نشریه هنرهای صناعی خراسان بزرگ
پیاپی 1 (پاییز 1401)

Embroidered Needle is a traditional art that has long been used in Iran with respect to climate, culture, tradition and beliefs. Among the less known regions in this area is the Embroidered Needle of north of khorasan, including Bojnourd, Shirvan, Faruj, Quchan, and their villages. These works associated with simplicity have a variety of concepts and themes. The purpose of this paper is to study, classify, and analyze of the motifs of Embroidered Needle in the mentioned cities. Therefore, the aim of this study is to answer the following question: "what are the motifs used in the Embroidered Needle of the mentioned regions and what do they mean in the context of art anthropology?" The research method is descriptive and analytic from the perspective of art anthropology. The required information based on visual documents is provided by the authors of the present study, library documents, and internet sites. The findings show that the motifs reflect the concerns of the mind and the context of life and enjoy originality. The brevity of these works is notable. Embroidered Needle can be categorized in the form of human, plant, animal, and inscription. The thing that decorates our houses tells us about the interpersonal relationships, friendship with nature, expectations, dreams, beliefs, and stories. Many of the motifs contain grace, contentment and hope in God. These canvases, with the richness of color were used as bundles, napkins, curtains and shelf covers and narrate some kind of interaction and companionship with the life   context of the people of this region.

The Mashhad School is of great importance as the transition from the classical to the modern style in Persian miniature in which the latest masterpiece of Iranian book-making conforming to the royal standards-- Haft Awrang-- belongs to this period. Haft Awrang paintings have undergone substantial changes in comparison with the Shahnameh of shah tahmasb, one of which relates to the way the frame works in its paintings. The questions posed in this study are: What differences have occurred in the way the frames functions in the Haft Awrang paintings in comparison with those of the Shahnameh of shah tahmasb? What are the sociological reasons of the paradigm differences between these two works? The purpose of this paper is to compare and evaluate the framework paradigm in these two works and the sociological analysis of this change based on reflection theory. The research method is descriptive-analytical and the library method has been used for research findings. The results show that in the Haft Awrang paintings, the outer frames are more fractured than in the Shahnameh of shah tahmasb, The interior frames have become more dispersed, the proportions and organization of the compositions have changed, and the pattern of in and out has also changed. According to reflection theory, changes in the political and social structure of this period have been implicated in changing the paradigm of the frame, so that the Shahnameh of shah tahmasb uses exterior and interior frames in a conservative and prudent manner, while at Haft Awrang, to achieve new combinations, some innovations have emerged. Although it is impossible to ignore the influence of the personal creativity of Mashhad school artists on these changes, the impact of various sociological factors on the art of this period is significant

Among the remnants of the Safavid era are various designs such as Medallion carpet, prayer rug, hunting, garden and vas carpet. among this carpet In the meantime, there is an interesting and different design, which in most of the Latin sources are called Herati, and According to the title can be said to belong to the Khorasan area. This design is known as Afshan Shah Abbasi, Afshan or Afshoon in the market and some Persian sources. In addition to the rural and tribal areas of Khorasan, it is also woven in other prestigious areas of Iran such as Isfahan, Tabriz, Kashan and Kerman. The Herati design is composed of Khatai spirals, with shah palmet and lotus motifs, Cloud band and small flowers and the major colors are dark red, light yellow and dark blue. Most likely This first-time pattern has been used in Timurid decorative arts, especially bookbinding and tiling, and has become the focus of carpet designers over time. Artists of the Safavid era have woven this design in two forms, Shah Abbasi's (Big Flowers and palmet) Or Shah Abbasi's and Animal's. The Emperor Carpet Reserve at the Metropolitan Museum of Fine Arts in New York is the most notable work in which the palmet motifs are combined with animal motifs. In addition to Iranian artistic features, this unique and beautiful work has influenced from the decorative arts of the eastern parts of Iran. according the execution of the motifs and the type of composition, it is possible that it was designed in Tabriz or influenced by the painters of the Second Tabriz School of Painting. The main question of the research is which schools of painting have been creating and promote Afshan design? Also by which artist or in what Iranian school was the carpet of the emperor designed? This research is descriptive and analytical And it has been done way documentary study Its purpose is to introduce the features of the Emperor's carpet index. A study of Safavid carpets found that Khorasan artists rarely use animal motifs to decorate carpets, Most of the carpets decorated with animal motifs belong to the northwestern or southern regions of Iran, A tradition that we see in later centuries, especially during the Qajar period. It should be noted that the emperor's carpet designer had a very high skill in performing plant, animal and talking tree (vaq vaq), We see similar to it in the carpets of the western regions of Iran in the Safavid era. Considering the similarities with some of the paintings of the second school of Tabriz, it is possible that the carpet design was done in the court workshops of the Safavid era and under the supervision of the painters of this school.

The carpet is one of the arts that has retained its value and importance due to ITS various applications in different periods,. This element of the Iranian culture and civilization in Islamic period is represented in economic values and meets the aesthetic, emotional, and life needs. Furthermore, this element is reflected in various social and religious fields. One of the most prominent of them is of the use of carpet in religious settings, mosques, and Islamic shrines. Endowment tradition encouraged the believers to buy or produce carpets required for holy buildings. The principles of endowment also guarantee long-term survival. So, today endowed carpets form a significant part of the works in museums. Therefore, in this descriptiveanalytic study, the effect of the endowment identity on the endowed carpets of Astan Quds razavi museum, using library and field surveys was investigated. Furthermore, the effect of the endowment on endowed carpets was studied from various aspects like usage, pattern and design, color, shape, and dimensions. The results of this research suggests that these carpets are mainly endowed for proximity to God and showing love and conscience to the Imam Reza. Furthermore, their quality and characteristics are closely related to their social and economic benefactor.

The present article, intends to investigate the extent of changes in the traditions and the original features of the design, the motif and color of the handmade carpet in Mashhad region. Also, this study investigates the factors influencing the developments in handmade carpet concerning f traditionalism and untraditionalism. In this regard, the main aim of the present study to find the answer to the following questions: What is the contrast between tradition and modernity in the design, motif and color of Mashhad 's handmade carpet? What are the developments made by the modernity wave in motifs and colors of Mashhad 's handmade carpet? What are the strengths and weaknesses caused by modernity on the dominant traditions of motif and color of Mashhad 's handmade carpet? The method of research in this study is descriptive, analytical, and comparative. In order to gain better results, information and samples from Mashhad's carpet have been selected in the form of library and field methods from three periods of Qajar, Pahlavi and contemporary. Using the comparative method of design and motif of each of the three periods in relation to each other, the extent of adherence and lack of adherence to the preservation of carpet traditions in this field is determined. lso, by investigating the course of evolution and development of the design, we can determine the motif and color of Mashhad's carpet and the way the consumers’ tastes have . The results show that the urban carpet in Mashhad has undergone the slightest changes in the original features of its carpet up to now and has tried to continue almost the same style and traditional style.

Throughout history, especially during the period, Safavid  Qur'anic illuminations have had a significant and aesthetic value. During this period, communications between Iran and India initiated especially in the artistic field, resulting in a wider range of artistic research. The present study aims to select purposefully two exquisite Qurans from the Astan Quds Razavi Museum, the Quran of Roozbahan Shirazi with the number 136 from the Shiraz School and the Quran, Abdul Qader Hosseini Shirazi, with the number 106 in the Indo-Iranian school, and to study and compare these two Qurans. The main goal of the study is to achieve the characteristics of the school of Hinduism and Iranian. The method of study was descriptive-analytic with a comparative approach to achieving goals. The result demonstrating the layout and decorative arches of the Quran, Abdul Qader Hosseini and Quran Roozbehan, are similar to the layout of the Safavid layout, and the similarities and influences of the layout type in Fatahah Kaltekh from the Shiraz school are seen in the Indian and Iranian schools. The use of special colors, which is a rosiban style attribute, is common in both Qur'ans, among which these Qur'anic motifs are considered by some of the qualities, including the type of prolific in the illumination and interest in nature, which is used by the use of tiny flowers that is a special school of Hinduism which has been influenced by the Qur'anic illustrations of the Shiraz school.