نشریه مطالعات موزه ای زرین فام
پیاپی 3 (پاییز و زمستان 1402)

The magnificent architectural complex of the Imam Reza’s Shrine is not only a final destination for the hearts, but also a healer for the eyes and a manifestation of culture, art, science, and literature. Among the cultural manifestations of the Holy Shrine that recall the Iranians' ancient beliefs are scenes depicting mythological narratives in various locations. Beyond the architectural structure and spatial design of the Shrine, which are likely shaped by their mythological origins, the Shrine's miniaturists, with their understanding and mastery of certain motifs' mythological functions, have utilized them. While taking advantage of their decorative aspects, they seem to have intended to visualize the myths and legendary narratives that have formed the backbone of Iranian culture and history for millennia by embodying their core elements on the Shrine complex buildings. Mythical creatures such as dragons and real animals like lions and cows, and vital elements such as the sun, birds, and plants plays a defining role in the cycle of life and the governance of the universe, are among the motifs that have shaped the mythological scenes of the Shrine's tile work and miniature painting. This article will explore the philosophical significance and function of each element.

Lusterware ceramics is one of the most important types of Islamic ceramics, which was produced most during the Seljuk and Ilkhanid eras. Different motifs were used to decorate this type of pottery in various periods from the beginning to the peak. Often, the motifs of these ceramics are accompanied by inscriptions, which give rise to the assumption that these inscriptions are probably a description of the image. In this research, we will examine the correlation between these images and texts in Ilkhanid lusterware ceramics. This correlation can be noteworthy because so far, this issue has not been examined with a focus on the content of the work and its correlation with the image. This research tries to examine the correlation between text and image in ceramics that have both text and image, to find similarities and differences that will probably make the research results significant. The information and data of this research have been collected based on written sources. The information collection about the desired ceramics is selectively from the lusterware works of the National Museum of Iran. This research is fundamental in terms of its objective, and in terms of its nature and method is historical-descriptive. The method of analyzing information is qualitative and descriptive-analytical, in order to answer these questions: 1- What role do the two elements of text and image play in Ilkhanid lusterware ceramics? 2- To what extent are each of the decorative elements of the inscription and the motifs engraved on the lusterware of this period related and synchronized? As a result, most of the texts and inscriptions on the studied ceramics are related to each other and concern lyrical and mythological subjects, and only a few of them are unrelated to each other.

Intangible cultural heritage has become a significant focus for international organizations in recent decades. These organizations recognize museums as suitable places for preserving and disseminating intangible cultural heritage. However, how to teach this heritage in museums is a subject that requires careful consideration and research, as museum activities have traditionally focused on tangible heritage. This research aims to identify the educational components of intangible heritage in museums. It employs a qualitative approach using the seven-stage meta-synthesis method of Sandelowski and Barroso (2007). To this end, the researcher first defined the research questions to determine the scope of the studies conducted. Then, to gather information to answer the research question, relevant and credible written sources were examined. The study population consisted of published articles in accessible and reputable Persian and English databases in six Persian and seven international databases between 2000 and 2021.Based on quality assessment criteria, 460 sources were identified from 3000 sources, and 25 relevant sources were selected based on article quality assessment criteria. Then, the data was analyzed in three coding stages. Based on the research results, 85 initial codes were extracted, from which 24 categories were identified. Based on these categories, eight essential components were identified as dimensions and influential components in intangible heritage education in museums: the cycle of educational tools for intangible culture, emphasis on study, the role of awareness, accessible education, and integration of museum preservation with education, elements of intangible heritage, intangible culture, and the role of institutions in preserving cultural heritage .The findings of this research can be used by institutions and cultural organizations in cultural heritage education policies and can contribute to improving the performance of intangible heritage education in museums.

In Persian literature, Ferdowsi's Shahnameh is a prime example that pays attention to the role and status of women. In most narratives, women are present alongside men in wars, governance, and other affairs. Throughout Iran art history, the Shahnameh has been illustrated by many painters. After the lithography introduction to Iran during the Qajar era, many illustrators produced lithographic versions of the Shahnameh, resulting in Shahnamehs with unique and beautiful images. In the images of the studied lithographic Shahnamehs, The level of women's presence is an issue worth considering. The main goal of this research is to identify and examine the status and level of women's presence in the lithographic Shahnamehs’ illustrations during the Qajar era (published in Iran in 1888, 1896, 1928, 1973, and 1943).This research is based on the following question: Which of the stories in the Shahnameh that feature women has received the most attention from illustrators? This research employs a descriptive-analytical method based on archival research (lithographic collections of the Astan Quds Razavi Central Library and the National Library). The analyzed images depict women with altered identities, conforming to the social and cultural norms of the Qajar era (such as patriarchal perspective). The remarkable roles and distinctive feminine characteristics such as allure, beauty, decision-making power and authority, are largely overlooked. Considering the cultural constraints of the time, artists have focused on representing female characters in only five stories (the union of Zal and Rudabeh, Siavash passing through fire, Esfandiyar’s sisters, Bahram-e Gur and Azadeh, and Barbad playing for Khosrow Parviz), conforming to the prevailing social norms.

Iranian painting is a radiant facet of Iranian art, its roots tracing back to pre-Islamic art and its brilliance shining throughout Islamic eras. This research delves into the geometric patterns found in the illustrated manuscript of Jami's Silsilat al-Dhahab. Currently housed in the Golestan Palace Museum, this manuscript, containing fourteen illustrations, is one of the lesser-known works from the Safavid period, with limited detailed information available beyond its inclusion in certain sources. This study primary objective is to introduce the characteristics of the geometric patterns in the Silsilat al-Dhahab illustrated manuscript. Consequently, the following fundamental question was addressed: What are the structural features of the geometric patterns in the illustrated manuscript of Silsilat al-Dhahab? This is a fundamental research conducted using a library-based approach, qualitatively analyzed using historical and descriptive-analytical methods. The research population encompasses all illustrations of the Silsilat al-Dhahab manuscript, with all fourteen illustrations being considered, and a specific analysis conducted on the six illustrations containing geometric knots. The research findings indicate an emphasis on the manifestation of geometric ornaments within the overall composition of the illustration, playing a significant role in structuring and organizing the image. The presence of these embellishments not only enhances the visual richness and image’s aesthetic appeal but also contributes to the precision of the visual space and the deepening of concepts.

The Astan Quds Razavi Treasury houses a collection of historical and artistic works, created by both renowned and anonymous artists, as well as offerings from devotees to this Holy Shrine. Among these, there are valuable pieces of Islamic art that hold significant ritual and symbolic value. One such symbol is the peacock, frequently depicted in various art forms, and is of interest due to its aesthetic and symbolic significance. This study aims to examine historical and cultural artifacts, specifically focusing on the peacock symbolic representation in the ritual objects of the Imam Reza’s Shrine Museum. By identifying artifacts within the Razavi cultural heritage collection and posing hypothetical questions, we seek to achieve our research objectives.Researchers in this study have found a meaningful connection between the creators’ spiritual beliefs and, sometimes, the patrons, as well as the cultures from which they originated. Furthermore, in the continuity of this artistic tradition, each artist has followed an ancient pattern for creation.Research Objectives 1. To examine the significance of the cultural and artistic context in the artwork formation and creation.2. To investigate the craftsmen's thoughts influence on visualizing the peacock in relation to these artifacts function.Research Questions:1. Did the works’ creators examined in this article consider the peacock’s symbolic aspect in their visualization, or was it purely decorative?2. Did the cultural context influence the peacock symbolic aspect?

The Andarznameh, or Qabusnameh, a 44-chapter work, is one of the most important ethical books in instructive literature in 4th and 5th century AH in Iran. Its manuscript, dated 1090, is a valuable work in the Iranian literature and miniature painting. The Andarznameh preserved in the Cincinnati Museum, New York, is an instructive, ethical, social, and political advice book that includes illustrations at the end of each story for better understanding. Since the Andarznameh narrates the people story during the Ziyarid era, the clothing and miniatures patterns are noteworthy. This article tries to examine the decorations of the fabrics in the miniatures of the mentioned manuscript in the context of Iranian miniature painting. A part of this Manuscript is kept in the Cincinnati Museum.This qualitative-analytical and descriptive research shows that the fixed geometric patterns in the designs have a structured system, and the decorations of the Andarznameh miniatures have a geometric system from the design structure perspective. These patterns mainly include floral motifs, and animal motifs such as birds, which are characteristic of early Islamic fabric designs, can also be seen. Among the floral motifs, the Iranian-style geometric structure is discernible.

Due to the lack of legitimacy of the Abbasid Caliphate among the Alawites, they staged numerous uprisings against the Abbasids during the Ma'mun's reign, one of the most significant being the uprising of Ibrahim b. Musa al-Kazim in Yemen and his minting of coins. Examining the conflict between the Alawites and Abbasids can provide valuable information for researchers. Previous historical sources do not report or provide information about the minting of coins by Ibrahim b.Musa al-Kazim, or at least such sources have not been identified or introduced until now. This research aims to identify the coins of Ibrahim b. Musa al-Kazim to answer questions such as: In which years and mints did Ibrahim b. Musa al-Kazim mint coins? What were the themes and concepts of his coins inscriptions? In addition, how many coins of the appointment of Imam Reza (A.S.) exist in the coin treasury of the Astan Quds Razavi Museum and what are their themes and concepts? The statistical population of this research consists of four known coins of Ibrahim b. Musa al-Kazim, and considering the events during his rule in Mecca, nine coins of the appointment of Imam Reza (A.S.), his elder brother, were also examined. The data collection method Library and field studies, and the research approach is descriptive, analytical, and historical. The results indicate that the coins obtained from Ibrahim b. Musa al-Kazim belong to his rule period and the main themes of his coins refer to specific Qur'an verses and a phrase that attributes him to the Prophet in order to legitimize his uprising. In the treasury of the Astan Quds Razavi Museum, there are thirteen dirham coins of appointment, all of which include the name of Imam Reza (A.S.) and his attribution to Ali b. Abi Talib (A.S.), as well as the name of the caliph, the place of minting, and religious symbols.

The Bala sar Mosque is the first mosque and place of worship which was built in the west of the Razavi Mausoleum following the martyrdom of Imam Reza (A.S.). The Bala sar Mosque is likely the same mosque that Moqadasi considered the best mosque in Khorasan. Because of large and magnificent mosques in Nughan, Tabaran, and Nishapur in Khorasan, the proximity of the Bala sar Mosque to the Imam Reza's Holy Mausoleum, and the virtue of praying in this mosque may have led Moqadasi to consider the Bala sar Mosque as the best mosque in Khorasan. Although determining the construction date of the Bala sar Mosque would greatly help in understanding the emergence and evolution of the Holy Razavi Shrine's architectural complex, the exact construction date of this mosque has not yet been clearly identified and explained.In an incorrect reading of the Tarikh-e Bayhaqi (Bayhaqi's History), the founder of this small mosque has been stated as Abu al-Hasan Iraqi, the secretary of Sultan Masoud Ghaznavi (r. 1030-1042). Moreover, the burial of Iraqi in the Bala sar Mosque has strengthened this claim. This article, in an attempt to provide a suitable answer to clarify the construction date and founder of the Bala sar Mosque, has tried to examine the issue of attributing the construction of the Bala sar Mosque to Abu al-Hasan Iraqi by presenting historical evidence and referring to the fifth century AH endowed Qur'ans to the Astan Quds Razavi. Finally, this article tries to prove that, as Moqadasi stated, this mosque was built by A'mid al-Duwlah Fa'iq during the Samanid period.