نشریه مطالعات میان رشته ای هنر و علوم انسانی
پیاپی 10 (شهریور 1402)

Throughout history, many symbols have been used to decorate buildings and architectural monuments, and these symbols have experienced many changes at various times. The motifs used in the architectural buildings contain the cultural, social, and religious experiences of their time, and according to this content, it can be said that these motifs contribute to a better understanding of the evolution of the thoughts and ideas of the people of that era. The period is one of the most significant periods of Islamic architecture. On this basis, in today’s research, the main objective is to study plant and animal motifs in the architecture of the Safavid period. Thus, the main issue in this research is what plant and animal patterns are there in Safavid’s period architecture? In this research, after the theoretical foundations, the vegetal and animal patterns of Safavid’s period architecture are studied. This research has an applied character and is regarded as descriptive-analytic. The information collection methodology is a library. The analytical approach is qualitative. This research shows that in the Safavid period, vegetal patterns such as Salimi and Khatai were most often discussed and animal patterns were less.

The functional and beauty of architecture and clothing design are among the applied arts that have the most similar theoretical foundations. Humans’ basic and essential needs include shelter and protection. Consequently, these applied arts are lengthy. In the beginning of clothing and architecture, the second and third parts of the human body were only intended to provide protection and security, just like the skin. He was opposed to the atmosphere and natural factors that made it immune. But over time and with the growth of humans the development of social interactions and communication And the formation of religious and religious principles in various societies, buildings, and tenses with the expansion of the scope Coca card, in addition to the protective aspect, have a symbolic and cultural role, so that they were able to Self - shaped and content, attitudes and approaches of ontology and beliefs of individuals and communities To be. The purpose of this research is to determine if architecture can be a source of inspiration for fashion designers. Do you understand what I mean? ‘Dowlat Abad Garden of Yazd’ was quantified using a descriptive-analytical method in this paper. In the end, this historical monument was used to design women’s clothing.

George Lukács, a great Marxist critic and theorist, proposed reflection theory as one of the philosophical approaches in the 20th century. This theory can be placed under the sociology of cinema; Because cinema, as a medium that has succeeded in gaining a solid base among people, in addition to artistic aspects, it can reflect currents of thought, class, culture and society’s problems like a mirror. The main text of this representation is cinema, which is one of the most effective media tools in today’s world. Literature and painting are not the only places where history is utilized, it is also utilized in cinema. Kiarostami’s popularity increased after his death, making him one of the most popular filmmakers. It’s possible that one reason was his profound perception of the issues around him and his reflection of society during his time. The appearance of his films was all simple and did not have any special complexity or narrative, but what was noticed in this research is the reflection of the society in his documentary. In the current research, the reflection of an important event such as the Islamic Revolution of 1357 in Iran in the documentary film “First Case, Second Case” by Abbas Kiarostami has been examined in a case-by-case manner. Also, the purpose of selecting this film from Kiarostami’s works, considering that it has been banned for thirty years, is the possibility of reconstructing the narrative of the film in any period of history.

The artist’s ideas can be expressed most effectively through the use of symbols in art. A tree is a symbol used in art, and the cypress is a tree that was used in Iranian motifs in the past. The goal of this study is to visually examine an example of Iranian paintings using mythology as a method. Is the cypress motif considered a symbol of Iran? That’s the primary question of this research. The path of this research is the etymology of the motif of the cypress tree in Iran using the natural mythology method of Max Müller, and the visual analysis of the presence of this motif in 3 examples of works of art with the motif of the cypress tree from Iranian paintings, using the semiotic method. Knowing the mythological roots of this ancient symbol and what narratives are behind it is essential in the analysis of Iranian-Islamic works of art. According to the research findings, the cypress has been a symbol of endurance and immortality for Iranians throughout history. From ancient times to the present day, the attacks of invading nations on Iran, which sometimes led to the defeat and surrender of Iranians, never caused them to abandon their originality and identity throughout history, To remind the world of this point, they always use the cypress symbol in works of art, which is an Iranian symbol.

To persuade the audience and readers and place the content in their minds, story and poetry are two industries. To be more effective, writers and speakers must have both. Sometimes a verse of poetry or a short story is more useful than several pages of writing or several hours of lectures; Especially poetry, which is more important due to its melodiousness and the use of some literary and rhetorical arts in it, such as metaphor and metaphor, and it has been discussed in the discussion of Sanaa at Khums from the science of logic. In this article, I will explain, examine and analyze the views of Allamah Mohammad Kazem Hezarjaribi Estrabadi (his life coincided with the two reigns of the Zandian dynasty “1163-1209 AH” and the Qajar dynasty “1344-1209 AH” and he died in 1236 AH) in these two categories, and I will provide evidence I present his works and writings. Through a library, information was collected using thousands of printed books and manuscripts left by him.

Religion can play a role in a religious civilization in its various parts. Art as one of the cultural expressions of culture is essential. One of the critical issues in sacred arts is the possibility of interpreting and accepting the mystical aspect of it. From one perspective, if a culture is tied to mysticism, art must also have a mystical element, and on the other hand, the two can be assumed separately. There are different views on this. The two currents of traditionalism and historicism are significant due to differences of opinion in some fields. In this research, the mystical aspect of Islamic painting is examined in the view of Seyyed Hossein Nasr as one of the essential traditionalists and Oleg Grabar as one of the most influential historicists who have studied Islamic painting. The necessity of this research is because the study of these two views, along with clarifying the dimensions of the views of traditionalists and historicists in Islamic art, leads to a more accurate analysis of the possibility of mystical interpretation of Islamic painting. In this research, the library method and filing tools have been used for data collection, and the qualitative approach has been used for analysis. This study shows that Nasr and Grabar’s views on the manifestation of wisdom and mysticism in paintings are opposite. Nasr believes in spirituality and Islamic concepts in paintings, and Grabar considers this art to be more materialistic and far from Islamic thought. In traditionalist thought, traditional arts are inspired by the artist’s imagination and his journey in the imaginary world. But historicists believe that a work of art or even the artist’s tastes and thinking is shaped by the era’s events and in the context of history.