نشریه هنرهای زیبا - هنرهای تجسمی
سال بیست و هشتم شماره 1 (پیاپی 93، بهار 1402)

Instead of simply reiterating previously established ideas and solutions, this article claims that design is a process for creating new concepts and approaches that can transform the world. To put it another way, design can be thought of as a goal-oriented function that aims to change the current circumstances into more desirable and anticipated events. Exploring the nature of design and its connection to science, this research has produced several notable results. The contributers demonstrate the significance of this topic by studying the role of design from many scientific and philosophical perspectives. To represent the most critical aspects of design and reveal the connections between them, this research intends to describe, develop, and communicate the knowledge of design, clarify the relationship between design and science, and look at the place of design in several scientific disciplines.
In the framework of this research, it is supposed to answer the following questions: "What are the most distinguishing features of design from the point of view of theorists in the design field" and “In what areas can these features be investigated?” The current study was conducted using a descriptive-analytical methodology, the data theory of the foundation was based on induction, and the information collection was desk-based - including the analysis of articles, books, and written texts. The research investigates the relationship between design and science from a fundamental view point and presents a theory to clarify this relationship. The foundation's data analysis method creates a written and documented strategy through the systematic gathering of data and their inductive analysis, which was implemented to resolve the research's open-ended questions.
This theory is based on the information gathered and analyzed throughout the study. This research uses the foundational data theory to investigate the area of innovation in the space of science and knowledge, expressing the essential features of design and categorizing them into three groups after studying the research text and critical works in the fields of design knowledge, and design philosophy, and design studies. The group uses open, axial, and selective coding to present a theory utilizing them. As a result, from this aspect, the type of study is theoretical, and the methodology is content analysis, which is based on looking at and inferring themes from the data.
The investigation's findings are as follows: Open coding was used to extract 51 design features. Axial coding was performed on 13 study areas; each feature's position was confirmed, and selective coding was used to determine their relationships with one another. All components were based on similarity. The three groups that make up their research areas are epistemology, nature, and design knowledge. Following the coding stages, this theory states that half of the most significant design features are in the field of design knowledge, which includes the three words proposed by Cross and the two words approach and design research, which represent 24% of all design features.

Paradigmatic perception in research method, especially in the field of art, might have no practical relevance. The art researcher mainly starts her work by describing and at the end, she records and publishes her analysis and understanding of the "relationships" in the variables. In the meantime, various methods are adopted, which may not necessarily have a paradigmatic basis from the researcher's side. Analyzing conflicting researches in a field, in terms of paradigmatic and theoretical roots, may not be considered useful. Because extracting various and sometimes conflicting results from a subject has been an inherent feature of qualitative and interpretive research. Nevertheless, it seems that it is possible to study and analyze the theory or theories governing research on a topic in this way. On the other hand, painted pottery of Nishapur, due to its visual and conceptual appeal, has been the target of studies by many researchers with diverse interests. Some have paid attention to the visual and formal characteristics of its motifs, and others have played a role in finding hidden meanings and stories. The dominant theory in the method of visual studies of Nishapur pottery is "the influence of Sasanian art on Islamic art". In other words, the form and sometimes the Nishapur painted ware’s content was indebted to Sasanian art and the result of the reproduction of pre-Islamic culture in the third and fourth centuries of Hijrah. In the meantime, a number of researches, which are more interpretative, have given a multiplier to the contemporary and Islamic effects. Paradigmatic analysis of existing researches on the subject of Nishapur pottery is done with the aim of explaining the place of theory in the research method. The main question of the research is, which of the various articles about Nishapur inscribed pottery after Wilkinson can be classified in the proof paradigm and which in the non-proof paradigm? The research method is descriptive-analytical. A result that comes from this paradigmatic analysis is the reflection on the essence of art history research. The text of history is based on evidence and historical phenomena. Works of art are one of the most important phenomena of history that create historical knowledge. On the other hand, art history always faces the danger of falling into the abyss of proving repetitive theories such as the theory of influence or the vicious circle of provenance. The analysis of the studies shows that when the researcher looks at the problem from quantitative methods or a positive approach, no new theory emerges. However, the researches which include the interpretation without being constrained in any kind of theory have the ability to develop theory and a diversity of results. Regarding the status of the theory in Nishapur's engraved pottery, the theory of the influence of Sassanid art and in general the pre-Islamic painting of Iran is confirmed in the shape part. But in the discussion of semantics and content, there is a gap to establish an independent theory that can cover all semantic interpretations.

Duplication in the tradition of Persian painting, which was mostly created for educational and skill-learning purposes, could be one of the best examples of Genette's hypertextual relationship. Also, one of the most significant examples in this field was the painting "Seated Painter" in 892 AH /1487 AD. (Freer Gallery of Art 32.28) by Kamal al-din Bihzad, which was a sketch of Bellini's work "Seated Scribe" in 886 AH/ 1481 AD. (Gardner Museum P15e8). On the other hand, hypertextuality was one of the types of transtextuality in Gerard Genet's system, which emphasizes the derivation and overlapping of works from each other. In this type of relationship, attention was not paid to the partial inspiration and influence, but to the overall influence of one text on the other one. Based on Gentet’s theory, the aim of this study was to know how a non-Persian hypotext (Turkish-European) was related to a Persian hyper-text. And it is atempted to answer these questions: Behzad's copy of Bellini's painting belongs to which type of hypertextuality? What changes were made in the copying process in Behzad's painting?This study is developmental research and has been carried out by the descriptive-analytical method. The research samples included two works, "Seated Painter" by Bihzad, and another "Seated Scribe" by Bellini, which has been considered hypertext and hypotext respectively. The method of selecting samples is "non-random" and purposeful and the observation is desk-based. The method of qualitative data analysis was Genet's hypertextual approach.The results showed that Bihzad's duplication of Bellini's painting was in the "transposition" category (Changes with a serious function) based on Genet's typology of hypertextuality. The changes made in the hypertext included formal changes, thematic changes, compositional changes, and color and light changes. In Bihzad's design of a non-Persian work and in the process of creating hypertext, due to the difference in cultural, artistic, and social background, the pre-text had changed and Bihzad did not just do it imitatively. The changes made in Bihzad's painting, in addition to creating a new and independent work, also created a hypertext related to Persian art and society. In some parts of the painting, Bihzad mentioned the cultural-artistic and social characteristics of his society, for example, the lack of attention to naturalism in the design of the figure's hands and face, or the lack of use of light-dark (chiaroscuro), which shows Bihzad's loyalty to the aesthetic system of Persian painting. Also, the color of the figures' clothes and the motifs used in them were directly related to the background and social context of Ottoman Turkey and Iran. As Mikhail Bakhtin considers transtextual relations, especially cultural and social relations, as a type of text in which the artist creates his work with them; Therefore, there is a logical connection between the artist's text and his society.

In the last few years, the importance of emotional effects in the user experience has stirred some controversy about how to create a multi-sensory experience in products. Surrounding a wide range of products necessitates the creation of a pleasurable experience because interaction with each product creates a unique experience for all users. It can be said, products act as an emotional signal to users, whether designers add emotional features to products deliberately or not. Therefore, anticipation of users' emotional needs and accommodating them with product features, not only plays a crucial role in users' experience but also can be a factor in increasing the level of life quality. Besides, understanding products' emotional features can make a meaningful connection between users and their experience, and ignoring the sensory needs of users can exacerbate negative experiences and eventually take the product out of the production cycle. To wit, studying the sensory needs of users and extracting them in the form of quantitative and qualitative data can prevent future damages. Thus, this research by using the emotional design approach aims to answer this question: is it possible to create a valuable experience in the saffron mill by measuring five sensory characteristics such as pleasure, enjoyment, wish, interest, fascination, or not. Hence for achieving a better answer, two fundamental steps are used in this research; that is combining quantitive and qualitative methods that help to evaluate all test results accurately. In the first step, eight saffron mills were selected for the base experiment and after using by users, their results have recorded as a quantitive table. With this experiment and numerical results, a three-dimensional chart has been created showing products' sensory distances. In the second step to discover users' evaluation, different methods such as laddering questions, user observation, and team interviews has been used. The second step’s results have shown in a table under the name of standards, goals, and attitudes which was a pivotal starting point for creating a product character triangle and designing a new saffron mill. In this part, the new product is evaluated by users and its results have recorded in a numerical table and three-dimensional chart. It should be noted that all the steps of needs extraction have been done by the Pr-EMO method with a three-point Likert scale with three options: I feel, I feel to some extent, I do not feel at all. This study is in the branch of field studies in terms of method and time of data collection. The statistical population of this study has been purposefully selected from people who are very interested in cooking and use more saffron in their food. This research shows that by combining different emotions and creating a product personality instead of focusing solely on the assumed functional features, a more desirable, and lasting experience can be created for users.

Pottery in the Samanid period (3rd and 4th centuries AD) was one of the most important artistic periods, and the importance of these pottery is due to the presence of various inscriptions in Kufic script and the use of birds in calligraphy. The open-mindedness of the Samanids, along with the promotion of Islam and the extensive connections of the Samanids in different regions, provided the basis for the expansion of science and culture and the prosperity of the period. On the other hand, due to Iran-China connections, the Persian language had influences on that region which equally reached China. This shows the closeness of the two Kufic and Chinese scripts in terms of form, and although both regions had special values and rules for calligraphy, so far, no focused research has been done on the influences of these two scripts on each other. In this regard, the question has been raised that the variety of Kufic lines and simplified bird motifs in Samanid pottery have similarities with the Tang pottery motifs and its thinking.This article aims to know the common visual and semantic features of calligraphy and other pottery motifs of the two regions of Neishabur and Changsha, based on the assumption that the intercultural relations between these two civilizations in form and content are based on the cycle of time, the cycle of nature and especially the relationship between man and the world. This research is descriptive and analytical, and Gestalt design principles have been used in an adaptive manner. Gestalt, or the totality of perceived experience, is the rules that determine the relationship between forms; principles that have been used the most in visual arts. At the same time, what we have experienced in the third century BC in Chinese philosophy and in the language of Lao Tzu, and in Iran in the third and fourth centuries of Hijri in the thought of Ikhwan al-Safa, has been seen later in the twentieth century. Gestalt design principles show that these principles were considered centuries before and after Christ and during the Islamic period in Iran. The sampling method was non-random and purposeful, and for this purpose, five bowls from each region (Neishabur and Changsha) were studied on desk. The results of this research showed that the motifs of both Neishabur and Changsha pottery follow similarities, continuities, common fates and other Gestalt design principles and both regions are influenced by Daoist (Chinese) and Islamic (Iran) thinking.  In the meantime, considering the presence of works of Chinese pottery found in Iran and the relations established between Iran and China, it can be seen that there are traces of Chinese thought In Iran and its art.

Throughout history, the throne has always been a symbol of power and a sign of the legitimacy of the ruler of the time, which is clearly reflected in illustrated manuscripts, including Shahnameh of Tahmasabi. The throne and the sitting position in Tahmasbi's Shahnameh include different and distinguishable types from the perspective of composition and the type of characters sitting on them. The illustrated Shahnamehs of Hakim Ferdowsi, especially the Shahnameh of Shah Tahmasab, contain more motifs related to thrones and thrones than other illustrated versions, due to the nature and type of literary work. By analyzing 256 images of this magnificent work, 145 thrones and sitting postures were counted out of 86 images. The aim is to identify the types of thrones and other seating elements depicted in Shahnameh Tahmasbi of the Safavid era. This essay is an attempt to answer this question: What are the types, structure, abundance and the characters sitting on them of the arrays of thrones and sitting devices in Shahnameh Tahmasabi? The research method is descriptive-analytical and the method of collecting library-documentary information. The number of statistical samples is 86 images from Tehamasbi's Shahnameh, which contains at least one motif of sitting elements. The results indicate that thrones, chairs, stools, and palanquin are among the types of sitting elements mentioned in the work, which painters have often associated with the use of imaginary aspects in the visualization of their structure and the use of gold color, metal material. Painters have combined imaginative aspects such as flaming, animal and plant bases with realistic elements such as static frames and bases. This trend towards realism is more visible in the characters whose historical and real aspects are more prominent. Among the limited parts that the painter has associated with wood in the structure of the thrones, the wooden fence is the wall of the long canopied thrones. Among the thrones, from the point of view of structure, long crowned thrones with 33 cases and short platform thrones with 8 cases have the highest and lowest frequency, respectively. Among the types of seating elements, the motif of types of thrones with 73 items is the most abundant, and the next ranks are types of chairs with 35 items, stools with 23 items, and palanquin with 14 items. In some cases, the thrones of the warriors are less wide than the kings. This species is mostly seen in battle scenes. From the perspective of the characters, Fereydoun throne as a mythological king has been repeated more than others. The king, as the main and central figure of power, always sits on thrones, which are seen in a higher position compared to other people. Among the wrestlers and braves, Zal has a similar feature with 4 flat motif items. Among the mythological characters, Persepolis and Kikavus have a reputation beyond the images compared to other similar ones. The beds are drawn with single and double people, but in a few cases, the painter has depicted the bed empty of people.

Texts have always been influenced by preceding works. Sometimes this influence is investigated in the form of adaptation. When a text obviously refers to another text, if the relationship between them is beyond a mere copying, it can be said that the second work has been adapted from the first one. One can observe variuos forms of adaptation in the history of art, and this has been manifested more clearly in the medium of cinema. It seems that because of its realistic nature, photography hardly surrenders to this technique but studies show that, from the very beginning, photography has also made adaptions from various source, including literary texts. But do literary works have the capacity of photographic recreation? And, if so, what characteristics must they have to be recreated? Which category of literary works has capacity of photographic representation? Which style of photography can more easily represent literary texts? Can adaptation from literary texts create lasting images in photography, attract the addressees' attention, or even make a photographer successful? Regarding this issue, in the present research which is a descriptive-analytic one, the works of five photographers were investigated. These photographers' images, all have been recorded in the way of staged photography and all of them used one literary text as their inspiration source. Research method was desk-based (books, theses, articles   and internet sites). The results of the recent study indicated that adaptation from literary sources is possible in photography; but it is observed more in staged photography. And among literary texts, photographers have adapted more from poetry than prose, because there are more creative possibilities in adaptation from poetry. The analysis of photos based on literary sources suggested that literary texts must have the capacity of setting (a specific place that can set the story in its stream.), characterizing (a character who can play the story) and narrating (storytelling) so that they can be represented with photography. But the important point regarding such kind of collections is that observing photographs, a common viewer cannot get a perception of adapted sources; and as long as the photographer does not conduct the viewer through exhibition statements or literary texts used in the photography itself or in its title, he or she is not able to trace them in the photographs. All the analyzed works except one had artist statement. Even the series with no statement conducted the viewer with the poems related to each photograph. Of course, none of the photographers whose names are mentioned and whose works are analyzed claimed recreation or imagery of literary works which they were influenced by, but mainly applied their own mental inner perception at the time of photography. Evidences are indicative of the fact that it is not possible to recreate a literary text in photography identically; but it is able to attract the viewer and make impact on him or her.

Jenny Saville, the Scottish contemporary artist found immediate success in the 1990s due to the depiction of corpulent women on a large scale; depictions that were considered to be a rebellion against the long-lasting historical practice of drawing women according to the ideal constructs of beauty and slim female body. Saville’s works were considered as bold measures in contemporary art, and the updated historical context which was brought by the oversized depiction of the figures linked Saville to keywords such as atypical, inconsistent, and exaggerated. Saville’s figures fall under the category of grotesque art due to the depiction of suspended, amorphous, transplanted, and transgendered limbs. The human body and its vital and physical behaviors play a significant role in Saville’s imagination. The bodies created through grotesque realism are positive entities that delineate a world’s population regardless of their class and have the potential to inject instability in the accepted societal, political, and aesthetic norms. The essence of Mikhail Bakhtin’s notable views on carnival-grotesque disassociates itself from all the monotonous and invariable conventions, arrangements, stable truths, and cliches and provides an opportunity for revision and creation of novel worldviews. This theory provides a fresh outlook through which the works of Jenny Saville can be studied. The main objective of this study is to analyze the latent layers of meaning in Jenny Saville’s paintings which contain the implicit definitions and implications of criticizing the contemporary political, societal, cultural, and aesthetic landscape. Due to their authenticity, these features are studied according to Bakhtin’s views in order to provide an answer for the following question: “How can the elements of grotesque art in Jenny Saville’s works be studied according to Bakhtin’s views?” In terms of type, methodology, and developmental features, the present study is of qualitative and descriptive-analytical type. The findings of the present study reveal Saville’s attempt to pull apart and decentralize all the sumptuous and elegant features of contemporary society through her art. Saville expresses her dissatisfaction with the injustice and inequality in the society through overwhelming hierarchical orders and all that is considered to be dignified. Saville is drawn to expressions such as “mutation”, “transformation”, and “ambiguity”, and seeks the extravagant and bulky depictions of human figures that are comparable to Bakhtin’s interpretation of grotesque body with unique affinity and understanding of the material world. Saville’s recent works feature multilayered and overlapping masses of bodies and distorted limbs, that point to the notion of multiple truths and abundance of signifiers. The figures in her works – which often have elusive dimensions along with transplanted and transitional bodies – are arranged in a way to eliminate the line between creation and annihilation, and to demonstrate the cyclicity of time in grotesque imagination.  For Bakhtin, the Grotesque is against the hierarchiacal order, destroying all forms of social and racial classifications, like large figures of Saville, which provokes the audience to question the "policies of beauty standardization" and the "disgust caused by bodies not complying with the standards."

In the past centuries, when Westerners became more familiar with Iranian-Islamic art, they attempted to understand its essence based on the principles and foundations of their own art which is based on formalism, and thus called it decorative art. This means Iranian-Islamic art has additional elements that is separated from the original work. But it is noteworthy that contrary to the opinion of Westerners, in Iranian-Islamic art ornaments are not only a means of completing an artwork but as a way of forming and creating it, because in Iranian-Islamic art, beauty is associated with creation. The word “honar” Indeed is “ho n are” which means creating beauty. It should be noted that most of the researches done in the field of Iranian-Islamic art’s ornaments only describe different techniques of Iranian-Islamic art or different types of motifs in it, and finally, by producing descriptive propositions, can not help in understanding the themes of these ornaments. Consequently, the role of these ornaments in creating an artwork is ignored.
Thus, the main purpose of this article was to explain the basics of Iranian-Islamic art’s ornaments in order to understand the role of these ornaments in the formation of Iranian-Islamic art, and Chehel- Sotoun Palace in Isfahan is chosen for case study. This palace was built in one of the golden eras of Iranian-Islamic art and has various forms of ornaments. Since the ornaments of the Safavid period have often mythical and narrative themes, the chosen research method is a sort of mythological critique. Among the various methods of mythological critique, the Cruiser allegorical mythology method is the method of this paper because these ornaments are often symbolic and allegorical, and the allegorical mythology method is a suitable method for analyzing allegorical works. Cruiser argues that in an allegorical work the relation between form and meaning is based on allegory, and in this way the form of the work either becomes a symbol of meaning or refers to meaning through a mythical narrative. Based on this, it can be said that in this article, the main goal is to explain the meaning hidden in the allegorical ornaments of Chehel-Sotoun Palace through the method of allegorical mythology.
Thus, this article by using the allegorical mythology of the Chehel-Sotoun Palace’s ornaments concludes that the idea behind this Palace’s ornaments - stony lions, Anahita, chalipa, swastika, shamse, rotated shamse, Shah Abbasi flower, Niloufar, extensive mirror geometric designs and decoration, water reflections in pools and Middle Hall paintings - are signifying both dignity and illumination, or more precisely, the dignity required by monarchy, or the so-called “Kiani dignity”. Such a palace is built only by such a king and nothing else, and on the other hand the idea behind its pillar columns comes from Mitra's Palace, as the god of light and heat of the sun or in other words the brightest character in Iranian myths, which is an example of all the ideal cities of Iranian culture.

This study aims to address the works of the contemporary art which has allusions to the motifs of Qajar court painting and its adaptation to the effect of artistic discourses related to legitimizing the Qajar dynasty, to reveal the extension or rupture of dominant discourses in it.
The method used in the research is analytic-comparative. Also, according to the theoretical framework of the research, the approach used in presenting the research is part of Greenblatt's new historicism, which studies the discontinuities within the uniform flow of Qajar court painting and determines the direction of contemporary painting towards it. In general, it can be concluded that contemporary artists, by presenting a new look at the visible forms of the Fath Ali Shah Qajar, move towards a process that in some works, follows the visible forms confirming the monarchy. They do not return the Qajar and lead to its rupture as much as possible. But in some other works, by continuing the visible forms of the kings and the Qajar court painting discourse, they seek the discourse of identity with a new interpretation. In addition, some contemporary artists tend to be in the stream of globalization besides the Qajar court painting. According to the new historicism, one might say that some contemporary paintings with the new Qajar trend bring out the contradictory and sometimes paradoxical aspects of Fath Ali Shah’s image. Regardless of this aspect, some artists’ works are in the same orders and visual norms as the Qajar court painting. It can be said that sometimes what did not have a proper place to display in the Qajar period, for example the realm of folk art in the contemporary period, emerges. In this apparition, different effects found in the works of contemporary artists such as Saeed Khazaei and Hamed SadrArhami, and according to Greenblatt, a new text of history is textured. The context of history as a text emerges from the New-Qajar-oriented images, some of which are unbroken by the rules and principles of the visual norms of Qajar court painting, and some of which are to some extent broken. In addition, the impact of globalization shows national characteristics by emphasizing examples of specific cultures and art.  Therefore, examining the motifs of kings and the structures of royal-ruling power provides a good opportunity to analyze contemporary art by emphasizing this motif and identifying the factors that lead to it. Some contemporary works are in line with globalization and post-pop preoccupations.  As a result, the history and visual traditions of the Qajar kings in New Qajar art are not in opposition to the globalization of contemporary art, but in the hierarchy of its framework. However, as Fath Ali Shah's motif was the representative of order in the center of Qajar court painting, today it becomes the sign of pluralism.

Dot is the first and the most important element in Islamic calligraphy. The most important function of the dot in Nasta’liq script is to determine scales, calligrapher’s pen’s angle, and also line and specimen compositions. This fact can differ in each individulal calligrapher. So, the main goal of this research is to study the pen’s angle, baseline, and dot’s scattering in Mir Ali Heravi’s selected Chalipas based on fine art principles which has done according to: a) pen’s angle b) horizontal diameter of the dot toward baseline c) baseline itself and dots’ positions and scattering. Therefore, these questions are going to be analyzed and answered in this paper: According to baseline in Mir Ali Heravi’s artworks, what are the pen’s angle of the dot, and the horizontal diameter of the dot? What about the position of the dots’ baseline and their scattering in Mir Ali artworks? What are the principles for recognizing the forged and original artworks of Mir Ali Heravi based on the evaluation of the dots? In this research, the method of data collection was desk-baesd, and the descriptive-analytical method was used to study the qualitative review of the dots in Mir Ali selected Chalipas. The results show his dots’ style. The method in this article is descriptive-analytical and it is a practical research. The gathering information method was documentation, and statistical methods, computerized measurement, bibliographic, and also visual observations by authors were used. Statistical society of this research was Mir Ali’s Chalipas. The size and angle of the script may be varied based on the calligrapher’s desire. Due to studies done on selected Chalipas, Mir Ali Heravi’s nib was medium. It is deduced that the least angle is 50 degrees and the most angle is 66 degrees and the average pen’s angle is 60 degrees. Among 108 studied dots, 25 of them are 60 degrees. This result doesn’t show a vast number of differences but this important tip must not be forgotten that dots’ angles are not similar to each other because this is the proportion principle in Nasta’liq. Also, a tremendous difference between angles can show that the artwork is not original and it is forged. Another reason is the method alteration, pen’s nib and the specifications of using pen. Generally, it is believed that the dots’ angles in Nasta’liq are 62 till 63.5 degrees but studying Mir Ali artworks shows us that hand’s angle of each artist can be different and also it can be different in each artwork of each artist. Huge differences in this issue can make us think that some artworks are not original and they can be forged.

The Middle East has been the place of various cultural ties. One of the most brilliant of these ages is the era of Al-Buyid. The Buyids was a tribe of Daylaman of Zaidi Shiites who claimed to be descendants of the Sassanids. This period, due to its Shiite-Iranian culture, is one of the most important eras of Islamic civilization. During this period, the Arabic language alongside the Persian language became the literary language of the country and the greats of art and literature came and went to court. Mu'izz al-Dawla did not speak Arabic when capturing Baghdad. But later the Buyids came to the masters of science that they wrote poetry in Arabic. The reign of Azud al-Dawla was an era of prosperity and progress for the Buyids. The artworks of the Buyid period represent a return to the Iranian national identity while using Islamic concepts. However, there was no sudden change in the works of this period compared to the Sassanid period, and despite the Islamic standards and identity, they strongly followed the ancient methods, especially the Sassanids. One of the most prominent artifacts of this period are textiles, which are decorated with motifs taken from ancient Iran in the form of religious concepts along with Islamic verses and writings, and we can mention the special use of some of them in funeral ceremonies. This article aims to identify the factors influencing the emergence of this particular application in Buyids’ textiles while studying the prevailing and influential cultural beliefs, through studying the designs and inscriptions of three examples of burial fabrics preserved in Cleveland and Victoria and Albert Museums; consequently, a question is raised: what are the cultural factors influencing the design and use of Buyids’ burial textiles? The main approach of this research for the analysis of selected textiles is culture-based design. The model used in the culture-based design is based on the model proposed by Dr. Ajdari and his teammates, which studies a phenomenon in four levels of obvious and interpretable data, views in society, ideology, and mythological attitudes. This model is based on the futures research method; CLA.
 The research method used in this article is interpretive-historical and data collection is desk-based and analyzed qualitatively. The results show that Zoroastrian beliefs, surviving motifs of the Sassanid era, motifs of the Islamic era, and Shiite beliefs of Daylams have played a role in how motifs of these textiles were formed. The Patterns such as the tree of life, angels, peacock, lion, etc., originate from the culture of Sassanid Iran, which has adapted to Islamic concepts. This combination is subtly used in a way that leads to the creation of symbols interacting with the user. It is significant that the designer designed these fabrics according to their subject, with related designs and writings (relating to death), and then woven and used them.