نشریه مطالعات میان رشته ای هنر و علوم انسانی
پیاپی 9 (امرداد 1402)

Nowadays, the working environment in office buildings is more significant than it was in the past. Architects and management experts have focused on designing the work environment. The workplace is where employees spend over a third of their daily time. To meet the physical and mental needs of employees and enhance their comfort in their working spaces, appropriate solutions are necessary. The employees’ satisfaction and comfort are greatly influenced by the physical condition of the office building. Therefore, the designers must first check and analyze all the design angles and then proceed to design; Because complying with all these environmental factors will create a suitable and efficient environment, and not paying attention to these factors and incorrect design will cause job anxiety and lower work efficiency. Architects have always been dedicated to creating spaces that are desirable for people to use. It is important to understand human behavior in office spaces as a design principle. One of the sciences that are proposed in this field is environmental psychology, which takes into consideration the values, attitudes, and needs of humans and investigates their relationship with the physical environment and the effects of these two on each other. The aim of this research is to investigate environmental factors. The design of office spaces has a significant impact on job satisfaction and mental peace for employees.

One of the important issues in evaluating the results of research in the field of Iranian Islamic art and following it, Iranian Islamic aesthetics, is to examine the methods and approaches of researchers and thinkers. Considering a specific perception of Iranian Islamic art or Iranian Islamic aesthetics can completely render the results or assessment of scholars different. One of the most important approaches to the study of Iranian Islamic art is the mystical approach, of which traditionalism is one of the most important currents. The main issue in this research is what is the meaning of Iranian aesthetics and what are the competing theories about Iranian Islamic art and the dead and alive views on history in this regard. In the continuation of this research, the meaning of code, symbol, and the sign is investigated and in the end, in line with the application of theoretical foundations, the symbolic manifestation of cedar in Iranian literature and painting is presented. This research is practical. In addition, with regard to type, descriptive and analytical research is taken into consideration. The collection of information is a library, and the analysis is done qualitatively. This research shows that while there are various criticisms of the traditionalists’ point of view regarding the definition of traditional, sacred, and religious arts, they cannot establish a proper link between art and mysticism and do not perform well in providing a suitable alternative. Watching history can be alive or dead, and it is very important to conclude current and future research. For example, in this research, the fault lines and the cedar tree were briefly examined with a new perspective, which shows that it is possible to approach the subjects of Iranian Islamic art from another perspective. As the future of research, it is possible to compare the concept of Iranian Islamic art from different theoretical perspectives and use this solution for different issues in Iranian Islamic art.

Mourning rituals are among the ceremonies that are in the field of culture of a society and are a part of the customs that all societies with different religions and cultures pay attention to. This custom has always been held in high regard in Iran. The purpose of this article is to examine and describe the mourning women in Ferdowsi’s Shahnameh and to recognize the similarity of this custom and ritual with the mourning women in the Bakhtiari tribe based on sources as well as field research in a comparative and analytical manner. A study of the mourning rituals of women in the Shahnameh and its comparison with the mourning rituals of the Bakhtiari people shows that there are many similarities between the narrative narratives of the Shahnameh and the historical narrations about the morning ritual. Brushing hair, dirt, scratching the face, tearing clothes, cutting hair, and cutting hair are common customs among the Shahnameh and Bakhtiari people.

Among the traditional Islamic arts, calligraphy is one of the most important arts; in so far as some schools of thought such as traditionalists consider it sacred art or sacred art. On the one hand, Islamic calligraphy can be considered an art in sync with wisdom and mysticism, and on the other hand, we may consider it simply an art that arose and was derived from Islamic civilization. Nevertheless, the irreplaceable and precious position of this branch of traditional art among the Islamic arts cannot be ignored. In the examination of every subject, including works or branches of Islamic art, the choice of a different method and approach leads us to different results. This produces very different results in the area of studies on Islamic art. In view of this, various thinkers and scholars have conducted research in the area of Islamic calligraphy. Annemarie Schimmel and Sheila S. Blair are major scholars who have studied Islamic art and Islamic calligraphy. Based on these points, the main objective of this research is to examine the views of Schimel and Blair on Islamic calligraphy. Therefore, the main issue of this research is what are the components of Islamic calligraphy according to Schimel and Blair? In this research, after outlining the theoretical underpinnings and defining the required concepts, Schimel and Blair’s views in the field of Islamic calligraphy are examined and analyzed. This research has an applied character and is regarded as descriptive-analytic. The method of data collection is a library. The analytical approach is qualitative. This research shows that Schimel uses phenomenology and Blair uses historiography to study Islamic calligraphy.