehensive enough. Because in some sources of introduction and certificate of the paintings, wrong information has been provided which has caused invalid results. Also, the number of statistical population is limited and as a result the research results are not reliable and therefore, the necessity of conducting study has been required.Research purposes include identifying the fidelity in the adaptation of the illustrations of the prophets' biographies in the Manuscripts of Jami al-Tawarikh to the text of the Holy Qur'an, the Torah, and the Bible, and identifying the factors of the influence of Torah on.Research questions are: 1-To what extent are the paintings of the prophets' stories in the Ilkhanid Jami 'al-tawarikh manuscripts faithful to the text of the Qur'an and the Holy Book of the Torah? In present research, library, documentary and visual information have been studied with a descriptive-analytical and comparative method. Cases studied include 18 paintings of the Jami 'al-Tawarikh Manuscripts related to the subject of the adventures and biographies of the prophets in the library of the University of Edinburgh and the Royal Asian Society in London.Results show that, in the paintings, there is no complete adherence to a particular text of the Qur'an and the Torah and the paintings seem to have been created with the intervention of the artist. For example, there are no mentions of the camel of Prophet Saleh (pbuh), the throwing of Prophet Abraham (pbuh) into the fire, the transformation of the fire into a flower garden, and the resurrection of Prophet Jeremiah (pbuh), in the Torah; and there are significant differences between the illustrations of the Prophet Davids' (pbuh) judgment between two brothers, resting of Prophet Jonah (pbuh) under a pumpkin plant after being rescued from the whale belly in the manuscripts compared to the descriptions of Torah. Also there is no mention of Prophet Jacob (pbuh) and his family(simultaneous marriage of two sisters), the killing of Awj ibn Anq by Prophet Moses (pbuh), the death of Prophet Moses (pbuh) on Mount Naboo, and Prophet Joshua (pbuh) in the Qur'an and these paintings are mostly illustrated according to the text of the Torah. There are also some contradictions between the illustrations and the holy texts; for example, in the painting of Joseph and Potiphar, in the Qur'an, Joseph's shirt is torn from behind his head, while in the painting it is torn from the front. In the case of Noah's Ark, according to the texts of the Qur'an and Torah, Prophet Noah brought together a pair of all kinds of animals in the ark, which the painters did not pay attention to. In the painting of the discovery of the box carrying Prophet Moses (pbuh) from the Nile, it is also mentioned in the Qur'an that the mother of Moses (pbuh) put him in a box and released him in the Nile River. In both texts, Moses’ (pbuh) sister is the intermediary between the mother and Moses (pbuh) to nurse the child. According to these contents, the box of Prophet Moses (pbuh) has been drawn in accordance with the text of the Qur'an and the bathing of Pharaoh's daughter's maids instead of his own bathing is similar to the text of the Torah with some differences, which implies that the artist knew both texts. In the painting of Prophet Moses (pbuh) and his followers crossing the Red Sea and Pharaoh's troops drowning in the sea, in both holy texts, Aaron is the companion of Prophet Moses (pbuh) and the painter has paid attention to this as well. The painter has drawn the Prophet's staff in accordance with the Qur'an, but in the representation of the Prophet pointing to the sea, he has depicted it in accordance with the text of the Torah. The painting of hearing God's voice by Prophet Moses (pbuh) and 70 wise men is more consistent with the text of the Qur'an. Regarding the painting of Qarun sinking into the ground in the presence of Prophet Moses (pbuh), it should be said that both holy texts mention this event.In the Qur'an, Qarun sinks to the ground in his house with his treasures and riches and in the Torah, Qarun is swallowed up in the earth with his family and accomplices in their tents. There are no tents or houses in this painting and in this case, the artist did not adhere to the texts of either Qur'an or Torah. In the painting, among the swallowed ones, the image of children and adults can be seen, which corresponds to the text of the Torah. Also, the type of illustration of the story of Prophet Joseph (pbuh) and his brothers is in accordance with the texts of the Qur'an and Torah. In the Qur'an and Torah, brothers go to Prophet Joseph to receive food and provisions. In the painting, Joseph is depicted with a decorated throne, which shows that he is of high authority in Egypt and it is consistent with the narration in both holy texts. In the painting of Prophet Moses (pbuh) being informed about his people's calf worship and issuing their punishment, Prophet Moses (pbuh) is depicted with an upset face and the posture of his body and hands convey worry. Regarding the subject of calf worship by the people of Prophet Moses (pbuh), it is mentioned in the Qur'an and the Torah that the Prophet became very angry when informed, and therefore the illustration is consistent with the text of both holy books. It should be noted that the text of the Qur'an provides less details about the events and history of the divine prophets than the Torah and because of this, perhaps the artist has used the text of the Torah to depict the events as best and as accurately as possible

Among the historical Islamic wooden works remaining in Iran, wooden doors are significant examples, ideal for the study of history of art in Iran. In addition to decorations, they have inscriptions containing religious texts and prayers that contain important information about the period they have been created in. On the other hand, Marashis are amongst the local governments of Iran, Tabaristan (present Mazandaran) during 14-15 centuries AD, which have been relatively less discussed and studied, even though there are numerous monuments remaining from that period, mostly tombs and shrines. This lack of recognition of significant artistic structures, especially intricate wooden doors from that era, is specifically addressed in this article. Also, other goals of the present research include; identifying and categorizing historical wooden doors belonging to the 14-15 centuries AD in Mazandaran and the comparative study and investigation of their evolution.Door is always considered an integral element in buildings and historical and cultural monuments, so that today they can be considered one of the main and identifying elements in traditional architecture. One of the historical periods in which the application of wooden doors flourished in the construction of tombs and shrines, was the  Marashi dynasty (760-906 AH) in Tabaristan (now Mazandaran). Shia Marashis, in order to pay respect to the deceased and  descendants of the Shia Imams, built many tombs and shrines, most of them with luxurious wooden doors. Despite the fact that their overall construction method is often similar, the style and decorative motifs of these wooden doors are significant and specific. Interesting to point that, one of the characteristics of wooden doors of this period, is the existence of inscriptions containing information such as: the patron, year of construction, manufacturer, etc., on many of them. But the reason behind the study of these works in present research, in addition to their abundance and dispersion in the 9th century AH, was the diversity in their imagery and decoration.In accordance, the main questions posed in this research are: What are the artistic characteristics of wooden doors during the Marashi period, and how can the historical evolution of the mentioned doors in the Marashi period of Mazandaran be justified?The present research is conducted through developmental studies with a descriptive-analytical and comparative approach. Research data have been collected from library resources, document and field method and analyzed through qualitative method. The samples of the research are targeted and selected through a survey, fourteen samples have been identified and selected in a non-probable and purposeful manner: Imamzadeh Ebrahim in city of Babolsar, Imamzadeh Abdul Saleh in city of Marzroud, Imamzadeh Abdullah in city of Mahfroz Mahalla, Imamzadeh Yahya, Imamzadeh Prince Hossein and Imamzadeh Abbas in the city of Sari, Imamzadeh Ali Asghar, Imamzadeh Qasim and Imamzadeh Sultan Mohammad Taher in the city of Babol, Imamzadeh Yusuf in city of Noor, Imamzadeh Mofid in city of Neka, Shamsuddin Babelkani tomb in city of Behshahr, and the wooden door currently kept at Aga Khan Museum, Canada.In order to prove that the works belong to the 9th century AH, first the inscriptions were studied thoroughly and then their decorations were determined and classified. After categorizing the extracted technical and visual features, the works have been compared to highlight the evolution in these works. It should be noted that historical wooden doors - at least based on the examples remained after the advent of Islam in Iran - were usually made by two techniques: One Piece and Frame and Plate. In the one-piece method, a wooden board was cut to the desired dimensions, and while keeping the two appendages at the top and bottom as a round heel (the only point in common with the frame and plate technique), other decorations - mostly engravings and carvings - were added later onto the surface of the door directly. But in the frame and plate technique - at least the oldest example of it is from the Abbasid period - unlike the one-piece technique, the panels are made up of smaller components called frame and plate. This allows the manufacturer to decorate the panels separately and then install them inside the door frames. Another advantage of this technique, which is still being applied to this day, is its high resistance against the factors of mechanical destruction of wood, such as tension, warping, contraction and shrinkage (property of absorbing and repelling moisture) and so on. The use of reliable connection of the crotch and tongue along with wooden nails can be counted as another reason for the popularity of this method of door making. The main components of the doors in this method are the frame, the plate, the round heel and the nose. An additional point in this topic is the extension of the doors outside of the general norm in order to add a skylight in the upper part of the studied doors, which are decorated in the manner of latticework and hollow porcelain knots along with carvings. It is worth mentioning that, perhaps, other doors of the statistical community of the current research also had this feature, but due to the destruction of the building or moving to another place, it is possible that their light-reflecting part has been lost.As it can be seen from the content of this article, the Marashi Shiite government has been one of the supporters of the arts related to Shiite beliefs, and this causes the construction of shrines to suddenly flourish in the 9th and 10th centuries A.H. compared to the previous periods. In parallel, some artworks of the northern regions of Iran, including arts related to wood, have been developed and applied in buildings as architectural decorative elements, including the grave box, door, window and skylights made of mostly local wood (Azad-Sorkhdar).Due to the variety of shapes and forms of shrines, some have more entrances and windows, which is another reason for the perceived variety of wooden doors in that period. Among other factors of the development of these arts, we can mention the element of endowment, in such a way that the religious patrons paid attention to their religious customs in addition to pursuing political goals by financing the various components of these shrines such as doors. Which resulted in, artistic carpentry becoming the generational profession of many families in north of Iran, for several centuries, and also contributing to the tradition of teamwork among artists of that area.It is remarkable to point that, despite the civil turmoil and unrest in the Tabaristan (Mazandaran) in that period, the support for these artistic endeavors were not exclusive to a certain person or ruler, these activities and commissions for the construction of the entrance doors of the shrines did not stop either. It is possible that in the future other doors will be found and this historical diversity will be complemented more accurately.According to the findings of this article, some important issues are worth mentioning: First, during the rule of the Shiite Marashi dynasty in present-day Mazandaran, their role in strengthening and establishing stability and promoting the art and architecture of the Shiite religion is significant and can be studied more extensively. Furthermore in this period, patrons of the arts have played a significant role in the emergence of all kinds of architectural decorations, especially historical wooden doors, as a continuous tradition, in the context of existing political, social and religious conditions. In  a way that the historical journey of the discussed wooden doors, sheds light on a century of continuous support for carpentry as an art. In fact, assigning a lot of decorations to the buildings that belong to the Shiites and Imam’s descendants’ shrines represents the Shiite beliefs of the people of this region. In addition, in the inscriptions of most of the investigated works, the patron's name is clearly mentioned along with the creator and artist.In terms of historical scope, exactly half of the works are related to the first half of the period and the rest to the second half. This can indicate the consistency of the construction of wooden works during the mentioned era. This balance is noticeable in some other visual and technical components. For example: the common pattern in the construction method and the general form of the frames, as well as the skylights above the doors, decorating the middle panel with geometric knots, covering the nose with similar geometric and plant motifs, the use of concave pavement with medium ground depth. The results of the research show that due to the serious support of the Marashis for the construction of shrines and subsequently wooden doors, a continuous movement can be detected in the construction and decoration of these doors.

In the past, in rural and urban communities of Iran, a lot of families with generations of carpet weaving as their occupation had almost all members of the family engaged in this profession. Since childhood, children were in touch with carpet and its design, knot and pattern alongside their parents as a pastime besides the main source of income for the household such as farming, etc. At present time, with development of urbanism and increased distance of main centers of carpet production particularly in Tehran you hardly see someone in households engaged in this profession as either an occupation or a pastime. Hence, making the new generation in urban communities familiar with the process of carpet production may make them interested in this art and they even may become motivated to pursue the jobs related to carpet art and industry, thus resulting in a change in common clichés about inferiority of carpet-related jobs, and therefore improve the next generation’s attitude and public opinion towards this important art and industry.The necessity of improving the social position of carpet weaving as an occupation is undeniable. This goal would not be achieved unless by changing people’s attitude during childhood. In most developed communities, people get familiar with different jobs during childhood. Hence, for the survival of carpet art and industry and familiarity of the new generation in urban communities with this industry, it is important to make children (7-11 years old) familiar with the process of carpet production, its common designs and principles, as psychologists specialized in growth stages believe that childhood is the best period for promoting individual creativity for their future career.The following goals are considered in this research:Making children (11-17 years old) familiar with the process of handmade carpet production and designing a method for showing them the process using gamification, regardless of the common tools existing in the market for weaving of the carpet.The following questions are posed in this research:What stages are involved in handmade carpet production?How children (1—17 years old) may become familiar with these stages?What raw materials, designs, colors and patterns are used in handmade carpets?How does modern method of gamification reflect the process of handmade carpet production?The present research is a descriptive- applied research of qualitative type in which double diamond model is used for problem solving. For data collection, observation, monitoring and questionnaires were used. The statistical population of this study consists of 100 7-11 year-old children from 2 schools (one school dedicated to girls and one to boys) in region 2 of Tehran municipality, who were randomly selected and were classified as middle class in terms of financial position, with interests and abilities of the new generation living in urban regions with relative welfare with no background mentality about carpet production and process of carpet weaving, and living far from main centers for carpet production enterprises who showed interest for cooperation and participation in this study. Due to the distribution of statistical population in this region, we tried to classify participants based on their educational grade given time and place considerations of the two schools. According to Cochran formula, totally 100 students, in other words 50 students from each school and 10 students from each educational grade divided by gender were selected for this study with 0.5% margin for error; their behavior was studied and recorded using interview and questionnaire. Finally, the primary sample was provided for them for testing.For children to learn about handmade carpet production, they need to know about the stages of this process. Below, a summary of this process is described:Selecting form and dimension; selecting ready to use pattern or designing one; point and color; selecting yarns and pile; dying the fibers; pattern reading; weaving and knotting; complementary stage.Contrary to the common belief among the publics who think handmade carpet production involves just weaving and knotting, the process takes a significant length of time requiring hard work that sometimes may seem boring, particularly to children. Moreover, learning knotting and weaving carpet may seem unattractive and non-amusing to children. Hence, designers have designed simple, small plastic looms in order to attract children’s interest via gamification using common motifs and patterns used in carpet weaving. Such products are popular more among girls. Since many studies have demonstrated the direct effect of toys on the future career of children, we have tried to include double diamond method in this study that is one of the popular methods in carpet production and provided children with the opportunity to try carpet weaving in a simple and harmless manner fitted to their age which also could be considered amusing. So that children can be engaged in a pleasant challenge in which they combine creativity and joy by completing a pattern through the process of hand-woven carpet and produce modular flooring.Gamification is a relatively new word but its underlying concepts dates back to ancient ages. The best method for teaching and learning free from coercion and strictness is gamification. The behavioral culture of gamification has always been popular among the publics. It seems that the first case of motivational game aimed behavioral change and teaching tried by individuals could be found in folklore stories particularly in Iran. Story of Hasan The Bald narrates a lazy and self-indulgent boy whose mother tries to motivates him to step out of the house by placing some apples on the path. By this trick, he is motivated to move in order to reach to his favorite fruit, apple.In this study, we investigated various aspects of discovery in double diamond method and then defined the problem. At this stage, by screening the information obtained in discovery stage, we reached to a suitable solution for teaching the process of handmade carpet production. Based on monitoring results and field observations concerning the process of handmade carpet weaving in line with the goals of this study, general trend of the game, and touch points that must be passed through by user to become familiar with the stages of carpet production, we identified 5 stages involved in designing the final product. By passing through above described process designed in this toy, children would learn about designing the carpet, converting the design into pattern, reading the pattern (cartoon), selecting the color palette according to the pattern, concept of knots in carpet weaving which are simplified in the toy, and then putting together the T-shaped pieces made of felt on a punched board that resemble knots on the carpet loom. The final flooring with desired pattern and customized design is made by the user. Users can apply various designs and patterns as desired and amuse themselves.Some of the features of this product that make it attractive include: aesthetics, affordability, user friendliness, diverse patterns, portability, etc. all of which serving the purpose of learning about the process of handmade carpet production via gamification. This product has some disadvantages too: its height relative to the earth surface, the big size of T-shapes pieces compared to knots that reduces delicacy of final product compared to real handmade carpet. Although this flooring is designed for 7-11 years old children, it may be used by people from any age group, as it is a new and innovative product.As mentioned before, the double diamond method despite other methods is not a linear and steady approach, but each stage complements other stages and covers the defects of other parts in terms of divergence and convergence; so that it guarantees the user’s feedback concerning the process and product at 4th stage using square weft pieces and the original prototype of the toy-flooring.Studies show that girls are more inclined to use this toy than boys, particularly at such stages as designing and converting the pattern into cartoon while boys like to put the pieces together and make flooring based on their desired pattern. Researchers have concluded that toys have direct effect on children’s future career. This toy-flooring too may have positive impact on children’s unconscious mind and guide them toward their future job whether as an art or as a profession.The information presented in this study such as the abundance of carpet colors, common dimensions and sizes, children’s desired patterns, etc. in terms of reliability, may help handmade carpet producers to identify the tastes and attitudes of this age group. Further studies are suggested to perform more comprehensive investigations on this subject and reproduce information presented in this study using different tastes and generations.The flooring design and final product as an invention is under investigation by judges in Iran. The invention described in this study differs from the prototype described in the dissertation numbered 140050140003004290 which is cubic in shape and fluffy in texture but having similar application. We have tried to present a simpler, cheaper and more accessible product in this article compared to the prototype described in the dissertation.We hope to present this product in digitalized format using available technologies and web-based platforms in carpet production particularly design, cartoon development and T-shaped pieces sale stages, so that it accessibility for children would be facilitated and they would easily develop their own design and pattern through combining T-shaped weft pieces at various colors and designs.The present study is not subject to any conflict of interests with any person and organization except traditional carpet community that shows no inclination for innovation in this field.

The aim of the research is to study the structural elements of the Pahlavi emblem and the Republic of China through descriptive-analytical method, based on comparative studies, and content analysis. By means of reflective schemas to determine the extent of the application of symbols and meanings and concepts called to find common themes and ideals or to extract the cultural differences and political covenants of these two countries within a comparative approach in a determined period of time.Since the two countries of Iran and China have had extensive communication and significant cultural and artistic relations through the Silk Road, and the perceived integration between Buddhist and Islamic arts, the attitude of the two countries on the basis of several thousand years of civilization, in choosing and designing their prominent national emblems in a specific time frame, can be significant and offer important insights.The question is How and to what extent have these two countries used symbols for the design of national emblems, for the purpose of directing political covenants and moral themes, etc., in the same period of time? Results In the present study, it was determined that national emblems are representative image sources of a country that are influenced by its history and culture. In this research, the structure of reflective schemas and meanings of symbols in the emblems of the First Pahlavi and the Republic of China based on the importance of such schemas, have been examined. According to reading of Kant, reflective schemas are extracted from reflection on spatio-temporal dynamism or dynamics of a being, animal, tree, etc. Considering the existing structural similarities between the two emblems, it is possible to compare them.Both emblems are made of natural elements - heavenly bodies, mountains, plants and animals - and tools; Lion, dragon and Feng Huang as animal elements, oak branch, olive and rice as plant elements, heavenly bodies such as the earth, sky and sun, moon and stars are also depicted in national emblems of Iran and China. Besides these natural elements, sword, crown, axe, Zongi (golden cup) etc. are among the tools incorporated in the designs of these emblems. Therefore, there can be structural similarities between the two.Although both emblems share similar structural elements, but the Chinese national emblem showcases more ritualistic motifs, more natural and animal elements, and contains allusions to the Chinese astrology by depiction of elements such as fire, water, wood, metal, plant, and earth; the earth in the form of a mountain, rice embodies water etc. Mythological elements and ornaments of the imperial dress can also be seen in the Chinese national emblem. In lion and sun emblem of the first Pahlavi, religious elements are depicted, but compared to the Chinese counterpart, it has less natural, animal and plant elements. The earth is not included in the Iranian emblem. Apart from the sword, which can be a sign of the crescent moon and of course Islam and Shiism, there is no trace of other heavenly bodies. Oak and olive can be considered as symbols of plants and water. The crown is the symbol of the king on the top side of emblem. In the Pahlavi period, the feminine power is not showcased in the design of the emblem.The study goes on to compare the meanings and concepts in the two symbols. In the sign of lion and sun, for example, the element of lion can be seen as a reference to the power of the kingdom. But the two animal elements, dragon and Feng-Huang, refer to two royal characters, the king and the queen, which show complementary forces of yin and yang that are eternal. Meanwhile, the sun in the lion and sun emblem again, refers to the king, and there are no feminine symbols to compensate as the queen. Also, oak and olive plant branches in Pahlavi's emblem represent concepts such as longevity, unity, security, victory and peace, but the plant element of the Republic of China, which is the rice spike, is a reference to the importance of earth and agriculture in Taoism and rice’s crucial significance in Chinese culture, and the work, effort, toll that goes into the production of rice as the singular most recognized product of China. Although the sword in the sign of the lion and the sun is associated with guarding and protection, it also refers to Shiism and the revered regard for Imam Ali (pbuh) among Muslims. The axe is also associated with the concept of grains and their protection. Also, Zongi, in Chinese symbolism, can carry meanings such as purity, spiritual growth, and is a symbol of the emperor's virtue in loyalty and filial piety. In examining the lion and the sun, several concepts such as resistance and authority, unity, the importance of royalty have been revealed. In the Republic of China’s emblem, the induction of concepts such as the importance of religion, the importance of earth, agriculture and natural elements in accordance with Taoism, unity, blessing and fertility can be detected.Therefore, it can be concluded that both signs, while referring to numerous material concepts, have also placed religion and moral themes in the center of attention. The lion and sun motifs is a declaration of nationalistic goals such as the importance of the king and the royal position, the importance of religion, ideal concepts such as security, unity, longevity, victory, peace, hope, blessing, guarding and protecting the country. The national emblem of the Republic of China also shows similar messages as the emblem of the lion and the sun, although more, which include the special position of the king and queen, the importance of opposing yet complementary forces, the sacred position of Taoism, and ideal concepts such as authority, blessing, immortality, unity, happiness, longevity. Both emblems have showcased cosmic symbols. Both bring to life the concepts, topics of morality or religious principles. The emblem of the Republic of China, is inspired from the old decorations of the traditional imperial dress, which in turn depicted the emperor as the symbol of the son of the sky, and referred to the teachings of Confucius and his twelve moral commandments that the emperor embodied in order to be a just ruler. Therefore the emblem of Republic of China implies that a good prosperous country with instructive policies is achieved only through an authority that follows moral codes as its principle policy. In first Pahlavi’s national emblem, such moral symbols are not much showcased, but mostly concepts such as chivalry, bravery, and good fortune and good omens are emphasized, with a focus on Imam Ali (pbuh) as the embodiment of morality and courage.

Worship buildings in the historical cities of Iran are considered fundamental elements of urban structure and Islamic culture. The physical structure of these buildings and the formal and functional patterns of each of their components are the result of the intervention of various factors such as religious thoughts and beliefs, religious teachings and deep spiritual concepts. The entrance space has always had a special place in the thoughtful design of Iranian architects. Because in addition to its main function as an articulation space, visually and perceptually, it has also been the Interface space between a building and the urban space and a criterion for recognizing cultural and social identity. In religious places, this space is more important; since this communication node between the city and architecture is a symbolic place through which the values of Islamic culture, the beliefs of the community, religious teachings, and the characteristics of the Islamic city are represented. Accordingly, the entrance design becomes important. This facade can partially express the truths hidden in the religious teachings and principles, either in the form of calligraphy and motifs of the inscriptions, or by the height, proportions, and circumstances of the façade design.Decorations are not only from the viewpoint of religious art, but also in accordance with the concepts of verses and hadiths. And the themes of phrases and poems engraved on the inscriptions contain religious teachings, moral rules and principles, mystical concepts, historical descriptions, and even jurisprudence assignments. The present article with the aim of revealing the aspects of the relationship between the basics of Islamic culture and the physical / functional perspective of the entrance of religious buildings, seeks to answer a main question: How have the principles of Islamic culture and teachings affected the appearance and functions of the entrance of historical religious buildings? By giving priority to the realigious principles and teachings in shaping the physical and functional structure of religious places, the present article first searches for these principles and teachings by examining religious texts and also the reflection of these aspects in the Islamic architecture and city. Then it traces the aspects of this influence in the meaning and body of the historical building by examining local histories, biographies and travelogues in a historical context.The research method is content analysis and the data collection method is through existing literature in library; by comparing the teachings and concepts of Islam extracted from religious texts with the historical texts describing the buildings of worship, the semantic and content causes and methods of shaping the input structure of the mentioned uses are analyzed.In order to determine the research indicators while studying specialized texts, the theory of the Islamic city has been taken into account. In the theory of Islamic urban planning, it is stated that the verses of the Qur'an form the general rules of the Islamic city, and the hadiths of the Prophet (pbuh) determine the basic principles of the cultural and social values of the Muslim city, which have appeared in material form. The theory of the Islamic city is a broad topic that has been formed by philosophers and researchers in explaining the characteristics of the Islamic city, its values and principles, and has been cited in some contemporary researches. An Islamic city is a city that is formed on the basis of Islamic culture and Islamic rules. The dominant factor in the model of the Islamic city is the religion of Islam, and all aspects and indicators of the social and physical life of the city are organized and identified by it.. An Islamic city is a city built on the foundations, principles and courses of the Qur'an and hadiths. The principles that should be considered in the design of the urban landscape of worship places are related to the features of the Islamic city on the one hand and to architectural design on the other hand. Thirteen indicators of research have been identified on three general components, including divine truths, religious teachings, and the principles of urban planning and Islamic architecture.The research starts by recognizing the dimensions of Islamic culture in 2 categories of sources, including religious texts and specialized texts on Islamic architecture and urban planning. After deducing the indicators of the research, it deals with its various manifestations in the semantic and physical aspects of the historical buildings, and the contemporary viewpoint on the religious building construction. Since the main issue is in regards to the principles and teachings of Islamic culture- after thorough description of historical religious places- ancient texts, travelogues, and local histories are studied and the descriptions regarding the functional, physical, and spatial characteristics of religious uses have been analyzed in terms of their relationship with Islamic culture.Present research is practical in terms of purpose; since it is trying to address one of the concerns of architecture and urban landscape by using the literature review, that is, the issue of repayment to the meaning and spirit that governs the body and the architectural space, and in this way, acquiring the Islamic Iranian identity in the urban landscape. Also, content analysis method has been used in the research; using library resources and relying on the theory of the Islamic city and its principles and components, numerous categories were extracted and then categorized into 13 indicators from 3 main components. And finally, the analysis of these foundations has been done in historical descriptions and architectural examples.The results of the research clarify how the Islamic culture is reflected in the facade and landscape of the entrance of the ancient religious buildings through rereading the historical descriptions of these buildings in comparison with three influential components in religious architecture, including attention to divine attributes, general Islamic teachings, and the principles of urban planning and Islamic landscape. The entrance landscape of the historical religious buildings has many physical and functional features taken from the foundations of Islamic culture, which are placed under the semantic indicators defining truths, principles and teachings; so that multiple functional capacities have been provided in facade and the entrance landscape of the buildings with the aim of maintaining social values, religious education, guidance and providing security and human dignity. On the other hand, the aspects of the appearance meaning and the visual landscape of the buildings convey unity, holiness, purity and divine truths, which have been emphasized many times in the historical descriptions of the body of the buildings.The results show that the entrance view of the historical buildings of worship has many physical and functional characteristics derived from the principles of Islamic culture in three sub-sections of meaning (unity, holiness, purity, respect for nature), function (guidance, providing security and peace of mind, preservation of social values, importance of endowment, respect for human beings) and body (strength and stability, painting and line, beauty and happiness) can be analyzed. Focusing on historical texts and comparison with religious concepts showed that European tourists mainly emphasized the objective/sensual aspects of the buildings, including geometrical decorations and plant motifs, lack of face painting, pleasuring and nature-oriented beauty, simplicity, grandeur, and the height of the building and the invisibility of the inner arena. While the historians of local history and Iranian tourists, with the foreknowledge of religious teachings, have focused on semantic aspects in addition to physical appearances, in other words, the description of physical/functional characteristics in order to show religious meanings and sacred concepts. In these descriptions, features such as the purity and sanctity of water, the sanctity of old trees, the ability to develop, the symbolic role of a function for the area and grandeur of the building, peace and psychological security, religious functions and the space for concentration and reflection have had a more obvious appearance. Both groups of texts show that each component of the landscape was formed with the aim of showing the dimensions of Islamic culture, and sometimes one component of the building served multiple purposes in this regard.