مجله جلوه هنر
سال شانزدهم شماره 4 (زمستان 1403)

The Renaissance period, marked by the humanism movement and the revival of classical art forms, was a time of unprecedented progress in various fields. The rapid advancement of printing technology, which facilitated access to information and education, had a profound impact on the development of art, science, philosophy, and literature. This era is often referred to as a turning point in history, as it had a significant influence on Western civilization. During this period, the two visual systems of painting and printing technology played a crucial role in shaping Renaissance thinking. The painting system, informed by new theories on proportions, perspective, and aesthetics, enabled artists to explore new creative possibilities. Meanwhile, printing technology allowed for the widespread dissemination of literary and philosophical texts, as well as works of art, thereby enabling the transfer of knowledge and stimulating scientific and experimental research. In this sense, the Renaissance can be seen as a period of rapid cultural and intellectual exchange, characterized by the fusion of artistic innovation and technological advancement. This synergy had a lasting impact on Western civilization, laying the groundwork for many of the intellectual and artistic developments that followed. In cities like Florence and Rome, the intersection of world trade and dissatisfaction with the Roman Catholic Church gave rise to a new intellectual landscape. The corruption of the Church led to a reevaluation of human existence and our place in the world. This, in turn, inspired a renewed interest in Greco-Roman culture, which became a defining feature of the Renaissance. The emphasis on human reason, liberal arts, and scientific inquiry enabled artists to explore new themes and techniques. The innovative use of perspective and depth, made possible by scientific and mathematical advances, allowed artists to tackle complex and often secular subjects. Humanism, characterized by a focus on human potential and individualism, was a dominant theme of the era. Artists and writers sought to emulate the classical period's architectural and artistic achievements, setting new standards for art and literature. The study of classical literature and art became a cornerstone of Renaissance culture, as individuals sought to understand the timeless values and principles that underpinned Western civilization. The movement's emphasis on humanism, critical thinking, and intellectual curiosity laid the groundwork for some of the most significant scientific discoveries in history. The artistic innovations of the Renaissance, which spanned from Italy to Northern Europe, continue to inspire and influence art, literature, and culture to this day. During the Renaissance, humanism emerged as a cultural and intellectual movement that emphasized the importance of Latin language and classical texts, while rejecting scholasticism and promoting non-religious studies grounded in nature and observation. Humanism encourages individuals to think critically, creatively, and reflectively about the universe, valuing personal judgment and autonomy. In contrast to traditional apprenticeships, which were dominated by guilds, humanist education prioritized individualized learning and creative expression. In Italy, humanist writers and intellectuals played a significant role in shaping educational systems. They believed that education was essential for raising well-rounded citizens who could think critically and make informed decisions. This approach was distinct from traditional apprenticeships, where students were primarily trained as artisans. Instead, humanist educators emphasized the importance of individual creativity, critical thinking, and intellectual curiosity. In Northern Europe, a similar intellectual movement was taking place in parallel to the Italian Renaissance. The Brethren of the Common Life, a group of educators and intellectuals, sought to raise social awareness and consciousness, particularly among the poor, in the aftermath of the devastating Black Death of the fourteenth century. This association played a crucial role in promoting critical thinking, literacy, and artistic expression, and its innovations paved the way for new literary and artistic movements. The invention of the printing press by Gutenberg was another significant achievement that had far-reaching implications for education and intellectual development. The printing press enabled mass production of books, making knowledge more accessible and democratizing access to education. This technological innovation empowered writers and artists to disseminate their ideas and creations more widely, contributing to a flourishing of cultural and intellectual activity. Albrecht Dürer's innovative achievements in art and printing were a direct result of his fusion of Italian Renaissance and Northern Renaissance styles, combined with the techniques he learned during his youth. This study aims to unravel the significant impact Albrecht Dürer had on the evolving social status of art and artists during the Renaissance period. Through a descriptive-analytical approach, this research draws on library studies and internet findings to gather data, shedding light on the intricate relationships between Renaissance humanism and Dürer's artistic journey. By examining the components of Renaissance humanism and Dürer's artistic path, as well as case studies of his works, this study identifies the key humanistic elements that defined his artistic vision. Furthermore, it analyzes his role in creating a new space for art and artists during the Renaissance period, revealing the far-reaching implications of his contributions. Dürer's early artistic training was shaped by his godfather, Anton Koberger, who encouraged him to explore unconventional themes and works. This marked a departure from traditional artistic practices, which were heavily influenced by the teachings of the Brethren of the Common Life. After completing his internship in the renowned workshop of Koberger and Michael Wolgemut, Dürer embarked on a journey to the northern regions, seeking solitude and inspiration to deepen his understanding of the world and stay abreast of the latest artistic trends. During this period, Dürer's artistic endeavors indicate a growing familiarity with the medium of picture books and woodblock prints. While his works still bear similarities to those of his predecessors, this marked a turning point in his development as an artist. The techniques of illustration, compositions, and contrasts of light and dark that he employed were not revolutionary, but they laid the foundation for the distinctive style and creative vision that would emerge in his subsequent works. In his continued artistic journey, Albrecht Dürer presents two remarkable collections of woodcuts: Apocalypse and Great Passion. These works, rooted in religious themes, were influenced by the Protestant Reformation's critique of the Catholic Church and the feudal power it wielded. By redefining the enemy of Christianity, Dürer's Apocalypse series shifts the focus from the Ottomans to the high-ranking Catholic officials, allowing ordinary people to engage with religious concepts without intermediaries. This democratization of art was made possible by the picture book's unique potential: it can be mass-produced and distributed at a low cost, making it accessible to a broader audience. No longer bound by the need to prove himself to kings, nobles, and religious authorities, Dürer can focus on producing art that resonates with the everyday people of his society. In his later years, he explored theories on body proportions and authored books on the subject. His writings emphasize the importance of observation, knowledge of the natural world, and the role of nature as a reference. He sees anything that defies nature as worthless and unpleasant. As a humanist artist, Dürer aims to convey his understanding of the world through observation, experience, and thought. Just as he encouraged people to think about religious matters through his picture books, he now shares his insights on the rules of nature. By making these concepts accessible to a wider audience, Dürer demonstrates his commitment to art as a means of education and self-discovery. His artistic endeavors embody the humanist values of intellectual curiosity, critical thinking, and a desire for knowledge that transcends boundaries. This research reveals that Albrecht Dürer, an artist of the Renaissance, pushed the boundaries of visual innovation by applying humanist principles. He drew inspiration from the natural world, Italian art, and the unique cultural contexts of Venice, Florence, and his hometown, Nuremberg. The Renaissance's emphasis on proportion and humanistic elements, such as attention to nature, had a profound impact on the formal elements of his depictions. A closer examination of Dürer's artistic journey reveals that he was deeply committed to humanist values, which influenced his approach to art-making. He studied with intention, selected his techniques deliberately, and navigated his activities in a way that redefined the role of art and artists in society. This shift elevated the status of the Renaissance illustrator beyond mere craftsmanship, acknowledging the value of artistic work, illustration, and printing. Furthermore, this study highlights the pivotal role of the artist in shaping the field of visual communication, and illustration, and defining new economic capacities. As the proliferation of texts and artistic works coincided with improved societal scientific and cultural levels, the Renaissance artist was presented with a new opportunity. Dürer was one of the first artists to seize this chance by leveraging print technology to promote artistic independence. He achieved this by publishing visual works and books, paving the way for economic autonomy. Notably, despite the relative rarity of signature personalization in artworks during this period, Dürer championed the importance of signing artworks and defending copyrights. This pioneering effort laid the groundwork for the establishment of copyright law.

The reflection of religious themes and stories that gradually became popular in the carpet weaving system of Iran from the Qajar era, has gradually become one of the significant parts of the iconography system in the design of Iranian carpets and pictorial designs. Among them, we can refer to the subjects taken from the holy books of the Old Testament and the Torah, especially the stories related to the apostles of the Israelites, in the carpets ordered by merchants and donated by influential Jewish people. "Taj-e Torah" is the special hand-woven works of the Jews, which includes selected parts of the sacred texts of the Jews, which are woven into carpets and tapestries with a religious-ritual and propaganda nature, to be installed in the synagogue. It was woven as a gift to special people to introduce Jewish law. This article aims to introduce these symbolic hanging wovens and read and analyze their content from a semantic and symbological perspective. The research question is, what are the hidden and implicit meanings behind the symbolic motifs and decorative arrays of the carpet text? Some of the findings of the research include the following: symbolic elements that have hidden layers of meaning in the crown of the Torah, including crown, angel, altar, palm, vine, sun, lion, pillar, wall of Nadba, Beyt Al-Moghadas (Jerusalem), Kandil, fountain, Star of David, Horse and Chariot, Trumpet (Shofar), each of which refers to a phenomenon or event. In the past, "Taj-e Torah" were woven from wool in the dimensions of carpets, but gradually they were woven from silk in the size of hanging decorations. Their design and formal structure is of pillared altar type with six-frames and mostly fixed pictorial narratives, in some cases, one or two new narratives have replaced the older ones. The contents of the narratives are the spring flowing from the stone with the staff of Moses, the image of Moses and the reading of the tablets of the Ten Commandments, the glorification of the cherubs (angels), and the arrival of people's prayers to the upper world, the Ascension of the Prophet Elijah to the sky, the sacrifice Isaac/Ishmael, the image of Aaron and the seven-branched menorah candlestick. This research is of qualitative and developmental type, descriptive-analytical research method, and library data collection method. The background of the carpets as a native and practical art, since the time of Qajar, and at the same time with the development of cinema, photography, and printing and the popularization of pictorial carpets and symbolic weaving, as a kind of media for subjects, became different. From this point of view, Jewish pictorial carpets were the important manifestations of this movement, which narrated the narratives and stories related to the sacred texts of Jews, the ups and downs of the people of Israel, and the stories of the apostles of this people in the form of images and icons. Therefore, Taj-e Torath carpets and tapestries (Keter Torah) are special examples of Jewish images that were woven and presented with the mentioned purpose. Torah crowns are ritual-decorative hangings with an almost definite and fixed figure and structure, whose content is narratives (generally six) of the themes of the sacred texts of the kilim and the icons of the prophets of Israel. Currently, due to the change in social conditions, attitude and way of life and the dimming of the ritual or the way of propagating the rituals and rituals and more importantly the migrations or the death of the ordering Jews, the weaving of Taj-e Torah has stopped and since their topics and content are specific and related to a specific religious class, it is difficult to access them. Therefore, by searching on reliable sites, access to twelve samples (six carpets and six woven panels) of them was possible. In this research, with the aim of semantic and aesthetic reading and discovering the symbolic meanings of their roles and paintings, they will be studied, examined, and analyzed in form and content. The Jewish people or the followers of Prophet Moses, who are also known as Kalimis in Iran, entered Iran from the distant past and settled in different areas, especially Kashan. "For several centuries, Kashan provided the most favorable environment for their coexistence and growth compared to other parts of Iran and the world. The conditions are so favorable that some Jews have called Kashan a small Jerusalem or a galaxy of Jewish scholars and writers" (Heydari & Falahian Vadaghani, 2013, 59). Trade and commerce have always been some of their most important professions; In such a way that in various professions and occupations, the biggest merchants were Jews. From the distant past, the art-craft of hand-woven carpets has always been considered one of the most important business areas of the Kalimis in Iran, so that "according to the atlas prepared from Jewish history, their traders from the century 6th BC, they started trading in Iran, and carpets gradually became one of their important commercial goods. As Shushtar was the center of carpet trade in 548 AH" (Gilbert, 2003, 11). Benyamin Todolai, a traveler and a Spanish Jewish rabbi, has collected useful and valuable information about the Jews of Iran. During his many trips to different countries, including the Middle East and North Africa, he studied the situation of the Jewish population and wrote in his narratives: At the end of the second century AD, most of the production and weaving of Iranian carpets was the result of the work of the Jewish population who lived in Hamadan, Isfahan, and Shiraz. Also, according to another of his contemporaries, the Jewish population of Shushtar (ancient Susa), which was approximately fifteen thousand Jews, was practically in charge of the trade of carpets in this region. Based on the examples in museums and authentic collections, the subject and theme of Jewish carpets and rugs, which are without exception considered to be pictorial type, include religious and ritual subjects. Subjects related to religious, moral, and Sharia narratives and excerpts from the lives and events of the messengers of the Israelites such as Noah, Abraham, Jacob, Yusuf, Suleiman, and Moses, signs and symbolic roles, events related to the Jewish people, and the Torah. These rugs are woven to introduce, promote, and remind the place of religion and the moral and ruling concepts mentioned in it. Kashan, Tabriz, Kerman, Isfahan, and Qom are prominent cities in the weaving of Jewish carpets. Although these carpets were woven in the past, nowadays their text and content are woven in the form of small-sized panels, mainly with silk. The types of carpets, rugs, and pictorial and narrative woven hangings of Kalimis, were woven in abundance in the cities of Kashan, Tabriz, Kerman, and Isfahan in the 19th century and during the Qajar and Pahlavi eras. There are special and relatively common examples with a religious-ritual function, in rectangular and mostly square shapes and in various dimensions and sizes, such as panels, backs, half cubits, two cubits, and rugs, which have figures and the physical structure and often the content are the same. However, the designer, according to his taste and creativity, may make changes in the type of patterning, composition and arrangement, dimensions and number of motifs, as well as coloring and the use of various colors. These hanging woven are known as "Taj-e Torah" or "Keter Torah" among Kalimis. From a lexical point of view, the phrase "Taj-e Torah" is used due to the presence of the crown above and in the middle of the hand-woven and considering that the hand-woven theme is part of the content of the Torah book and its teachings. The Taj-e Torahs is a woven or ritual-ornamental figure specific to the Kalimis, the subject of which was selected parts of the Torah. The designer used to paint and embellish the surrounding subjects. In the old examples, the surrounding of the woven is decorated with ornamental hangings or bouquets. In the past, the Taj-e Torah was woven in large dimensions (carpets) and later, especially in the middle of the last century, in smaller dimensions and sizes (panels). Also, the types of "Carpets" were made of wool and were often woven in Kashan and the types of "Panels" were made of silk, and the cities of Tabriz and Qom have silk products. Like other Jewish carpets, they are of a religious, ritual, and commemorative type to promote and remind some of the narratives and historical angles of the Old Testament, the Torah, the Jewish religion, and the apostles of the Israelites. The Taj-e Torahs were offered and woven to be installed in synagogues and temples or hung in houses by orders of merchants or religious and cultural dignitaries.

According to the social, cultural, and political changes that have occurred in recent years and the emergence of social art, contemporary art serves as a social and feminist action in society. Contemporary art studies in the field of media and approaches to understanding the culture, identity, and gender perspectives of societies, especially the works of artists, hold special significance. This is because different societies, particularly artists, reflect various aspects of the political and feminist features of their society in their works. Many works of art, in the form of different styles, can not only reflect the social, political, and cultural developments and conditions of a society but also influence and shape the thoughts, values, and decisions of the people and audiences within that society.The present research addresses the recognition and analysis of selected works by Gilani artists, serving as examples of feminist approaches. Based on this, artworks do not exist in isolation, independently, or transcendentally; rather, they are the products of specific historical actions that social groups recognize under particular circumstances. It appears that the reflection of feminist approaches in the works of Gilani artists includes social frameworks and common patterns, the basis of which depends on the definition of humanity and the artist’s perception of the existing situation. According to Erving Goffman’s view and the symbolic interaction theory, an individual’s actions in the social scene are closely tied to the capital they possess, which enables them to gain self-awareness and understand others. Understanding the relationships, social structures, and gender identities of a society becomes possible through the study of its artworks.One of Goffman’s notable points is his emphasis on the significance of artists’ social relationships. In his view, a created work represents a social process that artists shape through symbolic interaction in social, cultural, political, and other environments. From this perspective, a work of art represents social action, and the contemporary artist assumes the role of a social activist. This research aims to provide a window into the works of contemporary Gilani artists, examining various aspects of these works to uncover their hidden dimensions, the perspectives of native artists, and gender viewpoints. It argues that the set of gender-discriminatory behaviors accepted in society, consciously or unconsciously recorded in the artist, and intentionally or unintentionally related to the environment, culture, gender identity, and community, are depicted in their works. The artist’s mental content concerning women is revealed through this research, offering a thoughtful understanding of the dominant culture and the interactions between society members and feminist art. The human character of contemporary indigenous artists is the product of their interaction with others, through which they align their existence and works with society. In other words, native artists, through interaction with society and its members across cultural, social, and other contexts, create and reflect works, giving meaning to social approaches and gender identities. This study specifically identifies and analyzes selected works by Gilani artists as examples of feminist approaches, seeking to answer the question: based on Goffman’s point of view, what are the visual patterns of gender representations reflected in the works of contemporary Gilani artists, and how frequently do these patterns appear? The current research aims to identify instances of feminist approaches as social approaches in the works of Gilani artists. The social approach in these works represents the actions that the artist, as an activist, presents in the form of artwork to communicate their thoughts, concerns, and identity to society and their audience.The necessity of conducting this research lies in the potential to generate knowledge about how contemporary native artists interact and engage with their society. The rationale for selecting this subject is that the works of Gilani’s contemporary artists across various visual branches have not yet been examined from this perspective. The research employs a qualitative content analysis methodology aligned with feminist research. Specifically, using Goffman’s six patterns of gender stereotypes and their related indicators, artworks were observed to identify the presence of these indicators. Goffman proposed six models in media advertising: ritualization of subordination, relative size, ranking and symbolic space, touching, and licensed withdrawal. These models involve various factors, typically depicting women alongside men, with performance elements such as dialogue, movement, stage and décor, actors’ clothing, lighting, and more requiring mixed coding. However, this research focuses on the visual works of contemporary Gilani artists.The authors have sought to align Goffman’s patterns with the studied artworks and identify examples of these concepts. In this study, the factors are presented within a fixed frame. By coding the characteristics of the works, the corresponding model can be identified. Data collection combines library and field methods, with sampling based on a purposeful selection of works by prominent Gilani artists in contemporary art. Consistent with the qualitative approach, the sample size was not predetermined; sampling continued until data saturation was achieved. Following the initial analysis, eight Gilani artists whose visual works exhibit feminist approaches were identified. From their works, only those explicitly exemplifying Goffman’s six visual models were selected and analyzed in the article.Based on Erving Goffman’s theory of dramaturgy, it can be concluded that the contemporary Gilani artists examined in this research assume the role of activists in the social scene. Influenced by the prevailing social actions, they create works with a feminist approach. The study found that contemporary Gilani artists frequently appear as artist-citizens in their works, expressing their feminist concerns alongside those of their audience. Among the analyzed works, 336 were selected from the output of eight identified artists with feminist approaches. The findings reveal that based on Goffman’s performance theory, the patterns of ritualization of subordination, relative size, ranking, and symbolic space, touching, and licensed withdrawal are evident in the studied works.The results indicate that ritualization of subordination, at 35%, is the most frequent feminist pattern among the works of Gilani artists. This reflects an acceptance among activist artists that women in their society conform to the patterns and demands of patriarchal norms. Licensed withdrawal, at 29%, is the second most common pattern, representing women’s sadness, frustration, despair, emotional conflict, and anxiety—highlighting their hidden struggles and serving as a protest against patriarchy. Representational patterns of female touch, evident in 15% of the works, predominantly by male artists, emphasize decorative depictions of women and superficial emotions.These findings underscore the feminist concerns reflected in the works of Gilani artists, rooted in the cultural and social contexts of their society. These artworks not only mirror the conditions of society but also influence thoughts and values. The ritualized subordination pattern in 35% of the works highlights a broader societal tendency toward compliance with male-dominated norms, while the 29% frequency of licensed withdrawal reflects feminist artists’ efforts to challenge these norms. Comparative studies of feminist approaches in artworks across regions and cultures could offer valuable insights for future research.

There are many definitions of Shobāks/ Moshabbak in dictionaries and general and specialized dictionaries as well as architectural specialized sources, the most important of which will be mentioned below. Moshabbak: window network (Maheronnaghsh, 1997: 192 - 193); Shobāk: A big hole, apparently means a window (Dehkhoda, 1998, Vol 9: 14113); Moshabbak: Every object that has a hole in it, everything is networked and interwoven like a window, Shabakedar, with network, Hole Hole, Mesh Mesh, window window (Dehkhoda, 1998, Vol 13: 20926); Moshabbak: Shabakedar, In the form of a network, House House (Sadri Afshar, 2003: 1177); Moshabbak: Has a network (like a window), Hole Hole (Moin, 2006, Vol 3: 4132); Moshabbak: House House (Zomorshidi, 2008: 180 Moshabbak: A type of Shabakedar wall that also plays the role of a light catcher (Shams, 2009:131); Shobāk: plural of network, Building light catcher networks (Fereshtnejad, 2010: 208); Moshabbak: Shabakedar, like a window, Hole Hole (Amid, 2010: 944 - 945); One of the types of plaster decoration with the title of hollow- Moshabbak: In addition to being empty or hollow, the decorations in question have also created holes in the empty space behind the decorations (Aslani, 2012: 280) and etc. According to the above definitions, it is generally possible to consider the Shobāk/ Moshabbak as a networked space with different frames such as square, rectangle, etc., in the space of these networks, light, and air can pass, and often in the space under the domes, above the Mihrabs and Dadoes are used above. In different periods, Shobāks are often decorated with Brickwork, Carving, Tilework, etc., and with many plant and Geometric Designs and Motifs. Yazd Province is one of the limited Regions of the Timurid and Turkmanan Era of Iran, where many Tile Shobāks have been obtained from its Buildings. Therefore, the Purpose of this Article is to introduce and Classify the Tile Shobāks used in Timurid and Turkmanan Era Buildings in Yazd Province based on general framing and Motif. However, Knowing the mentioned Shobāks and their types as one of the Unique and less known Decorations of these Periods is Raised as an important issue in the Current Research. Therefore, the main Question of this Research arises as follows: What are the most common and major general framing and Motif of Tile Shobāks in Timurid and Turkmanan Era Buildings in Yazd Province? The Current Research is based on the method of interpretative-historical research and the method of analyzing and interpreting the data is Qualitative. The purposeful non-random (non-probability) sampling method has been chosen in line with the purpose of the research. The method of collecting information and data in a documentary (library) and based on objective (field) observations includes visiting Buildings, taking pictures of Tile Shobāks, and drawing samples with different Software such as Corel Draw and Photoshop. The Photography of all Tile Shobāks studied in this article is the result of the authors' close observation of Historical Monuments. Therefore, the Statistical Population of this research consists of all the Tile Shobāks of the Timurid and Turkmanan Periods in Yazd Province, which includes thirteen Buildings. For this reason, by examining and identifying Samples in Thirteen Buildings related to and attributed to the Timurid and Turkmanan Periods in Yazd Province, the investigated statistical population includes; "Masjed-e Jame of Yazd", "Masjed-e Jame of  Amir Chakhmaq", "Masjed-e Shah Abdolqayyum", "Masjed-e-pir Hoseyn-e-Damqani", "Masjed-e Mosalla-ye- Atiq", "Masjed-e-baq-e-Gandom", "Imamzade Jafar" all in Yazd city, "Masjed-e Jame of Shah Vali" Taft, "Sheikh Ali Baniman Complex" in Bidakhavid Taft Village, " Masjed-e Jame of Bidakhavid" in Bidakhavid Taft Village, "Sultan Complex of Bundarabad" Ashkezar (Mosque, tomb, Husayniyya/ Khanqah), "Masjed-e Rig/ Sheikh Al-Kabir Majumerd (Rizvanshahr)" Ashkezar, "Masjed-e Jame of Firuzabad" Meybod and "Khadkhoda House" Bafruiyeh Meybod. In response to the question raised in this research, the results obtained indicate that the Tile Shobāks in the Buildings of Yazd Province were classified into two main groups based on the overall framing and motif. In the first type, in terms of general framing, there are five types of Shobāks: Rectangular, Square, Triangular arch, Polygon (pentagon), and Dalbori framings. Of these, Rectangular framing has the most examples among other framings and was found in 11 Buildings of the Statistical Population studied in this research. In terms of the variety of framing in "Sultan Complex of Bundarabad" Ashkezar, four types of Rectangular, triangular arch, polygon, and square are used, followed by "Masjed-e Jame of Shah Vali" of Taft with Rectangular, triangular arch, and Polygon framings. The Shobāks were classified in terms of motifs in two general categories of geometric and Plant motifs in the two topics of the center/ background and frieze of the Shobāk. From the point of view of the Center/ Background of the Shobāks, most of the examples are covered with Geometric Motifs, based on the existing examples of Tile Shobāks of the Timurid and Turkmanan era Buildings in Yazd Province, the knots are "Six and Triangle on the Piece", "Six and  Stretched Give", "Six and divided Triangles", "Six and Triangle", "Six and Jointed Triangle", "Six and roundel with Toranj", Also, simple Geometric patterns such as repeated forms of circle, ellipse, and Toranj/ Rhomboid are among the Motifs used in the center of the Shobāks. Among these, the most surface coverage is occupied by the knot "Six and Jointed Triangle" in the Center of the Shobāks. "Sultan Complex of Bundarabad" has the most diversity in terms of Geometric Patterns in the Center/ Background of the Shobāks, so the Five "Six and Triangle on the piece", "Six and divided Triangles", "Six and Jointed Triangle", Motifs in the form of a Circle and a Toranj/ Rhomboid-like shape can be seen in the center of the Shobāks of this Complex and Then, "Masjed-e Jame of Shah Vali" of Taft with knots of "Six and Jointed Triangle", "Six and divided Triangles", knots and an Oval shape is in the next order. It should be noted that the knots are all simple and drawn based on the number six. The Geometric motifs on the frieze of the Shobāks include: the repeating knot of simple Geometric motifs or the combination of one or two simple narrow bands without Patterns. The main Geometric motif that surrounds the Shobāks belongs to the "Six and Triangle" knot, which is implemented in most of the Buildings Studied in this research (12 buildings) and has almost become a common Pattern on the frieze of Tile Shobāks in this area. In general, the use of plant Motifs in the Center/Background as well as in the friezes of the Shobāks is very little, and in the Center/ Background they are mostly used in combination with geometric motifs. plant motifs are used in the Center/ Background and friezes of the Shobāks in a limited number and only in three Buildings: "Masjed-e Shah Abdolqayyum" in Yazd, "Masjed-e Jame of Shah Vali" in Taft, the interior space and also the back wall of the tomb of "Sultan Complex of Bundarabad"  in Ashkezar. Motifs include Khataei elements, such as simple multi-petaled flowers (three-petaled, six-petaled), Plantain leaf flowers, Buds, Bands/ Stems, as well as simple Arabesque and the Arabesque vault. Plant motifs on the friezes of the Shobāks are also limited and can only be found in three Buildings, "Masjed-e Jame of Shah Vali", "Sultan Complex of Bundarabad" and "Masjed-e Shah Abdolqayyum". These Motifs contain the Arabesque, the Arabesque vault, simple multi-petaled Flowers (three-petaled, four-petaled, five-petaled, six-petaled), stems and leaves. Through the Studies, it was found that the use of Tile Shobāks in the Timurid and Turkmanan era Buildings belongs to Yazd Province, and in other Parts of the country only in three Buildings "Tomb of Shaikh Abu Masoud Razi Isfahan", "Tomb of Darb Imam Isfahan" and "Masjed-e maydan Kashan" located in Isfahan province and "Masjed-e Shah/ Seventy-two Martyrs' (Haftado Dotan)" Mashhad and "Ghiyasiyya Madrasa" Khargerd Khaf in Razavi Khorasan Province. The use of Tile Shobāks can be seen in Yazd Region and in limited numbers in Isfahan and Razavi Khorasan Provinces, and similar examples of this category of functional-decorative Structures cannot be observed in other parts of Timurid and Turkmanan Rule in Iran. Therefore, according to the common decorative Features that exist among the Shobāks of Building Tiles in Yazd Province, it can be acknowledged that in this Region they have used an almost common unit pattern in the use of Shobāks. Therefore, these common decorative features can indicate a local style, the evidence of which can be found in this period, often in this area.

The introduction discusses art as an important pillar of human culture and civilization that has always attracted the attention of thinkers and researchers. However, despite its enduring presence throughout history, art has not always been easy for the general public to understand and appreciate. Previous studies have shown that various psychological factors like personality traits, education level, prior exposure to artworks, and aesthetic literacy impact how people understand and enjoy art. For instance, individuals who are more open to experiences tend to have a greater interest and inclination appreciating complex and unconventional artworks compared to conservative individuals. Likewise, those with more art-related education, training, and experiences are generally better able to understand and enjoy complex, modern artworks. However, reviews show limited research on how informational cues and contexts surrounding art influence the aesthetic judgments of ordinary people lacking art education and experiences. Hence, a key challenge is introducing such modern artworks to the general public to enable understanding and analysis. This study aims to address how informational stimuli and contexts can influence the perspective, preferences, and aesthetic judgments regarding art among individuals without formal art education or experiences. Rather than focusing on pre-existing knowledge and experiences, it examines the role of providing art information to non-experts in shaping attitudes and perceptions in a short-term interaction. This allows assessing potential attitudinal changes without long-term assumptions. To examine the impact of informational stimuli on aesthetic judgments of individuals without art education, the present online study utilized two questionnaires comprising demographics, a 10-item Personality Inventory, Aesthetic Fluency scale, and a researcher-made questionnaire with 5 pairs of different artworks for preference rating: a traditional Iranian mosque and a modern Iranian mosque; a medieval crucifixion painting and Gauguin’s The Yellow Christ; Persian miniature painting Khosrow and Shirin from Shiraz school and Sadegh Tabrizi’s illustration of Khosrow and Shirin; a Nastaliq calligraphy practice and Hossein Zenderoudi’s calligraphic painting; a landscape painting by John Constable and a landscape by Paul Signac. Participants were randomly assigned to Questionnaire 1 or 2. The system prevented entry to the main questionnaire if participants reported any experience, education, or occupations related to art. The only difference between the two questionnaires was an initial text about the nature of artworks in Questionnaire 2 (with informational stimulus) that participants had to read and answer questions about before selecting artworks: “Artworks arise in different ways across times. They attempt to elevate our awareness and provoke thought. They try to showcase artists' perspectives and ideas about reality and life. Many contain implicit symbolic meanings that require reflection to grasp the artist’s viewpoint. Viewing art is an experience for contemplating oneself and life.” Requiring responses to 5 questions ensured close reading. 320 participants completed Questionnaire 1 (without stimulus) and 306 completed Questionnaire 2 (with stimulus). None had art-related jobs or education. The no-stimulus group comprised 320 participants including 180 females (56.2%) and 140 males (43.8%) with a mean age of 23.37 years (SD = 4.54). Their education levels were 25 high school graduates, 177 undergraduates, and 118 postgraduates. The information stimulus group comprised 304 participants including 192 females (63.1%) and 112 males (36.9%) with a mean age of 35.4 years (SD = 15.5). Their education levels were 33 high school graduates, 142 undergraduates, and 129 postgraduates. The results indicated no significant difference in overall Aesthetic Fluency scores between the no-stimulus group (mean = 51.3, SD = 53.0) and the information stimulus group (mean = 42.3, SD = 67.0; p-value > 0.05, t = 1.086). Hence, the groups were not distinguishable regarding their aesthetic knowledge. Pearson correlation analysis investigated associations between Personality dimensions, Aesthetic Fluency, and preference ratings for modern versus classical artworks. Openness to experience showed direct, significant correlations with overall Aesthetic Fluency (r = 0.22, p-value < 0.01), original Aesthetic Fluency (r = 0.17, p-value < 0.01), Aesthetic Fluency of Iran (r = 0.17, p-value < 0.01), overall art preference ratings (r = 0.28, p-value < 0.01), ratings for realistic/classical artworks (r = 0.22, p-value < 0.01) and abstract/modern artworks (r = 0.19, p-value < 0.01). Aesthetic Fluency also correlated with higher art preference ratings (r = 0.26, p-value < 0.01). However, these variables did not effectively distinguish individual preferences. Openness remained the most prominent factor associated with artistic inclination, while greater Aesthetic Fluency related to higher art preference ratings irrespective of style or genre. Independent samples t-tests examined stimulus effects on preference ratings per the study hypothesis. After checking normality assumptions, a significant difference emerged between the no-stimulus group (mean = 46.3, SD = 37.0) and information stimulus group (mean = 74.3, SD = 33.0; p-value < 0.05, t = 15.10) indicating an increased preference for abstract and modern over classical/realistic artworks in the stimulus group. In other words, in assessing aesthetic reactions among groups with and without informational prompts, the results show that individuals naturally have different interests and inclinations toward various art forms based on their personality traits such as openness to new experiences. However, when some individuals were provided with information and perspectives on how to approach and understand art, these individuals demonstrated better reactions and greater acceptance of unconventional and avant-garde artworks. That is the information presented temporarily changed their preferences and choices. Rudimentary awareness of these facets associated with art criticism and history discourse expanded the conception of what constitutes art to encompass modernism’s radical break from familiar mimetic aesthetics. Without such framing, participants generally showed avoidance toward unfamiliar compositions. Access depended on acquiring schemata recognizing how all art essentially represents creative efforts to convey subjectivity regarding conditions of lived experience, through manifest content and symbolic expression transcending literal appearances. This realization allowed perceiving richness within ostensibly opaque imagery by considering what reactions or contemplations it might intend to stimulate regardless of clear pictorial resemblance. That elementary catalytic learning temporarily redirected preferences away from customary favorites and lowered inhibition toward the abstract. The informational content facilitated detecting meaning in superficially confusing but still evocative formations reflecting artists grappling with escalating modernity complexities. Audiences otherwise automatically discount such works due to their ambiguity and lack of concrete visual affirmation of skill seen in traditional techniques. They construe abstraction as technical ineptitude rather than thematic eloquence communicating via entirely reinvented visual languages detaching from optical verisimilitude. Exposure to the historical background on key avant-garde stylistic innovations and their creative rationales rendered these productions more welcoming. These findings demonstrated mass art appreciation hinges considerably on foreground knowledge granting cognitive access more than solely intuitive sensory reactions. The research can help identify factors influencing the formation and alteration of artistic tastes and preferences, as well as the role of contextual information cues therein. The findings can also inform the design of more effective educational and cultural programs for promoting public appreciation of modern art.

Sati and its reflection in the poetry and art of the Safavid period are some of the things that cannot easily be overtaken by it. This is because it is a non-Iranian tradition, composed in the form of poetry by order of the Mughal court to Mohammad Reza Naw'i Khabushani, an immigrant Iranian poet in India. On the other hand, it is illustrated in the form of miniatures and wall paintings of the Chehel Sotoun Palace under the command of Shah Abbas II, because of the Hindu girl's prediction before committing Sati, based on the victory of the Iranian Corps in the Kandahar War. Khobushani composed this ritual beautifully in the form of Masnavi Suz u Gawdaz (Burning and Melting), which was applauded by the Mughal court. Attention to the remaining illustrated version of Khobushani’s Masnavi—as one of the important documents of the cultural relations between the two influential countries of Iran and India in the 11th century A.H.—and the social, political, and cultural reasons for this representation, as well as the introduction, adaptation, and analysis of the illustrated version of this Masnavi, are among the issues of interest in this research. It explains the relationship between factors such as power, cultural distinction, and cultural field in the reproduction of works of art. In any case, Sati appears strange within Iranian culture and society and is completely distinct and clear; this "distinction" is well analyzed according to Bourdieu to clarify the placement of Sati and the reasons for its favor by the Safavid court. This is qualitative research based on an inductive method and a descriptive and analytical approach, evaluating the final miniatures of Masnavi Suz u Gawdaz. It is evident that power factors play a decisive role in creating works of art. However, according to evidence in the miniatures, despite the depiction of this ritual, this phenomenon has not settled deeply in the Iranian spirit.Also, with a general look at pictures one to five made by Iranian painters, we can see that, although they depicted the Indian religion according to the order of Shah Abbas II, from the bottom of their hearts, they do not agree with the philosophy of implementing this Indian custom:1-In pictures two to five, the apparent health of the bride and groom in the fire shows the artist's desire to change the ending of the story.2-The use of bright colors and the equal color saturation of the bride and groom in the fire with the courtiers and the prince suggests a subconscious desire for survival in the Iranian artist.3-In picture one, as mentioned above, Mohammad Ghasem did not depict Sati in the final scene, confirming the painter's unconscious distance from this violent tradition.4-In picture six, which relates to the Mughal version of the Masnavi painted by Indian artists, there is no panic or anxiety in the audience; they are watching the repeated scene of Sati with complete composure and peace of mind.This acceptance of the Sati ritual is well crystallized in the representation by the Indian artist, who depicted the bride and groom in a vague and faint manner, surrounded by smoke and placed at the farthest distance. The burning bride and groom are so faded and blurred that they appear as unknown characters lost in the dust of time, as if years have passed since the event and they have been forgotten. Overall, it is evident that the Indian artist painted it with complete and firm belief in the religion of Sati. This claim is strengthened by the bold depiction of Prince Daniel and the people and courtiers watching in front of the bride and groom, who are nothing more than ghosts.Although Bourdieu's views are rooted in the current century, the comprehensiveness of his theory and its potential for generalization to past societies make it useful for answering our questions. Bourdieu argues that in simple pre-industrial societies, the number of effective fields is relatively limited. During the Safavid period, the fields of power, social space, and cultural influence seem dominant. Bourdieu posits that cultural works are produced based on the logic of a strongly independent field. This holds true for the representation of the Sati custom in Iranian paintings, as Shah Abbas II considered it necessary to represent this Indian custom due to his strong and independent political and social status, which reflected the domain of power. Bourdieu also asserts that works of art are products of a permanent break with history and tradition and tend to become historical. In the context of Bourdieu's concept of discontinuity applied to the Safavid period, it can be acknowledged that the Safavid court illustrated a tradition completely disconnected from Islamic history and tradition. This practice, rejected by Muslims, was adopted solely because of the Hindu girl's correct prediction of Iranian victory within forty days and Shah Abbas II’s subsequent capture of Kandahar in 1085 A.H. Political considerations between Iran and India, from Shah Abbas's perspective, also influenced this portrayal.Thus, "getting Sati" suddenly becomes a "habitual" practice or, in other words, a set of established relationships among social actors (Shah Abbas II and the Safavid court). Sati becomes a cultural commodity, which, according to Bourdieu, encompasses strategies of identification and differentiation. These strategies determine the dynamics of this field and make products such as manuscript paintings or wall paintings of Chehel Sotoun Palace in Isfahan tools for creating distinction.In general, Sati is classified as part of artistic works, strengthened by the social atmosphere created by the Hindu girl’s correct prophecy before committing Sati. Its strengthening and connection with the field of power—namely, Shah Abbas II’s court—granted it cultural legitimacy, reinforcing power relations and reproducing them systematically. Despite these interpretations, it seems that Sati was more accepted by the court than by Iranian artists. This is evident in the depictions of the bride alive and the groom in a coffin, far from the fire, in the paintings' final scenes. Perhaps this lack of acceptance is due to two reasons: the insufficient time for Sati to permeate Iranian culture and the court’s insistence on its representation in Chehel Sotoun and manuscripts, and the hidden violence in this ritual, which is seen as the suicide of a woman and contrary to Islamic logic.Regarding the mural painting of Sati in Chehel Sotoun Palace, this work contrasts with the two romantic works mentioned earlier. It conveys the idea that the sincere love of Hindu women surpasses the love stories of Khosrow and Shirin or Joseph and Zuleikha, marking it as a distinct tradition. Finally, as Bourdieu asserts, power is the fundamental means and goal of all cultural production. This principle also applies to the era of Shah Abbas II, manifesting in the crystallization of Sati within Iranian art and literature. However, based on an analysis of the paintings and a comparison of Safavid and Mughal artwork, despite the successful reflection of Sati in Persian literature and Shah Abbas II’s orders for its depiction, this ritual and its philosophy were not fully accepted in the imagination of Iranian painters. Despite numerous depictions of this custom, the Safavid painter subconsciously desired to change the story and alleviate the bride's pain and suffering. The general pattern of Safavid paintings supports this claim

The symbolic and mythological content is a hallmark of Iranian art, reflecting the cultural meanings of society in each historical period. These concepts allow for the inference of the hidden content within the motifs used, revealing their intrinsic value and significance. Following the fall of the Sassanian Empire, the rise of Islam, and the subsequent decline of the Abbasid caliphs, significant shifts occurred in the legitimacy of Iranian rulers. This era saw the resurgence of the idea of a powerful state and the revival of Iran's ancient heritage, leading to the establishment of dynasties such as the Tahirids, Saffavids, Samanids, and Buyeh. Al-Buyeh period, recognized as a Shiite dynasty, is considered one of the most artistically, politically, socially, and scientifically prosperous periods in the history of Islamic and Iranian civilization. The religious and political autonomy of this era influenced the artistic works, which were content-wise shaped by Shiite beliefs and structurally by Sassanian art. A distinctive feature of this period's art is the presence of religious concepts and elements, often represented through various animal and predominantly mythological motifs. The double-headed eagle motif is one such pattern, recurrently found in metals, ceramics, architectural works, and particularly textiles, whose origins have remained elusive due to insufficient research. The motifs employed in the artistic works of the period, whether in metalwork, architecture, textiles, ceramics, etc., possess a symbolic dimension that extends beyond their decorative function, deeply rooted in the religious beliefs and convictions of the people of that time, and aligned with Islamic principles.As previously mentioned, the double-headed eagle motif, frequently observed in the visual culture of that era, especially in textiles, appears in a repetitive or widespread manner. Subsequent studies on this symbolic motif revealed that its semantic origins in Al-Buyeh period culture have not yet been explored; thus, this paper aims to conduct a content analysis of the motif to uncover the semantic origins of the double-headed eagle in the visual culture of the Al-Buyeh period, employing Panofsky's iconological approach. This endeavor marks the first attempt to unravel the meaning of this symbolic motif. The necessary data were collected through library research, and the methodology employed was descriptive-analytical. The interplay between art and religion during the Al-Buyeh period is a fundamental aspect of this research, encompassing the exploration of the meaning and symbolic facets of the motifs and the proliferation of Iranian-Islamic concepts. Research Questions:  What are the religious themes that gave rise to the symbolic meaning of the double-headed eagle in the visual culture of the Al-Buyeh period? Or, what concepts were represented by the use of the double-headed eagle symbol in the visual culture of the Al-Buyeh period?

The methodology used in the present article is based on Panofsky's iconological approach, which involves three stages:Primary or Natural Subject Matter: This level of meaning arises from the combination of factual and expressional meanings, discerned through the identification of pure forms. The factual meaning is grasped by engaging with the various formal aspects of a work and interpreting their interrelations. The expressional meaning is accessed through reference to the reactions and judgments that have become ingrained in a person due to their experiences within a specific environment about a particular phenomenon or subject. Panofsky himself elucidates this level of meaning using the example of a human figure who greets others by removing his hat. In explaining the genesis of primary meaning in this instance, he states that the figure and its action comprise two facets: firstly, the human figure consisting of line, color, and volume; and secondly, the concept that forms in the mind of an observer familiar with the culture from which the action of hat removal originates. For an observer acquainted with this context, the meaning derived from these two aspects is that the individual is seeking interaction (greeting) with their audience. Panofsky posits that the interaction thus established elicits a response in the observer, who can then make judgments about the person's intentions, the emotions conveyed through the act of removing the hat, and similar considerations, based on their prior knowledge of the individual. He deems this judgment to require empathetic perception, which constitutes the expressional or representational meaning. The synthesis of these two meanings generates a primary or natural meaning in the mind of the observer when confronted with this scene (Panofsky, 1972: 3-4).Secondary or Conventional Subject Matter: The second level of meaning in Panofsky's framework is entirely subjective and acts as a cultural code that has been conventionally predetermined among a group of people. At this analytical stage, the link between the form of the artistic work and its concealed subject matter is scrutinized, and the secondary subject matter of the artwork is what becomes perceptible through this examination.Intrinsic Meaning or Content: The third level in Panofsky's theory, necessitates an understanding of the principles and beliefs of the cultural backdrop that gave rise to an artistic work. "At this level of meaning, our minds strive to forge a robust connection between the latent meaning in the observable and tangible characteristics of action, along with the embedded concept within it, and the mental, often invisible, and sometimes concealed conventional meaning. This level of meaning is synthesized and intuitively formed. In this phase, we encounter the ultimate objective of iconology, where, unlike the first and second levels, the artist has subconsciously assembled elements within their work, unaware of the interplay and connections among them" (Ghani and Mehrabi, 2018: 98).  

An iconological analysis of the double-headed eagle motif within the visual culture of the Al-Buyeh period, guided by Panofsky's approach, has revealed that both the motif itself and its depiction of a human abduction by the bird hold significant importance. The findings indicate that the historical origins of the double-headed eagle motif can be traced back to the Sumerian civilization, where it symbolized fire, summer, the sun, and divine power. This motif is not only present in Eastern art but also found in Western art. The double-headed eagle motif is less a representation of a natural bird and more akin to a supernatural one, similar to the Simurgh or Huma bird, with its roots likely in the Sassanian period. Additionally, the discovery of a textile piece featuring this motif near the hills close to the Shrine of Shahrbano, near the city of Rey, suggests a connection between Shia Iran and Zoroastrian Iran through such iconographies. In Greek culture, the motif's narrative of human abduction by a double-headed eagle stems from the story of Zeus, in the form of a double-headed eagle, capturing Ganymede to serve as a cupbearer in Olympus. In India, the motif relates to the tale of Krishna riding on the back of Garuda, a mythical bird, undergoing historical stages to unveil existential truths. During the Sassanian era, the eagle is depicted carrying a feminine figure to the skies, interpreted as an embodiment of the goddess Anahita, symbolizing a divine-assisted human ascension. However, in Al-Buyeh period culture, this motif represents the synthesis of Shia Iran and Zoroastrian Iran, suggesting a meaning that transcends its symbolic representation and martyrdom. Specifically, it appears to reference Zayd ibn Ali, the religious Imam revered by the Buyeh, whose legacy they endeavored to promote and preserve. This connection is the semantic origin of the double-headed eagle motif in the visual culture of the Al-Buyeh period.

The analysis of the relationship between aesthetic experience and religious experience under the concept of liminal experience has been re-evaluated by scholars like Erika Fischer. From Fischer’s perspective, although not all liminal experiences can be classified as aesthetic, those liminal experiences aimed at inner transformation and possessing specific transformative characteristics share notable similarities with religious experiences. Accordingly, this paper addresses how these two types of experiences intersect in relation to one of the distinguishing features of Islamic art that emerged during the Qajar period, namely, Shiite iconography. Religion is not only represented in explicitly religious texts but can also be mediated through texts that, by definition, are not religious. This includes works that engage with or describe religious experiences or, more broadly, religious practices. Many aspects of Islamic art may possess this dimension, but this article focuses specifically on Shiite iconography during the Qajar period, which had not previously appeared in Islamic lands in this form. The central question is: how do aesthetic and religious experiences intersect in the context of Qajar Shiite iconography?According to Fischer’s definition, aesthetic experience constitutes a form of "liminal experience." All religious experiences, as long as they do not involve a transcendental reality or entity, can also be considered aesthetic experiences. The term "liminality" refers to the duality, confusion, or disorientation experienced during the intermediate phase of a transitional ceremony—akin to the experiences of pilgrimage or attendance at a mosque or church. During this phase, participants no longer remain in their pre-ceremonial state but have not yet transitioned into the post-ceremonial state. The first stage, or the pre-liminal phase, is characterized by separation; the intermediate or liminal phase involves transition; and the third stage, the post-liminal phase, signifies reintegration into society.From this viewpoint, the classical demarcation between artistic and ritual performances becomes untenable because, when this state is interpreted as liminal for the audience, the artistic and religious aspects of their experience converge. However, it is essential to determine precisely when and how this liminal state emerges. The liminal condition manifests in two ways: first, through emergence, and second, through autopoiesis. Broadly speaking, autopoiesis refers to a self-generative action inherent in the essence of the artwork, which creates an autopoietic loop during the artistic event. The second liminal state relates to the collapse of dualities, particularly the dichotomy between reality and art. Essentially, these dualities enable the liminal experience.In other words, aesthetic experience, as a form of liminal experience, is specifically applicable to the performing arts and theatrical performances. However, the question arises whether this concept can also be generalized to other artistic disciplines and even to non-artistic domains such as rituals and ceremonies. Ultimately, aesthetic and liminal experiences align due to the transformative effects of the autopoietic feedback loop, wherein the liminal experience transforms its subject. Despite this alignment, there is a non-essential difference between the two: in both types of liminal experiences (religious and artistic), the audience experiences a state of ecstasy. For instance, one can imagine the position of an observer of Ta’ziyeh (Shiite passion plays) versus a theatrical performance.Broadly, the liminal experience serves two purposes collective transformation (primarily collaborative) and physical-emotional metamorphosis. As a liminal experience, aesthetic experience involves a temporary transformation of the audience, often achieved through a transitional process. The objective of the aesthetic, then, may be understood as fostering active engagement in this transformative journey. When aesthetic experience is imbued with religious connotations, the audience interprets its scope as being connected to the sublime. On this basis, aesthetics relates to the materials, forms, and tools utilized by the artist in presenting an artwork or artistic event, as well as the perception it evokes by stimulating the audience's senses, imagination, and emotions. Consequently, when aesthetic experiences are regarded as liminal experiences, they bear similarities to religious experiences, such as mystical or revelatory ecstasies.In summary, what individuals with specific intellectual backgrounds or beliefs label as religious experience can generally also be interpreted as an aesthetic experience. This phenomenon can be assessed in many ritualistic dimensions of Shiism in Iran, particularly in one of its most innovative aspects—Shiite iconography. The commonality between religious and aesthetic experiences lies in their shared liminality. The visualization of religious beliefs and practices in Iranian Shiism gained a new dimension with the advent of images, particularly during the Qajar period. Aesthetic sensory experiences, due to their epistemic and emotional significance, have transformative effects on observers of rituals and are, therefore, valuable.During this period, for the first time in Islamic tradition, religious icons featuring predominantly Shiite themes emerged. These icons are significant in a particular sense because they delineate their role in facilitating religious actions. Consequently, they pave the way for equating an aesthetic experience with a liminal-religious experience. The image thus became a religious icon, treated with reverence and mystery, and was perceived as demanding respect. For example, several memoirs and records from this period note the veneration and near-sacred regard afforded to depictions of Qajar rulers and imams. The majority of the Shiite community during the Qajar era expressed a desire to see such images, which were painted based on descriptions they had heard. This visual depiction reinforced mental visualization. In other words, what religious texts failed to articulate was expressed visually, serving as a tangible representation of religious imagination in society.With the rise of this iconographic tradition, a new dimension of religious duty emerged alongside the artistic and aesthetic aspects of iconography. These icons served as tools for worship and protection against calamity. The function of gazing upon a sacred figure or icon was grounded in a comprehensive theology centered on the concept of "imamate." It can thus be asserted that this phenomenon significantly influenced the religiosity of the Qajar populace. Despite this, Shiite iconography ultimately shaped a specific interpretive community of Shiites in Iran through its stable repetitions and conventions. The continued popularity of the imaginative depictions of Shiite imams can be attributed to their integration into public and religious spaces, where these visual media acquired new functions and remain influential in contemporary Shiite culture in Iran.The visual culture of Qajar Iran, which utilized court iconography to represent the absent among the populace as a commemorative and unifying element, established a cultural framework that facilitated the transfer of images into spaces of worship. This facilitated the transformation of such imagery into a medium of devotion, enabling it to gain new significance within the broader culture of Shiism in Iran.In conclusion, Fischer’s interpretation of the nature of the liminal experience clarifies the conditions under which a connection between aesthetic and religious experiences can be established. In this framework, given the inherent expansiveness of these two types of experiences and the nature of the transformation they engender, the shared liminal quality can be observed in many artistic and ritual events. Fundamentally, the concept of liminality entails a staged transformation, which suffices to serve as a common feature of religious and aesthetic experiences. From this perspective, many experiences regarded as religious can also be considered aesthetic. To examine the practical implications of this connection in the audience’s engagement with Qajar Shiite icons, the devotional function of these icons underscores this intersection, answering the central question of this study: how aesthetic and religious experiences converge as liminal experiences. Thus, with the emergence of this iconographic style in Iran, the concept of such experiences can be articulated more concretely, offering fertile ground for future research into the nature of religious and liminal experiences in religious art.

Mihrab inscriptions are one of the main elements of Islamic religious sites, including places of worship and pilgrimage. In addition to hundreds of these inscriptions from various Islamic centuries still existing in different parts of Iran, decorations combined with calligraphy, patterns, and other embellishments have been displayed based on these works, depending on the conditions of the building or the inscription itself. One of these newly discovered mihrab inscriptions that has not been studied so far is the mihrab-shaped inscription of "Askar Mukram" in Khuzestan. This city, which still has remnants along the road between Ahvaz and Shushtar, is one of the historical areas of the Khuzestan plain and part of the Miyan Ab region of Shushtar, where the Islamic army was stationed from the third century (AH). Recently, a mihrab-shaped inscription decorated with Kufic calligraphy and ornamental patterns has been found in this city, with some broken and incomplete parts. The mentioned inscription is another golden leaf of Iran's visual heritage from the post-Islamic period, probably from the third to sixth centuries (AH). The difference between this inscription and other mihrab inscriptions in Iran is that it was not attached to an architectural structure at the time of its discovery. The discovery of such artifacts in the Khuzestan region, both from the Islamic period and before Islam, has a long history. Pre-Islamic examples include the Elamite artifacts of "Arjan" and "Joubaji" in Ramhormoz. Although the mihrab shape of this inscription initially suggests its use in a mosque, shrine, or similar structure, the possibility of using this inscription for other purposes, such as tomb entrances, cannot be ruled out. Considering the above, the main issue of this research is the nature of the calligraphic structure, decorations, and semiotic elements governing this newly discovered inscription, as well as searching for evidence of its approximate construction period based on other mihrab inscriptions in Iran.There are a few studies on Askar Mukram, some of which are briefly discussed below. In the study conducted by "Ataei, Mousavi Kohpar, and Mousavi Haji” (2014) entitled "Identification of the Historical City of Askar Mukram Based on Historical and Geographical Texts", the authors discussed the identification of this city and also described some of the coins which were minted in this city and its economic and commercial importance. Further, in an article titled "Resolving the Ambiguity Surrounding the Location of the Historical City of Askar Mukram," "Morteza Ataei and Raheleh Koulabaavi" (2019) also questioned the present location of the city of Askar Mukram. Other studies conducted on Askar Mukram have been centered on the philosophical and literary trends of this city when it was at its prime, which does not relate to the subject matter of this research. Many papers have been published on the inscriptions in mosques and pilgrimage places in Iran. These inscriptions, which are carved into the architectural structures, have been done in Kufic, Thuluth, Naskh, and sometimes Nastaliq scripts. Some of these studies are discussed here. In the study by Hatami, Khazaei, and Mohammadzadeh (2023), entitled "Investigating the Calligraphic Style and Visual Arrangements of the Griouar Inscription at the Shrine of the Twelve Imams in Yazd", the authors noted that the design criteria for this inscription included avoiding word legibility, and the overemphasis on letter forms and initial dimensions. "Khazaei-Musk, Kazempour, and Sahragard" (2022) in an article titled "Letter Forms in the Stone Inscriptions of Bani Hasanwiya (330-405 AH)" stated that the script used in the studied inscriptions is decorative Kufic (muragga'), and the two-petal and three-petal patterns are the most important decorative elements combined with letter forms in these inscriptions. The last relevant works are two books by "Amir Farid" named "The Coexistence of Image and Script in Iranian Art", published in 2021, and "The Position of Inscriptions in the First Mihrabs of Iran", published in 2022. In these books, Farid has provided a detailed analysis of Iranian calligraphy, decorations, and embellishments with special reference to mihrabs, the type of scripts used, the materials used in constructing the mihrabs, and the content of the verses inscribed in forty early Islamic mihrabs. In the book titled "The Position of Inscriptions in the First Mihrabs of Iran," he categorizes the early Islamic mihrabs into five types based on the integration of calligraphy and ornaments and says that the golden age of Islamic culture and art has a sense of integration. It is also noteworthy that Farid does not include the mihrab inscription of Askar Mukram in his book.In conclusion, the purpose of this study is to investigate the visual characteristics of the Kufic script and the ornaments of the newly identified mihrab-shaped inscription from Askar Mukram, Shushtar, and to look for clues regarding the approximate construction period of the mihrab by comparing it with other mihrab inscriptions in Iran.Research MethodologyThe present research adopts a qualitative approach. In this process, the formal structure, calligraphy, and decorations of the Kufic inscription of Askar Mukram, Khuzestan, are redesigned based on the available images of the inscription using open-source graphic software, and its elements are visually analyzed. The sources for this research are library-based and field-based. In the field method, images of the inscription were taken, and discussions were held with relevant experts. Additionally, library resources were utilized to investigate the background and similar examples.ResultsThe mihrab-shaped inscription of Askar Mukram, in its current condition, is limited to three parts: the frame, the spandrel, and the arched top, unlike other mihrab inscriptions in Iran that are attached to architectural structures. The calligraphy and patterns of this inscription are written in the frame and spandrel sections, and the arched top of this inscription has a pointed curve.Considering the multiple classifications of Kufic scripts, based on the binary division of legible and illegible inscriptions, the Askar Mukram inscription belongs to the decorative Kufic script with ornamental extensions of patterns, sometimes within letters and the background of the work. The alphabet of this work is dependent little on the surrounding decorative patterns. In different parts of this inscription, patterns are drawn in available and possible spaces in visual connection with the calligraphy. Regarding the classifications of inscription types based on the coexistence of patterns and calligraphy, this inscription falls into the category of patterns and calligraphy side by side (adjacent). Considering the fine line between some Kufic scripts and their coexistence with decorations, according to Grohmann's classification, the script of this inscription can be considered a combination of foliated (muragga') and floral (muzahhar) Kufic. In this inscription, the letters of the Divine Names are accompanied by more decorations compared to other letters, and the verses used in this inscription, as far as the author has studied, have not been seen in other mihrab-shaped Iranian inscriptions, except for the mihrab-shaped inscription of the Mawid bin al-Musafir shrine in the Imamzadeh Abdullah of Shushtar, which is in Naskh script. A notable aspect of the calligraphy in this inscription is the inverted writing on its top, which has rarely been seen in such inscriptions.Considering the uncertain exact date of this inscription, the evidence for its formation period is as follows. Since the peak usage of illegible (decorative) inscriptions was in the 3rd and 4th centuries (AH), it seems that the date of this inscription is after those centuries. Furthermore, considering that the verses inscribed on inscriptions sometimes indicate their period or purpose, based on the analysis of the verses on this inscription, which call for monotheism, resurrection, the impermanence of humans, and the reminder of death, one can assume that the construction time of this inscription falls between the early and middle centuries of the Islamic era. The reminder of death in the calligraphy of this inscription further strengthens the possibility that this work was associated with a tomb. The two-petal ornamental extensions and relatively simple decorations also weigh in favor of the proposed date for this inscription. Although the decorations of this inscription bring it closer to the early Islamic inscriptions, which had less ornamentation, since this is a stone inscription and the simplification of letters and calligraphy was more common in stone inscriptions due to the hardness of the material, this assumption seems questionable.Considering that the peak usage of illegible inscriptions spanned from the third and fourth centuries until the middle of the seventh century (AH), this inscription can be attributed to that period. Additionally, since the Mihrab inscriptions of Iran were all in Kufic script until the sixth century, the proposed date (third to seventh centuries) for the creation of this inscription becomes more plausible.In this inscription, the visual symbol of a chelipa (a decorative motif resembling a scorpion) is seen amidst the famous "bāzūband" (armband) pattern, of which numerous examples exist in Islamic architecture. The same pattern has been noted in the ornaments of the Ghiasiyeh Madrasah in Khargerd, which dates back to the seventh century, and in the inscriptions of the ruins of Ray. In Islamic calligraphy, this element is used for the emergence of the blessed names, remembrances, and hadiths of the divine saints, and it is understood as a sign of unity. As in other Iranian inscriptions, the principles of the calligraphy are followed to the extent of following the principles within the same inscription. That is, the calligraphy and decorations of this inscription have an internal and external visual image.

Scholars and specialists in scientometrics are interested in designing the structure of science and Knowledge maps for different disciplines and following their latest changes. Scientific texts are the underlying foundation for this drawing.The evaluation of the publishing trend of articles in various scientific fields provides insight into the efforts of researchers in the field of knowledge. The scientific map makes researchers more aware of the status of research and also discovers the thematic gaps of scientific research.Bibliometric analysis is a powerful tool for quantitatively investigating scientific publications to evaluate research trends, find hotspots, and describe the research distributions and collaboration relations of countries/regions, institutions, and authors. Bibliometric is an objective technique of review. Bibliometric analysis is especially useful for providing a systematic analysis to deduct new research topics and recognize trends in various disciplines in contemporary environments where people have access to an inundated amount of knowledge, data, and conceptual developments.The bibliometric analysis could generate useful information for researchers evaluating scientific activity. A bibliometric analysis examines bibliographic material from an objective and quantitative perspective that proves useful in organizing information within a specific field hence, a bibliometric analysis using keywords allows the analysis of details in the main topics of research within a domain and relationships at the micro-level. The traditional literature review presents an in-depth view of the field, while science mapping focuses on a wide breadth and can handle thousands of published studies; also, it can provide a graphical view of the interlinkages among different actors of research such as authors, journals, institutes, and countries.Bibliometric methods are quantitative and visual techniques or statistics used to characterize patterns of research. Furthermore, it summarizes the status quo, dynamics, and development trends of a specific field of research, yielding consolidated ideas, directions, and guidance for future research activities. These methods can be applied over a wide range of contexts including research topics, sources, countries, and institutions. In their nature, they are quantitative techniques but can be utilized to generate pronouncements related to qualitative characteristics.The focus of bibliometric methods is devoted to assessing the productivity and impact of research activities. These techniques are of high potential in providing valuable knowledgeable structures.The purpose of this study is to provide a comprehensive and coherent picture of scientific outputs in the Hand-woven carpet industry based on scientific documents indexed in Scopus. Based on this statistical population, the number of 1231 articles on Hand-woven carpet, extracted from the Scopus database from 1969 to 2023, have been used as input data of VOSviewer software to examine and analyze research production process, a knowledge map, the lexical network and the Co-authorship by countries of Hand-woven carpet researches.The visualization maps have been generated using VOSviewer software. This software utilizes clustering techniques and similarity mapping. The VOSviewer program can be used to establish bibliometric maps of authors or sources based on co-citation information. Moreover, it is possible to establish keyword maps based on the co-occurrence of keywords. Therefore, co-occurrence analysis of author keywords can be applied to build a network in a particular area, which aims to explore and exhibit the intellectual framework of a particular research field. In this study, we used VOSviewer software as a tool to perform the co-citation analysis and co-occurrence analysis, and then to realize the visualization of intellectual structure.Based on this, answering the following questions is a step toward reaching the main goal of the research:A-What is the trend of scientific studies and the most important fields of study in the art of handwoven carpet industry in the Scopus database during the years 1969 to 2023?B-How are the core keywords and keyword co-occurrence map and density map of handwoven carpet research?C-Which are the countries with high production and references in the field of handwoven carpets and also research centers active in this field? And how is the co-authoring network of countries?D-How is the knowledge and co-authorship network of authors in the field of handwoven carpets?In this regard, the data were collected and refined from the Scopus information database and were analyzed with algorithms based on social network analysis in VOSviewer software.The results showed that scientific products of the Hand-woven carpet industry had associated continuous growth trend. The most productive subjects have been more business and management, materials, and engineering sciences than other sciences. In the co-authored network of countries, the United States was declared one of the most influential countries with the release of 146 documents. Also, Georgia Institute of Technology and Amirkabir University are among the most important research centers active in the field of handwoven carpets. Co-occurrence analysis of words revealed five research clusters in Hand-woven carpet studies related to the connections and flows of Carpet manufacture, Carpet industry, rug, weaving, and Textile industry. They had larger nodes and denser representations than other words. The maps showed that the studies have good network coherence, the study and analysis of the content of the texts can help to better understand the currents of thought in the Hand-woven carpet industry and as a roadmap for future research in this direction.