فصلنامه نگره
پیاپی 66 (تابستان 1402)

In Gilan it has been common to paint the walls of mausoleums; though these painting had been irrelevant to the entombed person and even to the architecture and structure of these mausoleums. In other words, the architect and constructor of the mausoleum would not preordain or designate a specific place for painting, but the patron or the local people would hire a painter afterwards to paint the interior as well as the exterior walls of such mausoleums. In the east of Gilan province, there are two tombs with paintings attributed to Imamzade Seyyed Muhammad Yemeni; one in Licha village (Lasht Nesha city) and the other in Kisom (Astana Ashrafieh city). The wall paintings of these tombs include folk religious paintings. In Licha's tomb, the narrative frescoes are limited to the exterior, while the interior walls contain only calligraphy. However, both the interior and exterior walls of Kisom's tomb contain folk religious paintings. The paintings in the Licha tomb are signed "Mashhad Agha Jan Lahijani", while the painter in the Kisom tomb is not known. Some of the calligraphy is identical in both tombs; revealing the use of pre-made patterns (stereotypes) or repeatable patterns. The religious inscriptions of poetry and prayers complemented these paintings. The responsibility is given to the painter. Since most of the Gilan’s tomb painters did not have a good command of calligraphy and were not even literate, calligraphers prepared calligraphy designs for wall paintings and the painters bought them. Then, these designs were transferred on semi-transparent papers that were pasted together and made into stereotypes with needlework. Later, the stereotypes were placed on the walls and charcoal powder was used to draw lines on the plastered wall surface (which were prepared and smoothed). Finally, the artist draws the outer edges and paints the inside. Some stereotypes of these religious themes, painted by the artisans, were later made by their students and sold and bought in the same way as calligraphic designs. Some of the lines and motifs painted from the same narrative appear similar at first glance in both tombs, leading many researchers to argue that the murals in the Kisom tomb were painted by the same artist as the Licha tomb, namely, Mr. "Lahijani". The main goal of this research is to determine the identity of the painter of Kisom tomb. Due to the severe damage of the internal murals of Kisom mausoleum by the fire, a secondary goal of this study was to identify religious scenes using previous photographs and field surveys taken and recorded prior to the fire, and to reveal the precedence of the murals. The research questions are as follows: 1- Based on the comparative study, what kind of knowledge can be obtained from the identity of the painter of Kisom tomb? 2- The wall painting of which of these tombs was painted first? In this research, dealing with the similarities and differences between the wall paintings of these two tombs, as well as their unique features in a range of themes and visual elements is a touchstone to reach the answer to the research problem. For this purpose, the required data were collected through descriptive documents and field research and then evaluated using analytical and comparative methods. The findings of the research show that the painting style of the Kisom tomb murals is more similar to the painting style of Reza Lahijani than that of Agha Jan Lahijani. This supports the hypothesis that one of Reza Lahijani's students subsequently stereotyped, traced, and replicated the paintings of Baba Jan Dere's tomb to create the wall paintings of Kisom's tomb. As mentioned in the "Statement of the Problem" section, this type of tracing (use of a pre-made needle or hook motifs) has been common among tomb painters in Gilan province. Depending on the work conditions and the surface used for the mural painting, the painter sometimes modified these pre-made patterns. In addition, the artist sometimes mixes figures and visual elements from two different stereotypes. The wall paintings in the tomb of Kisom are examples of such works of art. However, the Licha tomb paintings display a more unified painting style. This study confirms the reports related to the destruction of the tomb of Kisom due to the flooding of the Sefid Rood River. As a result, this building and its wall paintings should be considered a more recent work.

In describing Iranian painting, especially with religious and metamaterial subjects, the emphasis is always on introversion, the mysterious world, the mystery and the sacred realm of these works. But, despite the transcendent nature of these paintings, the human aspect and social contexts of the formation of these works should not be neglected. Because these paintings, in addition to the mission of expressing the truths of heaven, such a cultural atlas, also reflect the ideological space, historical context, political ideas and social contexts of their time and connect the two areas. Accordingly, the main issue in the present study is the study of resurrection-themed miniatures in the Safavid era and the realm of their rule and also their technical and content analysis from different and abandoned aspects. The aim is to identify the Safavid dynasty and to recognize its aesthetic patterns and dominant paradigms through the thematic miniatures of the resurrection. The method of research is descriptive and content analysis with the approach of social semiotics of the image, and information is collected through documentary sources and direct observation. The question is how the transition from visual structure to meaning has taken place in the miniatures of the event of the resurrection of the Safavid era? The results of the study showed that the semantic implications of the Qur'anic miniatures of the Safavid era can be found on two levels; first, as a translation of the Qur'anic text and concepts in explicit and implicit layers, and then, through research into the context of the production of works, in order to understand the hidden and indirect social meanings. The work of art is always a reflection of the social and cultural conditions of its time, and its form and content are the product of attachments to the artist's belief system, and the work belongs to a specific way of thinking or reflects the cultural and ethnic affiliations of the history and land in which it was produced. Applying the theoretical framework of social semiotics of image showed that this method is an effective tool in reading and multifaceted analysis of Iranian painting and can address the above issues. This method reveals the formal and textual meanings of the images, the textual layers and the social references of the images through formalistic study and syntactic structure of the images, modeling from the sources of their signs, and then cataloging and analyzing the existing explicit and implicit meanings. The finding is due to the dominant discourse influences in this period. In other words, the constant presence of mixed meta-maps and narrative representation in the visual form of all these works and sources of common signs such as vector, information value, framing and visualization of images, resulting from the prevailing discourse space and uniform social pattern in this era. Shiite discourse, the most important elements of which was Mahdism and Promise, with the intelligence of its custodians to legitimize the political structure, also infiltrated symbolic systems such as painting to use it as a propaganda tool to advance the diplomatic goals of Safavid rulers. Therefore, by using the tools of social semiotics analysis of images and by passing through visual structure, common sources of signs can be found in paintings influenced by the Safavid Qur'an, which proves the establishment of the same pattern in these paintings, and based on their effectiveness can be identified and interpreted from dominant discourse. It also explains that the main motive for creating these paintings depends more on the political spirit of the time than on the doctrinal goals, and in other words, reveals their self-creation; this means that at first glance, images seem to be a tool in the service of religion, but in fact they are a tool for political-propaganda exploitation and legitimation of the institution of power. In matters related to the hereafter, what is primarily discussed is the belief in the issue of resurrection and the principle of resurrection as one of the principles of Islam, but what is evident in the analysis of the context, reference to the social context of these images and even the choice of scene is a directional choice to convey the ideological message of text producers. For this reason, we encounter the primacy of the Shiite-oriented vision over the main narrative and the promised metaphorical atmosphere of the resurrection, which is influenced by social conditions and discourse conflicts of the first half of the Safavid period. The government was established with the intention of establishing political unity in Iran. The sources of semiotics, syntactic structure, and overall visual presentation in these paintings played a role in highlighting religious goals and political discourses, but the subject and content of concepts, has played a more significant role in motivating the creation and illustration of images in conjunction with the dominant discourse of society.

Saheb Al-Amr Mosque is one of the historical-religious buildings of Tabriz, which is of great importance and sanctity among the people of this city from the past to the present. One of the features that make this place stand out is the existence of metal inscriptive ornaments such as Qur'anic verses and prayers, also visual metal ornaments, including hand or human icons, and other objects that are installed on the entrance door of this historical monument. Based on observations, most of the ornaments, especially human icons were installed on the door by different strata of the people in the Qajar era. Therefore, this place can be considered of significant artistic importance, regardless of its historical and religious values. Moreover, one of the necessities of conducting this research is neglect of these arrays as works of folk art, also the role they can play in reflecting the culture and thought of the people over some time is valuable. Metal ornaments installed on the door can reflect the social, cultural, and economic status of the society of that era. Given that in Iran during the Qajar period, most people were influenced by and adhered to national prejudices and religious slogans.On the other hand, superstitious thoughts and ideas have been prevalent among the people and even the Qajar courtiers, and considering the important place of this construction in the social life of the people of this era, the present research intends to study and analyze the ornaments installed on this door as part of common visual culture in the society of Tabriz in the Qajar era based on the reflection approach in the sociology of art and with emphasis on components such as social and cultural structure. The Abundance of various arrays on the door, and on the other hand, their meaningful application in a particular period and society, indicate that one of the important features of the study of this phenomenon is that it makes it possible to analyze ornaments with a reflective approach to the image and a close reflection of the social and cultural conditions of society. Therefore, the main purpose of this study is to achieve the currents and ideas that have led to the formation and emergence of such ornaments. In this regard, research questions are raised in this way:  What currents and ideas are reflected in the arrays of the door of Sahib Al-Amr Mosque in Tabriz? What do the ornaments contain?The present research is historical and descriptive-analytical in terms of nature and method and has been done with reflection approach and content analysis method and using historical data through collection of library and field documents. The results of this study showed that on the door of Saheb Al-Amr Mosque in Tabriz, we encounter two major groups of ornaments from a content perspective. First group is ornaments with themes influenced by religion, especially Shiite culture, which explicitly refer to Islamic and Shiite traditions and texts, and most of them can be seen in the form of written ornaments. The second group includes ornaments with a combination of Shiite themes and non-religious signs under the influence of superstitious sciences, which in many cases appear with a seemingly religious aspect and in different forms. In fact, with the emergence or strengthening of new beliefs and mentalities in society and changes in culture, the possibility of the emergence of new forms and content in works of art is provided.Existence of icons with the name of Cheshm Abbasi, on which in some cases the words "Ya Abbas Dakhilam" and "Ya Hossein Mazlum Dakhilam" are engraved, seems to have had a religious function from the point of view of a group of people in Tabriz during the Qajar period, and is considered as a clear example of this change. In this period, we are faced with cultural and social conditions that affect the whole society, including the kings and most of the people, the most important of which are a superficial reading of religion and more attention to the appearance of religious rituals and ceremonies, and another case is the spread of popular beliefs and beliefs of non-religious origin, which in many cases are practiced in combination with religion by fortune tellers, and dervishes. Tabriz, as the most influential city of this period, is no exception to this principle. The people of this city, in addition to having religious prejudices and special devotion to the infallible Imams, especially "Hazrat Abbas" and "Imam Hussein", were also influenced by the popular and superstitious beliefs of the Qajar-period society, to the extent that countless arrays on the doors of the Sahib Al-Amr Mosque reflect ideas directed at both views.

Definition of Tasheir is rarely mentioned in ancient sources. The book "Golestan Honar" states: "When the pen is taken up by the secretary for Tasheir, hair rises on the lion's body" (Munshi Qomi, 1352, 138). This verse refers to two important features of “Tasheir”, namely the elegance of the pattern, the thinness of the hair, and the use of animal motifs. In new sources, we read in the sense of Tasheir: "Literally the word “Tasheir” means hair, and in religious terms, a kind of gilding, such as Khatai and images of very small animals and birds, which are usually painted with gold and sometimes with other colors". In addition to animal and gold motifs that differentiate Tasheir from the perspective of motif and technique, the theme can also be examined in its formation, as a single vineyard. Tasheir has intricate and thin motifs and includes Arabesque, Khatai, catch and hunting lines. The samples used in this research are seven versions of Tabriz school named Divan Khataei, Khamseh Jami, Al-Anwar Khajavi Kermani shrine, Khamseh Tahmasebi, Zafarnameh Teymouri, Golestan and Bustan of Saadi which are purposefully selected and the best margins of Tasheir are studied in each version. The variables, one to two samples, are examined in a total of nine samples. Style is a literary word and it is synonymous with expressions such as: melting, molding, melting gold and silver, special ways of speaking, prose, style, method, style, way, way and suchlike. In the definition of style, it is considered as a way of dealing with problems and the result of perception of problems that in addition to the emergence of emotions and feelings can bring intellectual, scholastic, philosophical, emotional and even humorous attitudes. The term was first used to describe the methods of speaking in literature and then in the realm of art. In art, style can generally be thought of as distinct patterns or attributes of something or a set of objects. These specific patterns or attributes are called stylistic characteristics or attributes. Now, if these attributes are in a work of art, it can be the style of that work, if it is in the works of an artist, it can be the style of that artist, and if it is in the works of a region or a period, it can be the style of that region or period. Some consider the origin of poetry to be Chinese, which has found its way into Iranian art with the introduction of colored decorative papers. Since the Iranian book layout has always benefited from the text and margins, examining the margins of the drawings, especially the “Tasheir”, provides more information. “Tasheir” played an important role in decorating the margins of texts and paintings from the ninth century AH onwards and reached its peak of beauty in the Safavid period with the birth of the schools of Tabriz II, Qazvin and Isfahan, and this has doubled the need to address it. This study aimed to answer this question with the aim of mastering the stylistics of “Tasheir” in the early Safavid period. What are the characteristics of mourning in the second school of Tabriz in terms of engraving, decoration technique and concept, and what were the types of Stylistics of Tasheir in of this school? About characters of Stylistics of Tasheir in Tabriz school II, these issues are considerable: the research is of a fundamental type and with a descriptive-analytical method based on the historical approach and observation of selected samples and collection of library information. The result is that in the “Tasheir” of Tabriz school II, the theme is often decorative and less narrative. The presence of animal, plant and landscape motifs are more frequent than imaginary and human motifs, and the limited imaginary creatures have been depicted with fiery flares and unusual wrinkles on the tail, shoulders and knees. Also, the lack of attention to the role of man and narration in the “Tasheir” of this period shows the artist's implicit desire for a decorative approach. Gilding in all and other colors have been performed in a limited number of works of “Tasheir” of this period and the linear emphasis prevails and the artist seems to have followed fixed rules. Among the characteristics of maginary animals, aggressive postures, movement, stretching in the limbs of animals and entanglement between dragons and Simurghs on a large scale, emphasis on details and processing of limbs by drawing the scales, hair, feathers and skin of animals, based on the usual painting routine, drawing flares on the shoulders and knees of animals in order to give them imaginary or mythical effects can be mentioned.

Carpets with Medallion patterns are a wide and unique collection of Iranian carpets that received a lot of attention in the Safavid period. Since these carpets are among the most important Iranian carpets, it is necessary to analyze them from different aspects. Therefore, with the aim of studying the proportions and relationships in carpets with medallion designs in order to examine the layers of the presence of geometric-numerical proportions between the components of the carpet and the ratio of the area of each component to the analysis of symmetry, disciplinary lines and the presence of fractal geometry in 8 samples of the most famous carpets of the Safavid period with Medallion patterns, simultaneously an attempt has been made to answer the main questions of this research. Questions are 1- In what format and with what kind of composition are the issues of geometric proportions, order, disciplinary lines and symmetry seen in these designs? 2- How is the mystical concept of "from plurality to unity" and "from unity to plurality" manifested in these designs? 3- How is the presence of fractal geometry and its pattern similarities with the medallion design in Safavid period carpets analyzed? It is necessary to answer these questions and pay attention to the fact that in most researches related to Medallion Pattern in Safavid period carpets, only the proportions and numerical relations between the components and the whole carpet have been studied and the issues of symmetry, disciplinary lines and fractal geometry have not been studied; and the importance of this research becomes clear. This research has been done by descriptive and analytical methods and its information has been collected with a library method. Due to the importance of the design and role of Iranian carpets in the Safavid period - especially medallion pattern - the target community includes 8 examples of famous Safavid carpets all which have the same construction and 4 quarter-medallions, including: Sheikh Safi al-Din Ardebili carpet (530x1032cm) at the Victoria and Albert Museum in London, a carpet known as the Sea Wave, or Portuguese rug, Khorasan texture (313x680cm) at the Vienna Museum of Handicrafts, Chelsea rug (310x549cm) at the Victoria Museum of Western Iran (360x690cm) at the Petzoli Poldi Museum in Milan, Vase rug, Kerman texture probability (171x249cm) and three samples of Kashan silk carpets (165.1x243.8cm), (148.6x221cm), (146.7x207.6cm) at the New York Metropolitan Museum. Using the two-dimensional screen roller software from the computer screen, the dimensions of the proportions inside the frame and the dimensions of the frames include the ratio of width to text length, width to total length, border width to text width, border width to total width, medallion width to full text width and the width of the medallion is calculated to the total width of the carpet and the ratios related to the area of the various components of the samples. The golden ratio obtained from the square of the index is also shown as an example for the hunting rug of the Petzoli Poldi Museum of Milan. By drawing disciplinary lines in the carpet resulting from the intersection of the diameters of the index squares, the complementary rectangle, the diameters of the main frames and the lines of symmetry of the main place in the composition of these carpets are obtained. By examining the intersection points and the resulting composition, the relations governing it have been studied. Fractal specimens found in nature are similar to those found in rugs. The method of analysis in this research is that all the obtained data are arranged and prepared in tables. Then, the rules of traditional Iranian design, the rules of golden ratio and the basic features of fractal mathematics were applied and compared. The principles and relations governing this design are extracted and analyzed in terms of geometry and golden ratio laws. The results of this research indicate that the principles of symmetry and golden ratios have been observed in designing the dimensions of the main frame of the carpet for all samples. By drawing disciplinary lines, an environment is created that shows the main place in the composition of these carpets. The presence of these locations proves that these designs are legal and based on geometric divisions. By examining the fractal geometry and its patterns in the samples of carpets, it is determined that although the carpets are composed of thousands of small and large patterns and sometimes of repetitive patterns, all these elements are in a regulated and purposeful way in a single combination. Thus, in spite of the multiplicity of components, we are finally faced with a single and regular set.

One of the architectural features of the "Qajar" period in Iran in terms of works of art is their synchronization with religious, literary and mythological themes. Kermanshah’s "Tekyeh Moavan-ol-Molk" building is one of the most significant architectural works of the Qajar period in using tile decorations with such themes. This research is in order to convert the quality of artistic designs of a traditional building into a measurable quantity, and from a statistical point of view, it analyzes the relationship between the architectural spaces of the Tekyeh and the dominant background and color of the tiling in them. Its main purpose was to determine the amount and type of relationship between the architectural space of the support and the background of the designs, their dominant color and reproducibility using a certain statistical method. The most important questions in this research are: 1-What is the classification of the motifs on the Tekyeh? 2- What is the statistically significant relationship between the architectural space of Tekyeh and the background of their dominant designs and colors? Because the type of variables in this study is non-parametric, Chi-square test was used in SPSS software. The present study is applied in terms of the type of research and in terms of research method is in the category of quantitative research and inferential statistics. At first, the theoretical foundations and definition of research variables were explained based on documentary and library studies and analytical and descriptive methods. Then, using field and survey studies, these variables have been explained and summarized in the form of tables using analytical and descriptive methods.The statistical population is one of the tile motifs of the Tekyeh and the volume of samples has been determined as 26 samples using Morgan table. After determining the sample size, and in the next step, the appropriate statistical test was selected to approach the research objectives.Based on the architectural space of the support and the background of the designs, the predominant colors of the designs are considered as the main variables of the research, and the significance of the relationship between them has been analyzed. Since it seems that the relationship between the variables of this research is non-systematic, this relationship is evaluated as non-parametric. Therefore, in order to achieve the objectives of the research, Chi-square test has been used to analyze the data as a valid statistical test. Chi-square test is usually used for relationships when both variables are non-parametric (unless one variable is nominal and the other is interval). There is a direct relationship between chi-square value and the significance of the relationship between the two variables; that is, the larger the chi-square value, the greater the likelihood of a relationship between the two variables. In general, Chi-square only helps to diagnose whether the variables are independent of each other or related to each other. Based on the results, according to the values ​​of Chi-square test 63.96 can be expressed with 95% confidence. There is a significant and systematic relationship between the type of spaces in the support of the Vice-King and the background of the tile designs. Also, the results of Kramer test show the intensity of this relationship with the value of 0.906 show. There is a strong and high intensity relationship between these two variables. There is also a significant relationship between the two variables of background and the predominant color of tiling patterns due to being smaller than 0.05. According to the coefficient of 0.757 Kramer test, it can be acknowledged that the intensity of this relationship is relatively strong. According to other results, there is no strong relationship between the two variables of the type of architectural space and the predominant color of the tile designs in the Tekyeh.In other words, each tile background in each space is determined according to the type and use of that space, and in a way, the backgrounds used in the tile designs in these spaces are intelligently designed considering the type of space and the nature of its function. It was also determined based on other results of the tests of this research that there is a relatively strong and significant relationship between the background of the tile motifs of Tekyeh and the dominant color of the motifs. But based on this research process, it was determined there is no clear and strong relationship between the type of architectural space and the predominant color of the background of its tile designs. This indicates a lack of significant relationship between these two variables. In other words, the designers and artists of this building have paid more attention to the decoration and tiling between the two factors of the relationship between the nature and function of the architectural space and the background of the tile designs, and other factors have been the next priorities.

Iran’s art, especially calligraphy, had specific place in Timurid 120-year era. Most masters in calligraphy came to Herat from Tabriz and joined Shah Ismail Safavid’s court in 1514. Nasta’liq script spread in India for the first time in Mongols era when Babur attacked this land in 1525 and he was accompanied by some calligraphers. Based on this support, large amount of Iran’s calligraphers moved to that territory and one of those calligraphers was Seyed Ali Khan Tabrizi. Javaher Raqam (alive in 1683) came to India at the end of Orang Zib’s domination (1656 -1706) and Orang Zib himself was one of his calligraphy students, so chose him as other princes’ master and teacher. This article, not only talks about the recognition of basics and principles of Nasta’liq script and studying the evolution of calligraphy from the end of Timurid era to its spreading in India and also introduction of Tabriz’s position and effective Nasta’liq calligraphers from Tabriz, but also talks about Seyed Ali Khan Tabrizi’s transcription of singular letters combinations (Hosn-e-tashkil) which is the main purpose of this research. Here are the questions: 1- How principles and proportion, which are two rules of letters combination (Hosn-e-tashkil), are observed in Seyed Ali Khan Tabrizi’s artworks? 2- How are dots (Noqte-ha) and singular letters (Mofradat) transcribed in Seyed Ali Khan Tabrizi’s artworks? The work of calligraphy is beautiful when it has value and credibility among scholars and experts in this field, which, firstly, is based on the two general rules of "Hosn-e-tashkil” and “Hosn-e-khat ", secondly, its composition and appropriateness rules are well observed. The words should be appropriate to each other and from the seat line, because seat style is a part of good-establishment and is closely related to composition, and thirdly, its context should be appropriate to the text and writing. One of the important points in the issue of Hosn-e-tashkil" and "Hosn-e-khat" is the style of transcribing. In addition to the general principles, governing the form of letters and words in calligraphy, the style of transcribing each calligrapher depends on the style of the pen and the angle of the pen with the paper, and other factors such as how the pen is held, how the artist sits and masters the paper while writing affect this issue. The angle of the artist's pen at the beginning of each word and phrase while transcribing, affects the way his pen rotates. The crucial point is that the style of writing can be strong and the weakness of the calligraphic effect, which is one of the pillars of calligraphy, is effective. Therefore, examining the artist's style of writing, in addition to showing the geometry of his script, can be an important factor in examining the originality of works and examining and recognizing changes in the artist's style during his artistic life, the possibility of comparing the artist's style with other artists that in this way, provide a review of the technical evolution of the script. Accordingly, it can be important to examine the writing style of the artists of a period, a style or a geographical area. The research method of this article is analytical- descriptive and it is a practical research. The information has been gathered based on statistics, computerized measurement and with the help of sources in libraries. It is also consisted of personal visual studying by the authors. The statistical population of this research is Chalipa artworks of Seyed Ali Khan Tabrizi Javaher Raqam. So, five Chalipa artworks of Javaher Raqam have been studied with analytical approach based on letters combinations (Hosn-e-tashkil) of singular letters by visual analysis. The method of the analyzing in this article is quantitative and it depends on statistical results which are obtained by studying all points in five selected artworks and their letters, and the results of the data in searching and studying are presented in quantitative forms. The results of this research show that, “dot” (Noqteh) in Seyed Ali Khan Tabrizi Javaher Raqam’s style is not only static, but also has stable and concentrated energy. The gradient of dots is also transcribed in their best conditions. So, this feature has considerably affected the dots’ visual charisma. The remarkable point is the angle of letters’ gradient which is different but appropriate. The presentation of weakness and the power in performance of the letters is close to each other and this point has caused more proportions in the scripts. Studying the examples of Seyed Ali Khan Tabrizi Javaher Raqam’s artworks shows that the size and dimensions of letters have good balance and the pen has impressive straight movement. This point must be mentioned that some features like transcribing (the angle of writing each letter) change a little during the artist’s life, whereas the quality of calligraphy has ups and downs during the years.

Geometric patterns are one of the most prominent aspects of Islamic Art. The geometry of Islamic patterns with its secrets and mysteries has always been discussed and thought by many philosophers and experts who have expressed their views on how to create the geometry of patterns and discover the mysteries hidden in these works. Thinkers and experts in art have chosen different methods and approaches in examining the existence of geometric patterns and from their point of view have given a reason for the existence of these geometric patterns, for instance scholars such as Oleg Grabar, Richard Ettinghausen and Gulru Necipoglu consider Islamic geometric patterns a decoration. What have been mentioned so far about geometric patterns are the studies that the authors have looked at with a historical and theoretical approach. But this research, with a completely different perspective, has constructed a bridge between Islamic art and science, and talks about the existence of the geometry of Islamic patterns with a scientific approach. One of the important concerns of researchers and artists is to decipher the works of art to understand the artwork and the reason it exists. This research, by presenting a different idea from what has been expressed so far in the history of Islamic art, tries to reveal a higher object and a view beyond the common definitions of the Islamic geometric patterns. This research seeks to discover a relationship between the geometry of Islamic patterns with other sciences especially chemistry and believes that a bridge can be established between these two to find out what the Islamic geometric patterns are. In order to achieve this theory, we make adaption between Islamic geometric patterns and structure of chemical formulas.The purpose of this article is to achieve a more complete knowledge of geometric patterns in Islamic art with a scientific approach; an approach that has not been addressed so far and requires a lot of research in this area. Therefore, the main questions of the research are: 1- Does the structure of chemical elements, materials and formulas correspond to geometric patterns? 2- What is the degree of conformity of geometric patterns with the structure of materials and chemical formulas?The research method is descriptive-comparative and its inference is based on analogy. The method of analyzing qualitative information and collecting data is from library data. Since the author has spent part of his artistic activities learning, drawing and practicing, teaching and researching in the field of geometry of Islamic patterns, by watching the structure of chemical formulas understood that there is a similarity between these two field. He immediately started researching and looking through the encyclopedias and reference books of chemistry, he searched for the forms of chemical formulas that are formed like geometric designs and patterns as documented in the archive of reference books. There are some important reference books about the geometry of Islamic patterns such as Gereh-Chini at Islamic architecture and handicrafs, Hossein Zomrashidi (1986) and the five-volume collections of Iranian Tiling, Mahmoud MaheroNaghsh (1982). Then, the executed examples had been classified into tables to lead to a better adaption; the first column of which shows the costruction of chemical formulas. The secend column is for islamic geometric patterns which is followed by a picture of geometric pattern in the architectural space of Iranian architecture.The necessity and importance of this research is based on the fact that since so far, all theoretical discussions about the geometry of Islamic patterns have been raised by Western and non-Muslim scholars and philosophers, the truth about the importance and decipherment of secrets in geometric Islamic patterns are not well pursued. Therefore, it is necessary for a Muslim artist to present a different theory in this regard.In response to the research questions, we conclude that the geometry of Islamic patterns is directly related to chemistry. 65 comparative samples in the form of 6 tables were presented in this research. First, those chemical bonds that were structurally simple and unmanipulated were adapted to the geometry of Islamic patterns. In the following tables, more complex and diverse chemical bonds and those images that showed chemical bonds under a microscope were mentioned and adapted to geometric designs and patterns. In the last table, the evolved samples of chemical bonds were presented under the title of dendrimers, which corresponded to the types of Shamsa under the arches and domes. In all samples, one hundred percent correspondence between the geometry of Islamic patterns and the chemical structure of the materials was evident. This adaptation can be seen either in the structure of unmanipulated or advanced chemical bonds with Islamic geometric patterns and designs. The degree of conformity in the samples presented in this research was one hundred percent and the theory of matching between the geometry of Islamic patterns and the structure of chemical bonds was complete and established.

Cemeteries are a symbol of the culture, beliefs, traditions and religious rites of the people. Thousands of different religious symbols and emblems have adorned graves through the ages, indicating attitudes towards death and the hereafter, membership in social organization, occupation or even ethnic identity. While many of these grave symbols have fairly simple interpretations, it is not always easy to determine their meaning and significance. This article outlines traditions that researchers have followed in conceptualizing symbols; each with its own preferred topics of study, understanding of power and social relations, and epistemology.Somghan village has been selected in this research. The graves of Somghan village, located in the city of Koohchenar, Fars, due to their significant shapes and decorations are a symbol of the historical art and culture of this region. So far, no research has been done on the history of Somghan and its historical graves, and these historical and cultural resources are being destroyed without having been known and studied. Only 24 specimens of these graves can be explored. Hence, the authors intend to introduce and study these historical graves; to prepare this information for future study and knowledge by preparing documents and by studying them scientifically and semiotically.Semiotics is a discipline, in which culture, society and natural phenomena are explored as signs. The authors treat the concept of sign, not as a fixed entity, but as a set of relational functions. Semiotics explores the content of signs, their use and the formation of meanings of signs at both the level of a single sign and the broader systems and structures formed by signs. A sign is never independent of the meanings and use of other signs. Semiotic analysis uses both qualitative and interpretative content analysis involving semiotic concepts and terms.Therefore, with the aim of identifying the structure of religious culture and art in Somghan, the authors seek to answer the questions by examining the body and decorations of graves: How many categories are there in the historical graves of Somghan? What factors have influenced the physical form and decorative elements of historical graves of Somghan village?This research has been done by analytical-descriptive method and based on field perceptions and library documents. The research has been done in three stages. Based on the survey and case study method, library documents and analytical-descriptive methods, the authors studied the typology of different types of graves in the historical cemeteries of Somghan village, then obtained the required documents for the graves by preparing a linear plan of the graves and examining their designs. Finally, referring to the background and existing documents about historical cemeteries and symbols in the history of the country's art and interviewing the residents of Somghan village, they analyzed the semantics of the patterns and studied the religious, cultural and social concepts hidden in them. The data required for this research are obtained from field surveys and library documents.It was concluded that the historical graves of Somghan village are divided into five categories: statues in the shape of a lion, altars, slabs, flat cradles, and coffin graves; box graves can be divided into four separate groups in a simple and domed way. Examination of the names and titles of the deceased, semantics of grave signs and oral traditions transmitted from the villagers also showed that the social status, traditions of Islam, mythological culture, job and reputation of the deceased have affected the body and decorations of the historical graves of this village; because the graves of prominent people in the village have a larger body, more prolific calligraphy and more decorative motifs. The decorative motifs used in these graves are also often used symbolically, with the aim of honoring the deceased's personality, seeking forgiveness for him and referring to his job and reputation, and only in one of the motifs in its direct meaning and with the purpose of description, the story of the battle of the deceased with a wild animal has been engraved. These motifs have been used in different historical periods and religions and rituals, and each of them has several ironic meanings. All these meanings refer to such things as the beliefs, rituals and religious traditions, the cycle and elements of nature, the cosmic concepts and the world after death. The influence of the deceased's social status and religious, cosmic and cultural concepts such as heroism in the formation of sculptural, cradle and altar types is quite visible.

With the beginning of Safavid rule from the tenth century AH, the innovative creation of rugs with a different structure (design and weave) from the past took place in the first hundred years. Rugs in all original samples have a specific structure based on context and border. Borders are the most stable and regular rug spaces; consisting of repeating decorative qualities due to their spatial restrictions. Arabesques are one of the most frequent motifs in Safavid regional rugs and their borders. The samples searchable in this study, based on the existing identity and related to the rugs of the tenth century, belong to the six regions of Tabriz, Garabag, Bakhshayesh, Kashan, Kerman and Herat. It is obvious that the strong history of these areas in the field of culture, politics and art has turned them into centers for the production of works of art such as exquisite Safavid rugs.It is necessary to identify and present the most effective motifs and decorative patterns inspired by them in the borders of old urban rugs with a focus on products from different regions of Safavid Iran to be able to push the current traditional design towards the use of the artistic treasures of the past and to strengthen the design of current products based on the promotion of traditional and indigenous principles of the regions. Receiving stable decorative examples in the Iranian original traditional design and how artists use them in different spaces of works of art (case study of rugs’ border) are the main purpose of this article and answer the following two questions;1-How is the arabesque motif in the borders of 10th century AH rugs from the point of view of traditional carpet design in terms of types, decorative structures and placement?2-What is the distinguishing feature of the use of arabesque motif in the rugs’ border of the (quintet) weaving areas of the tenth century AH?In this paper, the research method is comparative analysis and data collection based on library and internet information (Metropolitan Museum Portal, V&A Museum Portal and MFA Museum Portal). It is also a tool for collecting information, studying, observing and preparing linear images of samples in the mentioned sources. In the first hundred years of Safavid rule, carpet weaving had a considerable growth in quantity and quality. Based on this, the rugs of the tenth century AH have been selected as the statistical population of this study due to their high diversity and local weave of which, 22 samples with the focus on the existence of arabesque in their decorative patterns were studied. Also the borders of studied samples should be free of damage and accordingly, sampling in the present paper has been done in a non-random way to achieve representativeness or comparability. In this method, the researcher seeks to reach a sample that represents a wider group of samples. The method of data analysis is qualitative with a structural content analysis approach. In this way, the authors categorized the three qualities based on arabesque usage in the border of the rugs based on the linear images extracted from the samples to be able to describe the distinctive features of the motif in productions of different regions.By analysis of 22 samples of the 10th century AH rugs from six rug weaving regions of Iran, with the focus on arabesque application in the border, the questions of the article were answered. In answer to the first question, by analyzing the linear images of the borders, the five types of arabesque are simple, floral, cloud band and dragon mouth, and six decorative systems including Sainak (Ghalamdani), reciprocating, floral arabesque, meander arabesque band, arabesque frame or symmetrical combinations, free cloudy arabesque and their application in three separate parts, main and sub-border, main border and sub-border were registered. In answer to the second question, most of the applications of arabesque motif and its types belonged to Tabriz and Herat rugs and in terms of decorations compression, the Tabriz, Herat and Garabag rugs were in the forefront. Examples of Tabriz and Herat were distinguished by the benefit of a variety of decorative structures. Also in Tabriz, Garabag and Kashan rugs, arabesque had been used in all three border areas. Therefore, the borders of Tabriz and Herat rugs were in the forefront in benefiting from the three qualities of arabesque motif.

New multimedia art, while using new media technologies, seeks to explain a new visual language that is different from the visual language of previous art media and focuses on the role of the audience in presenting the work of art. In these works, the audience finds a special place and their interaction with the work becomes the main focus of multimedia art performance. Therefore, how the audience performs in the new multimedia art and the type of interaction with the multimedia work is the main issue of the present study and the main purpose is to identify and explain the type of audience and how they interact in presenting these works. Therefore, the new multimedia works of Ahmad Nadalian, who has used the components of Iranian culture and art, were studied as Iranian examples in this field to answer these questions: Who is the audience for the new multimedia art? And how does the audience interact with new multimedia art? This research seeks to answer the two questions of what the type of audience is and how they deal with multimedia art, in a combined method of qualitative and quantitative nature. Regarding this exploratory subject and fieldwork, the main focus was that the initial information was obtained based on both library and field methods. The tools used for both methods were filing and semi-open interviews. The statistical population is based on different backgrounds and principles of research or the same audience based on the classification of art audiences in different periods based on four statistical indicators, namely: artistic perception, literacy, social class and age in both men and women. Two cases were made as simple possible choices. The presented samples were selected from the works of Nadalian as a contemporary Iranian artist in this field, and four samples of the works, representative of the artist, were used from his site and personal archive. Also, for the analysis and analysis of the research, the qualitative analysis method of the interviews was conducted in depth.Multimedia art, unlike traditional forms of art where the audience interaction is only a mental event, using traditional media and many new media, including the Internet and other digital processors, aims to turn passive watch by the audience in understanding of the work from a viewer into an active participant or interactor. New multimedia art that has been provided to different segments of society based on modern technologies, has provided the capacity for the presence of society in the field of art. In the multimedia art of other art galleries, there are not many economic and geographical barriers to work; the understanding and praise of the sublime art / culture have not been given to the bourgeoisie as a unique social action. To answer the questions, the method of qualitative research with exploratory nature was used. The studied works that were collected through library resources and the artist's archive were analyzed by qualitative content analysis. The statistical population of the study, based on the indicators set for men and women in terms of conditions of age, artistic perception, general literacy, and social class, consisted of sixteen people who were interviewed on four works by Nadalian. Finally, the results showed that multimedia art, due to the connection it establishes with a wide range of audiences, covers a wider field of audiences and audiences from all walks of life contribute to the presentation of the work and the audience. The specific becomes the general audience. Audiences, according to different backgrounds, have a different action from the multimedia work, which ranges from games and entertainment to searching and discovering the secrets hidden in the work. The field of Nadalian works is wider than museum works or pieces presented in galleries. Nadalian's new multimedia art is open in structure, employs multiple perspectives and media, and gives the audience equal privileges while thinking. On one hand, multimedia art is a mass media that gets rid of the limitations of museums and art galleries, which avoids any hierarchy. On the other hand, as stated, Nadalian's field of works is wider than museum or gallery presented works, so it is not specific to the affluent and educated people. In addition, the quality of the game and its fun strengthens its interactive nature and attracts more audiences. The new Nadalian multimedia art is structurally open, utilizing multiple perspectives and media, giving the audience equal opportunities to think. Nadalian has been able to make good use of the possibilities of multimedia art and to establish a connection between the qualities of art and play and to recreate traditional media in a new format and sometimes with a touch of entertainment.

The art of Tash’eer and its various applications during the schools of Shiraz and Herat, finally led to a widespread presence on the margins of books and covers, around written texts and pieces of painting in the second school of Tabriz.
The design-like feature, along with the elegance in the implementation of plant and animal motifs and nature and sometimes human figures, is known as one of the distinctive features of this art, so it can be said that some characteristics of Iranian painting, are more obvious in the works of Tash’eer. During the heyday of painting in the second school of Tabriz, the art of Tash’eer was established as a part of painters' activities and its execution method became the model for later periods. Among the most important collections with Tash’eer, we can mention the exquisite work of Khamsa Tahmasbi, which is considered an important work in terms of the variety and quality of the patterns. The Tash’eers of Khamsa Tahmasbi were created by the artists of the second school of Tabriz (10th century) and Isfahan school (11th and 12th centuries). The patrons of Tabriz period have sought to create worthy and valuable treasures that are equal and even more magnificent than the previous works. Stable governance conditions, competition with the famous Timurid period under the rule of Shahrukh and Sultan Hossein Baiqra, as well as the handover of the library to Sultan Mohammad and his merit and competence in managing each of the collections can be among the reasons for the creation of this fruitful period in Tabriz, which is reflected in the executed subtleties of Khamsa Tahmasbi's Tash’eers. In examining the method of execution, one should pay attention to the way of using the brush, which is the only tool of painters in the existing works; this tool has the ability to draw lines with a range of different thicknesses. Due to the importance of the second school of Tabriz, the present study is aimed to identify the way of creating visual effects using brush and gold paint in a part of the Tash’eers of Khamsa Tahmasbi which was done in Tabriz. Therefore, the question of this article is: What are the characteristics of the technical methods of Khamsa Tahmasbi's Tash’eer in the second school of Tabriz? With descriptive-analytical method, elements such as how to use the brushes, use of ink, darkness and lightness, full shape drawing (Silhouette), texture, pardaz (stippling), shine of gold and silver and color tones are described. The gathering of information has been obtained through library studies and images available on the website of the British Library. The necessity and importance of research is to increase the attention and knowledge of artists and researchers and to create a platform for more understanding of the basics of Persian painting, considering the lack of available resources in this field. It seems that the contemporary period in reviving past practices and increasing awareness of Iranian arts needs such research, and in the meantime, the second Tabriz school due to the abundance of works in quantity and quality, spiritual thought and taking advantage of the systematicity of the Herat school next to the dynamism of the Turkmen school, has a prominent position.
The most important findings show that the use of dilute color was common; the line ink drawings were the main focus in the Tabriz school.
 Creating light and dark as a color change, darkness and lightness play a complementary role in the shape and line.
In Tash’eer, the use of background is important. The second Tabriz school, as a period of peak of painting, has skillfully displayed various aspects of the use of darkness and lightness in Khamsa Tahmasbi and its effects have appeared in different lines, shapes and genders.
The function of the background as light or shadow levels in shaping an element such as mountains and rocks is obvious, the line plays the main role in shaping the form and the color does not lead to exponential volume.
Another common feature in the examined samples is the use of pardaz (stippling) and creating texture, especially on the body of animals.
The artist of the second school of Tabriz has a great variety and artistic vision in using this visual element as well as line. Apart from gold, in the Tash’eer of the Tabriz school, we only see the use of silver, which is mostly used to show water and sometimes horns, hooves, etc. The ability of these methods can be generalized in the Tash’eer of other schools and due to the nature of type design, they can also be seen in painting design methods.