نشریه رهپویه هنرهای صناعی
سال دوم شماره 3 (پیاپی 5، پاییز 1401)

The Armenian carpet is one of the artistic products of the native culture of this country and the oldest weaving system in the geography of the Caucasus, which has had a lively life since the past in the plateau of ancient Armenia. It was woven and presented based on the imagination and taste of Armenian weavers and the use of ritualistic, mythological, and religious symbolic concepts. The motifs in this carpet have been formed and continued over time in the cultural context and fabric of Armenian clothing. On this basis, any analysis and understanding of the Armenian carpet’s functional dimensions or its aesthetic and semantic concepts should consider the context of the culture in which it was created. Therefore, to achieve such a goal, The first stage is to look upon the study of the Armenian carpet with an anthropological approach to art to identify and analyze its forms and meaning.Anthropology of art is a comprehensive approach that is desirable and value-oriented in studying and understanding the art of native societies and their cultural background. This research tries to answer the question: What characteristics and indicators do Armenian carpets have, based on the anthropological approach of art and from the aesthetic and semantic point of view? And how can one understand the meaning and symbolic and aesthetic concepts of motifs based on the cultural context of Armenian society? The summary of the findings of the research includes the existence and presence of various plants, animal motifs, various geometrical and human shapes, and calligraphy in the text of the carpets, which, in addition to being created to fill with patterns and decorate the space of the carpets, they have an implicit mission as well, that is the symbolic and meaningful aspectof motifs, reminders, and cultural and religious messages that each of them has in their existence. Some of them include the dragon, the tree of life (Yasi), the cross, the altar and the church, and the bergamot, each of which has its meaning that has been formed over time and on the cultural background of Armenian society. This research is of a qualitative and developmental type, and the descriptive-analytical research method and the data collection is through library research.

As one of the most prominent theorists in the field of culture, Roland Barthes proposed and studied the clothing system. As a symbolic system, the clothing system has many elements that have a specific function for conveying concepts. This system plays a significant role in describing the states and moods of people, social classes, climate, ethnicity, and social identity. In the film and series production industry, they use this element as a sign for characterization in the film and to make the actor's role better seen. The current research tries to analyze and examine the  women's clothes in the series «Dar Cheshm-e Baad” (In the Eyes of the Wind) as a sign from the perspective of Roland Barthes. The research method is descriptive and analytical, and the necessary and required information has been collected with a library method. The obtained results show that the design of clothes has a significant role with a set of symbolic codes and sign elements that include form, shape, volume, texture, design, color, material, and fabric. There is a description of women’s cultural, social, and political position in the stated series aligned with the story’s narrative course and the actors’ acting.

The magnificent Arts related to Islamic architecture, especially religious places and mosques, have their own conceptual and aesthetic depth. After the construction of mosques, gradually and throughout history, the decorations related to architecture were upgraded and became more diverse. Looking at the history of religious architecture in Iran from the period of the Khwarazm shahs period until today, countless and valuable examples of mosques can be listed, of which the Mir Emad Mosque in Kashan has a historical position and prestige due to the variety of inscriptions belonging to different periods. Inscriptions with different characteristics such as subject diversity, decorative motifs, performance techniques, and materials, each represent a part of the culture and identity of their era. It seems that this mosque with 32 inscriptions is a suitable case for researching the historical dimensions and explaining the cultural-political themes of the religious monuments of Iran during different periods as a statistical sample (using a targeted census method). For this purpose, the goals of this research were studied in two dimensions: adaptation and rereading of historical dimensions, as well as reading and content analysis of the inscriptions of Mir Emad Kashan Mosque. The method of collecting information in this fundamental research was based on a combination of documentary methods, objective observations, interviews with experts, and field documentation, and the nature of the analysis of the findings was descriptive-historical. Finally, the most critical result deduced from this research showed that out of the four types of inscriptions classified in this mosque, two themes in two sections could be conceived: Religious topics and Quranic verses promoting and explaining the Shia religion in the sections inside the mosque, and the decrees of kings and the rulers of the era with cultural, economic themes and social and moral issues (mostly related to the Safavid era) in the outdoor spaces. These themes are implied through the art of sculpture, plastering and painting on plaster, and the use of Kufi, Sols and Nastaliq calligraphy, each expressing part of the traditions, beliefs, and orders of the rulers of their time on the walls of this significant cultural social building in the Mir Emad complex of Kashan.

Visual identity is the visible representation of a brand, from the logo and colors to the website and physical store design. It includes everything a person can see in connection with a brand. Visual identity design plays an essential role in business branding. If the brand identity creates the business›s personality, the visual identity expresses that personality. A brand identity gives customers the feeling that they associate with the company, and this identity is made up of everything that makes up the brand as a whole. This identity includes values, tone and voice, style guide, brand personality, unique value proposition, visual assets, and more. Visual identity is part of brand identity. It focuses on how a brand is visually represented. This identity requires a separate approach from the brand identity, but it should complement the brand. That is why designers and creatives are usually responsible for visual identity, while marketers and branding teams are responsible for brand identity. Visual identity design plays an essential role in business branding. They should drive the product or business toward success. Big brands that present their products internationally in different countries are looking for ways to unify their identity in different countries. Since the brand of a product is one of the most important factors in price fluctuations against competing products, and repurchases from a brand are formed due to trust in that brand, the design is decissive in its formation. The main goal of this research is to investigate the role of design in building the brand visual identity based on Jan van Toorn’s point of view. The research method is descriptive-analytical and derived from library information and authentic scientific articles. The main research question is, what are the effective factors in designing the visual identity of the Iranian jewellery brand based on Jan van Toorn’s point of view? An obtained research results studying the Nimany brand review, is that the role of design from Van Toorn’s point of view in the Nimany brand is the importance of production conditions in the social context of New York, the importance of govand its ”ه“ ernment and media, Iranian identity, and design with the specific letter emblem for the promotion of Iranian culture and the use of the Persian alphabet.

During the era of Sultan Hossein Baiqara and the ministry of Khwaja Nizamul-Molk Khafi, despite the prosperity of Herat City, the emergence of a kind of fundamentalism in the society was prominent and caused dissatisfaction. Considering the relationship between art and political and social necessities in this era, the painting of a story from Bostan Saadi, with the subject of a drunkard person and a muezzin, in the version of 883 AH, is a significant issue; In this miniature, the emergence of fundamentalism was mentioned and it seems to be related to the social situation of this era. Therefore, with the aim of cognition of the relationship between the occurrence of fundamentalism in the court of Sultan Hossein Baiqara and the depiction of the drunkard in the mosque, this question was raised: What is the relation of selecting the story of drunkenness in the mosque from Bustan Saadi, for miniature in the 883 AH, version of Bustan Saadi, with the revealing of fundamentalism in the court of Sultan Hossein Baiqara? The necessity and importance of this article also in examining the social-political aspects of Iranian art. In this study, the descriptive-analytical and historical research methods and the data collection methods are documentary and library. The results show that visualizing the miniature of drunkenness in the mosque, embodying the contemporary social situation in Herat, distaste for fundamentalism, and the need to pay attention to monotheism are warned. Also considering the emergence of fundamentalism during Saadi's lifetime, in the story of the drunkard in the mosque, the fundamentalism that emerged in the community has been criticized and admonished as a moral and social problem. In this miniature, on the one hand, by using the way of space creation and motifs common in the Timurid period, the story of Saadi is rearranged in the era of Sultan Hossein. On the other hand, the method to visualize and add elements such as the image of a surprised youth, the hands and face of a drunkard as a defenseless and astonished person, pride and arrogance in the behavior and face of the eunuch, as well as the contrasts formed between the forms, figures, and atmosphere of the mosque, distinguishing fundamentalism and monotheistic faith in this era is considered visually and semantically. In this regard, the way of choosing noble Quranic verses and their role in the double inscription in this image is such that the distinction between fundamentalism and monotheistic faith in relation to Saadi's story and the visual and semantic qualities of this image is doubly noticed and necessary and advises to avoid this behavior from the point of view of divine laws. Therefore, in this miniature, while rearranging Saadi's story and using Quranic sources, the fundamentalism developed in the era of Sultan Hossein has been embodied and it has been warned to avoid it by using various artistic advice.

The aim of this study is to understand how Iranian Shiite culture influences Qutb shahis Shiite religious ceremonies, especially Muharram mourning ceremonies in Deccan, and how Iranian cultural patterns were combined with the local traditions of this region. With the spread of Islam in Asia, large parts of the Indian subcontinent were influenced by Islam various religions. Specefic India's cultural characteristics have made the land one of the most important centers of Muslim immigrants for centuries. Some of these immigrants were Iranian Shi‘i who gradually gained their social base in different parts of India, especially Deccan. with the choice of Shi‘i as the official religion of some Deccan dynasties, especially the Qutb Shahis, the social and cultural base of the Iranian Shiites in this land became stronger and subsequently a new form of Hindu-Iranian culture was formed in this region.Qutb Shahi's trust in the Iranian agents, along with the religious tolerance of the sultans of this dynasty, as well as their immigration and economic policies, had caused a large number of Iranians to migrate to Deccan. The widespread Iranian influence at that time caused the Shiite ceremony to be influenced by the Iranian culture in three areas, " ashurkhana" as the place of holding the ceremony", "the method of holding the ceremony" and "Alam" as one of the symbolic objects of this ceremony. But this influence depended on a kind of cultural power that changed with the decline of the power of the Qutb shahis, the weakening role of the Iranian elite in their court, and the decline of the population of Iranian immigrants. As a result, despite the fact that in the beginning there was a deep connection between the cultural patterns of Iran and this region, but gradually many of the components of holding these rituals were linked to the indigenous traditions of India to find unique features of their region.The aim of this study is to understand how Iranian Shiite culture influences Qutb shahis Shiite religious ceremonies, especially Muharram mourning ceremonies in Deccan, and how Iranian cultural patterns were combined with the local traditions of this region. With the spread of Islam in Asia, large parts of the Indian subcontinent were influenced by Islam various religions. Specefic India's cultural characteristics have made the land one of the most important centers of Muslim immigrants for centuries. Some of these immigrants were Iranian Shi‘i who gradually gained their social base in different parts of India, especially Deccan. with the choice of Shi‘i as the official religion of some Deccan dynasties, especially the Qutb Shahis, the social and cultural base of the Iranian Shiites in this land became stronger and subsequently a new form of Hindu-Iranian culture was formed in this region.Qutb Shahi's trust in the Iranian agents, along with the religious tolerance of the sultans of this dynasty, as well as their immigration and economic policies, had caused a large number of Iranians to migrate to Deccan. The widespread Iranian influence at that time caused the Shiite ceremony to be influenced by the Iranian culture in three areas, " ashurkhana" as the place of holding the ceremony", "the method of holding the ceremony" and "Alam" as one of the symbolic objects of this ceremony. But this influence depended on a kind of cultural power that changed with the decline of the power of the Qutb shahis, the weakening role of the Iranian elite in their court, and the decline of the population of Iranian immigrants.