نشریه هنرهای صناعی اسلامی
سال ششم شماره 2 (پیاپی 9، پاییز و زمستان 1401)

The horse is one of the most important components of the heroic elements in Polo game scenes in Shahnameh, which has been highly regarded by artists. Thus, the horse motif is at the center of the polo game illustration. This article focuses on content analysis of visual features of the horse motif and visual factors affecting Polo game illustration with emphasis on three miniatures of Tahmasebi Shahnameh. Therefore, in the present study, using the research method of descriptive-analytical and library resources, it answers the question here: What techniques did artists use to create Polo Game illustrations?
Based on research results, in Polo Game illustrations, a clear representation of the artist's visual output has been applied to the narration of Shahnameh with a proper and organized mood. Hence, the horse motif, which plays a key role in combining the visual elements of polo game scenes, loyalty at the same time to the text, has a special place, and the arrangement and composition of the visual elements of the miniatures are depicted based on the centrality of this motif.

Much like today, applications for textiles were not limited to clothing in the Qajar period in Iran. Different types of machine weavings (textiles) were used to fulfill many human needs at the time, and even to a larger extent than they are now. Research in applied arts has not sufficiently focused on such applications for textiles. One of these applications was using textiles for packaging and carrying small-sized items such as books, particularly the Quran, turbahs (“mohr” in Persian), misbahas (or tasbīḥs), needles, qalamdans [pen boxes], watches, surmadans [kohl containers], and even bathing soaps and food such as bread and pastry. This study aimed to examine the application of textiles for everyday needs such as packaging and carrying small-sized items during the Qajar period in Iran. It also attempted to scrutinize the qualitative properties of the designs and motifs on the textiles used for these purposes. Accordingly, the study questions were posed as follows: How could we categorize the textiles used for packaging and carrying small-sized everyday items during the Qajar period? How could we analyze the designs and motifs on the textiles used for these purposes? In this historical-analytical study, about twenty five Qajar travel writings from the beginning of the Qajar rule to its end were explored. In addition, remaining images from the Qajar era, including paintings and photos, and tangible textile samples were analyzed using stratified sampling. The results showed that boghches (a kind of bindle), khonche pooshes (fabrics used to decorate khonche, a light wooden crate used in the traditional Iranian wedding ceremonies), small bags known as “pershal” bags, handkerchiefs, and towels (peshtemal) were among the most important and common items needed for packaging and carrying small objects. For this use, sometimes pieces of fabric from old clothing items were patched since small-sized pieces of fabric were needed and textiles were expensive. However, new textiles were also used occasionally. Khonche poosh was different from the other items and was made with expensive types of fabric given its application as a gift [at weddings]. No matter the material or application, its decoration was completed by various types of embroidery including pateh duzi, cheshmeh duzi, etc. The analysis of the designs and motifs on the textiles used for these purposes indicated that from the nine textile designs, vagireh (tangled), muharramat (striped), framed (plaid), afshan (scattered), mehrabi, and toranj dar designs, which were usually decorated with floral patterns, were the most used. Nevertheless, the dominant designs in the textiles were sometimes muharramat and framed (striped and plaid), i.e., without a pattern, and at other times, geometrical patterns were used on any design (usually framed, mehrabi, toranj dar) because of the predominance of cheshme duzi embroidery technique. Overall, the examination of the frequency of the designs and motifs on the remaining textiles, which were used for the items made for packaging such as boghche, khonche poosh, hankerchiefs, towels, and pershal bags in the Qajar period in Iran, demonstrated that toranj dar or medallion design (with the square symmetry principle) was the most frequent as it fit the square or circle shape of the piece of fabric. Floral motifs were also the main patterns used in the decoration of this design.

The expansion of Iran-Europe relations in the seventeenth century in the Safavid era, introduced Iranians to modern art, especially the technique of painting and oil. But the works that were produced lacked depth due to a lack of knowledge of the laws of modeling and light and shadow. The importation of goods and works of art began widely from the time of Qajar, especially during the time of Nasser al-Din Shah (ibid.). The importation of goods and works of art began widely from the time of Qajar, especially during the time of Nasser al-Din Shah (ibid.). Simultaneously with the fact that Sania Al-Molk was teaching painting in his painting studio in Golestan Palace, photography also entered the country and convinced the artists of their determination to make it more objective. Kamal al-Mulk also returned from Europe in 1911 and established the space of Kamal al-Mulk's naturalism on the country's art history for decades. It took twenty years for the Saqakhaneh neo-traditionalist ideology to replace it. There are differences between early Qajar and late art. Because in the late Qajar period, government support for court art decreased and their attention to the European style of art opened the way for modern artists to enter the Iranian art market and their exchanges with European currents. While several studies on modern art in Iran have been conducted and each has presented results, but the views of Oleg Grabar as well as the views of Jalil Ziapour, about modern art are significant for several reasons. Grabar is a researcher in the field of Islamic art studies who has presented works based on the seven methodological axes of Orientalism, Archeology, Collection, Art History, Architectural History, Social Sciences and Contemporary Innovations in the Field of Practice and Theory. He believes that Islam and Islamic traditions have been merely cultural components along with other historical and social components in the formation of Islamic art and architecture. On t

The traditional and native pottery and making pottery of Jirdeh Shaft, Gilan, and Burjak, Khomein have been linked with its people's life from far past. Jirdeh rural district is a village located in the central part of Shaft of Gilan province and the nearest village to the center of Gilan, Rasht city, and Burjak is a village of Chahar Cheshmeh rural district, Kamareh district of Khomein city, in 140 km from Arak city in Markazi province.
Since the main producers of pottery in both villages are women artists whose hands are the most important tools of their work, this study identifies the similarities and differences between the pottery of the two villages and also gets acquainted with the women potters of the villages, raw materials, construction methods, engravings and decorations , the form of potteries and local tools for making potteries.
'Attieh Roshanfekr' is an artist lady from Jirdeh Shaft Village. This 62-year-old artist has continued her ancestral art after 26 years. She and other women artists of Jirdeh create a work called "Gamaj and Nokhoon" with a very basic and simple tool which is considered by domestic and foreign tourists. Gamaj, as the best and most basic cooking utensil, is still produced by the people of Gilan and used for culinary or decorative purposes.
The traditional pottery and making pottery in Burjak village also belong to the women of the village. Ms. Hamzeh Lou, a 77-year-old woman from Burjak village was able to revive the art of "Burjaki Doogooleh" and expand the knowledge and method of making pottery without wheel in the village, and to turn Burjak into the "Burjaki Doogooleh" hub of Khomein and the country. 
Jirdeh soil is the most suitable for making pottery in the region and has the most flame-resistant soil compared to other places. For this reason, Jirdeh is called the pottery hub of Gilan. There are two points from Burjak village, called "Gel Eshken" which is also named broken mud, that the soil is suitable and desirable to make pottery, these hills are near the village. 
The decorations used in Burjaki potteries are: wick-shaped, triangle, circle and semicircle, plait, zigzag and linear, and in some cases goat pattern. Burjaki pottery is decorated on the raw clay body before baking, which is one of the most common decorative designs on pottery. But the motifs most often used to decorate pottery are lines that are probably drawn from the boundaries of agricultural lands and waterways. The engraved method was also seen that is still used. Sometimes the motif of a goat with long horns is created on the pottery body. The symbol of the ibex used in the petroglyphs of Teymareh Khomein is one of the most widely used and important pottery motifs. Jirdeh pottery is also decorated on the raw clay body before baking, and of course glaze plays a major role in decorating the pottery.
The present study, which has been done comparatively and using field and library studies, shows that in the two villages, pottery products are created without the use of pottery wheel technique, very simple and sometimes with basic decorations and native motifs in circular, elongated, cylindrical and flat forms; Features that indicate the cultural antiquity of each of these villages. On the other hand, due to the blending of village life with nature and the influence of the ancient tastes of the ancestors, they display their art in this way. And most importantly, the women potters of the two villages are creating similar art that is unique at the same time and that they have tried to preserve their traditions for countless years. The difference between the pottery of the two villages is due to the individual tastes and differences, the interests and beliefs of the potters, as well as the cultural and geographical features of the environment.

The history of art, as the history of thought, emphasizes the point that by examining the artworks of each period and studying and analyzing them, one can understand the intellectual-cultural, economic and political situation of that society. The Safavid period, as one of the most important artistic periods in Iran, is no exception to this rule. The change of themes, dimensions, techniques, construction methods, and the emergence of personal styles in the artworks of the Safavid era indicate fundamental changes in the structure of society and art patrons in this period.
The Safavid period is a turning point in Iran's political-social developments after Islam, period which begins with the rule of Shah Ismail Safavi and reached the peak of prosperity with the reign of Shah Abbas arrive As in other fields The art of painting has also been influenced by the political, social, economic and religious developments of this period. Including these effects It is possible to point out the removal of the art of painting from the monopoly of the court Kind If until this period, the major works of painting in the workshop Royal or in the workshop produced by local rulers In this period, ordinary people of the society also commissioned painting works in single form leaf on brought and has become a new patron of art and artist are Another result of this situation is the freedom of the artists and the faster completion of the works, the style and pen, and the different techniques of the artists. A topic that today is very effective in the version Identification and separation of works without figures of artists from each other. In this research, two works with a single theme and an emphasis on the special pen of each artist, from two painters of the Safavid era, "Mohammed Ghasem" and "Mohammed Youssef" have been discussed. The chosen topic is "Taking Laughter". The images of this research are selected from Winsor's Shahnameh and Rashida's Shahnameh, after the narration of the picture, by putting these two works together and matching them Based on the work style of each artist and the comparison of processing and construction techniques, each artist's pen has been tried to be identified and the work style of each one explained. The main question of the research is the existence of the difference between the pen and the construction technique of Mohammad Qasim and Mohammad Youssef and its reasons, Ali in spite of Being a period in the Safavid era. This research is descriptive-analytical and study library documents And observation and analysis of the works has been done. In this study, the statistical population includes three pictures of the scene of the hanging of Zahak, which has been analyzed and compared qualitatively through deductive and inductive reasoning. Based on the findings The results of this research, due to the social, political and economic situation during the time of Mohammad Qasim and Mohammad Youssef, May Ability to distinguish between pen and technique The construction of these two artists P win, the main reason for which is the existence of a new class of patrons of artists in the Safavid era.

The notion of beauty has for long attracted the attention of mystics and Islamic mysticism thinkers. Therefore, numerous problems concerning beauty, its essence and how it comes into being were raised, and different approaches to aspects of beauty such as beauty from epistemological, ontological and axiological perspectives were adopted. Rouzbahan Bagli Shirazi is among the mystics who pointed in his works to the notion either directly or indirectly. It seems that he drew on his intellectual principles so as to make novel epistemological contributions to the field. In this study, epistemological aspects of his approach and descriptive-aesthetic analysis of his own intuitions and perceptions will be reviewed so as to highlight the characteristics of Rouzbahan’s epistemological inferences of the notion of beauty. The findings of present study suggest that Rouzbahan adopted a different approach to aestheticism than other mystics. In addition, he paid significant attention to the notion of beauty in different areas such as interpretation of Quran verses and epistemological intuitions and experiences.  Although his approach to the notion of beauty has commonalities with his predecessor’s philosophical tradition and it is premised on abstract and subjective thinking but it has an imaginative and intuitive aspect too. As a result, he minted new words to address beauty. As to the most significant words he used in such discussions, one could point to the terms, “Hosn”, “Jama’l”, and “Mostahsan” and “Mostaqbah”. The results suggest that Rouzbahan’s novel terms on beauty differed in terms of type of epistemological intuitions and diversity of epistemological experiences and each term refers to an aspect of his mystical aestheticism. : Aestheticism

Lustre painting is one of the techniques that has provided a very good basis for painting on glazed ceramic canvas. The patriarchal era is considered as the peak of the flourishing of Lustre painting. Countless works have been painted on various types of tiles, inscriptions and utensils with the Lustre technique. Reading and understanding many of these works has not yet been studied and requires a lot of research. These works have different religious themes, national literature, etc. Literary stories have always been a source of inspiration for artists in connection with literature in the Islamic era. Ferdowsi Shahnameh, written in the 4th century AH, is one of the sources in which artists have reflected different parts of the Shahnameh in their works.
Therefore, in this research, an attempt has been made to analyze a golden-colored work belonging to the patriarchal period. In this research, to answer the question, what does the painting of this work represent? And what is a narrator? An attempt is made to read the narration of till painting by examining and describing the images of the work, in comparison with the text of Ferdowsi's poems.
The method of this article is descriptive-analytical and it is a collection of field and library materials. The results show that this lustre painting tile has a literary theme and is taken from the story of Kaykhosrow's battle with Afrasiab in Ferdowsi's Shahnameh, and the painter has creatively portrayed a part of this story. At the end of the inscription, the year of tile construction is mentioned as 661 AH. One of the characteristics of creating literary works in the tiling of holy places is the transmission of narrations to the audience in such a way that by showing images of the concepts of courage, freedom, suffering, courage, evil and justice; It is to advise the audience to arouse the viewer's reaction, both internal and external, and make them reflect.

Ilkhani coins, from the point of view of the beauty of the motifs and variety of religious rituals, are among the best Islamic coins, which should be carefully examined from the iconological point of view in order to identify the essence of their thoughts and existential philosophy. The multiplication of visual elements placed on the coins was the discourse of religion, which was engraved on the coins in its most beautiful form, under the influence of religious beliefs, according to the diverse religious tendencies of the Ilkhanids. The aim of the research is to investigate the dominant elements of the iconographical works of Ilkhani basques during the three steps of description, analysis and interpretation to achieve the deep links between the appearance of a pictorial text and what is defined outside the text as religious conventions. The current research, which is different from the conventional methods of numismatics, seeks to answer the question that, from the iconological point of view of Ervin Panofsky, how are the visual elements ruling in the Ilkhani coins analyzed and interpreted? The hypothesis is that regardless of the aesthetic point of view, these elements imply transcendental concepts that It is in line with the various ritual beliefs and religious beliefs of Ilkhanians. The historical analytical research, based on library studies, field investigation and targeted selection of museum data, shows that the ruling elements in the patriarchal coins during the rule of the great Mughal rulers were the rider with bow and arrow, the Star of David, the Jewish candlestick and the triangle, and during the rule of Yasa, the lion and the rabbit. And in the Islamic period, lions and the sun are referred to, lion and sun, each of which is related to the philosophical concepts of shamanism, Buddhism, Judaism, Christianity, and Islam, and it has been observed that during the Yasa and Islamic rule, under the influence of religious policies such as tolerance and expediency Thinking or apolitical, the multiplication of motifs along with religious rituals has been done on the coins. The coins left from the Ilkhanid period have writings in Uyghur and Mongolian language; Phrases such as Laala ila Allah and Muhammad Rasulullah along with the titles of the Mughal Sultans in Persian script are also seen on the coins. On some Ilkhani coins, the names of the twelve Imams, especially Imam Ali appear. After the Mongol sultans turned to the Sunan religion, the coins were also influenced by this and the names of the imams and the names of the Rashidin caliphs were imprinted on them. From the point of view of iconography, motifs influenced by different religions of Mughal patriarchs (Christianity, Buddhism, Judaism, Islam), verses and hadiths related to Shia and Sunni religions, geometric decorative frames with the use of medals can be seen in the coins of the Ilkhanate period. The special religious tendencies of some Mughal patriarchs and the variety of religious rituals, along with animal and non-animal motifs on the coins of the early stages of the patriarchate rule, strengthen the hypothesis that religious beliefs were not important for the early rulers of the patriarchate and some of the practice of religious tolerance In the early days of the government, who did not have a strong world view, they followed in order to be able to live in a conquered land with a culture and civilization that they did not have the benefit of. to rule easily. The choice of divisions and their cohabitation along with some religious rituals shows the intelligence of the Mongol rulers in line with their state policy. Although in some cases, they have abandoned the policy of tolerance and have very fanatically imprinted their religious beliefs on the coins. By examining the coins of the Mughal patriarchs in the middle periods, it seems that with the spread of religious differences with the disappearance of the rule of the previous religions and the increasing spread of the religion of the ruling patriarchs, its effect on the coins was well in the form of sun, milk and sun motifs. And the lion and the process of performing religious rituals will change.

An illustrated copy of Khamsa Nizami preserved in the British Museum, compiled in the Timurid period, is world famous due to high artistic value of the paintings and the presence of painters such as Mirak, Behzad, and possibly Qasim-Ali and Abdul Razzagh. Also, its text is a valuable relic of Hakim Nizami, which is one of the most cited research works in the field of Persian literature. Nizami is one of the talented Persian poets, who not only has a separate method and style, but the influence of his style on Persian poetry is also quite evident in the poets after him. He had a great knowledge of the common knowledge of his time, including literary sciences, astronomy, philosophy, Islamic sciences, jurisprudence, theology, and Arabic literature, and this characteristic is reflected in his poems. Khamsa Nizami has been very popular with Persian painters and calligraphers and many copies of it have been reproduced in various periods from the Timurid era to the Qajar era, which are scattered in museums all over the world, and this is due to the special charm of Khamsa Nizami's romantic-mystical and sagacious stories. It is popular with audiences all over the world today and shows Nizami's ability to attract the collective unconscious of humanity. This magnificent collection includes 22 paintings, which are important in terms of showing the way people lived in the Timurid period and reflecting it in Persian paintings. On the other hand, Behzad is an outstanding artist who, in addition to accurately recording the daily life of the people, deeply adheres to the social concerns of his time and benefited from mystical references in his works, which is his close and deep connection with prominent mystics and poets(Jāmī and Nava'i) and mystical circles that are proof of this claim. In this regard, the painting of “Khovarnagh Palace ’s build” by Kamaleddin Behzad, was chosen due to the special paradox hidden in it, which is unprecedented in Behzad's artistic career, so that a deeper reading can be provided by discovering the possible mystical sources of the work. In this regard, the precious work of, Najmeddin Rāzi “Mersād al-Ebād”, is one of the important sources of   Islamic mysticism, whose basics are useful in the mystical interpretation and has a lot of harmony and consonance with the present painting. In this regard, it is possible to use the theory of Razi's colorful lights in order to adapt it to Behzad's color selection in the direction of Razi's mystical views. To put it better, Razi's colorful lights is a bridge between Behzad's paintings and Razi's mystical works. The upcoming research is of a qualitative type and descriptive-analytical and interpretative method and it has benefited from library resources(real: available books - virtual: images and related websites).The results of the research indicate that the building of Khovarnagh Palace is a great symbol of the human format at the beginning of creation entertained by insatiable worldly ties in order to forget the nearness of the truth and the unseen world, and to join the world of sense, and Senmār (Khovarnagh Palace's architect) is also a manifestation of this attachment, who was caught by the burning lights of God's wrath. The glory and wrath of God engulfed and was destroyed him. A repeatable fate for those who have closed their hearts to the material world and got caught in its wrath.

Iranian carpets belong to arts in which symbolism plays a significant role. Some carpets have special usage and features. Pictorial carpets are included in this category, which are mostly custom made and are not common carpets. These carpets are one of the interesting cases that became popular from the Qajar period, and in addition to aesthetic aspect, they have special importance from point of view of concepts and symbols. Sarouk in Central Province is one of regions that are famous for having high-quality carpets, and one type of these carpets is pictorial carpets with a dervish theme. Dervish carpets have a special use and were woven for several purposes, including honoring dervish leaders such as Noor Ali Shah, keeping alive dervish rituals and ceremonies, etc.; however, from this category, there are a few examples of carpets called skin rugs from Saruq, which are significantly different from other dervish carpets. These carpets, which are considered a subset of pictorial carpets, are among rarest species and can provide valuable information about prominent symbols, period and origin of their creation. The purpose of this research is analyzing the origin of the appearance of Saroq skin rugs and analyzing visual symbols presented in order to discover their connection with Sufism and Dervish rites and ceremonies. Therefore, the question is where possible origin of appearance of these rugs is and what is relationship between their pictorial symbols and dervish rituals? The research method is descriptive-analytic and data collection was carried out in a library, so according to Mircea Eliade's opinions, symbols in these rugs were discussed. The research community included all Saroq skin rugs, and despite of efforts of authors, only eight of these samples were found. By examining the examples in Iran and comparing them with similar cases in other cultures, results were obtained two origins, one in the Far East (India and Tibet) and in the Ottoman Empire, can be considered in appearance of skin rugs. Oriental origin is most probable. Because samples of Ottoman rugs are not exactly similar in appearance to samples that found in Sarouk, if it were so, samples should have been found in Tabriz and nearby areas. While Nizari Shiites of Anjedān, by choosing Sufi methods and attitudes, caused spread of Sufism in this region, and their relations with followers of this religion in eastern lands, especially India, created basis for presence of skins or skin rugs in this region. Also, usage of symbolic dervish motifs in this type of rugs can be an indication of ritual and symbolic use of Sarouk skin rugs in dervish ceremonies, which are more than a floor covering and are used as wall hangings. According to the research results, traces of common Hindu and Buddhist rituals in lands of India, Tibet and surrounding areas can be traced in this carpet.

Islamic, juridical, and literary ideas have long found expression in the symbolic language of Iranian-Islamic miniatures. Qandil (luxury ceiling light) is one of the visual forms of Iranian art, mainly miniatures. Iranian miniatures depicting the Qandil represent their religious, literary, and philosophical ideas to communicate profound intellectual thoughts and beliefs.
This study reflects on the symbolic idea and employs Gilbert Durand's mythological approach to examine Qandil's symbolic importance in Iranian-Islamic art and culture. In this context, Gilbert Durand's mythological approach and ideas concerning symbols have been used to examine an image from Maktabi's Layla and Majnun. Answers to the questions, "What does the Qandil sign imply, and how is it used in Islamic-Iranian art and culture?" and "How is the Qandil symbol used in Islamic-Iranian art and culture?" is essential. What is the symbolic importance of Qandil's function in the school miniature about the other figurative components and concepts? It uses a library and descriptive-analytical research method.
According to research, symbolic components derived from archetypes have conveyed religious and Islamic themes. In Layla and Majnun at School, we discover the archetype that produces these motifs and the underlying thought by employing the symbolic visual motifs and how they are integrated. The proportion of the Qandil motif to other visual parts demonstrates the relationship between the image and its religious, literary, and philosophical values. Gilbert Durand's view and focus on archetypes in the creation of symbols and myths suggest that Qandil's purpose in the Holy Quran and Illuminationism is related to the archetype of light. This miniature is especially significant because it uses several different symbols—including the Qandil, Mehrab, and Gonbad—to represent the archetype of "Eternal Light," a central concept in both religion and Iranian-Islamic mythology.

The important foundation of Iranian art are derived from a religious culture and based on the studies conducted by elders and experts in this field, It can be said that this culture is in accordance with the principles of Islamic aesthetics. Studies that are still ongoing and many Iranian and foreign theorists are of the opinion that Iranian culture accepted Islamic principles when it saw them in accordance with its own culture. Including monotheism and
On the other hand, it should be known that the culture of each land flows deep into the lives of its people, including the art of that region. In the following, unconsciously it is noticed that Iranian arts, in many cases, have common concepts that exist in most Iranian- Islamic arts. Although these common features are less mentioned, they are also shown in the art of carpets.
Carpets weaving, which is the most popular and native urban, nomadic and rural art, has a definite relationship even with music. For further explanation, it should be remembered that the principle of Islamic aesthetics, is based on repetition, and music, in its simplest form, is a kind of repetition of sound with different moods.  What is obvious in Iranian carpets is the repetition of motifs with different degrees that make up the design. Paying attention to these points together increases the desire to find the rule of repetition in the existence of any interested person. Because trying to understand an artistic concept always means the desire to participate in the world created by the artist and the current research is also an effort to discover symbolic concepts and of course it is only ban opening towards the infinite horizon of hidden meanings in Iranian artworks.
With this description, it can be said that the presence of the rule of repetition in the carpet indicates the fusion of the carpet design pattern with the principle of rhythm.  It is obvious that this fusion exists in the design of all Iranian carpets and even outside the borders-regardless of the issue of their imitation of Iranian carpet design- including his competitors. But in this article, only some carpets of Kerman region (from the mentioned point of view) are examined.
Therefore, according to the mentioned cases, the present research has tried to analyze and evaluate the studyable examples of Kerman carpets, which are adornment of various museums today, from the point of artistic rhythm.
The data of this research, which was collected based on the library method, and analyzed method, has introduced  the types of rhythm in these carpets, relying on case examples.
Finally, the obtained results indicated that the designers have drawn motifs on a platform that draws the attention of the audience to the deep world of nature, considering the dynamic points and repetition criteria as one of the main bases and the understanding of these aesthetic values, including the principle of rhythm, evokes the existence of a superior force in his mind.
And finally, repetition and repetition is not only boring, but along with the two characteristics of symmetry and contrast, it is one of the characteristics of iranin art that the has found a strong presence in carpets and music.