نشریه هنرهای صناعی خراسان بزرگ
پیاپی 3 (بهار 1402)

aaaLion and dragon have been represented as a symbol and myth due to a number of reasons and their unique features. In Islamic age, concurrent presence of lion-dragon is found in contrast with each other in Iranian artworks, a simultaneous presence that was not found before the advent of Islam. The main aim of this study is to investigate on the way that these two concurrent symbols present in artworks of Iran. To achieve this goal, recognizing symbolic concepts of lion-dragon are studied in three areas: myths, Islamic beliefs, Iran literature which are studied to an extent by which they can pave the way to investigate these artworks and their concurrent presence. In other words, the image and imagination that is provided for the addressee by these three areas is the cornerstone of the study. The current research which is based on descriptive and analytic studies aims to answer these questions:1-what does concurrent presence of lion-dragon in artworks of Islamic age mean?2-Is the concurrent presence interpreted as a battle between Good and evil and the dominance of one over another; or does it show a kind of solidarity without any identity? The symbolic presence of dragon-lion has always been seen in a battle in artworks that is conceptually the symbol of perpetual battle between lightness and darkness, Good and evil. But it is significant to define a more accurate meaning depending on the kind of art and the place of this symbolic role.

The manifestation of the element of fire as a symbol of the divinity of the saints is around the heads of the prophets and imams in Islamic law. A fire that is an expression of the sacred aura, but not in the conventional Manichaean, Buddhist, and Christian form, but in the flame and tongue of fire. The purpose of this article is Symbolic analysis of fire in the Miraj-Name Miniature Paintings from the seventh to the thirteenth century AH. Therefore, the main question of the research is what is the meaning of the element of fire in the Miniature paintings of the 13th-13th century AH? In this article, by examining the symbol of fire and its evolution, it goes beyond just introducing this role and examines the reasons for using this symbol in the form of different shapes (light, circle, flame, etc.) in the Miraj-Name. In some old illustrated versions, fire see in the form of a halo around the heads of all human figures as well as birds and animals. That may be due to the influence of Islamic ideas on the sanctity of all beings and the equal status of all of them with God, but gradually this sacred aura surrounds only the heads of the saints and becomes a symbol of the radiance of the divine light from the holy personality. The shape of the first halo was circular in shape, which gradually turned into a large halo with fiery and golden tongues rising towards the sky, which could be a diagram and symbol of the pure, heavenly and divine lineage of that character. The research method is descriptive and analytical based on library study.

In the Islamic architecture of the 9th century AH in Iran, we see the expansion and growth of tomb buildings. Inside these buildings, wooden graves were usually placed exactly on the grave, which had decorations. The type and method of decoration on this category of wooden works has also depended on various factors. Which has also been different in different regions. Accordingly, the main question of the article is: Despite the differences in the local governments of Mazandaran and Khorasan in the 9th century AH, what are the differences and visual and technical similarities in the fund of wooden tombs of these two regions? For this purpose, the purpose of compiling the present study, in addition to achieving the differences and similarities between the graves of Mazandaran and Khorasan in the 9th century AH, is to study the visual and content structure of the components of the funds. The research hypothesis is based on the fact that these works are often different from each other rather than similar. To prove this claim, three works from each region have been selected and compared with each other in almost a common period of time. The research method in this research is descriptive-comparative and analytical. Its contents have been collected in the form of libraries and field surveys. The research findings showed that despite the fact that the works of each region have a special and different way of decorating, the method of carving and decorating the wooden tomb fund in Khorasan, despite the lack of innovation, has a kind of style coherence. But in the Mazandaran Wooden Tomb Fund, on the contrary, higher quality and more prolific works have been worked with more diverse components.

The vast land of Khorasan, in addition to being a place for the growth and expression of various arts, has also preserved some of the key concepts of Iranian culture. One of the best ways to analyze these concepts is to study the arts that have manifested Iranian culture and identity. The nomads of Khorasan region are among the noble tribes whose recognition of their traditions, customs and symbols can be effective in identifying the native art and culture of Iran. The nomads of Kermanj, Turkmen and Sangesar have preserved and displayed their cultural heritage due to their cultural interactions with their relatives and neighbors. The question raised in this article is what are the key concepts of the motifs of these nomads' kilims? And in the form of key symbols, in what motifs have these concepts emerged? The purpose of this article is to study the key symbols of the motifs of nomadic kilims in Khorasan region and to identify the key concepts proposed in their motifs. The research method is descriptive-analytical and the data collection method is library gathering. The results indicate that the motifs in the studied handicrafts are rooted in their beliefs and rituals and are a combination of summarizing and describing key symbols. Many of the symbols used, such as fertility, blessing, power, and support, are similar, although there are differences in the pronunciation of names and how they are performed. And some symbols contain different and even contradictory meanings. In general, animal symbols are used more than human and plant symbols and human motifs are not seen in Turkmen.

The monster slayer is a recurring concept repeated in art. This research was written with the aim of connecting the carpet to the chain of artworks containing the dragon pattern. In other words, the carpet is considered as a work of art and a representation of an ancient pattern. Two carpets woven in the city of Khawf contain a monster slayer pattern. The production of two similar carpets over a short period of time indicates the aforementioned pattern of prosperity in the region. Is it possible to discover the meanings and passwords hidden in the "dragon" theme? It seems that the "dragonfly" theme in the visual rug second Pahlavi era has taken the iconographic gravity points into account, and this has caused the role to be repeated over a short period of time. It is likely that "rain-seeking" is the most important concept arising from the role of "dragonfly" in both instances. The present study was a qualitative one, using the transformation of the iconography method, so that the samples were first described and then analyzed. Gathering information from library studies and carpet images is the product of imaging the works displayed at the Baluch Carpet (suffering to treasure) exhibition. Studying the role of the "dragonfly" has opened up many passwords. Of the two types of general and minor transformations, the "dragonfly" role of visual rugs had minor modifications. The study showed that the least change was at the carpet center and the role of the "dragonfly" was a recurring pattern. Rainfall is the most important meaning of the "dragonfly" pattern in the rugs.

Mythological and then theological and philosophical ideas of Iranians throughout history have been effective on the structure of art and architecture and have become a special aesthetic language and the reflection of the evolution of these ideas and beliefs in various ways has been reflected in various forms of Iranian art. Symbol is one of the tools of knowledge and the oldest method of expression. One of the most widely used symbols in the mystical, cultural, artistic and literary manifestations in the Islamic era is the "Peacock" symbol, whose role in Iranian art dates back to pre-Islamic times. In connection with the nature of this symbol, the question arises as to how the interpretation of the role of the "peacock" from the mystical-Islamic point of view and Iranian literature is manifested in the Safavid buildings? To answer this central question, this study examines the role of the peacock in the front of the Imam Mosque, Chahar Bagh School, Hasht Behesht Palace, the holy shrine of Razavi, the shrine of Goharshad and Haroon Velayat Imam zadeh, which are all Safavid buildings (or had repairs in this period) and its connection with the theoretical wisdoms governing the space, in a two-way process, according to the objective documents in the building will be examined by citation-interpretation method. According to the findings, the Safavid era and the revival of mystical-religious meanings, caused cultural influences on the architecture of its time and the use of mystical meanings in Iran in the construction of buildings. Findings collected through comparison and content analysis in relation to the symbol and role of "peacock", from both literary and mystical-Islamic perspectives, can indicate the Inner attitude to the symbol of the peacock in Safavid buildings and the need for Imamate in the Shiite belief, guidance for the guided, destroyer of the devil, increase blessings and also symbolize the cosmic expansion of nature which is related to the category of divinity. At the same time, the discussion of intuitive mysticism (unity versus duality) and the mystical themes of the perfect man can also be traced and inferred in the implicit meanings of this symbol.