نشریه مطالعات میان رشته ای هنر و علوم انسانی
پیاپی 6 (اردیبهشت 1402)

In this research, which was done with a descriptive-analytical method, initially an attempt was made to briefly discuss the history of Turkmen patterns in northern Khorasan. In the following, referring to the way of life and the nature of the place where these people live, it was trying to study the reasons for the strong presence of natural elements in the works of these people. Therefore, in the works of Turkmen handicrafts, including weaving, and needlework, the emphasis of this research is on Turkmen motifs and There has been a combination of leather with bags and shoes. To reach results that can explain and justify the questions raised about the cause and origin of Turkmen motifs - which is the central topic of this research - an attempt is made to obtain a short and useful history of Turkmen motifs, based on which, the natural course of And he showed and explained the history of formation, durability, and change of motifs. As each role takes shape, there are symbols and signs in every culture. All patterns and shapes have meaning. This traditional method of weaving Turkmen patterns is found in the design and sewing of handembroidered leather bags. The importance of the stated topic has made it necessary to analyze the application of the artistic method of Turkmen motifs of North Khorasan in the art of the contemporary leather industry and look at the art of bags and shoes. The main goal of the research is to know the Turkmen motifs of North Khorasan and to identify how it is used in the art industry of designing and sewing contemporary hand-embroidered leather bags.

Zend and Qajar’s school of painting, or more accurately termed ‘Court portraiture’, is a painting style that began in the Zandiya period and continued until the Naseri Qajar period. This method was formed by combining the characteristics of traditional Iranian painting with elements and techniques of European painting, which is a legacy of the Persianization period of the Safavid era. At that time, the cultivation of painting art was more dependent on the court, and the kings and princes were the most important clients of art works and the only patrons of art. In the days of Fath Ali Shah, the Shah, by approaching the brilliant past of the land of Iran both before Islam and after Islam, by linking the two to each other, considered himself the heir of the past kings of Iran and its civilization, and with the demigod position he had found, He got permission from the clerics to do something that had never happened before. The painting of the Qajar period can be divided into two general periods: from the beginning to the end of the reign of Naser al-Din Shah, in which the painters of this period chose items of foreign painting that they liked and integrated them into their traditional, combining new and old ways. This led to a distinctly Iranian style of painting. The second period is parallel to the reign of Naser al-Din Shah and after him, during this period, the limitations of court art became more evident and noticeable, and formal and classical painting did not meet the cultural and artistic needs of the time. Qajar’s painting became popular throughout this period of painting on canvas. Paintings have been heavily influenced by Western painting. The popularity of portraiture was particularly high. Lacquer painting was a method of painting that was utilized to decorate pencil cases, mirror frames, makeup boxes, and other decorative objects. A varnish layer is applied to the painting in this manner. Another type of painting of this period is the manufacture of flowers and chickens, which began in the late Safavid period and became popular in the Qajar period.

The present essay is based on the foundation of the existence of aesthetic experience and aesthetic judgment, putting the sustainable approach in the category of clothing, experience, and judgment as the main axis of explanation and in this way, freeing the discussion from the prevailing challenges and then By addressing the place of knowledge in the aesthetic experience, a definition suitable for today’s human relationship with the world of art in the field of fashion design will be reached. Sustainable living is a movement that began its activity to defend the environment in the 18th century in Europe, and with the idea of egalitarianism, libertarianism, and the defense of environmental rights, it became popular in fashion design from the late 1960s onwards. Textile design is a changing field of aesthetics that relies on the constant replacement of new designs with the objective of economic exploitation. But today, attention to preserving the environment and utilizing resources has become an important challenge in the path of human life continuity, and the field of textiles, replacing recyclable materials, durable materials and using production methods that comply with environmental standards and... It has been proposed as an alternative to traditional production and a new challenge in the area of design and aesthetics. Designers have turned to new methods for designing textiles, such as using natural and recycled materials and reusing used textiles. Therefore, to achieve the aesthetic criteria of bio-sustainable textiles, the current research has investigated the theories governing this field and with the descriptive-analytical method and library resources, it is trying to present the criteria resulting from this design method. Examining the experiences of designing in this way in recent times shows that this strategy, with ethical attitudes and phenomenological design of the concept of beauty, seeks to develop the personal experiences of the consumer through defamiliarization, transformation of values, attention to cultural values, and the rejection of speculative beauty.

The art of mirror work is one of the arts specific to Iran, examples of which can be seen in religious venues and royal palaces and sometimes in noble homes. The traditional arts of Iran have used this art as one of their most important decorations, and it has been used effectively from palaces to sacred places. The shimmering curtains created by the successive reflection of light in the shiny pieces of the mirror are the outcome of this art. An important and specialized part of architectural decorations in mirror work is the Hall of Mirrors, which is one of the main characteristics of palaces and some noble houses (especially in Shiraz), which contains various types of mirror work decorations. The art of mirroring is performed on the wall and ceiling, on the wall it is usually presented with a low relief and with square and rectangular frames together with different designs, including flowers and vases, and mirroring on the ceiling is more than the wall in combination with paintings and wooden decorations. It has been a regular occurrence. The work of the mirror has been well placed in the decoration of Iranian architecture for centuries, but unfortunately the greatness of the art of mirror work has been progressively forgotten. The need to protect and extend this beautiful art as well as other craft and decorative arts is evident. In this research, in the first place, it examines the process of how this beautiful art was created in Iran, and also by introducing some examples of the remaining works of this art in some regions, they examine and compare them with a more comprehensive view, so that finally, with more familiarity With this decorative art, a small step can be taken in preserving the works and introducing it.

The word ‘lion’ is a word that Iranians have always tried to generalize to many topics. While puns in literature have been discussed in many ways, they still hold a valuable place in his most bitter connections. Even the person who sees the scene of hunting a lion, either remains silent before it or talks about its majesty; Whereas if the killing was done by an animal or another creature, we would quickly condemn him. Thus, with a typological approach, we attempted to clarify the reason for this kind of repetition and evaluation in the world of art and science. The purpose of this research, in addition to what was mentioned, with a forward-looking view of the place of the lion in the validity of Iranian culture (in particular), we always express this theme, which is the essence of creativity of our work, but the background of the work owes a lot to Sadruddin Taheri and Arthur We are Pope. The use of library resources and field experiences was utilized in this research, and our qualitative performance is based on a descriptive-analytical element. May, a drop of the lost culture, be preserved with the remaining symbols, and in the excellence with a new vision, maybe by relying on our symbols and archetypes, we can even have an ancestor called Iranian symbol therapy in the subject of art therapy and it will remain stable, hope. To be beneficial.

The story of Ascension revolves around the ascension of the Holy Prophet from Al-Aqsa Mosque to heaven. In some of the pictures depicting the ascension, the Prophet has positioned a ring towards Shiri Gharan, as if they intend to give it to him. The painters were encouraged to create the ring scene because authentic Islamic sources (Shia and Sunni) did not mention Imam Ali’s presence in Ascension. No written background or authentic hadiths are present in these pictures. This way of substituting signs in pictorial texts (ascension paintings), the rituals of donating a ring of power as a sign of commitment can be handed down symbolically from one person to another. In this research, which was conducted by descriptive-analytical and comparative methods, information was collected in a library manner, firstly, the images of the Ascension, in which the elements besides the image of the Prophet, and Baraq, the image of a lion and a ring are also depicted and given to the ring refers to, collected and then religious texts that directly and indirectly refer to these visual elements have been studied and analyzed. It seems that the Iranian Shiites compensated for what happened at Ghadir Kham and were ignored, describing the ascent, to declare the province of Ali as celestial.

Leather embroidery is a popular and up-to-date craft in Iran, and it holds a special place in the fashion industry. Natural leather has a unique appearance and a texture that becomes more special with time and creates an unexpected impression in any place with its use and can be used in all rooms and decoration details. Many people are unaware of the many benefits of using leather in interior decoration. Considering the position of Iran in the handicrafts of the world, this position can be used to introduce the culture and civilization of Iran in the world as much as possible, and by updating the use of leather, the raw leather can be prevented from leaving the country. This article aims to analyze and study the place of leather art in interior design and also to explain the types of use of leather art in interior design. The question being asked is: What is the place of leather art in architecture and interior decoration? As part of this research, data collection was conducted using the library methodology, and analysis and description was conducted using a qualitative approach. Leather embroidery now has new applications in interior decoration, furniture, packaging, and ornaments, which have not been explored much, as shown in this research.