نشریه هنرهای کاربردی
سال دوم شماره 4 (زمستان 1401)

The political-religious art of Iran's historical period, which includes the period of the Achaemenid to the Sasanian rule, represents ideological and political ideas. During this relatively long period, stone reliefs were always considered as manifestations of the official-court art and the thought board of the ruling king. The fighting scene with the lion on reliefs has been among the examples of official art from the Achaemenid to Sassanid period, which has continued for thousands of years due to religious and political reasons. The aim of the present research is to examine the scene of the fight between the king and the lion in five historical places, including Persepolis from the Achaemenid period, Tang-e Sarvak and Kal Jangal Birjand from the Parthian era, and Sarmashhad, as well as Darabgerd Fars from the Sassanid era. This research has tried to answer such questions that how can the continuation of the use of the scene of the fight between the king and the lion from the Achaemenid period to the Parthian and Sasanian eras be explained? What has been the impact of the ideological contexts and thoughts of political governance on the continuation of this theme, especially in the Parthian and Sassanid eras? The result is that the lion fight scene is independent of the entertainment and real functions that are considered for it; It has been a medium for expressing the political and ideological thoughts of the ruling king or kings, in order to represent the acquisition of political-religious legitimacy to sit on the king's throne and also to ensure its durability through the acquisition of Devine Glory through the presentation of such a theme in reliefs as an official art; while fighting the lion.The political-religious art of Iran's historical period, which includes the period of the Achaemenid to the Sasanian rule, represents ideological and political ideas. During this relatively long period, stone reliefs were always considered as manifestations of the official-court art and the thought board of the ruling king. The fighting scene with the lion on reliefs has been among the examples of official art from the Achaemenid to Sassanid period, which has continued for thousands of years due to religious and political reasons. The aim of the present research is to examine the scene of the fight between the king and the lion in five historical places, including Persepolis from the Achaemenid period, Tang-e Sarvak and Kal Jangal Birjand from the Parthian era, and Sarmashhad, as well as Darabgerd Fars from the Sassanid era. This research has tried to answer such questions that how can the continuation of the use of the scene of the fight between the king and the lion from the Achaemenid period to the Parthian and Sasanian eras be explained? What has been the impact of the ideological contexts and thoughts of political governance on the continuation of this theme, especially in the Parthian and Sassanid eras? The result is that the lion fight scene is independent of the entertainment and real functions that

Bionic is a science that human designing and making her own life-style appliances inspired by nature and existence system and from the past to the present day, can be seen the patterning of nature can be seen in the art and archeology of civilizations. Regarding the usage of Bionic, it should be noted that this science covers a wide range of fields of research and is used in many fields of technology. Cow-head mace is one of the weapons in the New York Metropolitan Museum and it belongs to the Qajar period. The Cow- head mace structure has a formal and physical appearance similar to that of a cow animal and this work seems to be made According to bionic science. The importance of this significant issue has made the necessity of the present study. The research purpose is to identify the usage of bionic science in the design and making of the Cow- head mace in the New York Metropolitan Museum. The study question is: -How has bionic science been used in the design and making of the Cow- head mace in the New York Metropolitan Museum? The present study was done by analyzing library and documentary information with a descriptive-analytical approach. The case study included Cow- head mace in the New York Metropolitan Museum and the design and make of the mace was analyzed from viewpoint of the bionic science. Results show that the Cow- head mace example of the Metropolitan Museum was designed with bionic science and inspired by cows head structure and its weaponry performance is similar to the horn function in the body system of a cow in general, the design and construction of a mace in the shape of a cow's head, along with its symbolic use, has increased the efficiency and performance of this weapon

Since the beginning, mankind has needed to make and use all kinds of containers for eating and drinking, and the containers for liquids are an important part of them, and ewers are among them, which were used for drinking and washing purposes. Iranians used to make ewers in different ways and with different materials. At first, these types of containers were made of clay and clay, and after people became familiar with metal, they were also made of different types of metal. With the emergence of Islam and the formation of Islamic civilizations in different geographical areas including Iran, changes influenced by Islam can be seen in the arts. In the Islamic era, the construction of these ewers continued under the influence of pre-Islamic metalworking and grew under the influence of the advancement of metalworking techniques. In the early Islamic centuries, the works obtained from the periods are so limited that the analyzes are mainly based on hypothesis and speculation. In the history of metalwork art of Islamic Iran, the pre-Mongolian and Safavid period ewers are famous due to the development of construction and the formation of regional styles. These two periods are known as the two flourishing eras of the art of the Islamic era, one of which can be considered as the continuation of the old pre-Islamic traditions and the other as the beginning of the new era of metalworking. Therefore, it is necessary to know the similarities and differences of the common types and to examine the form of these vessels in these two periods as an introduction to the style of metalwork in the Islamic era of Iran. For this reason, in this article, the metal ewers of these two historical periods have been chosen in order to know their formal characteristics. The question raised is that the shape of the ewers of these two periods, which includes the shape of the body, neck and other parts of the ewers, are compared to each other. Research information has been collected using a library method with a fishing tool. The research method is descriptive-analytical and the results of the study are analyzed qualitatively. The investigation and comparison of these ewers showed that in terms of form, the ewers of the pre-Mongolian period are divided into four formal groups, in the second and third groups, there is a part called the pollen in the ewers, and in the fourth group, the neck part is not seen separately. to be Safavid period ewers are divided into two different form groups from the pre-Mongolian period, in the first group the ewers neck is formed by reducing the diameter of the body, and in the second group there is no part called the neck and the whole ewer is made up of the body, which is usually the base. A is placed below it. Analyzing ,comparing and examination the form of these fountains can be a sign of greater diversity and innovation in the pre-Mongolian period compared to the Safavid period

Many customs of the Bakhtiari kinfolk are accompanied by ambiguities that can be adequately answered by comparing them with the archaeological findings of the Elam civilization, because animals were of special importance in ancient Elam and many cultural works left from the civilization of Elam have motifs related to animals and they have played an important role in the culture of the Bakhtiari people since long ago. Therefore, this research tries to investigate the comparative presence of animals such as lions, snakes, goats, etc. in the civilization of Elam and the Bakhtiari people.This research tries to answer these questions, which findings indicate the transfer of the concept of these motifs from the civilization of Elam to the Bakhtiari culture, and in what aspects of the Bakhtiari culture can it be seen? The research method is descriptive-analytical with field investigation with a comparative approach. The aim of the research is to examine and compare the motifs related to animals in ancient Ilam with the culture of the Bakhtiari people and it is also a study of the influence of these characters in the culture of the Bakhtiari people and by doing this research, the origin of sanctity and importance of the most important animals in Bakhtiari culture is determined and it is also proven to some extent that considering the relatively long time that has passed since the ancient Elam rule, traces of their culture can still be observed in the culture of the Bakhtiari people. The statistical population of the research includes 32 works of archaeological and artistic evidence decorated with motifs related to animals from the civilization of Elam. The research results show that the position, role and importance of animals such as; Lion, snake and goat in Bakhtiari culture and in the nomadic areas of Khuzestan, Chaharmahal and Bakhtiari province, the same importance and role of animals in Ilam civilization is continued. The continuity of these motifs has been influenced in Bakhtiari culture from Ilam in two ways: One is the transmission of religious and theoretical concepts that have come in different and partial forms from Bakhtiari culture as; Determining the gender of the child by using the carcass of a snake and animal sacrifice to remove the plague and the other in the form of tangible works such as; Bardshir and the use of horns in architecture and religious ceremonies.

AbstractExpression of the problem: goals, plans, management, educational environment, tools and many other issues embrace the arts education in the system of teaching arts, but the most important of these is the relationship between teacher and student in the educational arts system, which itself requires conditions that, in the case of The realization of all the shortcomings is dimmed, and the student and student are eager to learn and learn art. Therefore, achieving the desired education and providing the ground for the creation of works of art, especially the arts, requires the achievement of the relationship between the teacher and the student and providing the necessary fields for achieving the goals of teaching and learning in accordance with the current conditions of society. Thus, throughout history, the principles and rules for the study of and the entry of persons worthy of words and arts have been adjusted according to the conditions of time and place, which is referred to as the ritual of fetus, and now it is replaced by the current educational regulations and regulations. Which should be based on the goals defined and in accordance with the principles of art education in Iran.Purpose of the research: The main objective of this research is to achieve the criteria for structural reform of the university education system and to strengthen the events of the master-pupils in the field of the arts.Research A descriptive-analytic approach with a comparative approach based on library method and field interviews and the use of educational experiences in the academic system, and the final results represent the most prominent components of education in the traditional system of art education and the application of that university system. Identify the strengths and weaknesses of the present education system in relation to teacher-student and achievement of the main criteria of education in accordance with the conditions of the society that could provide a suitable model of teaching method for the current situation. And as a result, the relationship between the teacher and the student develops in such a way that the achievement of technical and non-technical competencies is a pattern for teaching art.key wordsmaster and apprentice, Handicrafts, Educational system, Traditional, Modern

Historical cities are full of monuments and layers that have gradually been hidden under new layers over time or have been transformed and changed due to various factors, but nevertheless, the story of the formation of the historical cores of cities and their important and indicative elements in this Layers have been preserved Traditionally, , in the process of the conservation of historical cities in the world, it is tried to protect the historical monuments and layers of cities in a significant way so that through establishing a meaningful communication between them, can be traced to the course of the formation, transformation, evolution and transformation of the city during the different period. . Qazvin is a historical city that has been observed in the course of time, several stages of urban development and development, including the formation of the primary nucleus in the Sassanid period and the peak of urban developments in the Safavid period, and the alley of electricity and the changes made in it from the Safavid period can be studied.This research seeks to investigate this alley through field studies, library, citing historical images and documents, while introducing the elements and structure of the neighborhood, to explain the hidden layers of the alley and also effect of elements of them on the structure of the our case. The present study was conducted using a combination of historical and descriptive analytical research methods. The documents and documents of this research include historical texts, travelogues of domestic and foreign travelers, and existing historical drawings and images. The main results of this research are recognition of Alley Bargh as one of the valuable walls and an important link between the main poles of the historical fabric of the city and the process of urban development in relation to structural elements and identifiable systems in this area.